CURRENT EXHIBITIONS - 2007

Galina Churak
“One should search for nature at its simplest…”

Ivan Ivanovich Shishkin is remembered in the history of Russian art as an artist who glorified the grandeur and beauty of the nature of his homeland, and masterfully and lovingly translated into the language of painting the limitless vastness of fields with golden grain, the greatness of oak forests with their ceaseless murmur, the dense pathless thickets of woodland, every single grass-blade, the unassuming flowers of the field, and the wrinkled tree-bark on an old tree. His life in art is one of the most essential and important components of Russian landscape painting, of the history of its formation and bloom.

Maria Chegodaeva
Presenting Dmitry Zhilinsky’s Works

Stylistically, most works by modern artists may be described with reference to a certain school – it could be classicism, or post-impressionism, or even some of the “trends” … Dmitry Zhilinsky’s works are an exception: they are truly unique and cannot be identified with any of the known schools. There is no other artist working in the same manner as Zhilinsky.

Lyudmila Marts, Nadezhda Komarova
Planet Named the Steppe

For any Russian artist, no matter how well known, a one-man show at the State Tretyakov Gallery is a very special event. And for the Buryat sculptor Dashi Namdakov, whose numerous exhibitions in the museums and galleries of Russia, America, Europe and Asia have already won him international fame and recognition, the display of his works, sculpture, graphics and jewellery, in one of the Tretyakov’s finest rooms in Lavrushinsky Pereulok, is obviously the most important and responsible moment in his creative life. This exhibition in the country’s main national museum is well-deserved recognition of his art, as well as an assessment of his place and role in the present-day artistic life of Russia and an act of great confidence in the talent and personality of this young artist and the future that lies ahead of him.

Maria Bodrova
Andrei Grositsky. Paintings and Graphic Works

Andrei Grositsky is an artist who belongs to a generation of innovators working in a period when realism prevailed. He received a classical training at the Surikov Institute (under the tutorship of Dmitry Mochalsky), and this academic education distinguishes him from many artists who, starting from the late 1950s, belonged to the circle of the so-called “non-official art”.

Maria Elkonina. Objects. 1957-2007

Maria Viktorovna Elkonina, by virtue of her birth into the family of the prominent artists Viktor Borisovich and Nadezhda Mikhailovna Elkonin, was pre-destined to follow the family’s calling. Through her father, who was a member of the “Four Arts” group, and through his artist friends she became acquainted with Paul Cézanne’s art. Elkonina still considers Cézanne the initiator of all of the 20th century’s artistic innovations.

Alexander Rozhin
Counterpoint of Self-identification

The art of Alexander Sitnikov is an astonishing aggregation of emotions and thoughts that provoke in viewers’ minds complex and contradictory reactions. The meta-language of his art is predicated on the multi-polarity of the artist’s attitudes to reality which does not correspond to the master’s idealistic belief in the harmoniousness of the universe and the imperishability of the spiritual principles of religious teachings and commandments. Because he is in a state of perpetual conflict with the reality around him and with a society of double standards, the conceptual basis of the artist’s imagery is dominated by the mythological component.

Alexander Rozhin
A Reverse Perspective

A first-time viewer, looking at recent works by the Moscow artist Olga Bulgakova, would barely imagine what she made at the beginning of her creative career. In retrospect, it becomes obvious how consistently and inherently logically her overall comprehension, perception and understanding of the essence of being have evolved.

Anna Ilina
On the Right Road

The 4th All-Russia young artists competition dedicated to the memory of Pavel Tretyakov was held shortly before the 175th anniversary of the birth of the eminent promoter of Russian culture, patron of arts and founder of the gallery of Russian art.

Yevgenia Kikodze
Art Moscow 2007: The Beginning of Entropy

This year has proved something of a confirmation for Art Moscow, the only international contemporary art fair in Russia: According to Vasily Bichkov, Director of the Expo-Park Company, this is the first time when the event was actually profitable (last year, the organizers hardly broke even, managing only to cover expenses, while earlier Art Moscow was expressly unprofitable). The officially announced profit was almost $10 million, with about half of the money coming from actual sales and the other half the price of reserved pieces.

Yekaterina Selezneva
Europe, Russia, Europe

The idea behind “Europe, Russia, Europe” was a simple one: bringing together important works from leading museums from 28 countries creates an impressive exhibition. Careful study of these works gives rise to a multitude of fascinating questions and discussions. The most obvious, perhaps, would be: when and how did the plastic languages of European art develop? How, and why, do the artistic processes taking place in various areas of Europe differ? In what ways do the arts overlap and influence each other? What is the relationship between cultural and historical processes? How is politics reflected in art, and does art determine politics?

Vitaly Mishin
“Meeting Modigliani” – at the Pushkin Museum of Fine Arts

The exhibition’s title makes clear that this is the first truly extensive show of works by the brilliant Italian master in Russia. The artistic legacy of Modigliani is scattered all over the world, in museums and private collections – and only international exhibition projects would have a chance to present any significant number of works by this artist, even if for a limited time only. Over 20 museums and private collections in Europe and America participated in the Moscow project. Ultimately, the exhibition organizers have managed to present 25 paintings, one sculpture, and 27 drawings, accompanied with the archive materials. (Russian museums own only two works of the master - drawings in the Pushkin Museum collection).

