Landscape

Lermontov in Landscape. An issue of attribution relating to two watercolour landscapes among Mikhail Lermontov’s memorabilia from the poet’s Pyatigorsk museum

Yekaterina Sosnina

Article: 
“GRANY” FOUNDATION PRESENTS
Magazine issue: 
#4 2019 (65)

One of Russia’s oldest museums devoted to literature, the Lermontov Museum in Pyatigorsk was established in 1912 in the house where Lermontov spent the final months of his life and wrote his last poems. The famed “Lermontov House” itself has been preserved exactly as it was during the poet’s lifetime, while the museum itself currently consists of several sections situated in the four old estate houses on its compound.

Lermontov in Landscape. An issue of attribution relating to two watercolour landscapes among Mikhail Lermontov’s memorabilia fro

One of Russia’s oldest museums devoted to literature, the Lermontov Museum in Pyatigorsk was established in 1912 in the house where Lermontov spent the final months of his life and wrote his last poems. The famed “Lermontov House” itself has been preserved exactly as it was during the poet’s lifetime, while the museum itself currently consists of several sections situated in the four old estate houses on its compound.

From the Golden Age to the Silver Age. THE CREATIVE ACHIEVEMENT OF VASILY POLENOV IN THE PRISM OF RUSSIAN CULTURE

Eleonora Paston

Article: 
POINT OF VIEW
Magazine issue: 
#3 2019 (64)

The Tretyakov Gallery’s new exhibition "Vasily Polenov”, running on Krymsky Val until February 16 2020, marks the 175th anniversary of the artist’s birth. Polenov (1844-1927) worked mainly in the final decades of the 19th century but the variety of his artistic activity establishes him as a key figure linking broader strands of Russian culture, not least through his influence as a teacher, contributing as he did to the development of the "Moscow school of painting” at the turn of the 20th century. Featuring more than 150 works drawn from 16 Russian museums as well as private collections, the exhibition brings Polenov’s monumental "Christ and the Woman Taken in Adultery” from the Russian Museum to Moscow for the first time.

From the Golden Age to the Silver Age. THE CREATIVE ACHIEVEMENT OF VASILY POLENOV IN THE PRISM OF RUSSIAN CULTURE

“Polenov, everything he said and thought about art, and even his very manner, is tied to his works, and from the very beginning of his career seeing him transported me to his paintings. And everywhere, I see it in his art... how much he admired the beauty of the world, how happy beautiful shapes, and especially beautiful colours always made him.”[1]

Yakov Minchenkov

Remembering Yevgenia Lang

Svetlana Volodina

Article: 
HERITAGE
Magazine issue: 
#2 2019 (63)

FOUR DECADES IN FRANCE, RETURN TO MOSCOW, RECOLLECTIONS OF MAYAKOVSKY

The artist Yevgenia Lang (1890-1973) was an acquaintance of my aunt, Lyudmila Mayakovskaya, the sister of the poet Vladimir Mayakovsky. My aunt was closely involved in my education, hoping to prepare me to take over the mission of preserving the great poet’s legacy and studying his work. Lyudmila, an artist herself introduced me to many interesting personalities from the world of art and literature of her time, and I developed a particular friendship with Lang.

Remembering Yevgenia Lang

 

"To love and understand nature"

Anna Sopotsinskaya

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#2 2006 (11)

From February 14 2006 to March 5 2006, the Academy of Arts hosted a solo exhibition of Efrem Ivanovich Zverkov, a People’s Artist of Russia, Vice-President of the Russian Academy of Arts (21 Prechistenka st., Moscow), and a laureate ofvarious state prizes, celebrating the painter’s 85th birthday. Although the works displayed were not numerous, they illustrated well the evolution of Zverkov’s artistic style as well as his artistic search and discoveries.

"To love and understand nature”

From February 14 2006 to March 5 2006, the Academy of Arts hosted a solo exhibition of Efrem Ivanovich Zverkov, a People’s Artist of Russia, Vice-President of the Russian Academy of Arts (21 Prechistenka st., Moscow), and a laureate ofvarious state prizes, celebrating the painter’s 85th birthday. Although the works displayed were not numerous, they illustrated well the evolution of Zverkov’s artistic style as well as his artistic search and discoveries.

Alexander Borisov. ARTIST DISCOVERER OF THE ARCTIC WORLD

Ksenia Matsegora

Article: 
TEACHERS AND STUDENTS
Magazine issue: 
#3 2018 (60)

Born into a peasant family in the Arkhangelsk governorate, Alexander Alexeyevich Borisov (1866-1934) received an excellent academic training at the Imperial Academy of Arts under the tutelage of Ivan Shishkin and Arkhip Kuindzhi. He travelled to the Arctic several times with artistic missions and, as a token of gratitude to his teachers, patrons and colleagues, Borisov gave their names to the glaciers and capes of the region. Thus new sites appeared on the map of Novaya Zemlya: Cape Shishkin and Cape Kuindzhi, the Tretyakov Glacier, and the capes of Kramskoi and Repin, Vasnetsov and Vereshchagin...

