Giorgio de Chirico

Sergei Diaghilev's "Ballets Russes" on the Tretyakov Gallery Stage

Yevgenia Ilyukhina, Irina Shumanova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2009 (24)

Sergei Diaghilev occupies a special place in the culture of the 20th century – many publications have analysed his personality and artistic projects. But who can state that the puzzle of Diaghilevʼs infinite creativity has been unriddled. For many, he is not so much a real person as a composite figure of the ideal impresario, in whom the talent of an organizer was married to an exceptional sensitivity and receptivity to any innovation in art and, of course, the faculty for finding like-minded individuals and financing for his projects.

Sergei Diaghilev's "Ballets Russes" on the Tretyakov Gallery Stage

SERGEI DIAGHILEV OCCUPIES A SPECIAL PLACE IN THE CULTURE OF THE 20TH CENTURY - MANY PUBLICATIONS HAVE ANALYSED HIS PERSONALITY AND ARTISTIC PROJECTS. BUT WHO CAN STATE THAT THE PUZZLE OF DIAGHILEV'S INFINITE CREATIVITY HAS BEEN UNRIDDLED? FOR MANY, HE IS NOT SO MUCH A REAL PERSON AS A COMPOSITE FIGURE OF THE IDEAL IMPRESARIO, IN WHOM THE TALENT OF AN ORGANIZER WAS MARRIED TO AN EXCEPTIONAL SENSITIVITY AND RECEPTIVITY TO ANY INNOVATION IN ART AND, OF COURSE, THE FACULTY FOR FINDING LIKE-MINDED INDIVIDUALS AND FINANCING FOR HIS PROJECTS.

THE COLLECTIVE UNCONSCIOUS: The Story of the Emergence of Enigmatic Images of Surrealism

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2011 (30)

The exhibition “The Collective Unconscious: Graphic Works of Surrealism from de Chirico to Magritte” opened at the beginning of March 2011 at the State Historical Museum of Russia, Moscow. Initiated by InArtis Project, the exhibition gave a rare opportunity to get acquainted with the art works of Giorgio de Chirico, Max Ernst, Salvador Dali and René Magritte from private collections from Europe and the USA, and aimed to show the development of the visual concept of Surrealism - the story of the emergence of the images of Surrealism and their further development as a distinct phenomenon. The graphic works at the exhibition show the viewer not only different works by acknowledged masters that are stylistically different in themselves, but also illustrate the development of Surrealism itself.
The first exhibition of Surrealist artists took place in 1925 in Paris, its participants including painters as diverse as Giorgio de Chirico, Paul Klee, Max Ernst, Joan Miro, and Pablo Picasso. In the opinion of Andre Breton the new art had to express the secret desires and needs of all people; to grasp this art, viewers only had to have a receptive mind and the spontaneity of a child.

THE COLLECTIVE UNCONSCIOUS: The Story of the Emergence of Enigmatic Images of Surrealism

InArtis Project presents in Moscow the graphic works of the notable modern and contemporary Surrealistic artists.

Art Beyond Fascism

Alexander Rozhin

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
#4 2012 (37)

Running at Florence’s Palazzo Strozzi until the end of January 2013, the exhibition “The Thirties. The Arts in Italy Beyond Fascism” features artists who came to public notice after exhibiting at the Venice Biennales during Italy’s Fascist era. It provides an opportunity to cast a fresh look at the artistic culture of this tragic historical period of European civilisation in the 20th century – one with regard to which there has been little variance of opinion to date among its interpreters and judges.

