Paintings Restricted Per and Agreement Nov 7, 2016

Total Page:16

File Type:pdf, Size:1020Kb

Paintings Restricted Per and Agreement Nov 7, 2016 Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 The use of this list is subject to the various Disclaimers, Limitations, Restrictions and Waivers set out on the official Oleg Vassiliev website: www.olegvassiliev.com. During his lifetime, Vassiliev made only approximately 241 paintings meeting the parameters described there. Of those 241 paintings, only 45 of them are “large paintings”—i.e., paintings where the height plus the width equals 120 inches or more (i.e., 60x60 inches, 50x70 inches, etc.). Of the 241 paintings made, at least 29 (more than 10%) are in museum collections. 1 1: House on the Island Anzer дом на анзере 1965 27 1/2 x 27 1/2 inches 70 x 70 cm oil on canvas Private Collection 2 A Cat on the Fence котенок на заборе 1965 39 1/2 x 31 1/2 inches 105 x 80 cm oil on canvas Private Collection 3 After Hoffman 1965 23 x 30 inches 58.4 x 76.2 cm oil on canvas Private Collection Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 4 In the New District [aka "Im neuen Stadtbezirk"] в новом районе 1965 35 1/2 x 35 1/2 inches 90.2 x 90.2 cm oil on canvas Ludwig Forum fur Internationale Kunst, Aachen, Germany 5 Overcoming the Space 1965 23 1/2 x 31 1/2 inches 59.7 x 80 cm oil on canvas Private Collection 6 Near the Sea (Palanga) около моря. паланга. 1966 35 1/4 x 47 1/4 inches 90 x 120.5 cm oil on canvas Private Collection 7 Stroll прогулка 1966 31 1/2 x 43 1/2 inches 80 x 109.5 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 8 Girl in Oval девочка в овале 1967 35 1/2 x 47 1/4 inches 90.2 x 120 cm oil on canvas Private Collection 9 Lusja with Tulips 1967 39 1/2 x 31 1/2 inches 100.3 x 79.8 cm oil on canvas Private Collection 10 Self Portrait with Lusya [aka "Selbstbildnis mit Lusja"] 1967 39 x 31 inches 100 x 80 cm oil on canvas Ludwig Forum fur Internationale Kunst, Aachen, Germany 11 Black and White 1968 31 1/4 x 23 1/2 inches 79.5 x 59.5 cm oil on canvas Private Collection Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 12 Ella [aka "Kruznetsky Bridge"] 1968 39 5/8 x 35 1/4 inches 100.6 x 89.5 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA 13 Forest 1968 39 3/8 x 39 3/8 inches 100 x 100 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA 14 High Space (from the series Spaces) высокое пространство. из серии пространства 1968 35 3/8 x 31 5/8 inches 90 x 80.5 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA 15 High Space (from the series Spaces) 1968 31 1/2 x 27 1/2 inches 80 x 70 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 16 Integrated Space (from the series Spaces) совмещенное пространство. из серии пространства 1968 31 1/2 x 27 1/2 inches 80 x 70 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA 17 Integrated Space (from the series Spaces) 1968 31 1/2 x 23 3/4 inches 80 x 60.5 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA 18 On the Bench на скамейке 1968 35 1/4 x 27 1/4 inches 89.5 x 69 cm oil on canvas Private Collection 19 Portrait of an Artist (Erik Bulatov) 1968 39 1/2 x 39 1/2 inches 100.3 x 100.3 cm oil on canvas Private Collection Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 20 Two Spaces (from the series Spaces) два пространства. из серии пространства 1968 23 5/8 x 47 1/4 inches 60 x 120 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA 21 Portrait of Kira in the Cabin Window 1970-1980 30 x 20 inches 76.2 x 50.8 cm oil on cardboard Private Collection 22 Self Portrait from the Back автопортрет со спины 1971 31 1/2 x 21 3/4 inches 80 x 55.2 cm oil on canvas The State Tretyakov Gallery, Moscow, Russia 23 A Green Country House 1971-1984 32 x 30 inches 81.3 x 76.2 cm oil on canvas Private Collection Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 24 Fallen Painting упавшая картина 1972 37 x 29 1/4 inches 94 x 74.3 cm oil on canvas Private Collection 25 