Noskova A. How to Enjoy Art in Astrakhan “– Look at This Picture

Total Page:16

File Type:pdf, Size:1020Kb

Noskova A. How to Enjoy Art in Astrakhan “– Look at This Picture Noskova A. How to enjoy art in Astrakhan “– Look at this picture, this character’s sight following you! – Dude, it’s the watcher…” authors unknown Stage one: Get forced to visit Astrakhan Picture Gallery. Get lost on the way. Finally find your way in. Stage two: Get lost in the building. Finally get your student free ticket. Grab your friend, make your way to the send floor. Don’t get lost. Stage three: Enter the Picture Maze. Stare at the walls. Find the pictures. … Try, try not to get lost! Grab your friend, get inspired… “Dear my friend, Can you see it? Can you see how light the brush strokes are? Look at these shades of green, look at the blue sky, and there, there – can you see this swan, how shiny its feathers are? Can you feel the warmth of the depicted sun, don’t you wanna swim in this crystal clear lake, don’t you wanna feel the scent of these flowers? And this, this tree, I wanna touch its warm bark, I wanna hear sweet murmur of its branches, whisper of young foliage…” “Come on…” Make your way to the next hall. Stare at the pictures again (Really, what else to do in a gallery?). Listen to your friend… “Dear friend, look at this! So simple get to inspiring. This angel, her rosy cheeks and tender smile, blue toga with shiny stars… Fluffy clouds – oh goddess, so fluffy! And I can feel the wind in her wings, in every trembling feather. How peacefully she looks at us…” Get inspired. Stare at the picture for good 30 minutes… Carefully take out your camera and try to make a shot. Say “Just checking time” to the puzzled Gallery watcher. Stage four. Get lost in Picture Maze. Notice that you don’t care about getting lost anymore. Make some circles around the pictures. Find the exit. Decide to take a look at some pictures again. Stage five Notice the time. Hurry to the exit, write down the name of the artist whose exposition you just visited “Vla-di-mir… Ga-la-ten-ko » ... Stage six Through the Galley Maze make your way outside. Get an icicle under your nose. Enter “Foreign art section”. Think about getting lost… Stage seven Follow the watcher. No, you won’t get lost anymore. Stare at the… No, not the pictures. Yet. Stare at the vases, at the ancient tableware from Asia. Hear, “don’t get too close! Watch your bags” from the Staring Watcher. Lose the inspiration you got from looking at masterpiece brushworks. Stage eight. Keep following your silent convoy as known as The Staring Watcher. Try to get inspired or at least to get lost. Try to carefully study the pictures. Try to enjoy works of art., try to concentrate. Try to get inspired… Finally feel that the “staring feeling” on your back is gone and find yourself looking at the picture “Sunrise” with your friend. Silently use your telepathy. Whisper that you love the colors. Whisper that the picture is epic. Wake up the watcher. Stage nine. Find your way out. Share opinion with your friend. Share that sadly the maintaining of the Picture Gallery leaves much to be desired but that won’t change your opinion about the masterpieces it managed to trap. It’s good that people can “touch” at least some art in Astrakhan. If they don’t get lost… Mashina A. The Dogadin Art Gallery Astrakhan Art Gallery is one of the greatest art museums in the Volga Delta. It is situated in an antique three-storied building with its wing facing the backyard of the house. The gallery was founded by Pavel Dogadin who was fascinated by visual arts. He was the first keeper of the Gallery and soon as he died it was named in his honor. Then the Gallery was renamed to commemorate Boris Kustodiev, a famous Astrakhan-born painter whose life was closely connected to the Gallery. In recent years the name of P.Dogadin was returned to the Gallery. The Gallery consists of hundreds of fabulous works and has also participated in a variety of exhibitions abroad. The whole gallery collection was awarded an Honorary diploma and the golden palm (palm D’Or) of the International Council of museums in France. The richest and the most peculiar is the Russian section which is much more comprehensive, when room-by-room guided, and is well worth looking at to get a taste of the Gallery. It is possible to know here all the schools and directions of Russian art ever existed. Some icons by Novgorod and Moscow schools as the earliest form of Russian Art are presented at the entrance hall. The 18th century period is characterized mainly by portraits exhibited in a separate hall. Here we can see the portraits performed by Fyodor