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Advances in Social Science, Education and Humanities Research, volume 144 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017) Social and Historical Environment of the Society of Moscow Artists Elena Lomova Moscow State Academic Art Institution named after V.I. Surikov Moscow, Russia Abstract—The article is concerned with the social and later became the first chairperson of the Society of Moscow historical conditions of forming the Society of Moscow Artists Artists (OMKh). Grabar shared similar vision of art as (OMKh), whose members had covered a long way from an painters from Mir Iskusstva, who popularized the epatage art group the Jack of Diamonds to the society standing individualism, the disengagement of art from political and at the origins of Socialist Realism. socials issues, and paid particular attention to the legacies of the past and especially to Russia‘s national cultural traditions. Keywords—OMKh; The Jack of Diamonds; futurists; The group‘s ‗leftists‘, where the ―Russian avant-garde‖ Socialist Realism; art societies in the 1920s and 1930s occupied a special place, had shaken even more the conventional assumptions about art, dramatically influencing I. INTRODUCTION further development of world art. th The first half of the 20 century was rich in the landmark Meantime, Russian art continued to shift away from the events that could not but influence art, one of the most reality to a non-figurative world, as if not wishing to reflect sensual areas of human activity, sensitive to the slightest horrors happening in the country. Whereas the artists from fluctuations in public life. We can trace their obvious Mir Iskusstva were dipping into the dreams of the past, the repercussions in art while considering the historical events of th avant-garde artists were generally anxious for the future and the early 20 century. -
"Acquisitions and Loans
2 Alexander Bogomazov Forest. Boyarka 3 Alexander Bogomazov Self Portrait 4 Alexander Bogomazov Caucasus 5 Ilya Chashnik The Seventh Dimension 6 Vasily Ermilov Composition with letters 7 Vasily Ermilov 10th anniversary Exhibition of Books and Press of the Ukraine 8 Natalia Goncharova L’Arbre Rose Printemps 9 Natalia Goncharova Spanish Woman 10 Boris Grigoriev A Street in Paris 11 Boris Grigoriev Dachnitsa 12 Boris Grigoriev Woman peering behind the screen 13 Pyotr Konchalovsky Pines 14 Alexander Kuprin Still Life with a Sculpture of B. D. Korolev 15 Mikhail Larionov Young Jester 16 Vera Pestel Constructivist Composition 17 Kuzma Petrov-Vodkin Cafe |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||18 Kuzma Petrov-Vodkin The Artist’s Daughter Elena 19 Liubov Popova Painterly architectronic 20 Liubov Popova Painterly architectronic 21 Alexander Rusakov Still Life with a Samovar and a Flower 22 Nadezhda Udaltsova Pictorial Architecture 23 Alexander Volkov Nude in a Mountainous Landscape 24 Alexander Volkov Golgotha 25 Alexander Volkov Eastern Fantasy 26 Mikhail Vrubel Portrait of Vova Mamontov reading 'Acquisitions and Loans' Opening Exhibition BUTTERWICK GALLERY, OPENING EXHIBITION IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII BUTTERWICK GALLERY, OPENING EXHIBITION IIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Alexander Bogomazov Forest. Boyarka 1880-1930 1915 Sanguine on paper, 32 x 26 cm Signed and dated lower right ‘1915 A. B.’ Provenance ▪ The family of the artist, Kiev ▪ S. I. Grigoriants, -
Foreign Student Guide Start the Journey to Your Next Degree Welcome MAI 3 International Office 6
Moscow Aviation Institute Foreign Student Guide start the journey to your next degree Welcome MAI 3 International office 6 On-arrival checklist 8 MAI Life 11 Sports 11 Arts 12 Sci and other 13 Language 14 Campus map 16 Around 19 Transport 20 INDEX Phone carriers 22 Money 23 Apps 24 Moscow 27 Space-related 28 Arts and activities 30 Authentic stuff 32 WELCOME TO MAI Dear students, I am proud to welcome you to The Moscow Aviation Institute, National Research University! You’re opening one of the most important chapters of your life: your career starts here. MAI will provide you not only with advanced theoretical knowledge, but also with skills in system- atic thinking, research experience, design and project man- agement in high-tech industries. Remember that each hour of studyies can