Lyubov Golovina
INTERNATIONAL PANORAMA
Lyubov Golovina
Mark Antokolsky: " I have done every thing I could..."
#3 2013 (40)
Radical shifts in art are very often connected with the birth of outstanding creative personalities. The second half of the 19th century was just such an example: over a short period of time a real constellation of art-stars appeared, who inspire true lovers of art to this day. Among them is the sculptor Mark Antokolsky; the attitudes towards him of art critics from diametrically opposed wings of art – the democratic and the academic – were as different as the trends of art they represented. This juxtaposition did not make his life easier, but did make him a notable figure in the history of Russian sculpture.
HERITAGE
Lyubov Golovina
The Sculptor Alexander Opekushin: Reviving Nationa Feeling
#1 2007 (14)
The second half of the 19th century brought Russian art a number of talented masters, whose names have now largely been forgotten by specialists. Despite the fact that his work speaks volumes about the period of its creation with its problems and contradictions, the sculptor Alexander Opekushin is precisely one such undervalued figure.
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THEORY Lyubov Golovina #4 2005 (09) The posthumous fame of an artist can seem paradoxical. It often happens that a painter who has toiled all his life to polish his mastery, changing his manner, creating works that would become landmarks of the dedicated path of their creator, remains known to the general public for a single painting – one which is often far from his best. Thus, Alexander Ivanov has gone down in the memory of art lovers as the painter of “The Appearance of Christ to the People”, despite the fact that his own feelings on the work were rather mixed. |
EXCLUSIVE PUBLICATIONS
Lyubov Golovina
Yevgeny Lancere. Character, Feeling and Independence
#1 2005 (06)
Sculpture is known to have gone out of fashion in Russia in the late 19th century: a reaction towards realistic trends with their worldy principles and everyday subjects, against the academic arts of previous periods, encouraged painting rather than sculpture. As a result, the sculpture of the time came to be lacking in its sense of material, in an attractiveness of the plastic means, as well as in a wholeness and completion of form. The specific language of sculpture needed other subjects, different from the simple narrations of realistic art.
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HERITAGE L. GOLOVINA №3 2004 (04) THE REIGN OF CATHERINE THE GREAT WAS BOTH GLORIOUS AND IGNOBLE: "SOME SPOKE OF THAT TIME WITH ENTHUSIASTIC ADMIRATION AND UNCRITICAL SENTIMENTALISM: A SPLENDID AGE THAT IMMORTALIZED RUSSIA’S ACHIEVEMENTS BY THE GLORY OF ITS EMPRESS, A TIME OF HEROES AND HEROIC DEEDS, AN EPOCH OF SWEEPING, UNPRECEDENTED GROWTH OF RUSSIAN CAPACITIES THAT AMAZED AND ALARMED THE WORLD", SO WROTE HISTORIAN VASILY KLYUCHEVSKY. HE IS ECHOED BY POET AND AUTHOR ALEXANDER RADISHCHEV: "OH, MEMORABLE IS THAT CENTURY! YOUR ELATED MORTALS ARE GRANTED TRUTH, FREEDOM AND LIGHT, YOUR ASCENDANT STAR BRIGHTLY BURNING FOREVER…" IRONICALLY, THE ROMANTIC RADISHCHEV WAS LATER TO SUFFER A PAINFUL DISILLUSIONMENT; MORE REALISTIC OBSERVERS WERE AWARE OF THE DETERIORATION IN PUBLIC MORALITY, WITH A RISE IN SECULARITY AND GREED. |
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HERITAGE L. GOLOVINA №2 2004 (03) Radical shifts in art are very often connected with the birth of outstanding creative personalities. The second half of the 19th century was just such an example: over a short period of time a real constellation of art-stars appeared, who inspire true lovers of art to this day. Among them is the sculptor Mark Antokolsky; the attitudes towards him of art critics from diametrically opposed wings of art – the democratic and the academic – were as different as the trends of art they represented. This juxtaposition did not make his life easier, but did make him a notable figure in the history of Russian sculpture. |
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