Yevgenia Kikodze
The Federation of Curators

The Second Moscow Biennale of Contemporary Art has certainly become a significant event in Russia’s cultural life. Almost every Moscow organization in any way related to contemporary art – including museums, galleries, centres of contemporary art, private foundations and even the trendiest of clubs – have tried to make a statement by their participation in the preparation of the exhibition calendar. Their wider purpose is to accurately and proudly present contemporary art in Russia, as well as invite the numerous guests of the Biennale to acquaint themselves with Russian art, both from today and from the recent past.

Tatyana Yermakova
On the 120th anniversary of Alexander Volkov’s birth

Natalia Apchinskaya
The Colour of Pomegranate

The invitation card shows Volkov’s “Wedding” from 1927: a trumpeter in vivid red plays a triumphant, festive melody, forming a colourful trio with the two Uzbeks beside him, in blue and green. In the long row of faces, frozen in silent contemplation of the mysteries of Life, one may distinguish that of Volkov himself: second on the right, he has a more European air than the others.

Yevgenia Polatovskaya
To See the World Transformed. On the 120th anniversary of the birth of Olga Rozanova

On March 29, at the end of its jubilee year, the Tretyakov Gallery opened new exhibition premises reconstructed by the Government of Moscow – “The Exhibition Hall in Tolmachi”, which is close to the main building of the gallery. The opening of the new hall was marked by the solo exhibition of Olga Rozanova (1886–1918), one of the most significant figures of the Russian avant-garde, who left a distinct heritage in 20th century art, despite her short life. More than 50 canvases and graphic works are on display.

White Gold.
The Tradition and Modernity of Chinese Porcelain

Organized by the Tretyakov Gallery and the State museum and exhibition centre ROSIZO, the exhibition “White Gold: The Tradition and Modernity of Chinese Porcelain” which opened on March 27 at the Tretyakov Gallery, has been one of the first and most momentous events marking the Year of China in Russia.

Andrei Yerofeev
SOTS-ART.
Political Art in Russia

The Second Moscow Biennale of Contemporary Art has closed in the Russian capital, and as part of it the Tretyakov Gallery held a third exhibition in its long-term cycle “Trends in Russian Art”. Following the “Abstractions” and “Russian Pop-Art” shows, the new exhibition was dedicated to SotsArt, and the historical and typological retrospective of the same name was held between 2 March and 1 April 2007. Outside Russia, Sots-Art is, without doubt, the best-known trend in Soviet art of the second half of the 20th century. Alongside pieces by Russian artists, the “Sots-art” exhibition also showed work by their Chinese colleagues, who were greatly influenced by this movement. Occupying five rooms on the third floor of the Tretyakov Gallery on Krymsky Val, the exhibition covered approximately 2,000 square meters.

Tom Birchenough
A Double Portrait: Sargent and Sorolla

One of the main exhibitions of Winter 2006 in Madrid was an unprecedented “double” exhibition of the artists John Singer Sargent and Joaquin Sorolla, staged in two locations – the Thyssen-Bornemisza Museum, and the major central city exhibition hall, the Fundacion Caja Madrid. After its closure in Spain in January, it will run at the Petit Palais in Paris until May 13.

“Solomon’s Wall” in Moscow

Vasily Vereshchagin’s “Solomon’s Wall” (1884–1885) came to Russia for the first time and was exhibited for two weeks in March at the Tretyakov Gallery in the Vereshchagin Room, next to other works by this famous Russian artist.

Tatiana Mikhienko
The Konstantin Rozhdestvensky Centenary Exhibition

An important figure in late avant-garde art and a pupil of Kazimir Malevich, Konstantin Rozhdestvensky (1906–1997) is, nonetheless, little known to Russian art lovers. The current retrospective exhibition in the State Tretyakov Gallery is the first large-scale public showing of Rozhdestvensky’s drawings and paintings to take place in Russia.

Anna Ilina
Sculpture and the City

Today, visitors to the Tretyakov Gallery in Moscow’s historic Lavrushinsky Pereulok can also admire an open air exhibition of Alexander Burganov’s sculpture. An important event in the cultural life of the capital, this initiative forms part of a larger joint project between the State Tretyakov Gallery and the “Burganovs House” Moscow State Museum. Dedicated to the 150th anniversary of the Tretyakov Gallery, the project likewise includes a special exhibition in the Tretyakov Gallery on Krimsky Val.

Armando Ginesi
Italian Art of the 20th Century: Eminent Artists of the Marche region

Нет сомнения, что в XX веке одной из главных особенностей художественного творчества в Европе, и на Западе в целом, явился плюрализм. Начиная с импрессионизма, в движение был приведен мощный поток центробежных сил, который преумножил и распространил по всему свету различные формы образного выражения и достиг гигантских размеров с появлением после Второй мировой войны исторического авангардизма и неоавангардизма. Это активное продвижение новых форм временами замедлялось, прерывалось паузами, размышлениями, что влекло за собой новые и более стремительные взлеты отдельных художественных стилей.

Natella Voiskounski
“Revival” by Lora Verhovsky. The artist’s first solo-exhibition in Moscow

The Israeli artist Lora Verhovsky’s exhibition of largesize artworks made of leather and suede in the Museum of Applied Arts was a success – with numerous articles in the press, and sincere appreciation from Muscovites and visitors to the Russian capital. Thus the exhibition “Revival” enjoyed no less popularity than in Israel, and at least one of the attractions was the technique – the so-called “leather intarsia”.

 

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