save months of your future work. We hope your university years will be memorable. MAI pro- vides a great variety of activities you may join with your fellow students. I encourage you to make the most of your education and student life. To think and act as a future aviation and aerospace professional. As a person, who will build the future itself. Mikhail A. Pogosyan Rector of Moscow Aviation Institute 5 MAI STUDENT GUIDE 3 & 12 faculties 22000 students Unique R D resources and tech park in 6 cities incl. 600+ & international students • 1.5m USD in R D each year • 140+ research facilities • 5 student design bureaus • Mission control center • Airdrome scale new • Experimental plant • Business-development center Since 1930 heights Providing education and research among all the life cycle stages of aviation and aerospace technology Alumni an honour 50+ research 250 heads of design 1800 teachers and members of the Russian and CEO in aerospace Academy of Sciences organizations incl. -
Museum of Pictorial Culture
The Museum Of Pictorial Culture From Less-Known Russian Avant-garde series Lev Manovich and Julian Sunley, 2021 Although we usually assume think that first museum of The Tretyakov Gallery, Moscow, 2019-2020, curated by Dr. modern art was MoMA (New York, 1929), an earlier museum Liubov Pchelkina. From the exhibition description: called Museum of Pictorial Culture was established in 1919 “2019 will mark 100 years since the implementation of the and run by most important Russian avant-garde artists until unique museum project of Soviet Russia – the creation of the its closing in 1929. Our essays discuss innovative museum Museum of Pictorial Culture, the first museum of contemporary concepts developed by these artists, and point out their art in our country… “The exhibition will present the history of the Museum of Pictorial Culture as an important stage in the history relevance to recent museum experiments in presenting their of Russian avant-garde and the history of the Tretyakov Gallery’s collections online using visualization methods. acquisitions. The exposition will reflect the unique structure of the museum. The exhibition will include more than 300 You can find our sources (including for images) and further paintings, drawings, sculptures from 18 Russian and 5 foreign reading at the bottom of the essay. The main source for this collections. For the first time, the audience will be presented essay is the the exhibition 'Museum of Pictorial Culture. To the with experimental analytical work of the museum. Unique 100th Anniversary of the First Museum of Contemporary Art’ at archival documents will be an important part of the exposition.” Room C at the original Museum of Pictorial Culture, containing works by Room C reconstructed at The Tretyakov Gallery, 2019. -
International Scholarly Conference the PEREDVIZHNIKI ASSOCIATION of ART EXHIBITIONS. on the 150TH ANNIVERSARY of the FOUNDATION
International scholarly conference THE PEREDVIZHNIKI ASSOCIATION OF ART EXHIBITIONS. ON THE 150TH ANNIVERSARY OF THE FOUNDATION ABSTRACTS 19th May, Wednesday, morning session Tatyana YUDENKOVA State Tretyakov Gallery; Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts, Moscow Peredvizhniki: Between Creative Freedom and Commercial Benefit The fate of Russian art in the second half of the 19th century was inevitably associated with an outstanding artistic phenomenon that went down in the history of Russian culture under the name of Peredvizhniki movement. As the movement took shape and matured, the Peredvizhniki became undisputed leaders in the development of art. They quickly gained the public’s affection and took an important place in Russia’s cultural life. Russian art is deeply indebted to the Peredvizhniki for discovering new themes and subjects, developing critical genre painting, and for their achievements in psychological portrait painting. The Peredvizhniki changed people’s attitude to Russian national landscape, and made them take a fresh look at the course of Russian history. Their critical insight in contemporary events acquired a completely new quality. Touching on painful and challenging top-of-the agenda issues, they did not forget about eternal values, guessing the existential meaning behind everyday details, and seeing archetypal importance in current-day matters. Their best paintings made up the national art school and in many ways contributed to shaping the national identity. The Peredvizhniki -
