The New Criterion
(Mobile Version)

Letters

October 1998

An opacity of hopelessness

by Christian Caryl

The most notable cultural emblem of 1990s Russia rises from an island in the middle of the Moscow River. Peter the Great stands 196 feet tall. His feet, spread wide, are planted on a base of buildings that look as though they might have been stamped from lumps of dough. Even more incongruously, they fill the hull of an enormous sailing ship whose prow juts out across the water. In one hand, Peter holds a tiller; in the other, he holds aloft a golden scroll. The ship stands on a thick column, bulky as a baobab, from which the bows of other ships protrude. Their bowsprits support metal flags, crossed with diagonal bands of gold, that pivot in the breeze.

The statue has drawn a lot of attention. Completed last year at a cost of $20 million, it was commissioned by Moscow Mayor Yuri Luzhkov and built by his court sculp- tor, a maneuverable Georgian by the name of Zurab Tsereteli. Many people in Moscow hate the thing. For a while several gallery owners, e ...

This article is available to subscribers and for individual purchase

Log in

Christian Caryl is the Moscow Bureau Chief for U
more from this author


This article originally appeared in The New Criterion, Volume 17 October 1998, on page 76
Copyright © 2012 The New Criterion | www.newcriterion.com


E-mail to friend(s)