Through Winter’s Window: The Modernist Potential of Ice, Frost, and Snow in Late Imperial Russian Art

In 1913, the Fabergé workshops in St Petersburg produced the most expensive of their famed Imperial egg commissions, the so-called “Winter Egg,” designed by Alma Pihl. Fashioned from translucent rock crystal and decked in a glittering array of gemstones, the egg followed several other designs on winter themes by the highly respected jeweller. In this article, Fabergé’s winter-themed creations are the starting point for an exploration of how ice, frost, and snow were portrayed by Russian artists of the late imperial period. Such works both reflected and realised many of the shifts in the art world from the mid-nineteenth century onwards, for example, the renewed focus on making art “national,” the rise of artistic opportunities for women, the erasure of boundaries between fine and applied art, the influx of such European movements as Impressionism and Symbolism, and the development of modernist approaches to content and style. The principal focus is on works by artists associated with the Abramtsevo artistic circle (Abramtsevskii khudozhestvennyi kruzhok). How did representations of ice, snow, and frost participate in the emerging dynamic between the national idea and the decorative, which in turn fed into the move towards abstraction? Why did these subjects appear frequently in art by women? Why was winter often presented through the lens of the imagined and the ludic? These works evidence a new subjectivity that arose from Abramtsevo artists’ greater freedom to render lived experience. The paths open to them when working outside the Academic system permitted creativity to range freely in the forging of a national modern style.