Art and Art of Design Учебное Пособие Для Студентов 2-Го Курса Факультета Прикладных Искусств
Министерство образования Российской Федерации Амурский государственный университет Филологический факультет С. И. Милишкевич ART AND ART OF DESIGN Учебное пособие для студентов 2-го курса факультета прикладных искусств. Благовещенск 2002 1 Печатается по решению редакционно-издательского совета филологического факультета Амурского государственного университета Милишкевич С.И. Art and Art of Design. Учебное пособие. Амурский гос. Ун-т, Благовещенск: 2002. Пособие предназначено для практических занятий по английскому языку студентов неязыковых факультетов, изучающих дизайн. Учебные материалы и публицистические статьи подобраны на основе аутентичных источников и освещают последние достижения в области дизайна. Рецензенты: С.В.Андросова, ст. преподаватель кафедры ин. Языков №1 АмГУ; Е.Б.Лебедева, доцент кафедры фнглийской филологии БГПУ, канд. Филологических наук. 2 ART GALLERIES I. Learn the vocabulary: 1) be famous for -быть известным, славиться 2) hordes of pigeons -стаи голубей 3) purchase of -покупка 4) representative -представитель 5) admission -допущение, вход 6) to maintain -поддерживать 7) bequest -дар, наследство 8) celebrity -известность, знаменитость 9) merchant -торговец 10) reign -правление, царствование I. Read and translate the text .Retell the text (use the conversational phrases) LONDON ART GALLERIES On the north side, of Trafalgar Square, famous for its monument to Admiral Nelson ("Nelson's Column"), its fountains and its hordes of pigeons, there stands a long, low building in classic style. This is the National Gallery, which contains Britain's best-known collection of pictures. The collection was begun in 1824, with the purchase of thirty-eight pictures that included Hogarth's satirical "Marriage a la Mode" series, and Titian's "Venus and Adonis". The National Gallery is rich in paintings by Italian masters, such as Raphael, Correggio, and Veronese, and it contains pictures representative of all European schools of art such as works by Rembrandt, Rubens, Van Dyck, Murillo, El Greco, and nineteenth century French masters. -
Former President Kocharyan Arrested for Using Deadly Force in 2008 Russian, Armenian KOCHARYAN, from Page 1 Serious Concern About It
AUG 4, 2018 Mirror-SpeTHE ARMENIAN ctator Volume LXXXIX, NO. 3, Issue 4547 $ 2.00 NEWS The First English Language Armenian Weekly in the United States Since 1932 INBRIEF Armenian Companies Former President Kocharyan Arrested To Take Part in Japan Tourism Expo For Using Deadly Force in 2008 YEREVAN (Armenpress) — Seven Armenian tourism companies will participate in Tourism YEREVAN (RFE/RL and Armenpress) — politically motivated. of a disputed presidential election held in Expo Japan 2018, from September 20 to 23, in Lawyers for former President Robert One of them, Aram Orbelian, said that February 2008, two months before he com- Tokyo, the Small and Medium Entrepreneurship Kocharyan said on Monday, July 30, that they expect Armenia’s Court of Appeals to pleted his second and final term. The accusa- Development National Center (SME DNC) founda- they will appeal a Yerevan district court’s start considering their petition this week. tion stems from the use of deadly force on tion announced. decision to allow law-enforcement authori- Kocharyan was arrested late on Friday, July On July 27, SME DNC executive director Arshak ties to arrest the former Armenian presi- 27, one day after being charged with “over- Grigoryan, president of the Tourism Committee, dent on coup charges which he denies as throwing the constitutional order” in the wake Hripsime Grigoryan, and executive director of the Tourism Development Foundation of Armenia Ara Khzmalyan signed a memorandum of cooperation for properly preparing and successfully participat- ing in the expo. According to the document, the sides will exchange their experience, knowledge and infor- mation with each other. -
Diversity United Presents Established and Emerging Artists Exploring Pro-European Dialogues