Rokotov, Vladimir Borovikovsky, Dmitry Levitzky. The first half of the 19th century, of so called romanticism is marked by works by Alexander Varnek, Karl Briullov, Alexei Venetsianov, Vasily Tropinin. The following halls devoted to the second half of 19th century represent a more realistic view of painting with a lot of works by Peredvizhniki. Here one can enjoy genre paintings of Konstantin Savitsky, Nikolay Yaroshenko and Abram Arkhipov, the landscape paintings of Ivan Shishkin, Isaac Levitan, Konstantin Vasilyev, Lev Kamenev, Arkhip Kuindzhi, Alexei Savrasov and the historical paintings of Vasily Polenov, Vasily Surikov, Ilya repin. At the halls of the 19th – 20th centuries exhibited mainly the works of artists associated with the “Mir Iskusstva” – “The World of Art”: Konstantin Somov, Nicholas Roerich, Viktor Vasnetsov, Alexandre Benois, the portraitist Valentin servo, the symbolist Mikhail Vrubel and Victor Borisov-Musatov prominent for his unique Post-Impressionistic style that mixed Symbolism, pure decorative style and realism. The last halls of the 20th century are notable for the works by the first purely- abstract painter Wassily Kandinsky, the pioneer of geometric abstract art and the originator of the Avant-garde Suprematist movement Kazimir Malevich, an early modernist Marc Chagall and one of the founders of constructivism and Russian design Aleksander Mikhailovich Rodchenko. This is not even the whole list of painters whose works are exhibited at the Gallery and everyone can come here any day he wants to see this variety of masterpieces of the great Russian artists. Ledovskaya D. Visiting The Kustodiev Gallery The Kustodiev Gallery is the most outstanding place in Astrakhan. I do not remember when first I had a chance to visit it, but I must say it didn't impress me at all. (Though I was a child then, so probably I was not that into art). However, few days ago I again went to the gallery, as it was necessary to visit it as some special home task. At first it seemed like obligation, but when I came into the gallery everything's changed. First thing I should mention was a just-married couple leaving the gallery while we were entering it, which I thought was a good sign. So I found the reception and asked a woman if there was something to look at in the gallery. According to her words I could find two active exhibitions: one of Russian art and one of Foreign art. As all of them were free of charge I decided not to think and took both tickets. While being at the wardrobe I can't stop thinking how inspirational was her voice while she was talking to me, like she really did like her work. So, I put on special shoes (which I bought in the wardrobe for twopence) and the main action began. Started with Russian art or, to be more precise, from the exhibition of Vladimir Galatenko I had to turn on my art-switch as the pictures were painted in different style variations and with different materials. The author not only used oil painting, but also watercolors, pencils (as color as black'n'white) and gouache, which was amazing! Some of his works reminded of the Picassos, some of impressionists, and some were just sketches, but made with a high technique. I think everyone could find the very piece of art that really impressed him. Delighted in these works I left the exhibition for Foreign department placed in another building of the gallery. The first section I visited was the section of Asian art full of Chinese vessels, statuettes and small bric-a-bracs, reminded me of good days in China. It's interesting how these things could stir up the brightest memories, isn't it? Well, back to the art, the section also included some works of Indian and Persian art, which were also magnificent. The final destination of my travel was the hall of European art, as I was eager to see it from the very beginning. So I walked up the stairs and....was totally disappointed as the hall was small and full of utensils which I considered were French according to the graphics on it. Save god they actually have some pictures to look at and I decided to make a full gaze examination of them. Carefully looked at each picture I concluded they were worth it. Unfortunately, most of the works were of unknown authors, which was grievous as they really were The beauty. Me personally pointed out two most remarkable works named "The last Lord's Supper" and "The Daybreak". "Why were they so special?" you may ask. I'll tell you. The fist one depicted Christ and apostles not in the way we used to see them: middle-aged tortured men with sad eyes depicted as plane as it possible sitting at the table full of meal and so on, and so on.