Alexander Borisov. ARTIST DISCOVERER OF THE ARCTIC WORLD

Vilhelms Purvītis. A LATVIAN DISCIPLE

Eduards Klavins

Article: 
TEACHERS AND STUDENTS
Magazine issue: 
#3 2018 (60)

One of Kuindzhi’s students at his landscape workshop at the post-reform Imperial Academy of Fine Arts in St. Petersburg, in 1894-1897, was a taciturn, hard-working native of the Baltic governorates, Vilhelms Purvītis (1872-1945). He later became a central figure in Latvian art of the first half of the 20th century.

Vilhelms Purvītis. A LATVIAN DISCIPLE

One of Kuindzhi’s students at his landscape workshop at the post-reform Imperial Academy of Fine Arts in St. Petersburg, in 1894-1897, was a taciturn, hard-working native of the Baltic governorates, Vilhelms Purvītis (1872-1945). He later became a central figure in Latvian art of the first half of the 20th century.[1]

Ferdynand Ruszczyc. A BELARUSIAN HERITAGE

Vladimir Prokoptsov

Article: 
TEACHERS AND STUDENTS
Magazine issue: 
#3 2018 (60)

A student of Arkhip Kuindzhi, Ferdynand Ruszczyc (1870-1936) became a renowned landscape and graphic artist, stage designer and educator, professor and public figure. Along with such prominent realist painters as the brothers Apollinary and Ipalit Goravsky, Stanislav Zhukovsky and Vitold Byalynitsky-Birulya, he laid the foundation for the Belarus school of landscape painting. Through his significant contributions to the evolution of his country’s visual arts and overall spiritual renewal in the 20th century, Ruszczyc earned personal fame as an artist, as well as recognition for his ancient family, which was descended from the Belarus landed gentry’s Clan Lis.

Ferdynand Ruszczyc. A BELARUSIAN HERITAGE

Kuindzhi and His Students. A MEMORABLE STUDY TRIP TO CRIMEA REASSESSED

Vladimir Syrkin

Article: 
INVESTIGATIONS AND DISCOVERIES
Magazine issue: 
#3 2018 (60)

A new investigation reveals fascinating details about the time Kuindzhi’s students spent in Crimea at their teacher’s generous invitation. “Beauty begets a painter like the earth begets grass" these words from the “Essays about Crimea" by the renowned expert on regional history and culture Yevgeny Markov fully apply to Arkhip Kuindzhi. The artist’s entire life was intimately associated with the peninsula: he was born into a family of Greek migrants from Crimea; in his youth he visited Aivazovsky’s studio in Feodosia; his landscape A Tatar Saklia [Hut] in Crimea” earned him the rank of artist; and he attempted to found a colony of artists there... The desire to share its beauty also inspired Kuindzhi to organize and finance a summer arts study trip for his students in Crimea.

Kuindzhi and His Students. A MEMORABLE STUDY TRIP TO CRIMEA REASSESSED

A new investigation reveals fascinating details about the time Kuindzhi’s students spent in Crimea at their teacher’s generous invitation.

New Discoveries. ABOUT THE LIFE AND WORK OF ARKHIP KUINDZHI

Alina Yefimova

Article: 
INVESTIGATIONS AND DISCOVERIES
Magazine issue: 
#3 2018 (60)

During the preparation of the new Kuindzhi exhibition at the Tretyakov Gallery research clarified certain circumstances and details relating to the painter and his art, including various episodes from the life both of Kuindzhi and those who were close to him, his artistic and public engagements, and the histories of some of his compositions. Although Kuindzhi was one of the most famous and sought-after painters of his day, many gaps in his biography remain. The paucity of archival material and scarcity of surviving letters make it almost impossible to determine what the artist himself thought about the role of painting, or to clarify the characteristic features of his artistic practice. Evidently Kuindzhi, “lazy” at writing letters,[1] preferred personal contact to such correspondence, and discussion, of the sort described in the memoirs of those who witnessed such moments, to philosophizing on the page. All this gives special value to these new pieces of information about Kuindzhi’s life and work that have been found.

New Discoveries. ABOUT THE LIFE AND WORK OF ARKHIP KUINDZHI

A Russian Luminist School? ARKHIP KUINDZHI’S "RED SUNSET ON THE DNIEPER" [1]

John E. Bowlt

Article: 
POINT OF VIEW
Magazine issue: 
#3 2018 (60)

One of the Metropolitan Museum’s important acquisitions in European painting is a large landscape by the Russian, or, strictly speaking, Ukrainian, painter, Arkhip Ivanovich Kuindzhi (1842-1910): “Red Sunset on the Dnieper”. Despite its late date, 1905-08, the work is representative both of Kuindzhi’s own artistic career and of what might be called a Russian Luminist school. To those unfamiliar with the history of modern Russian art, this painting, reminiscent in its expressivity of the work of Western Luminists such as Albert Bierstadt, might seem to be a curious anomaly. But in the context of 19 th and 20th century Russian painting, “Red Sunset on the Dnieper” is a remarkable and important work. Its presence in the Museum helps focus attention on a field of aesthetic study still neglected and misinterpreted.

A Russian Luminist School? ARKHIP KUINDZHI’S "RED SUNSET ON THE DNIEPER"

Department of Slavic Languages and Literatures,
University of Southern California, Los Angeles, USA

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