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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. -
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 -
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. -
Williams College History 140T Fall, 2016 Mr. Wagner
Williams College History 140T Fall, 2016 Mr. Wagner Fin-de-Siècle Russia: Cultural Splendor, Imperial Decay Imperial Russia on the eve of the First World War presents a complex picture of political conflict, social and economic change, and cultural ferment and innovation. Newly emergent political parties sought to enlist mass support to transform or overthrow the tsarist regime, which in turn endeavored to preserve itself through a combination of repression, reform, and the refashioning of its image. Rapid urbanization and industrialization, and the spread of education and literacy, gave rise to social conflict and dislocation, demands for social reform, and the redefinition of individual identities and beliefs. These political, social, cultural, and economic developments provided a fertile context for the burst of literary creativity and the emergence of modernist literary and artistic movements that occurred in fin-de-siècle imperial Russia. This course is intended, in the first instance, to explore the interrelationship between these literary and artistic trends on the one hand and the political, social, and cultural conflict and change occurring in late imperial Russia on the other. With this objective, we will examine a series of literary works and artistic and architectural movements–for example, Chekhov’s play “The Cherry Orchard” and his story “The Culprit,” Gorky’s My Childhood, Bely’s Petersburg, Russian revivalism, modernism, symbolism, etc.–within their historical context, seeking to understand both how the particular context shaped these works and movements and how the latter can help us understand the times in which they emerged or were produced. Through such an examination the course hopes to provide an understanding of both the pressures in late Imperial Russia that contributed to the Revolutions of 1917 and the reasons why this proved to be such a culturally creative period. -
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. -
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. -
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 .................................................................................................... -
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. -
The Pal Use Heritage C Mm Ner
THE PAL USE HERITAGE C MM NER “School & Library” Hallowed Harvests Color Gallery Plates (Part 1) The color gallery images featured here generally follow the sequence of their description in the text of the online “School & Library” blog postings. PLATE 1: Correlation of Ancient Ritual and Agricultural Calendars with Crop Sequences GC: Gezer Calendar HR: Hebrew Ritual PC: Primitive Christian aVariations of specific dates due to the lunar cycle with Mediterranean seasons typically two to three months earlier than in northern Europe. bEarly Christian calendar based on Philip Carrington. cChristmas designated as a holy day after the 1st century. dEpiphany, also known as Theophany in the Orthodox tradition, originally celebrated the baptism of Jesus by John but soon also came to commemorate his “manifestation” to the Wise Men and wider world. eJewish civil holidays PLATE 2: Zliten Threshing Mosaic (c. 200 AD) 22 ⅘ x 22 ⅘ inches Detail showing Libyan coloni leading horses and oxen, Archaeological Museum, Tripoli Wikimedia Commons PLATE 3. Hildegard of Bingen, The Wheel of Life Detail showing harvest reaper at center left Codex Latinus 1492 (Liber Divinorum Operum) State Library, Lucca, Italy Wikimedia Commons PLATES 4 & 5. Limbourg Brothers, “July” and “August” Les Très Riches Heures du Jean, Duc de Berry (c. 1415) Illuminated parchment, 11 ⅘ x 8 ½ inches Musée Condé, Chantilly, France Wikimedia Commons PLATE 6. Heironymus Bosch, The Path of Life with The Haywain (c. 1505) Oil and tempura on wood; 53 x 79 inches Museo del Prado, Madrid Wikimedia Commons PLATE 7. Pieter Brueghel the Elder, The Harvesters (1565) Oil on wood, 45⅞ x 62⅞ inches Rogers Fund, Metropolitan Museum of Art, New York Wikimedia Commons PLATE 8. -
Remarkable Russian Women in Pictures, Prose and Poetry
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Zea E-Books Zea E-Books 11-2013 Remarkable Russian Women in Pictures, Prose and Poetry Marcelline Hutton [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/zeabook Part of the European History Commons, European Languages and Societies Commons, Slavic Languages and Societies Commons, Women's History Commons, and the Women's Studies Commons Recommended Citation Hutton, Marcelline, "Remarkable Russian Women in Pictures, Prose and Poetry" (2013). Zea E-Books. 21. https://digitalcommons.unl.edu/zeabook/21 This Book is brought to you for free and open access by the Zea E-Books at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Zea E-Books by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Remarkable Russian Women in Pictures, Prose and Poetry N Marcelline Hutton Many Russian women of the late 19th and early 20th centuries tried to find happy marriages, authentic religious life, liberal education, and ful- filling work as artists, doctors, teachers, and political activists. Some very remarkable ones found these things in varying degrees, while oth- ers sought unsuccessfully but no less desperately to transcend the genera- tions-old restrictions imposed by church, state, village, class, and gender. Like a Slavic “Downton Abbey,” this book tells the stories, not just of their outward lives, but of their hearts and minds, their voices and dreams, their amazing accomplishments against overwhelming odds, and their roles as feminists and avant-gardists in shaping modern Russia and, in- deed, the twentieth century in the West. -
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. -
Russian Art, Works of Art, Icons and Fabergã© Wednesday 04 June 2014 10:30
Russian Art, Works of Art, Icons and Fabergé Wednesday 04 June 2014 10:30 MacDougall's Fine Art Auctions 30A Charles II St London SW1Y 4AE MacDougall's Fine Art Auctions (Russian Art, Works of Art, Icons and Fabergé) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 the most significant landscape works of their time." *DUBOVSKOY, NIKOLAI (1859-1918) River Running through a Estimate: £200,000.00 - £300,000.00 Wintry Forest , signed. Oil on canvas, 71 by 53 cm. "<br/>Authenticity of the work has been confirmed by the expert V. Petrov.<br/> Authenticity has also been confirmed by the Lot: 4 expert T. Goryacheva." *KUPRIN, ALEXANDER (1880-1960) Twilight Landscape. Estimate: £40,000.00 - £60,000.00 Churuk-Su River, Bakhchisarai , signed. Oil on canvas, 89 by 125 cm. "<br/>Executed c. 1927–1928.<br/><br/> Provenance: Private collection, Turkey.<br/><br/> Authenticity Lot: 2 of the work has been confirmed by the expert V. *DUBOVSKOY, NIKOLAI (1859-1918) Winter Scene , signed Petrov.<br/><br/> Exhibited:Vystavka kartin i skulptury and numbered "N 25" on the reverse. Oil on canvas, 56.5 by 98 obschestva moskovskikh khudozhnikov OMKh, Central Park of cm. "<br/>The present lot is a version of the painting Winter Culture and Leisure, Moscow, June 1929, No. 149.<br/> (1884), now in the collection of the State Tretyakov Shestaya vystavka “Krym i Kavkaz–zdravnitsy Rossii―, Gallery.<br/><br/> Provenance: Private collection, Exhibition Hall of the Moscow Union of Artists, Moscow, Europe.<br/><br/> Authenticity of the work has been confirmed 1931.<br/> Khudozhniki RSFSR za XV let (1917–1932), State by the expert V.