81 artists from 35 countries presenting the diverse artistic face of Europe: Diversity United presents established and emerging artists exploring pro-European dialogues. The exhibition - with venues in Moscow, Berlin and Paris – considers subjects including freedom, dignity, respect, conflicts and dialogue, landscapes and power and political and personal identity. 11 November 2020 – 21 February 2021 Slavs and Tatars, Mystical Protest, 2011, luminous paint, Muharram fabric, fluorescent lights, colour sleeves, cotton, 240 × 620 × 15 cm. Installation view at Ujazdowski Castle Centre for Contemporary Art, Warsaw, 2016. Photo Bartosz Górka The Foundation for Art and Culture, Bonn and the Tretyakov Gallery, Moscow are delighted to announce the travelling group show Diversity United. Contemporary European Art. Moscow. Berlin. Paris. The first venue - the Tretyakov Gallery, Moscow (11 November 2020 – 21 February 2021) - is followed by venues in Berlin and Paris (2021), presenting a survey of work from across the continent. Diversity United is under the patronage of the State Presidents of Germany, Russia and France, Frank-Walter Steinmeier, Vladimir Putin and Emmanuel Macron. The exhibition showcases the strength and diversity of Europe’s cultural output and highlights the importance of a united Europe during times of political uncertainty. The exhibition looks at contemporary European art after the fall of the Iron Curtain, underlining the importance of intercultural dialogue today. It raises questions about freedom, dignity, democracy and respect whilst highlighting the continent’s artistic production in the context of historically relevant and current themes, such as political and personal identity, migration, (mental) landscape, gender and equality, nationality, territory and geopolitics and social conflicts. -
Dynamism, Creativeness, and Evolutionary Progress in the Work of Alexander Archipenko DISSERTATION Presented in Partial Fulfillm
Dynamism, Creativeness, and Evolutionary Progress in the work of Alexander Archipenko DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Robert D. Calhoun Graduate Program in History of Art The Ohio State University 2016 Dissertation Committee: Kris Paulsen, Advisor Myroslava Mudrak, Co-Advisor Lisa Florman Copyrighted by Robert D. Calhoun 2016 Abstract Guy Habasque, writing for L’Oeil in 1961, recognized Alexander Archipenko (1887-1964) as the leading revolutionary and guide for sculptors of the twentieth-century. At the same time, he acknowledges that history has failed to do the artist justice, forgetting and neglecting him even before his death in 1964. What Habasque wrote fifty- five years ago is doubly true today when the holdings of Archipenko’s work in public museums have been largely relegated to storage, along with many other significant works of the twentieth century, under the increasing pressure to create gallery space for contemporary works of art. To find space in permanent displays, modernist works must compete for significance, the power of which has apparently been lost in the few discussions that exist surrounding Archipenko’s work. This project draws attention to the neglected importance of Archipenko’s work. What is significant about this work is that it forms part of a counter history of early-twentieth century art as an alternative to the materialist-formalist history, which has held the dominant, discursive position. Archipenko’s biocentric, philosophical position presents an aesthetic that represents science and technology as organic, evolutionary extensions of a universal dynamism. -
ON the ROAD City Moscow
a a a s r Hotel Hilton i a y t k li s D vo o u M t o e l li k va a t y u u uc ry k o 2-ya Brestskaya ulitsa e Ragout a a h p r k e a i y e h s e ulitsa Fadeeva t p s ga a v a s 4-ya 11Tverskaya Yamskaya ulitsa ele p k p M D o y i s e 3 Sad r r a tsa ova k s e s uli p - naya Samotechnaya ulitsa ya NII Skoroy Pomoshchi a it ya tech Sadovaya -S s S u l 1-ya Brestskaya ulitsa ovaya Samo uk ’ kor Sad ha l p lo u 1 rev Sklifosovskogo e S Kazansky s t n k ulitsa Chayanova 1 ka y a ya p a az T u s T v lit y vokzal sa o h t e a i r K n l s lok h iy u k y s B ’ p a l - Kalanchevskaya ulitsa l a y reu eu e o e r 1 o r a p A. A. Chernikhov Design e Dokuchaev pereulok y 6 l iy e n B a Y y ’ u e s am h p and Architecture Studio l k z o u h r Sukharevskaya s O v k o s v k o y o a h y y K k a i h a u L c li r Ryazanskiy proezd ts a e n Novoryazanskaya ulitsa 1-ya 11Tverskaya Yamskaya ulitsa s t a t la li n u a a iy o y l a K n Tsventoy bul’var u l’ p Sadovaya-Spasskaya ulitsa fa e m e r iu ultisa Petrovka r e a r e T p 52 k r Bol’shaya Gruzinskaya ulitsa 53 ya u n a a ulitsa Malaya Dmitrovka k v l iy o o e o lok v n l d reu ’ n pe k t Mayakovskaya eu Sa Maliy Karetniy l a e m r u s r 2-ya Brestskaya ulitsa pe b S iy V n y y o a o r s n he o t ulitsa Mashi poryvaevoy z i t t l ru ni pereulok 2-ya Brestskaya ulitsa etniy e O dniy Kar k u k Sad e v ereulo Orlikov pereulok o r arevskiy p Vasilyevskaya ulitsa S s kh Daev pereulok v T Bol’shoy Su 64 Ermitazh T o s Krasnovorotskiy proezd s v Mosproekt-2 k e i Tishinskaya ulitsa Yuliusa Fuchika y t p Pushkinskaya -
