Collection of art

Science into Art, Art into Science

Marina Vaizey

Article: 
"GRANY" FOUNDATION PRESENTS
Magazine issue: 
#2 2016 (51)

THE GENIUS OF JOSIAH WEDGWOOD, THE 18TH-CENTURY BRITISH CERAMICIST WHOSE TASTES, AND TECHNICAL INNOVATIONS, CAME TO DEFINE THE ART OF HIS GENERATION, IS THE SUBJECT OF THE EXHIBITION "UNRIVALLED WEDGWOOD" AT MOSCOW'S MUSEUM OF THE APPLIED AND FOLK ARTS RUNNING THROUGH NOVEMBER AND DECEMBER 2014, PART OF THE ONGOING UK-RUSSIA YEAR OF CULTURE. IT BRINGS TOGETHER WORKS FROM THE LADY LEVER ART GALLERY IN LIVERPOOL WITH PIECES FROM THE HERMITAGE AND OTHER RUSSIAN COLLECTIONS - CATHERINE THE GREAT WAS AMONG WEDGWOOD'S FIRST INTERNATIONAL COLLECTORS.

Science into Art, Art into Science

DISTINGUISHED VISITORS: A RUSSIAN CULTURAL PANTHEON IN LONDON

Rosalind P. Blakesley

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#2 2016 (51)

The epochal exhibition “Russia and the Arts: The Age of Tolstoy and Tchaikovsky” runs at London’s National Portrait Gallery until June 26, bringing the pride of Russia’s 19th-century cultural pantheon to the UK. Its British curator Rosalind P. Blakesley recalls the origins, development and ambitions of this major Anglo-Russian cultural collaboration.

DISTINGUISHED VISITORS: A RUSSIAN CULTURAL PANTHEON IN LONDON

The epochal exhibition “Russia and the Arts: The Age of Tolstoy and Tchaikovsky” runs at London’s National Portrait Gallery until June 26, bringing the pride of Russia’s 19th-century cultural pantheon to the UK. Its British curator Rosalind P. Blakesley recalls the origins, development and ambitions of this major Anglo-Russian cultural collaboration.

ART PASSIONS

Article: 
COLLECTORS AND COLLECTIONS
Magazine issue: 
#1 2010 (26)

Collecting artwork is a passion - one which can develop in many different ways. Private collections become themed collections, then later part of a museum or museum holding. Thus, the Tretyakov Gallery was initially the private collection of Pavel Mikhailovich and Sergei Mikhailovich Tretyakov; equally, the holdings of the Museum of Private Collections originated from several private collections put together by famous individuals. Valery Dudakov, one of the most influential Russian collectors - respectfully called “Patriarch” by his fellow art lovers - has plans to transfer his collection to this museum. Employed as an expert by the auction houses such as Sotheby’s, Christie’s and Phillips, he has written two books and dozens of articles about both artists of the first third of the 20th century and nonconformist artists, and made five films.

ART PASSIONS

Mikhail Ivanovich Kurilko and the History of His Collection

Mikhail Kurilko-Ryumin

Article: 
ART COLLECTORS AND PATRONS
Magazine issue: 
#2 2010 (27)

It would not be an overstatement to say that my father Mikhail Ivanovich Kurilko (1880-1969) was a legendary person. Over the course of his long life full of various adventures and reversals of fortune he accomplished a great deal. And most essentially, although in terms of pure numbers his achievements in different fields of knowledge, art and science look fairly modest, the mark he left in each is tangible; his name was quite famous in the last century, and many gratefully remember him to this day.

Mikhail Ivanovich Kurilko and the History of His Collection

It would not be an overstatement to say that my father Mikhail Ivanovich Kurilko (1880-1969) was a legendary person. Over the course of his long life full of various adventures and reversals of fortune he accomplished a great deal. And most essentially, although in terms of pure numbers his achievements in different fields of knowledge, art and science look fairly modest, the mark he left in each is tangible; his name was quite famous in the last century, and many gratefully remember him to this day.

Discovering the World. Drawings of the French masters from the Louvre and Musee d’Orsay in the Tretyakov Gallery

Catherine Loisel

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#2 2010 (27)

The richness and variety of the graphic art collection of the Louvre Museum always makes it of particular interest. The subject chosen for the exhibition in Moscow was the journeys of European artists - from the late 16th to the 19th centuries.

Discovering the World. Drawings of the French masters from the Louvre and Musee d’Orsay in the Tretyakov Gallery

The richness and variety of the graphic art collection of the Louvre Museum always makes it of particular interest. The subject chosen for the exhibition in Moscow was the journeys of European artists - from the late 16th to the 19th centuries.

