Landscape

ALEXEI ISUPOV BETWEEN RUSSIA AND ITALY

Irina Lyubimova

Article: 
RUSSIA’S GOLDEN MAP
Magazine issue: 
#2 2009 (23)

Alexei Vladimirovich Isupov dedicated his whole life to art and was shaped by his years at the Moscow School of Painting, and later absorbed a great deal from Impressionism and the work of the Italian Renaissance masters. But he kept his distinctive style and remained true to the idea that excited the generation of painters of the turn of the 20th century — “the embodiment of the great beauty of everything alive”.

ALEXEI ISUPOV BETWEEN RUSSIA AND ITALY

 

A LIFE-LONG ITALIAN JOURNEY. Sylvestr Shchedrin in the Tretyakov Gallery

Svetlana Usacheva

Article: 
HERITAGE
Magazine issue: 
#4 2009 (25)

The Tretyakov Gallery has a major collection of paintings by Sylvestr Shchedrin (1791-1830), one of the most endearing Russian landscape artists of the first third of the 19th century. In 1800 he was accepted to the Academy of Fine Arts, where he studied in Mikhail Ivanov’s workshop. Awarded in 1811 a Big Gold Medal for his “graduation paintings”, he was a recipient of an academic fellowship for study abroad, and in 1818 he went to Rome, the city widely recognized as the capital of European art. It was in Italy that his talent would blossom.

A LIFE-LONG ITALIAN JOURNEY. Sylvestr Shchedrin in the Tretyakov Gallery

“His distinctiveness... is intact”

Eleonora Paston

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2010 (26)

The solo show of Ivan Pavlovich Pokhitonov, titled “Artist the Sorcerer”, dedicated to the artist’s 160th anniversary, is being held at the Tretyakov Gallery in the “Year of France in Russia”, and its mirror event, “Russia in France”. Although unplanned, this overlap is extremely natural. It would be hard to find another artist of the second half of the 19th-the early 20th centuries whose oeuvre reflects Russo-French connections as naturally as Pokhitonov.

“His distinctiveness... is intact”

The solo show of Ivan Pavlovich Pokhitonov, titled “Artist the Sorcerer”, dedicated to the artist’s 160th anniversary, is being held at the Tretyakov Gallery in the “Year of France in Russia”, and its mirror event, “Russia in France”. Although unplanned, this overlap is extremely natural. It would be hard to find another artist of the second half of the 19th-the early 20th centuries whose oeuvre reflects Russo-French connections as naturally as Pokhitonov.

IVAN SHISHKIN’S OTHER GENRE. The story of a search - and its findings

Galina Churak

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#1 2010 (26)

The artistic legacy of outstanding Russian painters such as Vasily Surikov, Viktor Vasnetsov and Ilya Repin - and another master from the same tradition, Ivan Shishkin - seems to have been studied, explored and expounded so thoroughly that, to use Shishkin’s words, “everything has been learned, and there is no more learning to be done”. However, museum researchers sometimes enjoy unexpected encounters with works by these masters that have been long forgotten and/or believed lost, or have a style unusual for them and here is the story of our search and findings.

IVAN SHISHKIN’S OTHER GENRE. The story of a search - and its findings

The artistic legacy of outstanding Russian painters such as Vasily Surikov, Viktor Vasnetsov and Ilya Repin - and another master from the same tradition, Ivan Shishkin - seems to have been studied, explored and expounded so thoroughly that, to use Shishkin’s words, “everything has been learned, and there is no more learning to be done”.

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.

Creative Discoveries of the Russian Artist-travelers

Margarita Krylova

Article: 
HERITAGE
Magazine issue: 
#2 2010 (27)

The late 18th century saw the appearance in Russia of the “artist-traveler” - artists who accompanied official delegations to new lands, or visited Europe on Academy fellowships, or traveled independently, always recording their impressions of their journeys. Drawing was the most direct form in which to do so: their sketches from nature - the first step towards final, finished compositions - were created using different media (pencil, quill, watercolour or pastel), and preserved intact the freshness of the artistic perception of nature, architectural landmarks, and people. An exhibition of graphic artwork from the Tretyakov Gallery collection, held from June 2009 through January 2010, featured more than 350 pieces from the late 18 th to the early 20th century (up until the 1930s), created by artists during their travels across the Russian empire and the world.