Art Beyond Fascism

RUNNING AT FLORENCE'S PALAZZO STROZZI UNTIL THE END OF JANUARY 2013, THE EXHIBITION "THE THIRTIES. THE ARTS IN ITALY BEYOND FASCISM" FEATURES ARTISTS WHO CAME TO PUBLIC NOTICE AFTER EXHIBITING AT THE VENICE BIEN-NALES DURING ITALY'S FASCIST ERA. IT PROVIDES AN OPPORTUNITY TO CAST A FRESH LOOK AT THE ARTISTIC CULTURE OF THIS TRAGIC HISTORICAL PERIOD OF EUROPEAN CIVILISATION IN THE 20TH CENTURY - ONE WITH REGARD TO WHICH THERE HAS BEEN LITTLE VARIANCE OF OPINION TO DATE AMONG ITS INTERPRETERS AND JUDGES.

Art Beyond Fascism

Alexander Rozhin

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
#4 2013 (41)

RUNNING AT FLORENCE'S PALAZZO STROZZI UNTIL THE END OF JANUARY 2013, THE EXHIBITION "THE THIRTIES. THE ARTS IN ITALY BEYOND FASCISM" FEATURES ARTISTS WHO CAME TO PUBLIC NOTICE AFTER EXHIBITING AT THE VENICE BIEN-NALES DURING ITALY'S FASCIST ERA. IT PROVIDES AN OPPORTUNITY TO CAST A FRESH LOOK AT THE ARTISTIC CULTURE OF THIS TRAGIC HISTORICAL PERIOD OF EUROPEAN CIVILISATION IN THE 20TH CENTURY - ONE WITH REGARD TO WHICH THERE HAS BEEN LITTLE VARIANCE OF OPINION TO DATE AMONG ITS INTERPRETERS AND JUDGES.

2013_4_art_09_th.jpg

RUNNING AT FLORENCE'S PALAZZO STROZZI UNTIL THE END OF JANUARY 2013, THE EXHIBITION "THE THIRTIES. THE ARTS IN ITALY BEYOND FASCISM" FEATURES ARTISTS WHO CAME TO PUBLIC NOTICE AFTER EXHIBITING AT THE VENICE BIEN-NALES DURING ITALY'S FASCIST ERA. IT PROVIDES AN OPPORTUNITY TO CAST A FRESH LOOK AT THE ARTISTIC CULTURE OF THIS TRAGIC HISTORICAL PERIOD OF EUROPEAN CIVILISATION IN THE 20TH CENTURY - ONE WITH REGARD TO WHICH THERE HAS BEEN LITTLE VARIANCE OF OPINION TO DATE AMONG ITS INTERPRETERS AND JUDGES.

Sergei Diaghilev's "Ballets Russes" on the Tretyakov Gallery Stage

Yevgenia Ilyukhina, Irina Shumanova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2013 (40)

Sergei Diaghilev occupies a special place in the culture of the 20th century – many publications have analysed his personality and artistic projects. But who can state that the puzzle of Diaghilevʼs infinite creativity has been unriddled. For many, he is not so much a real person as a composite figure of the ideal impresario, in whom the talent of an organizer was married to an exceptional sensitivity and receptivity to any innovation in art and, of course, the faculty for finding like-minded individuals and financing for his projects.

2013_3_art_09_th.jpg

SERGEI DIAGHILEV OCCUPIES A SPECIAL PLACE IN THE CULTURE OF THE 20TH CENTURY - MANY PUBLICATIONS HAVE ANALYSED HIS PERSONALITY AND ARTISTIC PROJECTS. BUT WHO CAN STATE THAT THE PUZZLE OF DIAGHILEV'S INFINITE CREATIVITY HAS BEEN UNRIDDLED? FOR MANY, HE IS NOT SO MUCH A REAL PERSON AS A COMPOSITE FIGURE OF THE IDEAL IMPRESARIO, IN WHOM THE TALENT OF AN ORGANIZER WAS MARRIED TO AN EXCEPTIONAL SENSITIVITY AND RECEPTIVITY TO ANY INNOVATION IN ART AND, OF COURSE, THE FACULTY FOR FINDING LIKE-MINDED INDIVIDUALS AND FINANCING FOR HIS PROJECTS.

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