The 1959 American National Exhibition in Moscow and the Soviet Artistic Reaction to the Abstract Art”
DISSERTATION Titel der Dissertation “The 1959 American National Exhibition in Moscow and the Soviet Artistic Reaction to the Abstract Art” Verfasserin Mag. Gretchen Simms angestrebter akademischer Grad Doktorin der Philosophie (Dr. phil.) Wien, im Oktober 2007 Studienkennzahl laut Studienblatt: 8606505 Dissertationsgebiet laut Studienblatt: Kunstgeschichte Betreuer: Univ. Doz. Dr. Dieter Bogner TABLE OF CONTENTS Page ACKNOWLEDGMENTS iii Chapter I. THE AMERICAN SIDE – INTRODUCTION 1 A. SPIRITUAL TRENDS AND THEIR IMPACT ON U.S. ART 9 B. ABSTRACT ART, PATRONS AND ADVANCEMENT 17 C. POLITICS AND ART 29 D. THE AMERICAN NATIONAL EXHIBITION 39 II. THE SOVIET SIDE – INTRODUCTION 53 A. POLITICS IN THE USSR AND ITS IMPACT ON ART 59 B. ARTISTS DEVELOPMENT FROM RUSSIA TO USSR 79 C. THE AMERICAN NATIONAL EXHIBITION 103 D. THE INFLUENCE OF THE AMERICAN NATIONAL SHOW 121 EPILOGUE 133 APPENDIX A: LIST OF WORKS DISPLAYED IN 1959 143 APPENDIX B: FIGURES 147 BIBLIOGRAPHY 179 ABSTRACT IN GERMAN 187 ABSTRACT IN ENGLISH 189 CURRICULUM VITAE 191 ii ACKNOWLEDGEMENTS Twelve years ago I happened upon a dissertation which inspired me to write my own Master’s paper which ultimately pointed me in the right direction for this dissertation. My Master’s kept the idea going around in my head: “There must have been an artistic reaction to the 1959 Exhibition in Moscow” until I could begin researching. In this context I would like to thank Liz Wollner-Grandville, who so spontaneously thought of the right person: John Jacobs and his wife, Katja who gave me so much information, enthusiasm, references and people to contact. I would like to thank Jack Masey and Martin Manning for their help in finding the information I needed in the last legs of my work at the State Department on the 1959 Exhibit. -
Some Sculpture-Anthropology Relations: Reading the Agency of Franz Boas and Lev Sternberg
J. c. howard SoMe SculPture-anthroPoloGy relationS: readinG the aGency of franZ BoaS and lev SternBerG abstract. this article deliberates arguments for sculpture being considered ‘the most anthropological of the arts’. after introducing british contentions for the anthropological aspect of sculpture (barlow, Gell, ades and bunn), it then applies, not without a hint of irony, the concept to sculpture specifically made for anthropological and ethnographic museums, using examples instigated by franz boas and lev sternberg (for the united states national Museum in the 1890s and the Kunstkamera in the 1910s). hence mannequins and copies of Kwakiutl and pre-hispanic andean ritual figures (living and carved) are, respectively, explored. correlations with associated acquisitions are made, e.g. nivkh and Kadiwéu wood carvings, these involving their contemporary analysis by Voldemārs Matvejs and alberto Vojtěch frič. Particular attention is paid to sternberg’s commission of concrete copies of the san agustín megaliths from Karl theodor stoepel. the subsequent placement of these in the Kunstkamera courtyard is probed in terms of potential altered meanings, identity and agency. thereafter the enquiry moves to examination of the ‘sculpted anthropologist’, again using boas and sternberg as case studies. ultimately, through the combination of these two distinct and direct anthropological sides of sculpture, a restricted case is made for the plastic art’s anthropological identity. KeyWords: sculpture, anthropology, boas, sternberg, Kunstkamera УДК 069:39 doi 10.31250/2618-8619-2020-4(10)-140-156 JereMy c. hoWard – Phd, senior lecturer, school of art history, university of st andrews (st andrews, scotland, uK) e-mail: [email protected] Howard J.