DOCSLIB.ORG

Artist Spotlight

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Artist Spotlight ARTIST SPOTLIGHT Isaac Levitan DAN SCOTT Russian MasterIsaac ofLevitan Landscape Painting Isaac Levitan (1860 - 1900) was a master Russian painter known mostly for his re- markable and diverse landscapes. He is one of the first artists I look to whenever I am in need of landscape painting inspiration. In this ebook, I take a closer look at his life and art. Isaac Levitan, Golden Autumn, 1895 2 Key Facts Here are some interesting facts about Isaac Levitan: • Isaac Levitan was born to a poor Jewish family in Kybartai, which was part of the Russian Empire at the time. Levitan and his family later relocated to Moscow, where Levitan began his artistic studies. • He enrolled in the Moscow School of Painting, Sculpture and Architecture in 1873. His brother Adolf had already been studying there for two years. Below is a portrait by him featuring a young Isaac Levitan. Adolf Levitan, Portrait of Isaac Levitan, 1879 3 • He worked with many other master Russian landscape painters, such as Alexei Savrasov, Vasily Perov, and Vasily Polenov. Below is one of Savrasov’s paintings which shows similarities with Levitan’s work, particularly the subtle colors and delicate brushwork. Alexey Savrasov, Rye, 1881 • His mother passed in 1875 and his father shortly after in 1877. Levitan slipped into poverty and was basically homeless, spend- ing several nights at the Moscow School of Painting. Due to this hardship and his artis- tic talents, the School provided him with a scholarship to continue studying. • In the same year of his father’s death, Levi- tan started to gain recognition for his work. He exhibited with a group of Russian re- alist artists who went by the name Pered- vizhniki (or the Wanderers). He won two silver medals for his paintings Sunny Day. Springtime (shown here) and Evening and Sunny Day. His painting below, and many of his other early works, lean towards real- ism and almost feel a bit tight. As he gained Isaac Levitan, Sunny Day. experience, he got more relaxed and im- Springtime, 1876 pressionistic. 4 • In May 1879, there was an assassination attempt on Alexander II and all Jewish people living in large cities in Russia were ordered to leave. However, at the re- quest of his teachers, collectors, and fans, Levitan was permitted to return to Mos- cow to continue his artistic endeavors. • He continued to exhibit his art, paint with other masters like Konstantin Korovin, and continue to gain recognition for his work. Here is a great timeline of his life, which chronicles some of his achievements and travels. • By the early 1890s, he was internationally famous for his work. He was elected to the Imperial Academy of Arts in 1897 and subsequently named head of the Land- scape Studio in 1898. • He lived a short but fulfilling life, passing away from illness at the relatively young age of 40 in 1890. He suffered from a heart condition for most of his life and it must have taken its toll, along with the hardship he suffered as a child. He left behind no family, but a great legacy and hundreds of artworks which continue to inspire. Below is his last painting, which he was unable to finish: Isaac Levitan, Hay-making, 1900 • He had an asteroid named after him: 3566 Levitan. It was discovered by a Soviet astronomer named Lyudmila Zhuravlyova in 1979. 5 at IsaacA CloserLevitan’s PaintingsLook One thing you will notice about Levitan’s landscape paintings is how diverse they are in terms of style and subject. His academic training allowed him to be such a versatile painter and, like many of the other Russian masters, it appears he was not timid about experimenting with his style and technique. Some paintings are delicately rendered and realistic, whilst others are bold and impressionistic. Eternal Rest (below) has a sense of calmness about it. The water appears still and the colors are somber. There is a powerful contrast at the top of the painting, where the sunlight is shooting over the dramatic clouds which line the horizon. The building at the bottom, which appears relatively small and insignificant, gives a sense of scale in the painting. Isaac Levitan, Eternal Rest, 1894 The painting below is in stark contrast. The colors are rich and you get a sense of the strong sunlight coming from overhead. Blues dominate the painting, with small, or- ange accents in the distance. Levitan did a fantastic job with the reflections in the water. Notice how light colors of the clouds are darker in the reflections. You will often find that reflections pull all the 6 colors towards a middle-value range (the lights look a bit darker and the darks look a bit lighter). Isaac Levitan, Lake, Russia, 1900 I remember first coming across this