Graphic

The Image of St. Petersburg in the Work of Anna Ostroumova-Lebedeva

Dmitry Shvidkovsky

Article: 
HERITAGE
Magazine issue: 
#2 2021 (71)

On the 150th Anniversary of Anna Ostroumova-Lebedeva’s Birth St. Petersburg had neither a Piranesi, like Rome, nor a Canaletto, like Venice - the city on the Neva lacked an artist who would devote themselves entirely to glorifying it. In the mid 18th century, Mikhail Makhaev could have been such an artist, but the times would not allow it: having completed a number of glorious etchings of Baroque Petersburg, he was forced to turn to other, more practical projects. At the end of the same century, this was again the case with Fyodor Alekseyev, the creator of wonderful landscape panoramas of the Northern Capital, who was obliged to devote the majority of his canvases to Moscow.

The Image of St. Petersburg in the Work of Anna Ostroumova-Lebedeva

On the 150th Anniversary of Anna Ostroumova-Lebedeva’s Birth

The article contains the artworks of Anna Ostroumova-Lebedeva from private collections. The photographs of Anna Ostroumova-Lebedeva were made by her student Nikolai Sinitsyn and were provided by his family.

Tears and Smiles in the Graphics of Igor Smirnov

Anton Ainutdinov

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#4 2019 (65)

The acclaimed artist-caricaturist Igor Smirnov marked his 75th birthday this year with an exhibition that ran through July 2019 at the Russian Academy of Arts. Titled “This Is Us!”, the show brought together some 80 of his caricatures and graphic works, including pieces drawn from his renowned series “All About Don Quixote” and his recent “Ship 1” and “Ship 2”.

Tears and Smiles in the Graphics of Igor Smirnov

The acclaimed artist-caricaturist Igor Smirnov marked his 75th birthday this year with an exhibition that ran through July 2019 at the Russian Academy of Arts. Titled “This Is Us!”, the show brought together some 80 of his caricatures and graphic works, including pieces drawn from his renowned series “All About Don Quixote” and his recent “Ship 1” and “Ship 2”.

The Novosibirsk Biennale of Graphic Arts

Vladimir Nazansky

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#4 2005 (09)

The Graphic Arts Biennale has been held since 1999 in Novosibirsk, a major city in Siberia and a scientific, economic and cultural centre situated almost in the heart of Russia. The Biennale's main objective is to create a rich artistic context in Novosibirsk, and bring the authenticity of Siberian artistic life into a wider cultural process. In a relatively short time the Biennale has managed to make its mark not only in Siberia but also on a wider front in Russia and abroad. This year's Graphic Arts Biennale represented Russia at the oldest graphic arts forum in the world, the 26th Ljubljana Biennale of Graphic Arts (from June 24 to October 2, 2005). Now the Novosibirsk Biennale is opening again...

The Novosibirsk Biennale of Graphic Arts

The Graphic Arts Biennale in Novosibirsk

Whistler and Russia

Galina Andreeva

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#4 2006 (13)

Early in the 1990s a professor from Simon Fraser University in Canada, Evelyn Harden, was working in the Tretyakov Gallery archives. Preparing for the publication of the journals of James McNeill Whistler's mother, she requested help in searching for information about the artist's Russian mentor, Alexander Koritsky. It was Evelyn Harden who drew my attention to a little known but important fact in Whistler's biography - the years he spent in Russia, the country that this unconventional individual, with a penchant for "deliberate pranksterism" and hoaxes, called the cradle of his talent. As a researcher of the international contacts associated with Russian art, I became interested in the subject of Whistler and Russia because of its apparent impossibility. Fifteen years later this project has materialized in the exhibition "Whistler and Russia" which is to be held at the Tretyakov Gallery from 7 December 2006 to 15 February 2007. It will be one of the most remarkable events in the international programme celebrating the Tretyakov Gallery's 150th anniversary.

Whistler and Russia

Early in the 1990s a professor from Simon Fraser University in Canada, Evelyn Harden, was working in the Tretyakov Gallery archives. Preparing for the publication of the journals of James McNeill Whistler's mother, she requested help in searching for information about the artist's Russian mentor, Alexander Koritsky.

A Premonition of the Future. THE GRAPHIC WORKS OF VASILY CHEKRYGIN FROM THE COLLECTION OF THE TRETYAKOV GALLERY

Yelizaveta Yefremova

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#2 2018 (59)

The 120th anniversary of the birth of Vasily Chekrygin (1897-1922), the painter and graphic artist whose work many influential critics have called unique in the visual arts of the 1910s-1920s, fell on January 19 2017 Timed to coincide with that anniversary and organized as part of the project “The Tretyakov Gallery Opens Its Reserve Collections”, the show introduced the public to the Tretyakov’s collection of Chekrygin’s graphic works.

