Галерея Леонида Шишкина “Soviet Classics on Neglinnaya Street” Основана В 1989 Году
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Advances in Social Science, Education and Humanities Research, volume 144 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017) Social and Historical Environment of the Society of Moscow Artists Elena Lomova Moscow State Academic Art Institution named after V.I. Surikov Moscow, Russia Abstract—The article is concerned with the social and later became the first chairperson of the Society of Moscow historical conditions of forming the Society of Moscow Artists Artists (OMKh). Grabar shared similar vision of art as (OMKh), whose members had covered a long way from an painters from Mir Iskusstva, who popularized the epatage art group the Jack of Diamonds to the society standing individualism, the disengagement of art from political and at the origins of Socialist Realism. socials issues, and paid particular attention to the legacies of the past and especially to Russia‘s national cultural traditions. Keywords—OMKh; The Jack of Diamonds; futurists; The group‘s ‗leftists‘, where the ―Russian avant-garde‖ Socialist Realism; art societies in the 1920s and 1930s occupied a special place, had shaken even more the conventional assumptions about art, dramatically influencing I. INTRODUCTION further development of world art. th The first half of the 20 century was rich in the landmark Meantime, Russian art continued to shift away from the events that could not but influence art, one of the most reality to a non-figurative world, as if not wishing to reflect sensual areas of human activity, sensitive to the slightest horrors happening in the country. Whereas the artists from fluctuations in public life. We can trace their obvious Mir Iskusstva were dipping into the dreams of the past, the repercussions in art while considering the historical events of th avant-garde artists were generally anxious for the future and the early 20 century. -
"Acquisitions and Loans
2 Alexander Bogomazov Forest. Boyarka 3 Alexander Bogomazov Self Portrait 4 Alexander Bogomazov Caucasus 5 Ilya Chashnik The Seventh Dimension 6 Vasily Ermilov Composition with letters 7 Vasily Ermilov 10th anniversary Exhibition of Books and Press of the Ukraine 8 Natalia Goncharova L’Arbre Rose Printemps 9 Natalia Goncharova Spanish Woman 10 Boris Grigoriev A Street in Paris 11 Boris Grigoriev Dachnitsa 12 Boris Grigoriev Woman peering behind the screen 13 Pyotr Konchalovsky Pines 14 Alexander Kuprin Still Life with a Sculpture of B. D. Korolev 15 Mikhail Larionov Young Jester 16 Vera Pestel Constructivist Composition 17 Kuzma Petrov-Vodkin Cafe |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||18 Kuzma Petrov-Vodkin The Artist’s Daughter Elena 19 Liubov Popova Painterly architectronic 20 Liubov Popova Painterly architectronic 21 Alexander Rusakov Still Life with a Samovar and a Flower 22 Nadezhda Udaltsova Pictorial Architecture 23 Alexander Volkov Nude in a Mountainous Landscape 24 Alexander Volkov Golgotha 25 Alexander Volkov Eastern Fantasy 26 Mikhail Vrubel Portrait of Vova Mamontov reading 'Acquisitions and Loans' Opening Exhibition BUTTERWICK GALLERY, OPENING EXHIBITION IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII BUTTERWICK GALLERY, OPENING EXHIBITION IIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Alexander Bogomazov Forest. Boyarka 1880-1930 1915 Sanguine on paper, 32 x 26 cm Signed and dated lower right ‘1915 A. B.’ Provenance ▪ The family of the artist, Kiev ▪ S. I. Grigoriants, -
Sculptor Nina Slobodinskaya (1898-1984)
1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia. -
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. -
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. -
Dynamism, Creativeness, and Evolutionary Progress in the Work of Alexander Archipenko DISSERTATION Presented in Partial Fulfillm
Dynamism, Creativeness, and Evolutionary Progress in the work of Alexander Archipenko DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Robert D. Calhoun Graduate Program in History of Art The Ohio State University 2016 Dissertation Committee: Kris Paulsen, Advisor Myroslava Mudrak, Co-Advisor Lisa Florman Copyrighted by Robert D. Calhoun 2016 Abstract Guy Habasque, writing for L’Oeil in 1961, recognized Alexander Archipenko (1887-1964) as the leading revolutionary and guide for sculptors of the twentieth-century. At the same time, he acknowledges that history has failed to do the artist justice, forgetting and neglecting him even before his death in 1964. What Habasque wrote fifty- five years ago is doubly true today when the holdings of Archipenko’s work in public museums have been largely relegated to storage, along with many other significant works of the twentieth century, under the increasing pressure to create gallery space for contemporary works of art. To find space in permanent displays, modernist works must compete for significance, the power of which has apparently been lost in the few discussions that exist surrounding Archipenko’s work. This project draws attention to the neglected importance of Archipenko’s work. What is significant about this work is that it forms part of a counter history of early-twentieth century art as an alternative to the materialist-formalist history, which has held the dominant, discursive position. Archipenko’s biocentric, philosophical position presents an aesthetic that represents science and technology as organic, evolutionary extensions of a universal dynamism. -