painting on a website and being stunned by the use of color. It prompted me to explore more into Levitan’s work, which was relatively unknown to me at the time. There is a strong sense of atmospheric perspective in this painting, with the colors getting weaker and cooler as they recede into the distance. Isaac Levitan, Spring in Italy, 1890 7 Below is one of Levitan’s pas- tels, which features beautiful autumn yellows against a dull backdrop of grays and other weak colors. Blooming Apple Trees is a delicate and complex paint- ing. Levitan was clever in the way he simplified much of the “noise”, but not so much that the subject loses form. For the trees, he picks up the import- ant shadows and branches. He also uses more detail for the nearest trees. The grass, house, and background are really nothing more than sim- ple color shapes. Also, notice the tight value range which Levitan painted within; most of the painting Isaac Levitan, Autumn Landscape with Church, 1890 stays within a high-key (light colors), with a few dark ac- cents scattered throughout. Isaac Levitan, Blooming Apple Trees, 1896 8 The painting below shows the importance of negative space. Those gaps in the trees break up an otherwise dark and monotonous area. They also play an important role in giving context and form to the trees. Isaac Levitan, Forest, 1880 Here is a pleasant study in gouache by Levitan (he prac- ticed many different medi- ums, but seems to have spe- cialized in oils). This shows an effective combination of broad washes of color along with line drawing on top. Isaac Levitan, Garden in the Snow, 1880 9 Below is a great example of taking a complex subject and simplifying it into basic shapes, lines, and colors. You can see parts of the light background through gaps in the trees. The dappled light hitting the grass also provides for a nice feature. Isaac Levitan, In the Park, 1895 Here is just a small study by Levitan, but it appears in- credibly realistic. That is what hap- pens when you get most of the values and important de- tails right. Isaac Levitan, River, 1888 10 Silent Abode looks to have been painted just before sunset (or just after sunrise). Levitan used soft, pastel colors for the lights and imposing, near-black colors for the darks: a powerful contrast. Isaac Levitan, Silent Abode, 1890 I love the stark contrast between light and shadow in the painting below. It also looks as though Levitan used thick, impasto paint for the lights, contrasted against thin and weak darks. Isaac Levitan, Sunny Day, 1898 11 The Trunk of a Blossoming Oak is an interesting composition looking up at an oak tree towards the sky. The strong, black shadows give form to the otherwise basic tree. The background is nothing more than a simple arrangement of green and blue shapes. This mimics the way we see in life: we focus on something and everything else blurs out. Tip: Make sure you don’t get into a routine with the compositions you paint. Mix it up from time to time. Paint an awkward composition and break the rules. Isaac Levitan, The Trunk of a Blossoming Oak, 1884 12.
Load more

Recommended publications
  • Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
    Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town.
    [Show full text]
  • Henryk Siemiradzki and the International Artistic Milieu
    ACCADEMIA POL ACCA DELLE SCIENZE DELLE SCIENZE POL ACCA ACCADEMIA BIBLIOTECA E CENTRO DI STUDI A ROMA E CENTRO BIBLIOTECA ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU FRANCESCO TOMMASINI, L’ITALIA E LA RINASCITA E LA RINASCITA L’ITALIA TOMMASINI, FRANCESCO IN ROME DELLA INDIPENDENTE POLONIA A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK CONFERENZE 145 ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA ISSN 0239-8605 ROMA 2020 ISBN 978-83-956575-5-9 CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK. ROMA 2020 Pubblicato da AccademiaPolacca delle Scienze Bibliotecae Centro di Studi aRoma vicolo Doria, 2 (Palazzo Doria) 00187 Roma tel. +39 066792170 e-mail: [email protected] www.rzym.pan.pl Il convegno ideato dal Polish Institute of World Art Studies (Polski Instytut Studiów nad Sztuką Świata) nell’ambito del programma del Ministero della Scienza e dell’Istruzione Superiore della Repubblica di Polonia (Polish Ministry of Science and Higher Education) “Narodowy Program Rozwoju Humanistyki” (National Programme for the Develop- ment of Humanities) - “Henryk Siemiradzki: Catalogue Raisonné of the Paintings” (“Tradition 1 a”, no. 0504/ nprh4/h1a/83/2015). Il convegno è stato organizzato con il supporto ed il contributo del National Institute of Polish Cultural Heritage POLONIKA (Narodowy Instytut Polskiego Dziedzictwa Kul- turowego za Granicą POLONIKA). Redazione: Maria Nitka, Agnieszka Kluczewska-Wójcik Recensione: Prof.