Desert TREASURE. JACQUES LIPCHITZ AT THE UNIVERSITY OF ARIZONA MUSEUM OF ART

Lisa Fischman

Magazine issue: 
Special issue N1. USA–RUSSIA: ON THE CROSSROADS OF CULTURES

Russian artists, or as they are usually referred to “artists of Russian origin" - those who left Russia for good at the beginning ofthe 20 th century, and won recognition and fame abroad and whose artworks are represented in almost all world-famous museum collections - no doubt constitute an invaluable part of the Russian cultural heritage. Jacques Lipchitz (1891-1973), a renowned sculptor of the 20th century, is no exception. His bright extraordinary creative activity started in France and ended in the USA. In 1928, the outstanding Russian art critic Abram Efros called Lipchitz's sculptural work "the highest and most dominant point of the Russian intrusion" into the art of the West. Lipchitz became one of the most notable adepts and advocates of Cubism and he persistently applied Cubist principles in his works, gaining enthusiastic recognition from both connoisseurs and the general public. Over time Lipchitz drew back from the movement, though in his monumental and easel works continued to visualize expressive deformations of organic natural forms, boldly shifting flat planes, resulting in a structural angularity; later he came to a looser spatial play. Lipchitz's first solo exhibition was held in 1920 and many have followed since then. After his grand exhibition at New York’s MOMA, retrospective exhibitions have been organized all over the world - at the Tate Gallery in London, in many European cities, as well as in Israel and the USA. Lipchitz's sculptures are eyecatching attractions of many a square and public building, and the artist was decorated with special awards from a number of academies and universities. In 1946 Lipchitz was awarded the Order of the Legion of Honour. Lipchitz's heritage is carefully preserved in many museums, some of which are world famous, while others are of regional importance, like the University of Arizona Museum of Art in Tucson, Arizona, situated close to the Mexican border. The author of the article, devoted to the unique collection of the sculptor’s work, is Dr. Lisa Fischman, Chief Curator of the University of Arizona Museum of Art.

Desert TREASURE. JACQUES LIPCHITZ AT THE UNIVERSITY OF ARIZONA MUSEUM OF ART

Russian artists, or as they are usually referred to “artists of Russian origin" - those who left Russia for good at the beginning ofthe 20 th century, and won recognition and fame abroad and whose artworks are represented in almost all world-famous museum collections - no doubt constitute an invaluable part of the Russian cultural heritage. Jacques Lipchitz (1891-1973), a renowned sculptor of the 20th century, is no exception. His bright extraordinary creative activity started in France and ended in the USA.

Sotheby's. WHERE RUSSIAN ART TRIUMPHS

Sonya Bekkerman

Article: 
ART MARKET
Magazine issue: 
Special issue N2. USA–RUSSIA: ON THE CROSSROADS OF CULTURES

"Sexy” perfectly defines the current state of the Russian art market - appealing, interesting, stimulating and inviting. Since the late 1990s Russian art has steadily emerged as one of the most dramatic, dynamic and exciting collecting areas. The meteoric rise in prices achieved each season at auction captivates every business and art-related paper and journal. Conjecture abounds in media headlines that address successful auction buyers in a most reductionist manner, the “mysterious Russian,” or the “anonymous Ukrainian;” these are the new heroes who buttress auction sales across different collecting categories. Individuals from different industries scramble to uncover identities and dissect collecting patterns. Who are these masked individuals? How can we characterize their collecting behavior?

Sotheby's. WHERE RUSSIAN ART TRIUMPHS

 

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.

THE SILVER AGE OF THE RUSSIAN POSTER

Alexandra Terentieva

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#2 2011 (31)

The exhibition “Irrelevant Advertising. Russian Posters of the Early 20th Century” presents a collection of posters, now held at the Tretyakov Gallery, that were produced before the Bolshevik revolution. At the core of this collection are those put together by Fedor Fedorov and acquired by the museum in 1933. The art scholar Alexei Korostin wrote about Fedorov in 1950: “A collector of posters and bookplates, in other words - a partisan of the extremes who collected either very big or very small items.” A separate section is devoted to playbills the gallery received, in 1989, as a part of Mikhail Larionov’s and Natalya Goncharova’s “Parisian legacy” gifted to the museum in accordance with the will of Larionov’s widow, Alexandra Larionova-Tomilina.

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The exhibition “Irrelevant Advertising. Russian Posters of the Early 20th Century” presents a collection of posters, now held at the Tretyakov Gallery, that were produced before the Bolshevik revolution. At the core of this collection are those put together by Fedor Fedorov and acquired by the museum in 1933.

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