Dutch and Flemish Art in Russia
Dutch & Flemish art in Russia Dutch and Flemish art in Russia CODART & Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie) Amsterdam Editors: LIA GORTER, Foundation for Cultural Inventory GARY SCHWARTZ, CODART BERNARD VERMET, Foundation for Cultural Inventory Editorial organization: MARIJCKE VAN DONGEN-MATHLENER, Foundation for Cultural Inventory WIETSKE DONKERSLOOT, CODART English-language editing: JENNIFER KILIAN KATHY KIST This publication proceeds from the CODART TWEE congress in Amsterdam, 14-16 March 1999, organized by CODART, the international council for curators of Dutch and Flemish art, in cooperation with the Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie). The contents of this volume are available for quotation for appropriate purposes, with acknowledgment of author and source. © 2005 CODART & Foundation for Cultural Inventory Contents 7 Introduction EGBERT HAVERKAMP-BEGEMANN 10 Late 19th-century private collections in Moscow and their fate between 1918 and 1924 MARINA SENENKO 42 Prince Paul Viazemsky and his Gothic Hall XENIA EGOROVA 56 Dutch and Flemish old master drawings in the Hermitage: a brief history of the collection ALEXEI LARIONOV 82 The perception of Rembrandt and his work in Russia IRINA SOKOLOVA 112 Dutch and Flemish paintings in Russian provincial museums: history and highlights VADIM SADKOV 120 Russian collections of Dutch and Flemish art in art history in the west RUDI EKKART 128 Epilogue 129 Bibliography of Russian collection catalogues of Dutch and Flemish art MARIJCKE VAN DONGEN-MATHLENER & BERNARD VERMET Introduction EGBERT HAVERKAMP-BEGEMANN CODART brings together museum curators from different institutions with different experiences and different interests. The organisation aims to foster discussions and an exchange of information and ideas, so that professional colleagues have an opportunity to learn from each other, an opportunity they often lack. -
Experiments in Sound and Electronic Music in Koenig Books Isbn 978-3-86560-706-5 Early 20Th Century Russia · Andrey Smirnov
SOUND IN Z Russia, 1917 — a time of complex political upheaval that resulted in the demise of the Russian monarchy and seemingly offered great prospects for a new dawn of art and science. Inspired by revolutionary ideas, artists and enthusiasts developed innumerable musical and audio inventions, instruments and ideas often long ahead of their time – a culture that was to be SOUND IN Z cut off in its prime as it collided with the totalitarian state of the 1930s. Smirnov’s account of the period offers an engaging introduction to some of the key figures and their work, including Arseny Avraamov’s open-air performance of 1922 featuring the Caspian flotilla, artillery guns, hydroplanes and all the town’s factory sirens; Solomon Nikritin’s Projection Theatre; Alexei Gastev, the polymath who coined the term ‘bio-mechanics’; pioneering film maker Dziga Vertov, director of the Laboratory of Hearing and the Symphony of Noises; and Vladimir Popov, ANDREY SMIRNO the pioneer of Noise and inventor of Sound Machines. Shedding new light on better-known figures such as Leon Theremin (inventor of the world’s first electronic musical instrument, the Theremin), the publication also investigates the work of a number of pioneers of electronic sound tracks using ‘graphical sound’ techniques, such as Mikhail Tsekhanovsky, Nikolai Voinov, Evgeny Sholpo and Boris Yankovsky. From V eavesdropping on pianists to the 23-string electric guitar, microtonal music to the story of the man imprisoned for pentatonic research, Noise Orchestras to Machine Worshippers, Sound in Z documents an extraordinary and largely forgotten chapter in the history of music and audio technology. -
The State Hermitage Museum Annual Report 2010 the State Hermitage Museum Annual Report 2010 Contents