    [Show full text]
  • 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
    [Show full text]
  • 110 Culture 110 Cu Ltu Re
    images of orphans in fine art By Rita ANOKHIN, Yuriy KUDINOV “ONE PICTURE IS WORTH A THOUSAND WORDS,” a popular saying rphaned characters are extremely common as literary protagonists, and abandonment by par- ents is a persistent theme in myth, fairy tales, fantasy, ancient poetry, and children’s literature. We À nd orphaned heroes in sacred texts: Moses, the great prophet was abandoned in infancy; and in legends, such as that of the founding of Rome by Romulus and Remus who were reared by a she-wolf. OThe classic orphan is one of the most widespread characters in literature. For example: in the 19th century one can À nd Dickens’ Oliver Twist and David CopperÀ eld; Mark Twain’s Huckleberry Finn; and Charlotte Bronte’s Jane Eyre. In the 20th century we meet James Henry Trotter from Roald Dahl’s James and the Giant Peach; Dorothy from the Wizard of Oz; and the Harry Potter series, À rst published in 1997. So far, young Mr. Potter has been arguably the most famous character – orphaned or otherwise – of the 21st century. Authors orphan their characters in order to free them from family obligations and supervision, to force them to pursue a more interesting or adventurous life, or simply to deprive them of a more prosaic exist- ence. The removal of parents and loving guardians creates self-contained, introspective characters who strive for affection. Although orphans can be a useful literary technique, these invented lives do not reÁ ect reality. Orphaned characters in À ction are often remarkably – even unbelievably – successful, sentimental, or wise beyond their years.
    [Show full text]
  • 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.
    [Show full text]
  • Perov and Mussorgsky 1834-1882 and 1839-1881
    This translation is published on koudasheva.com and on the blog ‘From the Music Cabinet’. Perov and Mussorgsky 1834-1882 and 1839-1881 Vladimir Vasilyevich Stasov First published in ‘Russian Antiquity’ [Русская старина] Volume 38 № 5, May 1883. 433-458. Accessed: https://runivers.ru/bookreader/book199538/#page/449/mode/1up [Владимир Васильевич Стасов: Перов и Мусоргский] Translation: Nadia Koudasheva1 -------- Venerable Mikhail Ivanovich, I ask you to provide some space in ‘Russian Antiquity’ [Русская Старина] for a few of my pages where I attempt to study and compare two of our great artistic individuals, in part using already publicised materials, and in part using those which have not appeared in print before. Both of these artists have already passed away into eternity, and hence they directly represent ‘material’ for ‘Russian Antiquity’, but it is the contents which they consistently instilled into their creations and which was always drawn from our old serfdom life, which represent national material. Since it is often with great interest and compassion that your readers meet the thoughts, judgements, assessments, and characterisations coming from the mouths of the multitude of personalities who have passed away long ago and who are passing through your journal in a rotating gallery, then maybe they will also find some interest in the thoughts and characterisations coming from people who although are still living, but are such that will aid in the complete understanding and definition of those great personalities who are already no more and who indeed belong to history. V. S. -------- I. To my surprise no one in our country has expressed this yet, but Perov and Mussorgsky display an amazing parallelism in the Russian artistic world.
    [Show full text]
  • ART CENTERS and PERIPHERAL ART [A LECTURE at the UNIVERSITY of HAMBURG, OCTOBER 15, 1982] Nicos Hadjinicolaou
    DOCUMENT Downloaded from http://direct.mit.edu/artm/article-pdf/9/2/119/1846574/artm_a_00267.pdf by guest on 24 September 2021 ART CENTERS AND PERIPHERAL ART [A LECTURE AT THE UNIVERSITY OF HAMBURG, OCTOBER 15, 1982] nicos hadjinicolaou The title of my talk is “Art Centers and Peripheral Art.” The subject to which I have assigned this title touches several aspects of our discipline. I would briefl y like to raise several questions which have led me to the discussion of this topic. 1. Naturally, the most important, most complicated question for us art historians, but I believe also for historians in general—a problem, by the way, which we shall never “solve,” but answer differently depend- ing on our points of view—is the following: how and why does form change?1 Which available tools or means make it possible for art histori- ans to capture these changes? I think that the point I am hinting at here with “art centers and peripheral art” touches on this question: in the relationship of center and periphery, in the effect of an art center, and in the dissemination of its production to the periphery. In inundating and overpowering the art production of the periphery, the history of art is also being made.2 1 This has been, no doubt, the central question at least of German-language art history since the end of the 19th century (Heinrich Wölffl in, August Schmarsow, Alois Riegl). 2 This, too, cannot be emphasized enough. The history of art is created from (among other factors) the (unequal) interrelationship of periphery and center.