A Premonition of the Future. THE GRAPHIC WORKS OF VASILY CHEKRYGIN FROM THE COLLECTION OF THE TRETYAKOV GALLERY

“The subject of my art is the human spirit...”[1]
Vasily Chekrygin

An "Historic" Exhibition GRAPHIC ART FROM THE STATE HISTORICAL MUSEUM

Anastasia Vasilchenko, Yevgeny Lukyanov

Article: 
HERITAGE
Magazine issue: 
#2 2018 (59)

The exhibition “Masterpieces of Russian Graphics from the Collection of the Historical Museum. Drawings and Watercolours, 18th-19th Century” at the Tretyakov Gallery showcases the volume and quality of the graphic art held by this unique Moscow institution. It offers a comprehensive and lively overview of a vast and diverse collection, tracing the evolution of Russian graphic art from its inception in the 18th century through to the end of the 19th century.

An "Historic" Exhibition GRAPHIC ART FROM THE STATE HISTORICAL MUSEUM

The exhibition “Masterpieces of Russian Graphics from the Collection of the Historical Museum. Drawings and Watercolours, 18th-19th Century” at the Tretyakov Gallery showcases the volume and quality of the graphic art held by this unique Moscow institution. It offers a comprehensive and lively overview of a vast and diverse collection, tracing the evolution of Russian graphic art from its inception in the 18th century through to the end of the 19th century.

"Meeting Modigliani" - at the Pushkin Museum of Fine Arts

Vitaly Mishin

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#2 2007 (15)

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).

"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.

On Pavel Zaltsman Walking Through the Night...

Natalya Apchinskaya

Article: 
HERITAGE
Magazine issue: 
#4 2007 (17)

A solo exhibition of paintings, watercolours and drawings by Pavel Zaltsman (1912-1985) from the funds of the Tretyakov Gallery and the collection of the artist’s family opened in October in the halls of the permanent exhibition of 20th Century Art. A disciple of Pavel Filonov, Zaltsman was never overpowered by his teacher’s influence and preserved his own artistic identity, having borrowed from Filonov the latter’s approach to the presentation of images most characteristic of the tragic collisions of the 20th century alongside basic metaphysical elements. This rather small exhibition showcased paintings, watercolours, and drawings in ink and pencil, and gave viewers an opportunity to see the main motifs of Zaltsman’s works and his creative retrospective career starting from the first professionally made drawings of the early 1920s through to the last works of the late 1980s (Zaltsman died in Alma-Ata). Pavel Zaltsman was a painter and graphic artist, as well as a cinema artist, a figure fascinated by applied Oriental art, and also an outstanding lecturer in the history of world art. Zaltsman’s prose and poetry have been unknown to the general public until recently. His literary creative experience - irrational and absurdist as it was - brought him rather close to the OBERIUT group, to Zoshchenko and sometimes even to Kafka, but even if in any case incompatible with his paintings and graphic art, it gives an opportunity to realize the inner sources of Zaltsman’s visual artistry, revealing the anti-humane nature of the 20th century.

On Pavel Zaltsman Walking Through the Night...

A solo exhibition of paintings, watercolours and drawings by Pavel Zaltsman (1912-1985) from the funds of the Tretyakov Gallery and the collection of the artist’s family opened in October in the halls of the permanent exhibition of 20th Century Art.

“DIEX LOVOLT” - God wishes it so

Yekaterina Selezneva

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2008 (18)

The exhibition of the graphic art of Toulouse-Lautrec opened on February 18 in the Tretyakov Gallery’s Engineering Building. The Tretyakov Gallery thanks the Library of the National Institute of Art History in France for generously lending to the Russian exhibition works from their collection. Most sincere gratitude is extended to Leonard Gianadda, who supported the event financially and made it possible to exhibit Lautrec’s caricature self-portrait from a private Swiss collection. Special thanks are also to the Pushkin Museum of Fine Arts, and to its director Irina Antonova, who contributed to the exhibition the work “Woman at the Window”. The project would likely not have reached reality without the substantial financial support of Bank VTB. The gallery thanks the bank for guaranteeing the financing of the project.

“DIEX LOVOLT” - God wishes it so

The Housing Question*. Interior Scenes in Soviet Graphic Art from the 1920s to the 1980s

Irina Leytes, Yekaterina Arkhipova

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#2 2017 (55)

Depictions of everyday life - showing people engaged with their usual activities, in their accustomed home surroundings - have long been common in world art. In 20th century Russia, however, attitudes towards domestic life - byt, in the general Russian word - and indeed towards the concept of the home itself, underwent dramatic shifts. In the past, the home had been seen as a safe, contained space, offering its inhabitants comfort, warmth and a sense of safety. However, following the cataclysmic upheavals of the early 20th century, the radical ideology that took over in Soviet Russia sought to portray the comforts of home as pernicious for those who belonged to the new social order: this “counter-force” governed everything from home furnishings to Mayakovsky’s otherwise blameless canaries.

The Housing Question*. Interior Scenes in Soviet Graphic Art from the 1920s to the 1980s

A show of 20th century graphic art in the Krymsky Val building offered a range of perspectives from Russian and Soviet artists on the subject of the home and the domestic world, commenting too on the associated social connotations that themselves changed through the period concerned.

 

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