THE BIG JOURNEY from Creation to New Creation
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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. -
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 -
The Russian Sale
THE RUSSIAN SALE Wednesday 29 November 2017 For details of the charges payable in addition to the final Hammer Price of each Lot 2 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE RUSSIAN SALE | 3 THE RUSSIAN SALE Wednesday 29 November 2017 at 3pm 101 New Bond Street, London BONHAMS BIDS ENQUIRIES ILLUSTRATIONS 101 New Bond Street +44 (0) 20 7447 7447 London Front cover: Lot 137 (detail) London W1S 1SR +44 (0) 20 7447 7401 fax Back cover: Lot 135 Daria Chernenko To bid via the internet please visit Inside front: Lot 10 +44 (0) 20 7468 8338 www.bonhams.com www.bonhams.com Inside back: Lot 30 [email protected] Opposite page: Lot 137 Please provide details of the VIEWING Cynthia Coleman Sparke Sunday 26 November 2017 lots on which you wish to place To submit a claim for refund of +44 (0) 20 7468 8357 11am to 3pm bids at least 24 hours prior to VAT, HMRC require lots to be [email protected] Monday 27 November 2017 the sale. exported from the EU within strict 9am to 4.30pm deadlines. For lots on which Sophie Law Tuesday 28 November 2017 New bidders must also provide Import VAT has been charged +44 (0) 207 468 8334 9am to 4.30pm proof of identity when submitting (marked in the catalogue with a *) [email protected] Wednesday 29 November 2017 bids. -
The Russian Sale New Bond Street, London | 28 November 2018
The Russian Sale New Bond Street, London | 28 November 2018 Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Malcolm Barber Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Colin Sheaf Deputy Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Matthew Girling CEO, Emily Barber, Antony Bennett, Charlie O’Brien, Giles Peppiatt, India Phillips, Patrick Meade Group Vice Chairman, Matthew Bradbury, Lucinda Bredin, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Asaph Hyman, Caroline Oliphant, Simon Cottle, Andrew Currie, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Edward Wilkinson, Geoffrey Davies, James Knight, Charles Graham-Campbell, Matthew Haley, Ralph Taylor, Charlie Thomas, David Williams, Jon Baddeley, Jonathan Fairhurst, Leslie Wright, Richard Harvey, Robin Hereford, Michael Wynell-Mayow, Suzannah Yip. Rupert Banner, Shahin Virani, Simon Cottle. Charles Lanning, Grant MacDougall, The Russian Sale New Bond Street, London | Wednesday 28 November 2018 at 3pm BONHAMS BIDS ENQUIRIES ILLUSTRATIONS 101 New Bond Street +44 (0) 20 7447 7447 London Front cover: Lot 29 London W1S 1SR +44 (0) 20 7447 7401 fax Daria Khristova Back cover: Lot 80 (detail) To bid via the internet please visit +44 (0) 20 7468 8338 Inside front: Lot 13 www.bonhams.com www.bonhams.com [email protected] Inside back: Lot 43 Opposite page: Lot 33 VIEWING Please provide details of the Cynthia Coleman Sparke Sunday 25 November lots on which you wish to place +44 (0) 20 7468 8357 To submit a claim for refund of 11am to 3pm bids at least 24 hours prior to [email protected] VAT, HMRC require lots to be Monday 26 November the sale. -
The Peredvizhniki Pioneers of Russian Painting
Inessa Kouteinikova exhibition review of The Peredvizhniki Pioneers of Russian Painting Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Citation: Inessa Kouteinikova, exhibition review of “The Peredvizhniki Pioneers of Russian Painting,” Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012), http://www.19thc- artworldwide.org/autumn12/kouteinikova-reviews-the-peredvizhniki. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Kouteinikova: The Peredvizhniki Pioneers of Russian Painting Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) The Peredvizhniki: Pioneers of Russian Painting The National Museum, Stockholm Sweden September 29, 2011 – January 22, 2012 Kunstsammlung Chemnitz, Chemnitz, Germany February 26, 2012 – May 28, 2012 Catalogue: The Peredvizhniki: Pioneers of Russian Painting. Edited by David Jackson and Per Hedström. Stockholm: Nationalmuseum and Elanders Falth & Hassler, Varnamo 2011. 303 pp; color illustrations. $89.95 (hardcover) ISBN: 9789171008312 (English) ISBN: 9789171008305 (Swedish) On November 9, 1863 art students protested against the subject prescribed for the annual Gold Medal painting competition at the Imperial Art Academy in St Petersburg, Russia; as a result, fourteen of the best artists left the school.[1] Among them were Ivan Kramskoy, Konstantin Makovsky, Aleksej Korzukhin, and Nikoaj Shustov. Those who remained behind did so in order to pursue the goal of receiving the Gold Medal, the highest academic award for young artists in imperial Russia. In addition to the medal, the winning recipient was granted an opportunity to study in Italy for up to three years. -
