Decorative art

America in Leon Bakst’s Life and Art

Yelena Terkel

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#2 2011 (31)

America in the eyes of the artists, actors and musicians of the Silver Age of Russian culture was an enigmatic and fabulously rich country - a country to go to on a tour or to earn money. Only a handful of such artists gradually came to view the New World as not just a source of income but also as a special cultural hub with distinct traditions and roots. One such was Leon Bakst, the Russian artist of international renown who spent the second half of his life in France.

America in Leon Bakst’s Life and Art

America in the eyes of the artists, actors and musicians of the Silver Age of Russian culture was an enigmatic and fabulously rich country - a country to go to on a tour or to earn money. Only a handful of such artists gradually came to view the New World as not just a source of income but also as a special cultural hub with distinct traditions and roots. One such was Leon Bakst, the Russian artist of international renown who spent the second half of his life in France.

A Shared Creativity. Romans Suta and Alexandra Belcova

Natalja Jevsejeva

Article: 
“GRANY” FOUNDATION PRESENTS
Magazine issue: 
#4 2011 (33)

There are a number of successful artistic couples in 20th-century Russian art: Robert and Sonia Delaunay, Mikhail Matyushin and Yelena Guro, Natalya Goncharova and Mikhail Larionov, Alexander Drevin and Nadezhda Udaltsova, Alexander Rodchenko and Varvara Stepanova. Latvian art had Alexandra Belcova (Aleksandra Beltsova) (1892-1981) and Romans (Roman) Suta (1896-1944). Three years ago, in October 2008, their former apartment in Riga became a museum — due to the efforts of their daughter, Tatiana Suta, who preserved her parents’ art and, with the participation of the Latvian National Museum of Art, their vast collection of paintings, drawings and decorative porcelain can now be seen by the art-loving public.

A Shared Creativity. Romans Suta and Alexandra Belcova

There are a number of successful artistic couples in 20th-century Russian art: Robert and Sonia Delaunay, Mikhail Matyushin and Yelena Guro, Natalya Goncharova and Mikhail Larionov, Alexander Drevin and Nadezhda Udaltsova, Alexander Rodchenko and Varvara Stepanova. Latvian art had Alexandra Belcova (Aleksandra Beltsova) (1892-1981) and Romans (Roman) Suta (1896-1944).

Yelena Polenova - The artist’s work in the collection of the Polenov Museum Reserve

Yelena Kashtanova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#4 2011 (33)

Yelena Polenova was gifted in graphics and drawing, painting, ceramics, and the decorative arts, as well as an accomplished collector, researcher and educator... Her diverse personality and creative quest has always posed certain challenges for scholars.

Yelena Polenova - The artist’s work in the collection of the Polenov Museum Reserve

“God forbid you worry that the subjects of your art are interesting to the public, or think about the public at all while working — only then can you be worthy of being called an artist.”
Yelena Polenova to Praskovia Antipova. 1883.

The Revealing of the Later Works by Marc Chagall: 1948-1985

Meret Meyer

Magazine issue: 
Special issue. Marc Chagall "BONJOUR, LA PATRIE!"

Some years ago the French critics reviewed the later work by Chagall as being repetitive, decorative and commercial. They placed greater homage and importance on the artistic innovation of his earlier work produced in Russia, and his first visit to Paris (1911-1914). Conversely the public, though, do not share the same opinion. At each successive exhibitions, the majority of viewers appear to universally agree that the later works from the artist's vaste oeuvre are part of a harmogenized continuum which predicate and conclude his entire works. Evidence is partly due to the number of major inclusions of post 1945 works in exhibitions throughout the world. Countries have increasingly demanded a holistic overview of his episodic creative output. Each country receiving a Chagall exhibition relates to it with their own historic and national perogatives. What Chagall does, by radiating his exquisite colour combinations and iconographical elements provides and emphathizes the different needs for the ever changing generations of viewers. Iconographical elements like exuberant flower bouquets, lovers and biblical interpretations are imbued with a universal language of peace, and consequently many diverse cultures find significant reference points in his work.