The STaTe hermiTage muSeum annual reporT 2010 The STaTe hermiTage muSeum annual reporT 2010 conTenTS General Editor a year of two staircases ............................................................. 4 Mikhail Piotrovsky, Director of the state Hermitage Museum, The State Hermitage Museum. General Information ............... 6 Corresponding Member of the Russian academy of sciences, Full Member of the Russian academy of arts, Awards .......................................................................................... 12 Professor of st. Petersburg state University, Doctor of sciences (History) Composition of the Hermitage Collections as of 1 January 2011 .................................................................... 14 ediTorial Board: Permanent Exhibitions ............................................................... 27 Mikhail Piotrovsky, temporary Exhibitions ............................................................... 30 Director of the state Hermitage Museum Georgy Vilinbakhov, Restoration and Conservation .................................................... 70 Deputy Director for Research Publications ................................................................................. 85 Svetlana Adaksina, Conferences ................................................................................. 96 Deputy Director, Chief Curator Marina Antipova, Dissertations ................................................................................ 99 Deputy Director for Finance and Planning Archaeological Expeditions ...................................................... -
Origins of Mikhail Vrubel's DemonianaSeries. Amina Fakhri
Origins of Mikhail Vrubel’s Demoniana series. Amina Fakhri Master’s Thesis Art History Faculty of Arts University of Helsinki September 2020 HELSINGIN YLIOPISTO – HELSINGFORS UNIVERSITET – UNIVERSITY OF HELSINKI Tiedekunta - Fakultet - Faculty Laitos - Institution - Department Humanistinen tiedekunta Filosofian, historian, kulttuurin ja taiteiden tutkimuksen laitos Humanistiska fakulteten 2010-2017 Faculty of Arts Tekijä - Författare - Author Fakhri, Amina Työn nimi - Arbetets titel - Title Origins of Mikhail Vrubel's Demoniana series. Oppiaine - Läroämne - Subject Art History Vuosi - �r - Year 2020 Tiivistelmä - Abstrakt - Abstract The Demoniana series is the most researched of all of Mikhail Vrubel's work, yet the origins of the series' imagery remain neglected. Scholars have attributed Demoniana's imagery to a literary origin - the poem Demon by Mikhail Lermontov. Focusing on the relationship between the painted material of the series, Demon seated (1890), Demon in-flight (1899), Demon downcast (1902), and Six-Winged Seraph (Azrael) (1904) in addition to the illustrations to the poem in the Jubilee edition of Lermontov's poetry published in 1899-1891, my research challenges the assumptions of the continuity of the Demoniana series and shows that the basis for its imagery can be found in Vrubel's earlier works. In his Demoniana series, Vrubel is searching for a new kind of hero, one that he felt certain would make his name immortal. The character of the fallen angel, in Vrubel's view, a tortured soul, not necessarily evil, was an interesting choice considering the influence of the church in the society at that time. In many ways, the artist identified personally with this character. Demoniana was not only a quest for artistic immortality but also an attempt to determine a contemporary representation of a kind of spirituality, a search for the path to salvation. -
Shapiro Auctions
Shapiro Auctions RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES Saturday - November 16, 2013 RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES 1: SPANISH 17TH C., 'Bust of Saint John the Baptist USD 5,000 - 7,000 SPANISH 17TH C., 'Bust of Saint John the Baptist Holding the Lamb of God', gilted polychrome wood, 85 x 75 x 51 cm (33 1/2 x 29 1/2 x 20 in.), 2: A RUSSIAN CALENDAR ICON, TVER SCHOOL, 16TH C., with 24 USD 20,000 - 30,000 A RUSSIAN CALENDAR ICON, TVER SCHOOL, 16TH C., with 24 various saints including several apostles, arranged in three rows. Egg tempera, gold leaf, and gesso on a wood panel with a kovcheg. The border with egg tempera and gesso on canvas on a wood panel added later. Two insert splints on the back. 47 x 34.7 cm. ( 18 1/2 x 13 3/4 in.), 3: A RUSSIAN ICON OF ST. JOHN THE BAPTIST, S. USHAKOV USD 7,000 - 9,000 A RUSSIAN ICON OF ST. JOHN THE BAPTIST, S. USHAKOV SCHOOL, LATE 17TH C., egg tempera, gold leaf and gesso on a wood panel with kovcheg. Two insert splints on the back. 54 x 44.1 cm. (21 1/4 x 17 3/8 in.), 4: A RUSSIAN ICON OF SAINT NICHOLAS THE WONDERWORKER, USD 10,000 - 15,000 A RUSSIAN ICON OF SAINT NICHOLAS THE WONDERWORKER, MOSCOW SCHOOL, 16TH C., traditionally represented as a Bishop, Nicholas blesses the onlooker with his right hand while holding an open text in his left. The two figures on either side refer to a vision before his election as a Bishop when Nicholas saw the Savior on one side of him holding the Gospels, and the Mother of God on the other one holding out the vestments he would wear as a Bishop. -
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.