In the Field (Abramtsevo) в поле. абрамцево 1972 35 1/2 x 48 1/8 inches 90 x 120 cm oil on canvas Private Collection 26 By the River у реки 1972-1975 35 1/2 x 35 1/2 inches 90 x 90 cm oil on canvas Private Collection 27 Kira (with Butterflies) 1972-1975 43 1/2 x 31 1/2 inches 110.5 x 80 cm oil on canvas Private Collection Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 28 Unavoidable Meadow [aka "Necessary Meadow"] 1974-1987 33 1/8 x 25 5/8 inches 84 x 65 cm oil on canvas Private Collection 29 Kira I кира I 1975 42 x 32 inches 106.7 x 81.3 cm oil on canvas The State Tretyakov Gallery, Moscow, Russia 30 Kira II кира II 1975 47 1/2 x 35 1/2 inches 120.5 x 90 cm oil on canvas Private Collection 31 Stroll I [aka "Walk I" (from triptych)] 1975 35 x 29 1/2 inches 89 x 75 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 32 Stroll II [aka "Walk II" (from triptych)] 1975 35 1/2 x 29 1/2 inches 90 x 75 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA 33 Stroll III [aka "Walk III" (from triptych)] 1975 35 1/2 x 31 1/2 inches 90 x 80 cm oil and graphite on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA 34 Figure in a Circle фигура в круге 1976 49 x 49 inches 123 x 123.4 cm oil on canvas Private Collection 35 In Memory of M. Sokovnin 1976 47 1/2 x 47 1/2 inches 120.7 x 120.7 cm oil on orgalit Private Collection Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 36 On Terrace (Grandfather) 1976 38 1/2 x 50 1/2 inches 97.8 x 128.3 cm oil on composition board Private Collection 37 Cornflowers and Daisies 1977 22 1/2 x 19 1/2 inches 57 x 49.5 cm oil on board Private Collection 38 Diagonal (Self Portrait) диагональ автопортрет 1977 48 1/2 x 96 7/8 inches 123 x 246 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA 39 Walking 1978 49 1/2 x 37 1/2 inches 124 x 95.5 cm oil on canvas Private Collection Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 40 Olga Mikhailovna and Natasha ольга михайловна и наташа 1979 71 1/4 x 51 inches 180 x 130 cm oil on canvas Private Collection 41 Ogonyok, No. 25 огонек № 25, 1975 1980 48 1/16 x 36 1/8 inches 122 x 91.5 cm oil on canvas Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA 42 Self Portrait автопортрет 1980 39 x 31 inches 99.1 x 78.7 cm oil on canvas Private Collection 43 Variations on the theme of the Ogonyok Magazine Cover 1980 36 5/8 x 27 1/2 inches 93 x 70 cm oil on canvas Private Collection Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 44 Autumn Portrait осенний портрет 1981 71 x 55 inches 180 x 140 cm oil on canvas Private Collection 45 Ogonyok 38 (Magazine Cover) 1981 51 1/4 x 39 1/2 inches 130 x 100 cm oil on canvas Private Collection 46 Kira with Bouquet 1982 74 x 48 inches 188 x 121.9 cm colored pencil on canvas Private Collection 47 Nina and Kira кира и нина 1983 24 x 20 inches 61 x 51 cm oil on canvas Private Collection Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 48 Slanting Beams [aka "Schräg einfallende Strahlen"] 1984-1987 48 3/8 x 48 3/8 inches 120 x 120 cm oil on canvas Private Collection 49 Deep Space (Surface) 1986 29 5/8 x 31 1/4 inches 75.4 x 79.4 cm oil on canvas Private Collection 50 Spatial Composition 1986 36 3/4 x 27 5/8 inches 93.5 x 70 cm Oil on masonite Zimmerli Art Museum at Rutgers University, New Brunswick, NJ, USA 51 Clouds Over the Field 1987 75 x 102 inches 190.5 x 259.1 cm oil on canvas Private Collection Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 52 In the Memory of Efim Moiseevich Royak 1987 35 1/2 x 27 inches 90 x 68.5 cm oil on board Private Collection 53 Reminiscence 1987 51 x 39 inches 129.5 x 99.1 cm oil on canvas Private Collection 54 The Materialisation of Gloom 1987 36 3/4 x 27 1/2 inches 93.5 x 70 cm oil on board Private Collection 55 Unpaved Road 1987 66 x 98 inches 167.6 x 248.9 cm oil on canvas Private Collection Oleg Vassiliev - paintings Restricted per www.olegvassiliev.com and Agreement Nov 7, 2016 56 Study for Zone [aka "Night, Study for Zone No.