Recommended publications
  • Supplementary Information For
    1 2 Supplementary Information for 3 Dissecting landscape art history with information theory 4 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 5 Hawoong Jeong 6 E-mail:[email protected] 7 Seung Kee Han 8 E-mail:[email protected] 9 This PDF file includes: 10 Supplementary text 11 Figs. S1 to S20 12 Tables S1 to S2 13 References for SI reference citations www.pnas.org/cgi/doi/10.1073/pnas.2011927117 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 1 of 28 14 Supporting Information Text 15 I. Datasets 16 A. Data curation. Digital scans of landscape paintings were collected from the two major online sources: Wiki Art (WA) (1) 17 and the Web Gallery of Art (WGA) (2). For our purpose, we collected 12,431 landscape paintings by 1,071 artists assigned to 18 61 nationalities from WA, and 3,610 landscape paintings by 816 artists assigned with 20 nationalities from WGA. While the 19 overall number of paintings from WGA is relatively smaller than from WA, the WGA dataset has a larger volume of paintings 20 produced before 1800 CE. Therefore, we utilize both datasets in a complementary way. 21 As same paintings can be included in both datasets, we carefully constructed a unified dataset by filtering out the duplicate 22 paintings from both datasets by using meta-information of paintings (title, painter, completion date, etc.) to construct a unified 23 set of painting images. The filtering process is as follows.
    [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]
  • William Hogarthг Reflected The
    го о ск в е ш ы н р е Ч . Г . Н и н е м и т те си р е в и н у R. Z. Nazarova й ы н S. E. Tupikova н е в ст р а уд с о г й и ск в о т а р а С УДК 802.07.01 (075.8) ББК 74.268 (1Англ) А64 ISBN 978-5-9999-0782-0 Назарова Р.З., Тупикова С.Е. English Painting. Английская живопись. Учебное пособие. Саратов: ИЦ «Наука», 2011. - 150 с. го ко Учебное пособие ‘The English Painting’ представляет собой введение в курсыс в живописи и страноведения Великобритании для студентов факультетов иностранныхе языков, отделений романо-германских языков университетов. Представленноеш пособие может найти применение у широкого круга читателей, изучающих английскийы язык, н английскую историю и культуру. р е В пособии рассказывается о становлении английской живописиЧ в XVII веке и ее дальнейшем развитии. Долгое время самостоятельной живописной .традиции в Англии не Г существовало. Перед читателем проходит ряд разнообразнейших. явлений английского искусства. На ранних стадиях развития живописи в культуре Н страны уделялось огромное внимание портрету. Возник особый национальныйи жанр – conversation pieces. н Художники начали постепенно отказываться от егладкой поверхности холста, исследовали богатейшие возможности живописного ммазка. С течением десятилетий формировался жанр английского пейзажа, в XVII и веке считавшийся совершенно неинтересным, недостойным внимания художника.т Первые английские живописцы были те еще скованы традициями придворного искусства.и Но появился Уильям Хогарт, совершивший подлинную революцию в национальнойс живописи. А за ним последовала р плеяда всемирно известных гениев: это,е прежде всего, Джошуа Рейнольдс и Томас в Гейнсборо, их ученики, последователи,и соперники.
    [Show full text]
  • Passion for Art Passion for Art ………………………
    Passion for Art Passion for Art ……………………….. 1 Soviet Period: the Beginnings …….. 1 We are Collectors (Israeli period) …….. 12 Reflections on Art ……..……... 36 Lydia Mandel ………………………... 43 Ira Rileeva (Reichwarger) …………….. 53 Greece ………………………… 68 Cortona and Signorelli ……………………. 77 Legends on artists ……………….. 85 About Susana Valadon ………………………. 94 Russian icon ……………….. 98 Acknowledgements. I am infinitely grateful to Ludmila Milman for taking care of me and her advices, to Vladimir Milman and Miriam Herzberg for taking care of my bad English in a number of places of these texts, to Tatyana Petrova for her help with files to Alex Segal for introducing me to Google voice typing system, and to Jan Rauchwerger for his help in all aesthetic matters. Passion for Art Soviet Period: the Beginnings. When I was a child in Odessa and later during my university years in Kharkov, I was completely uninterested in art. Only in the beginning of 1960s something began to stir in me. I, of course, visited museums before but they did not leave any impression on me. I remember very well that the first time when I was truly impressed by art was at the Louvre exhibition in the Pushkin Museum in Moscow. There was a long line at the entrance, but I visited it three times. During one of the visits I was apparently so engrossed in watching paintings that another visitor walked around me and photographed me several times. When I noticed him he was embarrassed, but we understood each other: he was simply fascinated by my intense attention to paintings. I was also embarrassed because I was dressed quite poorly.