    [Show full text]
  • Abrief History
    A BRIEF HISTORY OF RUSSIA i-xxiv_BH-Russia_fm.indd i 5/7/08 4:03:06 PM i-xxiv_BH-Russia_fm.indd ii 5/7/08 4:03:06 PM A BRIEF HISTORY OF RUSSIA MICHAEL KORT Boston University i-xxiv_BH-Russia_fm.indd iii 5/7/08 4:03:06 PM A Brief History of Russia Copyright © 2008 by Michael Kort The author has made every effort to clear permissions for material excerpted in this book. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Kort, Michael, 1944– A brief history of Russia / Michael Kort. p. cm.—(Brief history) Includes bibliographical references and index. ISBN-13: 978-0-8160-7112-8 ISBN-10: 0-8160-7112-8 1. Russia—History. 2. Soviet Union—History. I. Title. DK40.K687 2007 947—dc22 2007032723 The author and Facts On File have made every effort to contact copyright holders. The publisher will be glad to rectify, in future editions, any errors or omissions brought to their notice. We thank the following presses for permission to reproduce the material listed. Oxford University Press, London, for permission to reprint portions of Mikhail Speransky’s 1802 memorandum to Alexander I from The Russia Empire, 1801–1917 (1967) by Hugh Seton-Watson.
    [Show full text]
  • Abstract Vladimir Makovsky
    ABSTRACT VLADIMIR MAKOVSKY: THE POLITICS OF NINETEENTH-CENTURY RUSSIAN REALISM Tessa J. Crist, M.A. School of Art and Design Northern Illinois University, 2015 Barbara Jaffee, Director This thesis examines the political work produced by a little-known Russian Realist, Vladimir Makovsky (1846-1920), while he was a member of the nineteenth-century art collective Peredvizhniki. Increasingly recognized for subtle yet insistent opposition to the tsarist regime and the depiction of class distinctions, the work of the Peredvizhniki was for decades ignored by modernist art history as the result of an influential article, “Avant-Garde and Kitsch,” written by American art critic Clement Greenberg in 1939. In this article, Greenberg suggests the work of Ilya Repin, the most renowned member of the Peredvizhniki, should be regarded not as art, but as “kitsch”--the industrialized mass culture of an urban working class. Even now, scholars who study the Peredvizhniki concern themselves with the social history of the group as a whole, rather than with the merits of specific artworks. Taking a different approach to analyzing the significance of the Peredvizhniki and of Makovsky specifically this thesis harnesses the powerful methodologies devised in the 1970s by art historians T.J. Clark and Michael Fried, two scholars who are largely responsible for reopening the dialogue on the meaning and significance of Realism in the history of modern art. NORTHERN ILLINOIS UNIVERSITY DE KALB, ILLINOIS MAY 2015 VLADIMIR MAKOVSKY: THE POLITICS OF NINETEENTH-CENTURY RUSSIAN REALISM BY TESSA J. CRIST ©2015 Tessa J. Crist A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTERS OF ARTS SCHOOL OF ART AND DESIGN Thesis Director: Barbara Jaffee TABLE OF CONTENTS Page LIST OF FIGURES ....................................................................................................