Recommended publications
  • Ilya & Emilia Kabakov
    ILYA & EMILIA KABAKOV: NOT EVERYONE WILL BE TAKEN INTO THE FUTURE 18 October 2017 – 28 January 2018 LARGE PRINT GUIDE Please return to exhibition entrance CONTENTS Introduction 3 Room 1 7 Room 2 23 Room 3 37 Room 4 69 Room 5 81 Room 6 93 Room 7 101 Room 8 120 Room 9 3 12 Room 10 5 13 INTRODUCTION 3 Ilya and Emilia Kabakov are amongst the most celebrated artists of their generation, widely known as pioneers of installation art. Ilya Kabakov was born in 1933 in Dnepropetrovsk (now Dnipro) in Ukraine, formerly part of the Soviet Union. When he was eight, he moved to Moscow with his mother. He studied at the Art School of Moscow, and at the V.I. Surikov Art Institute. Artists in the Soviet Union were obliged to follow the officially approved style, Socialist Realism. Wanting to retain his independence, Ilya supported himself as a children’s book illustrator from 1955 to 1987, while continuing to make his own paintings and drawings. As an ‘unofficial artist’, he worked in the privacy of his Moscow attic studio, showing his art only to a close circle of artists and intellectuals. Ilya was not permitted to travel outside the Soviet Union until 1987, when he was offered a fellowship at the Graz Kunstverein, Austria. The following year he visited New York, and resumed contact with Emilia Lekach. Born in 1945, Emilia trained as a classical pianist at Music College in Irkutsk, and studied Spanish Language and Literature at Moscow University before emigrating to the United States in 1973.
    [Show full text]
  • Sculptor Nina Slobodinskaya (1898-1984)
    1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia.
    [Show full text]
  • Exhibition Provides New Insight Into the Globalization of Conceptual Art, Through Work of Nearly 50 Moscow-Based Artists Thinki
    EXHIBITION PROVIDES NEW INSIGHT INTO THE GLOBALIZATION OF CONCEPTUAL ART, THROUGH WORK OF NEARLY 50 MOSCOW-BASED ARTISTS THINKING PICTURES FEATURES APPROXIMATELY 80 WORKS, INCLUDING MAJOR INSTALLATIONS, WORKS ON PAPER, PAINTINGS, MIXED-MEDIA WORKS, AND DOCUMENTARY MATERIALS, MANY OF WHICH OF HAVE NOT BEEN PUBLICLY DISPLAYED IN THE U.S. New Brunswick, NJ—February 23, 2016—Through the work of nearly 50 artists, the upcoming exhibition Thinking Pictures will introduce audiences to the development and evolution of conceptual art in Moscow—challenging notions of the movement as solely a reflection of its Western namesake. Opening at the Zimmerli Art Museum at Rutgers in September 2016, the exhibition will explore the unique social, political, and artistic conditions that inspired and distinguished the work of Muscovite artists from peers working in the U.S. and Western Europe. Under constant threat of censorship, and frequently engaging in critical opposition to Soviet-mandated Socialist Realism, these artists created works that defied classification, interweaving painting and installation, parody and performance, and images and texts in new types of conceptual art practices. Drawn from the Norton and Nancy Dodge Collection at the Zimmerli, the exhibition features masterworks by such renowned artists as Ilya Kabakov, Komar and Melamid, Eric Bulatov, Andrei Monastyrsky, and Irina Nakhova, and introduces important works by under-represented artists, including Yuri Albert, Nikita Alekseev, Ivan Chuikov, Elena Elagina, Igor Makarevich, Viktor Pivovarov, Oleg Vassiliev, and Vadim Zakharov. Many of the works in the exhibition have never been publicly shown in the U.S., and many others only in limited engagement. Together, these works, created in a wide-range of media, underscore the diversity and richness of the underground artistic currents that comprise ‘Moscow Conceptualism’, and provide a deeper and more global understanding of conceptual art, and its relationship to world events and circumstances.