    [Show full text]
  • RUS/ART/LIT/SOC/HIS/POL/ECO 381 Russian Studies Seminar
    ART/LIT/SOC/HIS/POL/ECO 381: Russian Studies Seminar Lead Professor: Dr. Marina Rozina Institution: Moscow State University Contact Hours: 40 Overview This is a survey course of Russian society and culture. The course objective is to understand the development of the Russian culture over the 18th, 19th and 20th centuries. Textbook: Hand-outs provided by instructor Credits: 3 Evaluation Methods: 25% each o Class Discussion o Homework Assignments o Museum Assignments o Final Term Paper Topics Covered Each term, the course covers 4 to 5 topics in addition to the Overview of Russian Culture & Society. Sample topic outlines are listed below. Other topics, such as Russian Education System, Multi-faith & Multi-pluralism in Russia and the Russian Army, may also be covered depending on availability of professors and current events. TOPIC 1: Overview of Russian Culture & Society Classroom Instruction o Discuss Syllabus o Introduction to Russian Culture o 18th Century o 19th Century o 20th century, pre-soviet and soviet epoch o New Russia o Influences of each period Cultural Visits & Discussion o Visit to the Museum of the History of Moscow o Discussion of the visit to the Museum of the History of Moscow - 2 - TOPIC 2: Comparative Culture Cultural Visits & Discussion o Trip to Vladimir & Suzdal o Discussion: comparative culture TOPIC 3: Russian Culture through its Arts Classroom Instruction o Russian Culture through its Art: o Icon painting; o 18th century: portrait painting (Ivan Argunov, Fyodor Rokotov, Dmitry Levitzky, and Vladimir Borovikovsky);
    [Show full text]
  • The Institute of Modern Russian Culture at Blue Lagoon
    THE INSTITUTE OF MODERN RUSSIAN CULTURE AT BLUE LAGOON NEWSLETTER No. 77, February, 2019 IMRC, Mail Code 4353, USC, Los Angeles, Ca, 90089-4353 USA Tel. : (213) 740-2735 Fax: 740-8550 E: [email protected] website: https://dornsife.usc.edu/sll/imrc STATUS This is the seventy-seventh biannual Newsletter of the IMRC and follows the last issue which appeared in August, 2018. The information presented here relates primarily to events connected with the IMRC during the spring and summer of 2018. For the benefit of new readers, data on the present structure of the IMRC are given on the last page of this issue. IMRC Newsletters for 1979-2018 are available electronically and can be requested via e-mail at [email protected]. All IMRC newsletters are available on University of Cincinnatii's institutional repository, Scholar@UC (https://scholar.uc.edu). RUSSIA: Оurs is the Victory One of the most prominent leit-motifs in everyday Moscow life is the word, concept, and metaphor of “victory” (pobeda) and its analogy “triumph”. Of course, Moscow has engineered many conquests, from the rout of Napoleon in 1812 to the rout of Hitler in 1943, but, even so, the persistence and application of “victory” is so striking that its continued omnipresence might well inspire the following scenario: After arriving on Victory Airlines on 9 May (Victory Day), I checked into the Hotel Victory not far from the Victory of Taste Supermarket adjacent to Triumphal Street downtown. Taking a Victory ‘Bus to the nearby Victory Café, I ordered a Victory Salad and a slice of Victory Cake out of their Victory refrigerator.
