Art of Spain

PICASSO AND RUSSIA

Vitaly Mishin

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2010 (26)

Of all the Picasso shows held in Russia during at least the last 50 years, the 2010 exhibition is the biggest and most representative. Other features, too, lend to this event a certain "Russian touch": the assortment of pictures on display includes several pieces from the Pushkin Museum; the show also has a whole section devoted to Sergei Diaghilev's "Ballets Russes", and presents archival documents relating to the friendship between Picasso and Ilya Ehrenburg. This article provides only highlights of the long history of the relationship between Picasso and Russia.

PICASSO AND RUSSIA

SPANISH ART: THE CONTEMPORARY PERIOD

Enrique Andrés Ruiz

Magazine issue: 
#4 2015 (49)

There must have existed some moment, all but forgotten now, when the expression "contemporary art" was still capable of alluding to a particular historical reality in the art world. That reality would have provided a sufficiently natural link of continuity between the ancient and modern historical - artistic account with a new chapter. But today we know - and above all feel - that contemporary art (and the idea of the "contemporary" in general) can no longer be just another episode in the wider story, despite the fact that museums and historians find their raison d'être in this "narrative inertia".

SPANISH ART: THE CONTEMPORARY PERIOD

Dedicated to Emilio Vilanova Martinez-Frias

TAHIR SALAKHOV'S SPANISH NOVELLAS

Anna Ilina

Magazine issue: 
#4 2015 (49)

There are few places outside Spain itself where people have as deep and thorough an appreciation of Spanish culture, literature, drama, fine arts, cinema, philosophy and aesthetics as in Russia. As for the visual arts, some remarkable scholarly publications by Russian historians, art experts and critics dedicated to the masters of Spanish painting and drawing deserve to be particularly remembered. Among them are Igor Golomshtok's and Nina Dmitrieva's monographs on Picasso, Oleg Prokofiev's works on Goya's prints, Alexander Yakimovich's works on the portraits of Velázquez, as well as the first monograph on Salvador Dali's art published in Russian, "Salvador Dali: Myths and Reality" by Alexander Rozhin - the former King of Spain Juan Carlos honoured that work with a special acknowledgement - and many other equally worthy publications.

TAHIR SALAKHOV'S SPANISH NOVELLAS

There are few places outside Spain itself where people have as deep and thorough an appreciation of Spanish culture, literature, drama, fine arts, cinema, philosophy and aesthetics as in Russia. As for the visual arts, some remarkable scholarly publications by Russian historians, art experts and critics dedicated to the masters of Spanish painting and drawing deserve to be particularly remembered.

DEDICATION TO A GENIUS*

Alexander Rozhin

Magazine issue: 
#4 2015 (49)

Many a creative genius of 20th-century art was overshadowed by the two great Spaniards - Salvador Dali and Pablo Picasso. Nobody was discussed, disputed or written about as much as they were; no other artist's work was covered as extensively as that of these two titans in books, albums, brochures and articles.

DEDICATION TO A GENIUS

* www.tretyakovgallerymagazine.com/articles/3-2011-32/dedication-genius

Many a creative genius of 20th-century art was overshadowed by the two great Spaniards - Salvador Dali and Pablo Picasso. Nobody was discussed, disputed or written about as much as they were; no other artist's work was covered as extensively as that of these two titans in books, albums, brochures and articles.

PICASSO AND RUSSIA

Vitaly Mishin

Magazine issue: 
#4 2015 (49)

Of all the Picasso shows held in Russia during at least the last 50 years, the 2010 exhibition is the biggest and most representative. Other features, too, lend to this event a certain "Russian touch": the assortment of pictures on display includes several pieces from the Pushkin Museum; the show also has a whole section devoted to Sergei Diaghilev's "Ballets Russes", and presents archival documents relating to the friendship between Picasso and Ilya Ehrenburg. This article provides only highlights of the long history of the relationship between Picasso and Russia.

PICASSO AND RUSSIA

Of all the Picasso shows held in Russia during at least the last 50 years, the 2010 exhibition is the biggest and most representative. Other features, too, lend to this event a certain "Russian touch": the assortment of pictures on display includes several pieces from the Pushkin Museum; the show also has a whole section devoted to Sergei Diaghilev's "Ballets Russes", and presents archival documents relating to the friendship between Picasso and Ilya Ehrenburg.

Museums: IDENTITY AND CREATION

Manuel Arias Martinez

Magazine issue: 
#4 2015 (49)

This panorama of the museums of Spain focuses on collections that represent a true symbol of the country's identity. In a wonderful way museums bring back to society that which society itself has created, reinterpreting and re-presenting the best of a nation's "personality" through the objects that have endured as a testimony of its history. This journey through some of Spain's most notable Fine Art museums, especially those outside Madrid, allows us to delve deep into Spanish culture and character.