    [Show full text]
  • The State Hermitage Museum Annual Report 2012
    THE STATE HERMITAGE MUSEUM ANNUAL REPORT n 2012 CONTENTS General Editor 4 Year of Village and Garden Mikhail Piotrovsky, General Director of the State Hermitage Museum, 6 State Hermitage Museum. General Information Corresponding Member of the Russian Academy of Sciences, 16 Awards Full Member of the Russian Academy of Arts, Professor of St. Petersburg State University, 20 Composition of the Hermitage Collection as of 1 January 2013 Doctor of History 40 Exhibitions 86 Restoration and Conservation 121 Publications EDITORIAL BOARD: 135 Electronic Editions and Video Films Mikhail Piotrovsky, 136 Conferences General Director of the State Hermitage Museum 141 Dissertations Georgy Vilinbakhov, 142 Archaeological Expeditions Deputy Director for Research 158 Major Construction and Restoration of the Buildings Svetlana Adaksina, Deputy Director, Chief Curator 170 Structure of Visits to the State Hermitage in 2012 Marina Antipova, 171 Educational Events Deputy Director for Finance and Planning 180 Special Development Programmes Alexey Bogdanov, Deputy Director for Maintenance 188 International Advisory Board of the State Hermitage Museum Vladimir Matveyev, 190 Guests of the Hermitage Deputy Director for Exhibitions and Development 194 Hermitage Friends Organisations Mikhail Novikov, 204 Hermitage Friends’ Club Deputy Director for Construction 206 Financial Statements of the State Hermitage Museum Mariam Dandamayeva, Academic Secretary 208 Principal Patrons and Sponsors of the State Hermitage Museum in 2012 Yelena Zvyagintseva, 210 Staff Members of
    [Show full text]
  • Shapiro Auctions
    Shapiro Auctions RUSSIAN EUROPEAN AMERICAN FINE ART & ANTIQUES Saturday - September 29, 2012 RUSSIAN EUROPEAN AMERICAN FINE ART & ANTIQUES 1: A MONUMENTAL AND VERY RARE ENGRAVING ILLUSTRATING A USD 10,000 - 15,000 A MONUMENTAL AND VERY RARE ENGRAVING ILLUSTRATING A VIEW OF THE SOLOVETSKII MONASTERY, 1765. Original tool engraving by Dmitry Pastukhov, mid-18th Century copper engraver, printed at the Solovetskii Monastaery, 1320 x 850 mm with margins, printed from seven copper plates, depicting a view of the Monastery in the center, with large figures of SS. Zosima and Savvaty overlooking the Monastery and surrounding buildings, the borders depicting scenes from the lives of SS. Zosima and Savvaty, signed and inscribed with date in Cyrillic in the plate bottom left, 'Shtikhoval na medi Dmitrei Pastukhov 765 pechatan v toy zhe lavry'. Relined on acid-free Japanese paper. Good state, good condition. REFERENCES: N. Sobko, "Slovar Russkikh khudozhnikov," St. Petersburg, 1899, Vol. 3, p. 50; D. Rovinsky, "Podrobnyi slovar' Russkikh graverov XVI-XIX vekov," St. Petersburg, 1895, Vol. 2, p. 759. 2: [XVIII CENTURY RUSSIAN LITERATURE AND HISTORICAL PAM USD 5,000 - 6,000 [XVIII CENTURY RUSSIAN LITERATURE AND HISTORICAL PAMPHLETS, 1771-1790]. A sammelband of nine works, bound in contemporary Russian 1/4 calf. 240 x 180 mm. Untrimmed. PROVENANCE: P.A. Efremov (bookplate); V.I. Klochkov, St. Petersburg Bookdealer (label on back endpaper). Nine very rare limited publications in good condition. Comprising: (a) V. RUBAN, "Nadpis' na vnezapnoe pribytie ego siialte'stva Grafa Alekseiia Grigor'evicha Orlova iz Arkhipelaga v Sanktpeterburg. Marta dnia 1771 goda," Saint Petersburg: Academy of Science, 1771.