    [Show full text]
  • The 12 Days of Christmas
    MOSCOW DECEMBER 2010 www.passportmagazine.ru THE 12 DAYS OF CHRISTMAS Why Am I Here? The Master of Malaya Bronnaya The 1991 Coup from atop the White House Sheffi eld Joins the Space Race Christmas Tipples The English word for фарт December_covers.indd 1 22.11.2010 14:16:04 December_covers.indd 2 22.11.2010 14:57:06 Contents 3. Editor’s Choice Alevitina Kalinina and Olga Slobodkina 8. Clubs Get ready Moscow, nightlife’s evolving! Max Karren- berg, DJs Eugene Noiz and Julia Belle, Imperia, Poch Friends, Rai Club, Imperia, Harleys and Lamborghinis, Miguel Francis 8 10. Theatre Review Play Actor & Uncle Vanya at the Tabakov Theatre. Don Juan at The Bolshoi Theatre, Our Man from Havanna at The Malaya Bronnaya Theatre, Por Una Cabeza and Salute to Sinatra at The Yauza Palace, Marina Lukanina 12. Art The 1940s-1950s, Olga Slobodkina Zinaida Serebriakova in Moscow, Ross Hunter 11 16. The Way it Was The Coup, John Harrison Inside the White House, John Harrison UK cosmonaut, Helen Sharman, Helen Womack Hungry Russians, Helen Womack 20. The Way It Is Why I Am Here part II, Franck Ebbecke 20 22. Real Estate Moscow’s Residential Architecture, Vladimir Kozlev Real Estate News, Vladimir Kozlev 26. Your Moscow The Master of Malaya Bronnaya, Katrina Marie 28. Wine & Dining New Year Wine Buyer Guide, Charles Borden 26 Christmas Tipples, Eleanora Scholes Tutto Bene (restaurant), Mandisa Baptiste Restaurant and Bar Guide Marseille (restaurant), Charles Borden Megu, Charles Borden 38. Out & About 42. My World Ordinary Heroes, Helen Womack 38 Dare to ask Deidre, Deidre Dare 44.
    [Show full text]
  • Les Ambulants
    Les Ambulants Chichkine Après avoir passé son enfance dans l'Oural, il étudie à l'École de peinture, sculpture et architecture de Moscou pendant quatre années, puis à l'Académie impériale des beaux-arts de Saint-Pétersbourg de 1856 à 1860, dont il sort avec les plus grands honneurs et une médaille d'or. Cinq ans plus tard, Chichkine devint lui-même membre de cette Académie, puis professeur. Il était par ailleurs professeur à l'École supérieure des arts, spécialisé dans les paysages. C'est d'ailleurs pour ses œuvres de paysages frappant de réalisme et pour sa technique irréprochable qu'il est le plus connu et à son retour à Saint-Pétersbourg, il devint membre du mouvement des Ambulants et fonde en 1871 la Société des aquarellistes russes. Il prit aussi part à de nombreuses expositions en Russie et à l'étranger. La technique de peinture de Chichkine est fondée sur une étude analytique de la nature et il faisait des recherches approfondies sur tous ses sujets. Il est célèbre pour ses paysages, mais c'est aussi un excellent dessinateur et graveur. Il est mort le 8 mars 1898 Repin Ilia Repine, né à Tchougouïv, près de Kharkiv aujourd'hui en Ukraine, le 24 juillet 1844 et mort le 29 septembre 1930 à Kuokkala (Finlande), est un peintre russe. Fils de soldat cosaque, il travaille dans sa jeunesse comme peintre d'icônes, étudie le dessin avec Ivan Kramskoï, et poursuit sa formation à l'Académie impériale des beaux-arts. Il est membre, à partir de 1878, des ambulants, et est ensuite nommé académicien de l'Académie impériale des beaux-arts.
    [Show full text]
  • Russian and American Painters Connect Through Painting En Plein Air
    Russian and American Painters Connect through Painting En Plein Air Pat Rogers, November 26, 2016 It’s not uncommon to see en plein air painters working alongside the back roads of The Hamptons, staring intently at farmland or landscapes including ponds, bays or ocean. The busy walking village of Sag Harbor in The Hamptons recently gained a noticeable influx of plein air painters gazing across streets filled with cars at a row of storefronts or grassy parks when around seven artists set up their easels to make paintings on location as part of a group trip that connected Russian and American painters. The Sag Harbor outing was the second part of a two-state painting excursion that started in Maine and moved to The Hamptons in October and November 2016. The trip culminated in an exhibition of works made during the two-week trip at Grenning Gallery, which specializes in contemporary realism inspired by classical realism. "Russian-American Painting Alliance" is on view November 5 to December 4, 2016 at two locations in Sag Harbor, NY. The group was made up of 10 artists with not every American painter making both parts of the trip. The collective made so many paintings of note that the Grenning Gallery secured a second temporary space to showcase the works selected by gallerist Laura Grenning for the curated exhibition “Russian-American Painting Alliance.” The two-location exhibition is being presented in Sag Harbor at Grenning Gallery and at a pop up presented at Christy’s Building Art Center, located around the corner. Artists from Russia are Olga Karpacheva, Viktor Butko, Irina Rybakova and Oleg Zhuravlev.
    [Show full text]