Landscape

The Secrets of Ivan Pokhitinov’s Art

Lydia Gladkova, Eleonora Paston

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#4 2010 (29)

The exhibition “The Artist-Sorcerer”, organized by the Tretyakov Gallery to mark the 160th anniversary of Ivan Pavlovich Pokhitonov (1850-1923), featured works from the collections of the Tretyakov Gallery and Otar Margania (Moscow). The dates of the exhibition, initially scheduled to run from March 2 to November 28, were twice extended due to the great public interest in Pokhitonov’s oeuvre. Visitors to the show in their comments talked not only about gratitude for “the feeling of joy and harmony of life” they experienced viewing Pokhitonov’s works and admiration for the artist’s consummate workmanship, but also about his painting techniques, which were described as “spellbinding” and appearing “a miracle”. As if echoing Ilya Repin’s opinion about Pokhitonov - “this is an artist-sorcerer”, which gave the title to the exhibition - viewers wrote that they visited the show several times to engage with this “miracle” again and again.

The Secrets of Ivan Pokhitinov’s Art

Giorgio Morandi: A Master of Stillness

Tom Birchenough

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
Special issue. ITALY-RUSSIA: ON THE CROSSROADS OF CULTURES

The great Italian artist of the 20th century Giorgio Morandi (1890-1964) received major renown in New York in Autumn 2008, with a landmark exhibition at the Metropolitan Museum of Art, accompanied by a range of other shows at other galleries in the city. The largest retrospective in North America for the artist to date, it will move back, in a slightly adjusted format, to the artist’s hometown, Bologna, to be displayed at that city’s Museo d’Arte Moderna from January 22. It was in Bologna that the artist spent the greater part of his life, and where a museum dedicated to his memory occupies an honoured place in one of the city’s central town square buildings.

Giorgio Morandi: A Master of Stillness

The great Italian artist of the 20th century Giorgio Morandi (1890-1964) received major renown in New York in Autumn 2008, with a landmark exhibition at the Metropolitan Museum of Art, accompanied by a range of other shows at other galleries in the city. The largest retrospective in North America for the artist to date, it will move back, in a slightly adjusted format, to the artist’s hometown, Bologna, to be displayed at that city’s Museo d’Arte Moderna from January 22.

ALEXEI ISUPOV BETWEEN RUSSIA AND ITALY

Irina Lyubimova

Article: 
RUSSIA’S GOLDEN MAP
Magazine issue: 
Special issue. ITALY-RUSSIA: ON THE CROSSROADS OF CULTURES

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

 

THE ITALIAN JOURNEY OF FYODOR MATVEYEV

Svetlana Usacheva

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
Special issue. ITALY-RUSSIA: ON THE CROSSROADS OF CULTURES

In September 2008 the Tretyakov Gallery opened the first solo show of the Russian landscape artist Fyodor Mikhailovich Matveyev (1758-1826), commemorating the 250th anniversary of his birth. Matveyev spent most of his life in Italy, where he gained European acclaim. The great artist’s legacy had the same fate as academic art in general - appreciated by his contemporaries, it was later relegated to oblivion and for a long time considered outmoded and lacking in originality. The present exhibition re-introduces Matveyev to modern audiences. The project brought together many Russian and international museums, including the Hermitage, the Russian Museum, the National Art Museum of Belarus, and private collections. The work led to many interesting discoveries: the discovery of previously unknown facts about the artist’s life, a more accurate attribution of the content of his landscapes, and a better knowledge of the specifics and dates of their creation. The catalogue published as a part of the exhibition project is the first dedicated to Matveyev’s works. The panoramic views of Italy and diverse graphic pieces, including journey sketches on display in the Gallery’s Engineering Building, take the viewer on a “painterly journey” in the spirit of the 18th century together with an artist more than fond of the beauty of nature.

THE ITALIAN JOURNEY OF FYODOR MATVEYEV

The Tretyakov Gallery expresses sincere gratitude to OAO Bank VTB and Anatoly Novikov whose support made this project possible. Our special thanks to the “YEKATERINA” Cultural Foundation for their support in the publication of the album.

TAHIR SALAKHOV'S SPANISH NOVELLAS

Anna Ilina

Magazine issue: 
#4 2015 (49)

There are few places outside Spain itself where people have as deep and thorough an appreciation of Spanish culture, literature, drama, fine arts, cinema, philosophy and aesthetics as in Russia. As for the visual arts, some remarkable scholarly publications by Russian historians, art experts and critics dedicated to the masters of Spanish painting and drawing deserve to be particularly remembered. Among them are Igor Golomshtok's and Nina Dmitrieva's monographs on Picasso, Oleg Prokofiev's works on Goya's prints, Alexander Yakimovich's works on the portraits of Velázquez, as well as the first monograph on Salvador Dali's art published in Russian, "Salvador Dali: Myths and Reality" by Alexander Rozhin - the former King of Spain Juan Carlos honoured that work with a special acknowledgement - and many other equally worthy publications.