    [Show full text]
  • The Golunov Affair
    the harriman institute at columbia university FALL 2019 The Golunov Affair Fighting Corruption in Russia Harriman Magazine is published biannually by Design and Art Direction: Columbia Creative Opposite page: the Harriman Institute. Alexander Cooley Harriman Institute (Photo by Jeffrey Managing Editor: Ronald Meyer Alexander Cooley, Director Schifman) Editor: Masha Udensiva-Brenner Alla Rachkov, Associate Director Ryan Kreider, Assistant Director Comments, suggestions, or address changes may Rebecca Dalton, Program Manager, Student Affairs be emailed to Masha Udensiva-Brenner at [email protected]. Harriman Institute Columbia University Cover image: Police officer walks past a “lone picket” 420 West 118th Street standing in front of the Main Office of the Moscow Police, New York, NY 10027 holding a sign that reads: “I am Golunov” (June 7, 2019). ITAR-TASS News Agency/Alamy Live News. Tel: 212-854-4623 Fax: 212-666-3481 Image on this page: Eduard Gorokhovsky, Untitled, 1988. Watercolor on paper, 21½ x 29½ in. Courtesy of the Kolodzei Collection of Russian and Eastern European Art, For the latest news and updates about the Harriman Kolodzei Art Foundation. www.KolodzeiArt.org Institute, visit harriman.columbia.edu. Stay connected through Facebook and Twitter! www.twitter.com/HarrimanInst www.facebook.com/TheHarrimanInstitute FROM THE DIRECTOR he June arrest of investigative journalist Ivan Golunov, the powerful civic T movement in his support, and his subsequent release marked the start of an eventful summer in Russia. In mid-July, Russians took to the streets again, over the disqualification of opposition candidates from the Moscow City Duma election. In this context, we dedicate the bulk of this issue to contemporary Russia.
    [Show full text]
  • The State Hermitage Museum Annual Report 2010 the State Hermitage Museum Annual Report 2010 Contents
    The STaTe hermiTage muSeum annual reporT 2010 The STaTe hermiTage muSeum annual reporT 2010 conTenTS General Editor a year of two staircases ............................................................. 4 Mikhail Piotrovsky, Director of the state Hermitage Museum, The State Hermitage Museum. General Information ............... 6 Corresponding Member of the Russian academy of sciences, Full Member of the Russian academy of arts, Awards .......................................................................................... 12 Professor of st. Petersburg state University, Doctor of sciences (History) Composition of the Hermitage Collections as of 1 January 2011 .................................................................... 14 ediTorial Board: Permanent Exhibitions ............................................................... 27 Mikhail Piotrovsky, temporary Exhibitions ............................................................... 30 Director of the state Hermitage Museum Georgy Vilinbakhov, Restoration and Conservation .................................................... 70 Deputy Director for Research Publications ................................................................................. 85 Svetlana Adaksina, Conferences ................................................................................. 96 Deputy Director, Chief Curator Marina Antipova, Dissertations ................................................................................ 99 Deputy Director for Finance and Planning Archaeological Expeditions ......................................................
