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PRESS RELEASE MUSÉE CANTONAL DES BEAUX-ARTS DE LAUSANNE Lausanne, April 2014 PRESS RELEASE MUSÉE CANTONAL DES BEAUX-ARTS DE LAUSANNE Lausanne, April 2014 We are pleased to invite you to the press conference of the exhibition Magic of Russian Landscape. Masterpieces from the State Tretyakov Gallery, Moscow on Thursday 22 May 2014 at 11 am Tatiana Karpova, vice-director of the State Tretyakov Gallery, Moscow, will be present. GENERAL INFORMATION Opening reception Thursday 22 May 2014 at 7 pm, Aula, Palais de Rumine Curator Tatiana Karpova, vice-director of the State Tretyakov Gallery, Moscow, and Catherine Lepdor, chief curator of the Musée cantonal des Beaux-Arts de Lausanne Media contact Loïse Cuendet, [email protected] Tel. : +41 (0)21 316 34 48 To download press material: www.mcba.ch > press relations Username: mcba-presse / Password: gpresse Address Musée cantonal des Beaux-Arts, Lausanne Palais de Rumine, place de la Riponne 6 CH-1014 Lausanne Tel. : +41 (0)21 316 34 45 Fax. : +41 (0)21 316 34 46 [email protected] www.mcba.ch Opening hours Tuesday – Friday: 11 am – 6 pm Saturday – Sunday: 11 am – 5 pm Closed on Monday Ascension Day, Whit Monday and 1st August : 11 am – 5 pm Admission Adults: CHF 10.– Pensioners, students, apprentices: CHF 8.– Under 16: free 1st Saturday of the month : free Access Metro M2: station Riponne – Maurice Béjart Bus 1, 2: stop at Rue Neuve Bus 7, 8: stop at Riponne Press release Magic of Russian Landscapes. Masterpieces from the State Tretyakov Gallery, Moscow mcb-a Lausanne Page 2 MAGIC OF RUSSIAN LANDSCAPE. Masterpieces from the State Tretyakov Galery, Moscow 23 May – 5 October 2014 THE EXHIBITION The Musée cantonal des Beaux-Arts, Lausanne, is hosting an exceptional collection of works originating from the State Tretyakov Gallery in Moscow. Some seventy paintings illustrate the glory days of the Russian landscape school between 1855 and 1917, from the beginning of the reign of Tsar Alexander II to the October Revolution. While many people see the contribution of the Russian school to modernism as beginning with the avant-garde in the second decade of the 20th century, the break with academic art started in the mid-19th century. A new generation of artists refused to submit to the diktat of the Imperial Academy of Arts in St Petersburg. Abandoning Biblical and mythological subjects, they set out to discover Russian customs and landscapes, revisiting their past in the highly politicised context of the assertion of a national identity, the abolition of serfdom and the belief held by the intelligentsia that art could make a decisive contribution towards building a modern, democratic society. In this context of profound change, landscape played a crucial role. For contem- poraries, along with genre painting, it was landscape that could best convey the Russian “soul” and Russian “land”. At the time of Russia’s greatest territorial expansion, painters set about discovering the seas, mountains and forests of the huge Empire. They observed the sky, the passage of the seasons from dawn to nightfall, they were keen to depict peasant customs, and rural and urban architec- ture. Rejecting the Italianate landscapes in vogue up to that time, the new school drew inspiration from historical realism (the 17th-century Dutch school) as well as contemporary examples of realism (the Düsseldorf school, the Barbizon school, Impressionism). Stylistically these tendencies nurtured a vision of nature that was certainly realistic, but also powerfully narrative and symbolic. The landscape painting of this period presents a complex mosaic, and is striking for its diversity, the strong artistic personalities who represent it, and the dynamism of its development. Its different strands include lyrical landscape or “mood landscape” (Savrasov, Kamenev, Levitan, Polenov), a continuation of Romantic landscape (Aivazovsky, Vassiliev, Kuindzhi), the naturalistic and documentary tendency (Shishkin), and finally the academic tendency (Lagorio, Bogoliubov, Mechtcherski). Maintaining close links with the writers of the golden age of Russian literature (Chekhov, Tolstoy, Turgenev, Dostoyevsky), and the musicians in The Five group (Rimsky-Korsakov, Borodin, Mussorgsky), as well as a new generation of art critics (Stasov), the artists represented in the exhibition were members of the Society of Travelling Art Exhibitions, a means of making their art known to a wider public, or they maintained close links with it. The Itinerants or Wanderers organized exhibi- tions that stopped in the main cities of the Empire: apart from St Petersburg and Moscow, cities including Orel, Kiev, Kharkov, Kichiniov, Odessa, and Warsaw. Their works were collected by a new type of patron, no longer emerging from the aristocracy, but from the Muscovite business or industrial middle