Museums: IDENTITY AND CREATION

This panorama of the museums of Spain focuses on collections that represent a true symbol of the country's identity. In a wonderful way museums bring back to society that which society itself has created, reinterpreting and re-presenting the best of a nation's "personality" through the objects that have endured as a testimony of its history. This journey through some of Spain's most notable Fine Art museums, especially those outside Madrid, allows us to delve deep into Spanish culture and character.

ALEXANDER GOLOVIN AND SPAIN

Tom Birchenough

Magazine issue: 
#4 2015 (49)

"Golovin visited Spain only three or four times - less than France, Germany or Italy, to which he travelled in the years before World War I almost every year. But Spain became something of a poetic homeland for the artist, and a lasting source of inspiration for him. Golovin studied the Spanish language, knew the country's history, literature, music and art very well... [The works he painted on Spanish themes and his theatrical productions involving Spanish motifs] can only be termed 'genre' works in the loosest sense, rather they are painting-remembrances, painting-fantasies, in which Golovin expressed his painterly view of Spain, and his feeling for the Spanish national character."

ALEXANDER GOLOVIN AND SPAIN

"Golovin visited Spain only three or four times - less than France, Germany or Italy, to which he travelled in the years before World War I almost every year. But Spain became something of a poetic homeland for the artist, and a lasting source of inspiration for him. Golovin studied the Spanish language, knew the country's history, literature, music and art very well...

NATALIA GONCHAROVA'S SPANISH EXTRAVAGANZA

Yevgenia Ilyukhina

Magazine issue: 
#4 2015 (49)

Goncharova's discovery of Spain, through a journey undertaken with her husband Mikhail Larionov in 1916 on the invitation of Sergei Diaghilev, would profoundly influence the artist's work, marking both her painting and her frequent ballet and theatre design projects.

NATALIA GONCHAROVA'S SPANISH EXTRAVAGANZA

Goncharova's discovery of Spain, through a journey undertaken with her husband Mikhail Larionov in 1916 on the invitation of Sergei Diaghilev, would profoundly influence the artist's work, marking both her painting and her frequent ballet and theatre design projects.

THE THYSSEN-BORNEMISZA MUSEUM. A journey through the history of art in the centre of Madrid

José María Goicoechea

Magazine issue: 
#4 2015 (49)

The English King Henry VIII, as portrayed by Hans Holbein, lives alongside a Picasso harlequin in the same palace in the centre of Madrid. Canaletto's Venice landscapes mingle with street scenes of Berlin created by Grosz, while self-portraits by Rembrandt and Lucien Freud share the walls. The "Portrait of Giovanna Tornabuoni" by Ghirlandaio and Lichtenstein's "Woman in Bath" offer different visions of serenity, as Caravaggio's "Santa Catalina" and "Santa Casilda" by Zurbarán try to match one another in holiness. Famous faces by Hopper with El Greco, or Matisse with Cézanne take in the scene.

THE THYSSEN-BORNEMISZA MUSEUM. A journey through the history of art in the centre of Madrid

The English King Henry VIII, as portrayed by Hans Holbein, lives alongside a Picasso harlequin in the same palace in the centre of Madrid. Canaletto's Venice landscapes mingle with street scenes of Berlin created by Grosz, while self-portraits by Rembrandt and Lucien Freud share the walls. The "Portrait of Giovanna Tornabuoni" by Ghirlandaio and Lichtenstein's "Woman in Bath" offer different visions of serenity, as Caravaggio's "Santa Catalina" and "Santa Casilda" by Zurbarán try to match one another in holiness.

THE PRADO NATIONAL MUSEUM

Pablo Jiménez Díaz

Magazine issue: 
#4 2015 (49)

Any museum, especially a national museum, is also a history book. We enter it to contemplate the individual works it holds: to enjoy and, to the degree we can, understand them individually. But a museum also has its own melody in addition to the individual notes, and to comprehend that single entity, composed from objects that are often widely divergent, is to understand a piece of history. Not only, not even mainly, about the artists' history but rather of the people who looked at them, then organized and arranged the works. The museum's sensibility comes into play in that history, and with that the circumstances surrounding it, the society, its government and political elements, its faith and beliefs, and perhaps also the ways in which those beliefs have changed. The impulse behind collecting and the forms of displaying each period are children of their time and, as such, museums bring that time-stamp with them.

THE PRADO NATIONAL MUSEUM

Any museum, especially a national museum, is also a history book. We enter it to contemplate the individual works it holds: to enjoy and, to the degree we can, understand them individually. But a museum also has its own melody in addition to the individual notes, and to comprehend that single entity, composed from objects that are often widely divergent, is to understand a piece of history. Not only, not even mainly, about the artists' history but rather of the people who looked at them, then organized and arranged the works.

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