    [Show full text]
  • Transition in Post-Soviet Art
    Transition in Post-Soviet Art: “Collective Actions” Before and After 1989 by Octavian Eșanu Department of Art, Art History & Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Fredric Jameson ___________________________ Patricia Leighten ___________________________ Pamela Kachurin ___________________________ Valerie Hillings Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History & Visual Studies in the Graduate School of Duke University 2009 ABSTRACT Transition in Post-Soviet Art: “Collective Actions” Before and After 1989 by Octavian Eșanu Department of Art, Art History & Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Fredric Jameson ___________________________ Patricia Leighten ___________________________ Pamela Kachurin ___________________________ Valerie Hillings An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Philosophy in the Department of Art, Art History & Visual Studies in the Graduate School of Duke University 2009 Copyright by Octavian Eșanu 2009 ABSTRACT For more than three decades the Moscow-based conceptual artist group “Collective Actions” has been organizing actions. Each action, typically taking place at the outskirts of Moscow, is regarded as a trigger for a series of intellectual
    [Show full text]
  • 1 Life Between Two Panels Soviet Nonconformism in the Cold War Era
    Life Between Two Panels Soviet Nonconformism in the Cold War Era DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Clinton J. Buhler, M.A. Graduate Program in History of Art * * * * * The Ohio State University 2013 Dissertation Committee: Dr. Myroslava M. Mudrak, Advisor Dr. Kris Paulsen Dr. Jessie Labov Dr. Aron Vinegar 1 Copyright by Clinton J. Buhler 2013 2 Abstract Beneath the façade of total conformity in the Soviet Union, a dynamic underground community of artists and intellectuals worked in forced isolation. Rejecting the mandates of state-sanctioned Socialist Realist art, these dissident artists pursued diverse creative directions in their private practice. When they attempted to display their work publicly in 1974, the carefully crafted façade of Soviet society cracked, and the West became aware of a politically subversive undercurrent in Soviet cultural life. Responding to the international condemnation of the censorship, Soviet officials allowed and encouraged the emigration of the nonconformist artists to the West. This dissertation analyzes the foundation and growth of the nonconformist artistic movement in the Soviet Union, focusing on a key group of artists who reached artistic maturity in the Brezhnev era and began forging connections in the West. The first two chapters of the dissertation center on works that were, by and large, produced before emigration to the West. In particular, I explore the growing awareness of artists like Oleg Vassiliev of their native artistic heritage, especially the work of Russian avant-garde artists like Kazimir Malevich. I look at how Vassiliev, in a search for an alternative form of expression to the mandated form of art, took up the legacy of nineteenth-century Realism, avant-garde abstraction, and Socialist Realism.
    [Show full text]
  • Finding Aid to the Ilya Kabakov Records 1991 - 2016 (Bulk 1999 - 2003), in the Chinati Foundation Archives
    A Finding Aid to the Ilya Kabakov Records 1991 - 2016 (Bulk 1999 - 2003), in the Chinati Foundation Archives Created by Hannah Yetwin, Archives Research Fellow June 15, 2020 Last Updated: March 23, 2021 The Chinati Foundation 1 Cavalry Row / P.O. Box 1135 Marfa, TX 79843 www.chinati.org Collection Overview Repository: The Chinati Foundation Archives, Marfa, Texas Creator: Staff of the Chinati Foundation Title: The Ilya Kabakov Records Dates: 1991 - 2016 (Bulk 1999 - 2003) Extent: 0.8 linear feet; 2 boxes Author: Finding Aid created by Hannah Yetwin Abstract: The Ilya Kabakov records measure 0.8 linear feet and date from 1991 to 2003 with the bulk of the records occurring between 1999 and 2003. Ilya and Emilia Kabakov created School No. 6 in 1993 as a gift to the Chinati Foundation. Chinati’s Kabakov holdings include documentation of correspondence, lectures and writings, materials related to the 2003 temporary exhibition of children’s books and related drawings, press packets, and announcements for Kabakov exhibitions elsewhere. Administrative Information Acquisition information: These records are the property of the Chinati Foundation, created by staff and relevant consultants between 1991 and 2016. Separated materials: Storage media formats are currently housed in original order with their corresponding physical materials - to be pulled for future digitization. Related materials: Early Chinati Records; Post-Judd Records; the Kabakovs’ studio archives Processing information: These records are a mixture of materials that were housed in Apartment 14 prior to it becoming the archive. Original order is not accounted for; intellectual arrangement has been applied according to naturally existing topics within the series.