Creative Discoveries of the Russian Artist-travelers

The Levitan Memorial Museum in Plyos - Historical Highlights

Olga Nasedkina

Article: 
MUSEUMS OF RUSSIA
Magazine issue: 
#3 2010 (28)

In June 2010 the town of Plyos marked its 600th anniversary. 50 years ago, in 1960, the day for the festivities was set on August 30, which coincided with the centenary of the birth of Isaac Levitan, the illustrious landscape artist. Many artists from Moscow and the city of Ivanovo responded to the artist Boris Prorokov's call to donate their paintings to Plyos. The new picture gallery, an establishment operated on pro bono basis, was opened in 1961; initially it was accommodated at a Plyos agricultural college, on Sobornaya Hill, in a building which before the revolution was occupied by a governmental agency. Later, in 1962, the gallery moved to the Voskresensky church near Torgovaya Square, not far from a boat quay.

The Levitan Memorial Museum in Plyos - Historical Highlights

In June 2010 the town of Plyos marked its 600th anniversary. 50 years ago, in 1960, the day for the festivities was set on August 30, which coincided with the centenary of the birth of Isaac Levitan, the illustrious landscape artist. Many artists from Moscow and the city of Ivanovo responded to the artist Boris Prorokov's call to donate their paintings to Plyos.

A Master of Pastel Art

Lydia Torstensen

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2010 (28)

Levitan started using pastel sticks very early on. His youthful pieces such as the images of the little girls Nadya Yakovleva (1880, Russian Museum) and Lena Nenarokova (1880, Tretyakov Gallery) already have delicate pastel inclusions. However, it was not before the 1890s that Levitan's pastel explorations truly reached their creative peak. Among the pastels currently known and dated by the artist himself, "Storm" (1890, private collection, Moscow) is the earliest. From 1890 on Levitan created a number of remarkable pieces which established him as one of the premier masters of pastel art of the late 19th century.

Isaac Levitan: A Master of Pastel Art

Levitan started using pastel sticks very early on. His youthful pieces such as the images of the little girls Nadya Yakovleva (1880, Russian Museum) and Lena Nenarokova (1880, Tretyakov Gallery) already have delicate pastel inclusions. However, it was not before the 1890s that Levitan's pastel explorations truly reached their creative peak. Among the pastels currently known and dated by the artist himself, "Storm" (1890, private collection, Moscow) is the earliest.

Crossed Destinies - Anton Chekhov and Isaac Levitan

Galina Churak

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#3 2010 (28)

When Yulia Sergeievna, the heroine of Anton Chekhov's 1895 story "Three Years", and her husband visited an art show in Easter week, making a tour of the rooms, she "stopped before a small landscape... In the foreground was a stream, over it a little wooden bridge; on the further side a path that disappeared in the dark grass; a copse on the right; near it a camp fire - no doubt of watchers by night; and in the distance there was a glow of the evening sunset. Yulia imagined walking herself along the little bridge, and then along the little path further and further, while all round was stillness, the drowsy landrails calling and the fire flickering in the distance. And for some reason she suddenly began to feel that she had seen those very clouds that stretched across the red part of the sky, and that copse, and that field before, many times before. She felt lonely, and longed to walk on and on along the path; and there, in the glow of sunset was the calm reflection of something unearthly, eternal."

Crossed Destinies - Anton Chekhov and Isaac Levitan

When Yulia Sergeievna, the heroine of Anton Chekhov's 1895 story "Three Years", and her husband visited an art show in Easter week, making a tour of the rooms, she "stopped before a small landscape... In the foreground was a stream, over it a little wooden bridge; on the further side a path that disappeared in the dark grass; a copse on the right; near it a camp fire - no doubt of watchers by night; and in the distance there was a glow of the evening sunset.

On Levitan's Landscapes and the Levitan Exhibition

Lydia Iovleva

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2010 (28)

"Levitan's landscape" is a term firmly ingrained both in art scholarship and in the minds of many art lovers. A "Levitan landscape" is different from an "Ivan Shishkin landscape" or even landscapes by Alexei Savrasov or Vasily Polenov, although it is very close to the last ones. Usually, a "Levitan landscape" is a simple image of an almost always deserted natural environment - a creek, a narrow pathway, groves rolling on into the depth of the picture in a somewhat diagonal direction, or copses. It is set in different seasons, except (largely) winter -Levitan's pieces almost never feature images of snowy winter -and usually depicts a transitional season or summer; there are blue horizons and a high limitless sky with a distinct life of its own, beyond the mental grasp of human beings.

On Levitan's Landscapes and the Levitan Exhibition

"A landscape serves no purpose if beauty is all it has.
should contain the life of a soul.
It should be a sound responsive to the stirrings of the heart –
it is hard to put it in words, it is so much like music"
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Konstantin Korovin

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