The Revealing of the Later Works by Marc Chagall: 1948-1985

 

At present it seems to me
Even if I draw back
I go ahead...1

The Theatre in the Biography of Marc Chagall

Alexandra Shatskikh

Magazine issue: 
Special issue. Marc Chagall "BONJOUR, LA PATRIE!"

Abram Efros's brilliant essay on the great artist contains the following disappointingly unfair lines. "It can now be said that Chagall made us pay a high price for his Jewish form of stage imagery. The theatre is simply not in his blood."1 These words reflect the conflict that arose in 1921 in the Jewish Chamber Theatre between Marc Chagall, on the one hand, and director Alexei Granovsky and Efros himself, in charge of design, on the other. Today this distant conflict and Efros's assessment of it merely serve to illustrate how stupendous, how overwhelming was the Vitebsk master's work in the theatre. For the best part of a century Marc Chagall showed on many occasions that there was a rich vein of theatre in his blood.

The Theatre in the Biography of Marc Chagall

Abram Efros's brilliant essay on the great artist contains the following disappointingly unfair lines. "It can now be said that Chagall made us pay a high price for his Jewish form of stage imagery. The theatre is simply not in his blood."1 These words reflect the conflict that arose in 1921 in the Jewish Chamber Theatre between Marc Chagall, on the one hand, and director Alexei Granovsky and Efros himself, in charge of design, on the other.

Valentin Serov. The Line of Life

Maria Ivanova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2012 (34)

Valentin Alexandrovich Serov (1865-1911) is a key figure in Russian art of the late-19th and early-20th centuries. The general public knows him first of all as a painter, although his graphic talent was appreciated even by his contemporaries. " Serov the graphic artist may be even more powerful than Serov the painter," wrote Igor Grabar. The exhibition "Valentin Serov. The Line of Life," on view at the Tretyakov Gallery from December 2011 until May 2012, traces the great artist's trajectory through his works held at the Tretyakov Gallery's graphic art department — many of which have not been publicly displayed before.

Valentin Serov. The Line of Life

Valentin Alexandrovich Serov (1865-1911) is a key figure in Russian art of the late-19th and early-20th centuries. The general public knows him first of all as a painter, although his graphic talent was appreciated even by his contemporaries. " Serov the graphic artist may be even more powerful than Serov the painter," wrote Igor Grabar. The exhibition "Valentin Serov.

Nikolai Rimsky-Korsakov’s opera “The Golden Cockerel”

Margarita Chizhmak

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2012 (34)

“This poor opera by Rimsky-Korsakov has been through so many ordeals! It turned out that it was not easier for the cockerel to go through theatre censorship than for a camel to go through the eye of a needle. It has lost so many feathers and so many colours...” That is how a contemporary in 1909 commented on the difficult staging of the opera “The Golden Cockerel” by Nikolai Rimsky-Korsakov

Nikolai Rimsky-Korsakov’s opera “The Golden Cockerel”

“This poor opera by Rimsky-Korsakov has been through so many ordeals! It turned out that it was not easier for the cockerel to go through theatre censorship than for a camel to go through the eye of a needle. It has lost so many feathers and so many colours...”1 That is how a contemporary in 1909 commented on the difficult staging of the opera “The Golden Cockerel” by Nikolai Rimsky-Korsakov.

Konstantin Korovin and His Workshop at the Bolshoi Theatre

Yekaterina Churakova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2012 (34)

Konstantin Korovin was employed at the Bolshoi Theatre in 1899 “to gain experience for six months”, and in 1903 he already held the office of artist and stage designer and librarian for the Imperial Theatres of Moscow and St.Petersburg, and from 1910 was the chief stage designer of the Imperial Theatres.

Konstantin Korovin and His Workshop at the Bolshoi Theatre

Konstantin Korovin was employed at the Bolshoi Theatre in 1899 “to gain experience for six months”, and in 1903 he already held the office of artist and stage designer and librarian for the Imperial Theatres of Moscow and St.Petersburg, and from 1910 was the chief stage designer of the Imperial Theatres.