    [Show full text]
  • Oleg Vassiliev Memory Is a Fickle Thing
    Oleg Vassiliev Memory is a fickle thing. Why do we remember some things and forget others? What is it that brings certain memories to our attention at a particular time? Artist Oleg Vassiliev has grappled with questions such as these for more than 60 years. “Memory is capricious in its choice of subjects,” he explains. “Often one recalls something quite unimportant; at first glance, it seems incomprehensible why memory retains some things and lets others go.” While it is quite common to struggle to remember certain details from our past, it is equally common for an incidental smell, sound, or object to cause some long-forgotten and seemingly insignificant memory to come flooding back with tremendous impact. At other times, memories will suddenly be re-played in our heads for no apparent reason. Oftentimes, these flashes of memory are bittersweet, for while they may take us back to a happy time in our lives, they also serve as stark reminders that the moment has passed and cannot by any amount of will be returned to us. Throughout his artistic life, Vassiliev’s central theme has been memory—how it works and how it is constructed. Vassiliev made the painting depicted on this card, Memory of Kira (2011), approximately a year after the death of his wife. Although Kira had served as the subject of a number of Vassiliev’s paintings, this one has a unique poignancy. As is often the case when we lose someone close to us, the physical absence heightens the vividness of our memories of the person lost.
    [Show full text]
  • Shapiro Auctions
    Shapiro Auctions RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES Saturday - October 25, 2014 RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES 1: A RUSSIAN ICON OF HOLY MARTYR PARASKEVA WITH LIFE USD 30,000 - 40,000 A RUSSIAN ICON OF HOLY MARTYR PARASKEVA WITH LIFE SCENES, NORTHERN SCHOOL, LATE 16TH-EARLY 17TH CENTURY, the figure of Saint Paraskeva, venerated as the healer of the blind as well as the patron saint of trade and commerce, stands in a field of flowering plants, she holds her martyr`s cross in one hand and an open scroll in the other, a pair of angels places a crown upon her head, surrounding the central image are fourteen scenes from the saint`s life, including the many tortures she endured under Emperor Antoninus Pius and the Roman governor Tarasius. Egg tempera, gold leaf and gesso on wood panel with kovcheg. Two insert splints on the back, one missing, one-half of the other present. 103 x 80 cm (40 ½ x 31 1/2 in.)PROVENANCESotheby`s, New York, June 10-11, 1981, lot 541.Collection of Bernard Winters, Armonk, New York (acquired at the above auction)Bernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items. 2: A RUSSIAN ICON OF THE VENERABLE SERGIUS OF RADONEZH, USD 10,000 - 15,000 A RUSSIAN ICON OF THE VENERABLE SERGIUS OF RADONEZH, YAROSLAVL SCHOOL, CIRCA 1600, the saint depicted holding a scroll featuring an excerpt from his last words to his disciples, "Do not be sad Brothers, but rather preserve the purity of your bodies and souls, and love in a disinterested manner," above him is an image of the Holy Trinity - a reference to his Monastery of the Holy Trinity, as well as to the icon painted by Andrei Rublev under Sergius` successor, on a deep green background with a red border.
    [Show full text]