Silver Age Russian Art in Vienna Around 1900
SILVER AGE RUSSIAN ART IN VIENNA AROUND 1900 Lower Belvedere 27 June to 28 September 2014 Boris M. Kustodiev The Family, 1905 Oil on canvas 182.5 x 198 cm © Belvedere, Vienna SILVER AGE RUSSIAN ART IN VIENNA AROUND 1900 The Belvedere’s exhibition Silver Age - Russian Art in Vienna around 1900, showing from 27 June to 28 September 2014, explores Russian art and the cultural links between Russia and Austria in the early twentieth century. The term Silver Age refers to the cultural heyday in Russian literature and the fine arts after 1900 and is considered to be the equivalent of the German term Jugendstil or Art Nouveau. Two exhibitions organized by the Vienna Secession in 1901 and 1908 introduced the Viennese public to contemporary Russian art, which was extremely well received by both critics and collectors. While the first exhibition was dedicated to art in Nordic countries and only had one section on Russia, the second was devoted entirely to modern Russian art. It placed an emphasis on established artists from the group World of Art (Mir Iskusstva), as well as exponents of the young association of artists Blue Rose (Golubaya Roza), the last generation of Russian Art Nouveau. At this 1908 exhibition, three paintings were purchased for the Moderne Galerie (today’s Belvedere), including the important portrait of the Polenov Family by Boris M. Kustodiev that had been previously rejected by the conservative Russian art scene. The exhibition Silver Age will showcase Russian artists whose work could have been seen in Vienna over a hundred years ago. -
Autobiographical Notes
I dedicate these modest notes to my dear unforgettable mother Rita, who with all the presence of her life inspired me to modest achievements in art and was for me a constant feast of life. Natalia Koshelkova June–July 2013 Autobiographical Notes Birth and Childhood I was born on 4 February 1946 in the city of Leningrad. I was planned by my parents at the time of the Soviet Union’s victory of Nazi Germany, in early May 1945, and so I am a child of the Victory. I never knew my father, as he died in the first months after my birth. So I was brought up by my mother and grandmother. We lived in a very small, 15-square-metre room. It lay off a long corridor where there were around forty other rooms housing other families. That was what was known as the communal corridor system in a four-storey house full of such rooms and families. Each corridor had two public toilets, men’s and women’s, and one big kitchen with several gas-stoves and one sink with only cold water. Before the war my mother and grandmother had lived in a beautiful apartment. It was hit by a bomb during the siege. All their property was burnt. With much difficulty Grandma and Mama found a few valuables among the ashes and moved in with relatives temporarily. Later the state proposed that they move to that small room with the corridor system where I was born and lived until the age of eighteen, when Mama was given a cosy apartment in the centre of Leningrad through her work. -
109 Chapter 8 the MOSCOW ART MARKET
THE MOSCOW ART MARKET 109 Chapter 8 encOuraging prominent or promising artists such as Vasily Polenov, Ilia Re- pin, and Valentin Serov to share in their neonationalist revival, but they also established their own art market. They trained peasants to create specimens of THE MOSCOW ART MARKET popular arts and crafts such as toys, icons, and embroideries; then they adver tised these products, exhibited them, and sold them at their Moscow outlet. In JOHN E. BOwLT other words, Abramtsevo, contrary to what Soviet historians tell us, was not altogether a philantrhopic venture; rather, it was an entire program of com mercial investment. If it had not been for Mamontov’s untimely imprisonment in 1899 and the collapse of his industrial empire, Abramtsevo might have THE POETRY, philosophy, and painting of Russian Modernism owed much to proven to be a major force in the packaging, disseminating, and marketing of the organizational talents and aesthetic sensitivity of a group of entrepreneurs the new Russian art. often referred to as the Moscow merchants. Distinguished patrons of the arts, Mamontov, like Pavel Tretiakov, was a member of an economic or social they came to the fore in the decade before the First World War by acquiring group that might loosely be associated with the notion of “middle class,” works of art, subsidizing art books and magazines, arranging exhibitions, and although it is a middle class that cannot be easily categorized or described. in general constituting a principal clientele for the growing art market in Mos The real problem is that Moscow’s merchants of the Modernist period, from cow. -