    [Show full text]
  • HISTORY of UKRAINE and UKRAINIAN CULTURE Scientific and Methodical Complex for Foreign Students
    Ministry of Education and Science of Ukraine Flight Academy of National Aviation University IRYNA ROMANKO HISTORY OF UKRAINE AND UKRAINIAN CULTURE Scientific and Methodical Complex for foreign students Part 3 GUIDELINES FOR SELF-STUDY Kropyvnytskyi 2019 ɍȾɄ 94(477):811.111 R e v i e w e r s: Chornyi Olexandr Vasylovych – the Head of the Department of History of Ukraine of Volodymyr Vynnychenko Central Ukrainian State Pedagogical University, Candidate of Historical Sciences, Associate professor. Herasymenko Liudmyla Serhiivna – associate professor of the Department of Foreign Languages of Flight Academy of National Aviation University, Candidate of Pedagogical Sciences, Associate professor. ɇɚɜɱɚɥɶɧɨɦɟɬɨɞɢɱɧɢɣɤɨɦɩɥɟɤɫɩɿɞɝɨɬɨɜɥɟɧɨɡɝɿɞɧɨɪɨɛɨɱɨʀɩɪɨɝɪɚɦɢɧɚɜɱɚɥɶɧɨʀɞɢɫɰɢɩɥɿɧɢ "ȱɫɬɨɪɿɹ ɍɤɪɚʀɧɢ ɬɚ ɭɤɪɚʀɧɫɶɤɨʀ ɤɭɥɶɬɭɪɢ" ɞɥɹ ɿɧɨɡɟɦɧɢɯ ɫɬɭɞɟɧɬɿɜ, ɡɚɬɜɟɪɞɠɟɧɨʀ ɧɚ ɡɚɫɿɞɚɧɧɿ ɤɚɮɟɞɪɢ ɩɪɨɮɟɫɿɣɧɨʀ ɩɟɞɚɝɨɝɿɤɢɬɚɫɨɰɿɚɥɶɧɨɝɭɦɚɧɿɬɚɪɧɢɯɧɚɭɤ (ɩɪɨɬɨɤɨɥʋ1 ɜɿɞ 31 ɫɟɪɩɧɹ 2018 ɪɨɤɭ) ɬɚɫɯɜɚɥɟɧɨʀɆɟɬɨɞɢɱɧɢɦɢ ɪɚɞɚɦɢɮɚɤɭɥɶɬɟɬɿɜɦɟɧɟɞɠɦɟɧɬɭ, ɥɶɨɬɧɨʀɟɤɫɩɥɭɚɬɚɰɿʀɬɚɨɛɫɥɭɝɨɜɭɜɚɧɧɹɩɨɜɿɬɪɹɧɨɝɨɪɭɯɭ. ɇɚɜɱɚɥɶɧɢɣ ɩɨɫɿɛɧɢɤ ɡɧɚɣɨɦɢɬɶ ɿɧɨɡɟɦɧɢɯ ɫɬɭɞɟɧɬɿɜ ɡ ɿɫɬɨɪɿɽɸ ɍɤɪɚʀɧɢ, ʀʀ ɛɚɝɚɬɨɸ ɤɭɥɶɬɭɪɨɸ, ɨɯɨɩɥɸɽ ɧɚɣɜɚɠɥɢɜɿɲɿɚɫɩɟɤɬɢ ɭɤɪɚʀɧɫɶɤɨʀɞɟɪɠɚɜɧɨɫɬɿ. ɋɜɿɬɭɤɪɚʀɧɫɶɤɢɯɧɚɰɿɨɧɚɥɶɧɢɯɬɪɚɞɢɰɿɣ ɭɧɿɤɚɥɶɧɢɣ. ɋɬɨɥɿɬɬɹɦɢ ɪɨɡɜɢɜɚɥɚɫɹ ɫɢɫɬɟɦɚ ɪɢɬɭɚɥɿɜ ɿ ɜɿɪɭɜɚɧɶ, ɹɤɿ ɧɚ ɫɭɱɚɫɧɨɦɭ ɟɬɚɩɿ ɧɚɛɭɜɚɸɬɶ ɧɨɜɨʀ ɩɨɩɭɥɹɪɧɨɫɬɿ. Ʉɧɢɝɚ ɪɨɡɩɨɜɿɞɚɽ ɩɪɨ ɤɚɥɟɧɞɚɪɧɿ ɫɜɹɬɚ ɜ ɍɤɪɚʀɧɿ: ɞɟɪɠɚɜɧɿ, ɪɟɥɿɝɿɣɧɿ, ɩɪɨɮɟɫɿɣɧɿ, ɧɚɪɨɞɧɿ, ɚ ɬɚɤɨɠ ɪɿɡɧɿ ɩɚɦ ɹɬɧɿ ɞɚɬɢ. ɍ ɩɨɫɿɛɧɢɤɭ ɩɪɟɞɫɬɚɜɥɟɧɿ ɪɿɡɧɨɦɚɧɿɬɧɿ ɞɚɧɿ ɩɪɨ ɮɥɨɪɭ ɿ ɮɚɭɧɭ ɤɥɿɦɚɬɢɱɧɢɯ
    [Show full text]
  • The University of Chicago Kazimir Malevich And
    THE UNIVERSITY OF CHICAGO KAZIMIR MALEVICH AND RUSSIAN MODERNISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART HISTORY BY DANIEL KALMAN PHILLIPS CHICAGO, ILLINOIS JUNE 2017 Copyright © 2017 by Daniel Kalman Phillips All rights reserved. TABLE OF CONTENTS LIST OF FIGURES ............................................................................................. iv ACKNOWLEDGEMENTS .............................................................................. viii ABSTRACT ............................................................................................................x INTRODUCTION MALEVICH, ART, AND HISTORY .......................................................................1 CHAPTER ONE MODERNISMS BEFORE SUPREMATISM........................................................18 CHAPTER TWO AN ARTIST OF THE NINETEENTH CENTURY ...............................................71 CHAPTER THREE SUPREMATISM IN 1915 ...................................................................................120 CHAPTER FOUR CODA: SUPREMATISMS AFTER SUPREMATISM .......................................177 WORKS CITED................................................................................................. 211 iii LIST OF FIGURES1 0.1 Kazimir Malevich, Black Square, 1915. 0.2 Kazimir Malevich, [Airplane Flying], 1915. 0.3 John Baldessari, Violent Space Series: Two Stares Making a Point but Blocked by a Plane (for Malevich), 1976. 0.4 Yves Klein,
    [Show full text]
  • Downloaded from the Web-Site