classes, people like Savva Mamontov, who gathered artists from what was known as the Abramtsevo artistic circle, or Pavel Tretyakov, the greatest collector of Russian Realist art. Tretyakov founded the first national Russian art gallery which he gave to the city of Moscow in 1892. Today the State Tretyakov Gallery, the organizer of the exhibition to be seen in Lausanne, along with the State Russian Museum in St Petersburg, holds the largest collection of Russian art in the world. Press release Magic of Russian Landscapes. Masterpieces from the State Tretyakov Gallery, Moscow mcb-a Lausanne Page 3 SOME THEMES AND THEIR MAIN representatiVES THE FOREST Ivan Shishkin (1832-1898, ill. 11) was called the “patriarch of the forest” by his contemporaries. He was the main representative of the objective tendency in Realism, and his epic art, monumental and resolutely optimistic, is based on a scientific analysis of nature. His language is clear and precise. His favourite subject is the oak forest, or conifers which are evergreen. The season he prefers is summer, and the time of day he likes best is noon. His world rested on values that were fundamental to him: the soil, his native country, the people, the splendour of life. THE SEA Ivan Aivazovsky (1817-1900, ill. 1), a tutelary figure, built his reputation on his exceptional virtuosity in depicting the sea, storms and shipwrecks. He was extra- ordinarily productive (he painted nearly 6000 pictures, the majority of them monu- mental), and carried the heritage of Neo-Classicism and Romanticism on right through the 19th century. Thus the sea for him was both a metaphor for the unpre- dictable nature of the vagaries of destiny and a symbol of a power that cannot be subdued, that of a people seeking to gain their freedom. THE SKY Isaac Levitan (1860-1900, ill. 6) is one of the main representatives of lyrical lands- cape or “mood landscape”. He was a close friend of the writer Anton Chekhov, the two men being linked by their lyrical apprehension of nature, and their veneration for beauty, for the mystery of the world. Levitan’s painting, extremely constructed and static in its forms, vigorous in its treatment, results from observations that are synthesized in the studio. Its emotive, solemn character is conveyed by the juxtaposition of broad brushstrokes and the use of wide coloured surfaces. THE NOCTURNES Arkhip Kuindzhi (1842-1910, ill. 3), one of the most original painters of his gene- ration, was fascinated by the way in which nature is transfigured by light. He was dubbed the “adorer of the sun and the moon”. The synthesizing treatment of forms, the transformation of volume into silhouette, and the intensification of the contrasts of light and colour mean that his moonlit landscapes resemble decorative panels or theatre sets, making them precursors of Art Nouveau, and him a fellow traveller of the Symbolists. SPRING Prior to Aleksei Savrasov (1830-1897, ill. 10), nature in Russia was not thought worthy of being depicted. The landscapes of Italy were more admired. Savrasov was the inventor of the “motif” of spring, no longer the season for lovers’ agitation, but a special metaphor for renewal, the political and societal changes so much hoped for at the time of the abolition of serfdom. This motif would be very popu- lar after him, repeated in painting by artists from Igor Grabar to Mikhail Larionov, and in music in works ranging from Snegurochka – The Snow Maiden – by Nikolai Rimsky-Korsakov to the Rite of Spring by Igor Stravinsky. SUMMER Ilya Repin (1844-1930, ill. 9 and poster), the best known of the Itinerant painters, was the movement’s spearhead, and its showcase abroad. His work was influenced by French Impressionism during the time he spent in Paris. A subtle colourist and a brilliant observer of physiognomies, he loved life in all its manifestations. His rustic scenes of life in the dacha attracted reproaches from his friend the writer Leo Tolstoy; in his view, the artist should put himself at the service of society, work to educate it, and contribute to its moral improvement. Press release Magic of Russian Landscapes. Masterpieces from the State Tretyakov Gallery, Moscow mcb-a Lausanne Page 4 WINTER Coming from the generation following that of the first Itinerant painters, Boris Kustodiev (1878-1927, ill. 4) was one of Ilya Repin’s pupils. He belonged to the Union of Russian Artists, a Muscovite association in which painting acquired greater diversity of colours, and broke free of heavy, sombre hues to become lighter and sunnier. These painters whose works strike a major key are notable for their moral liveliness, their optimistic view of the world, and their faith in the future. Kustodiev’s winter scenes have great affinities with the art of the lacquer miniatures from Palekh. 42 ARTISTS Ivan Aivazovsky
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