Modernism and the Spiritual in Russian Art New Perspectives
Modernism and the Spiritual in Russian Art New Perspectives EDITED BY LOUISE HARDIMAN AND NICOLA KOZICHAROW To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/609 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Modernism and the Spiritual in Russian Art New Perspectives Edited by Louise Hardiman and Nicola Kozicharow https://www.openbookpublishers.com © 2017 Louise Hardiman and Nicola Kozicharow. Copyright of each chapter is maintained by the author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Louise Hardiman and Nicola Kozicharow, Modernism and the Spiritual in Russian Art: New Perspectives. Cambridge, UK: Open Book Publishers, 2017, https://doi.org/10.11647/OBP.0115 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/609#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/609#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
Russia's Unknown Orient: Orientalist Painting 1850–1920
Alba Campo Rosillo exhibition review of Russia's Unknown Orient: Orientalist Painting 1850–1920 Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012) Citation: Alba Campo Rosillo, exhibition review of “Russia's Unknown Orient: Orientalist Painting 1850–1920,” Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012), http:// www.19thc-artworldwide.org/spring12/russias-unknown-orient-orientalist- painting-1850-1920. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Rosillo: Russia‘s Unknown Orient: Orientalist Painting 1850–1920 Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012) Russia's Unknown Orient: Orientalist Painting 1850–1920 Groninger Museum, Groningen, The Netherlands December 19, 2010 – May 8, 2011 Russia’s Unknown Orient: Orientalist Painting 1850–1920. Edited by Patty Wageman and Inessa Kouteinikova, with contributions by Olga Atroshchenko, Irina Bagdamian, Vladimir Bulatov, Inessa Kouteinikova, David Schimmelpenninck van der Oye and Karina Solovyeva. Groningen: Groninger Museum/ Rotterdam: Nai Publishers., 2010. 224 pp., color illustrations; black and white illustrations; index; time-line. €29.50 (paperback English edition) ISBN-10: 9056627627 ISBN-13: 978-9056627621 The Groninger Museum presented last year the exhibition entitled Russia's Unknown Orient: Orientalist Painting 1850–1920. The show introduced largely unfamiliar Russian orientalist painting to a broad Western audience. Between 1850 and 1920, Russian painters depicted the neighboring regions such as Uzbekistan, Georgia, Armenia, and the Crimean peninsula with various points of view according to their role. There was the testimony of the traveler on pilgrimage to the Holy Land, the depiction of holy places, the scientific description of a land's geography for bellicose purposes, or the war artist's rendering of battles and victories. -
The Eastern Crisis, 1875
The Eastern Crisis 1875 -1878 in British and Russian Press and Society lames Phillips BA(Hons), MARes, PGDip Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy December 2012 1 Abstract This thesis of 84,616 words uses the Eastern Crisis of 1875-78 to consider the Press in Great Britain and Russia. 5 case-study chapters consider respectively the reaction to the Bosnian and Hercegovinian revolt of 1875, the Bulgarian 'Atrocity Campaign' of 1876, the outpouring of public sympathy in Russia for the cause of the Serbs in 1876, the involvement of Greece in Eastern crisis, and the British 'Jingo' movement. For each case study, the relationship of the mass activity to the newspaper and periodical press is considered, as well as tracing the interplay between government and Press, and examining whether the Press was able to act as an intermediary between people and government. As this is a comparative study, these movements are considered not only through their own national Press, but through that of the other nation. A recurring theme throughout, is the running current of suspicion existing between Britain and Russia throughout this period, which is analysed in some detail, and shown to have been a highly significant factor in much of what was undertaken by both governments and individuals in Britain and Russia at this time. 2 Acknowledgements This Thesis represents the culmination of a project funded by the Arts and Humanities Research council. The dissertation was supervised by Dr Sarah Badcock and Dr Richard Gaunt, without who's proof-reading and comments on numerous drafts, it would not have reached completion.