    IMRC Newsletter Page 1 of 17 THE INSTITUTE OF MODERN RUSSIAN CULTURE AT BLUE LAGOON NEWSLETTER No. 44, August, 2002 STATUS This is the forty-fourth biannual Newsletter of the IMRC and follows the last issue that appeared in February, 2002. The information presented here relates primarily to events connected with the IMRC during the spring and summer of 2002. For the benefit of new readers, data on the present structure of the IMRC is given on the last page of this issue. Previous IMRC Newsletters (1979-2001) are available electronically and can be requested via e-mail at [email protected]. A full run can also be supplied on a CD disc (containing a searchable version in Microsoft Word) at a cost of $25.00, shipping included (add $5.00 if overseas airmail). Enquiries should be sent to: IMRC, POB 4353, USC, Los Angeles, Ca. 90089-4353, USA; tel.: (213) 740-2735 or (213) 740-6120; fax: (213) 740-8550; e: [email protected]; website: http://www.usc.edu./dept/LAS/IMRC RUSSIA A quick way to discover the meaning of the “broad Russian soul” is to abandon the patriotic rumblings of the Kremlin and fly east. As you look down on the fastnesses of Siberia, you realize that Russia is more a state of mind than a state of nation, a shifting space without geographical confines that, surely, accounts for the ampleness of the Russian soul, the long forbearance of the Russian people, and the profligate expenditures of the new Russians. As you pass over Tomsk, Irkutsk, Khabarovsk, you also understand that this condition of boundlessness distinguishes Russian culture – and why, for example, Russian culture thrives in emigration, far beyond the frontiers of the Federal Republic.
    [Show full text]
  • Baron Mikhail Konstantinovich Klodt Von Jurgensburg
    BARON MIKHAIL KONSTANTINOVICH KLODT VON JURGENSBURG (St. Petersburg 1832 - St. Petersburg 1902) Under the Birch Trees signed and dated ‘1874’ (lower right) oil on canvas 27 x 47.5 cm (10½ x 18¾ in) HIS DELICATE AND PRECISE RENDERING OF THE art. Compositionally the work is simply but effectively composed. The Russian countryside demonstrates why the landscapes of line of trees together with the edge ridge, upon which the wood sits, Baron Mikhail Konstantinovich Klodt von Jürgensburg are and the slightly worn path, all come together to form a vanishing point. so celebrated. A lady and two children are resting under The line of the trees is an especially effective device; their tops are cut the shade of some towering birch trees. These figures are off by the edge of the canvas suggesting dizzying heights. Furthermore Twell dressed and clearly at leisure, and perhaps they are part of the the way that they rhythmically recede into the scene recalls the columns family who own the vast estate that stretches away into the horizon. of a great cathedral receding along a nave, thus imbibing them with The picture itself is divided into two definable halves; the wood on the a sense of grandeur and monumentality. These strong verticals also left-hand side, dominating the foreground, and the open sundrenched contrast effectively with the flatness of the Russian landscape, which field that spills over the right-hand of the canvas, stretching into the seems to stretch away endlessly to the horizon, interrupted only by distance where large haystacks can be seen, which suggest that perhaps the hulking haystacks.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]