Lucky Thirteen

Tatiana Mikhailova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#4 2014 (45)

THE FIRST EXHIBITION OF THE ARTWORK OF THE MEMBERS OF THE DEPARTMENT OF THEATRICAL AND CINEMA DECORATIVE ART OF THE RUSSIAN ACADEMY OF ARTS WAS SHOWN AT THE ZURAB TSERETELI ART GALLERY FROM FEBRUARY 4 TO MARCH 16, AND COUNTED BOTH AS A PRESENTATION AND THE DEPARTMENT'S PERFORMANCE REVIEW. THE RUSSIAN TITLE OF THE EXHIBITION, "13-PLUS", REFLECTED THE NUMBER OF PARTICIPATING ARTISTS, ALL LEADING EXPERTS IN THIS FORM OF ART.

Lucky Thirteen

THE FIRST EXHIBITION OF THE ARTWORK OF THE MEMBERS OF THE DEPARTMENT OF THEATRICAL AND CINEMA DECORATIVE ART OF THE RUSSIAN ACADEMY OF ARTS WAS SHOWN AT THE ZURAB TSERETELI ART GALLERY FROM FEBRUARY 4 TO MARCH 16, AND COUNTED BOTH AS A PRESENTATION AND THE DEPARTMENT'S PERFORMANCE REVIEW. THE RUSSIAN TITLE OF THE EXHIBITION, "13-PLUS", REFLECTED THE NUMBER OF PARTICIPATING ARTISTS, ALL LEADING EXPERTS IN THIS FORM OF ART.

The History of the Tauride Palace Wall Paintings

Veronica Bogdan

Article: 
HERITAGE
Magazine issue: 
#4 2014 (45)

GRIGORY POTEMKIN WAS THE FIRST OWNER OF THE TAURIDE PALACE IN ST. PETERSBURG, WHICH WAS BUILT IN 1783-1789 TO AN ARCHITECTURAL PROJECT BY IVAN STAROV. THE MANSION'S ORIGINAL NAME WAS THE "HORSE GUARDS HOUSE" AND IT WAS INTENDED ONLY FOR CEREMONIAL RECEPTIONS. ON APRIL 28 1791 IT WAS WHERE HIS HIGHNESS THE FIELD MARSHALL GENERAL, NOVOROSSIYSK GOVERNOR GENERAL AND CONQUEROR OF THE CRIMEA THREW A GRAND BALL IN HONOUR OF CATHERINE THE GREAT AND THE TAKLNG OF ISMAIL. IN AUGUST 1792 THE PALACE REVERTED TO THE CROWN IN REPAYMENT OF THE DEBTS OF THE SUDDENLY DECEASED PRINCE. THE FUNDS FOR FURTHER ALTERATIONS INTENDED BY POTEMKLN (FOR WHICH FYODOR VOLKOV HAD BEEN ENGAGED) AND THE PERFECTION OF THE PARK WERE NOW COMING FROM THE EMPRESS. SHE TOOK SO MUCH OF A FANCY TO THE PALACE THAT SHE MOVED INTO IT AS HER NEW RESIDENCE AS EARLY AS SEPTEMBER 1792 WITHOUT WAITING FOR CONSTRUCTION WORK TO BE COMPLETED.

The History of the Tauride Palace Wall Paintings

GRIGORY POTEMKIN WAS THE FIRST OWNER OF THE TAURIDE PALACE IN ST. PETERSBURG, WHICH WAS BUILT IN 1783-1789 TO AN ARCHITECTURAL PROJECT BY IVAN STAROV. THE MANSION'S ORIGINAL NAME WAS THE "HORSE GUARDS HOUSE" AND IT WAS INTENDED ONLY FOR CEREMONIAL RECEPTIONS. ON APRIL 28 1791 IT WAS WHERE HIS HIGHNESS THE FIELD MARSHALL GENERAL, NOVOROSSIYSK GOVERNOR GENERAL AND CONQUEROR OF THE CRIMEA THREW A GRAND BALL IN HONOUR OF CATHERINE THE GREAT AND THE TAKLNG OF ISMAIL. IN AUGUST 1792 THE PALACE REVERTED TO THE CROWN IN REPAYMENT OF THE DEBTS OF THE SUDDENLY DECEASED PRINCE.

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