TAHIR SALAKHOV'S SPANISH NOVELLAS

There are few places outside Spain itself where people have as deep and thorough an appreciation of Spanish culture, literature, drama, fine arts, cinema, philosophy and aesthetics as in Russia. As for the visual arts, some remarkable scholarly publications by Russian historians, art experts and critics dedicated to the masters of Spanish painting and drawing deserve to be particularly remembered.

From "Memoirs" by Maria Favorskaya (Derviz)

Publication by Ivan Shakhovskoy[1]

Article: 
FOUNDATION “GRANY. ART - CRYSTAL - BRUT” PRESENTS
Magazine issue: 
#3 2015 (48)

The painter and graphic artist Maria Favorskaya (1887-1959) wrote her “Memoirs” in the 1950s. Her father Vladimir (von) Derviz (1859-1937), a watercolour artist, studied at the Academy of Arts together with Valentin Serov and Mikhail Vrubel, who became his lifelong friends. Vladimir Derviz also graduated from the Imperial School of Jurisprudence, and in 1885 he married Nadezhda Simonovich (1866-1908), Serov’s cousin. With his inheritance from his father, a St. Petersburg senator, Vladimir bought an estate close to Tver, Domotkanovo. Nadezhda had always wanted to live in the country, and her husband, while enjoying painting watercolours of the surrounding countryside, actively participated in the work of the “Zemstvo” (local council) and, until his wife’s death, in the improvement of his household and those of local peasants.

From "Memoirs" by Maria Favorskaya (Derviz)

The painter and graphic artist Maria Favorskaya (1887-1959) wrote her “Memoirs” in the 1950s. Her father Vladimir (von) Derviz (1859-1937), a watercolour artist, studied at the Academy of Arts together with Valentin Serov and Mikhail Vrubel, who became his lifelong friends. Vladimir Derviz also graduated from the Imperial School of Jurisprudence, and in 1885 he married Nadezhda Simonovich (1866-1908), Serov’s cousin. With his inheritance from his father, a St. Petersburg senator, Vladimir bought an estate close to Tver, Domotkanovo.

Valentin Serov’s drawings at the Tretyakov Gallery

Maria Krivenko

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2015 (48)

Marking the 150th anniversary of the artist’s birth, the Valentin Serov exhibition distinctly divides the gallery space into two sections - his paintings and drawings. Such a decision is dictated by the unique nature of Serov’s gift, as one of the few Russian artists who excelled equally in these two forms.

Valentin Serov’s drawings at the Tretyakov Gallery

Marking the 150th anniversary of the artist’s birth, the Valentin Serov exhibition distinctly divides the gallery space into two sections - his paintings and drawings. Such a decision is dictated by the unique nature of Serov’s gift, as one of the few Russian artists who excelled equally in these two forms.

THE FORCE OF TRUTH. The Tkachev Brothers

Anna Dyakonitsyna

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

A retrospective exhibition of the artist-brothers Alexei and Sergei Tkachev, running in the Engineering Wing of the Tretyakov Gallery from April 15 through July 17, presents the oeuvre of two figures who in many respects define the trajectories of the Russian school of painting in the second half of the 20th and at the start of the 21st centuries. The exhibition features around 180 pieces representative of the main stages of their work and the main directions of their artistic explorations. The pictures on view include large-scale “exemplary” compositions, the results of the brothers’ collective effort from the gallery’s collection, as well as earlier paintings, from their Moscow studio, created by one or the other brother independently, and a large assortment of sketches. All this is but a fraction of the vast body of work created by the artists who continue working to this day.

THE FORCE OF TRUTH. The Tkachev Brothers

A retrospective exhibition of the artist-brothers Alexei and Sergei Tkachev, running in the Engineering Wing of the Tretyakov Gallery from April 15 through July 17, presents the oeuvre of two figures who in many respects define the trajectories of the Russian school of painting in the second half of the 20th and at the start of the 21st centuries. The exhibition features around 180 pieces representative of the main stages of their work and the main directions of their artistic explorations.

DRAWING TECHNIQUE: From Orest Kiprensky to Kazimir Malevich

Irina Shumanova, Yevgenia Ilyukhina

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

Pencil drawing is one of the oldest art forms, the source of all visual arts, recording the inception of an idea and the stages of its further development. But drawing also has a life of its own as an independent art form with a distinctive language, specific rules and history. Pencils come in many different varieties - silver, lead, graphite, black chalk, wax, coloured pencils, lithographic pencils and other types - and the word also refers to a large number of similar media which can be categorized as the techniques of “dry drawing”, like charcoal, sanguine and sauce. There is an almost limitless variety of techniques involving the use of these materials, and they serve to show off a particular artist’s individuality, sense of form, innate talent and level of skills. A drawing in pencil, charcoal, sanguine or sauce is the best reflection of its creator’s temperament and character. From the vast variety of pencil and pencil-related techniques every epoch chooses those that suit it best. The age of classicism treasured the austere beauty of linear drawing, romanticism - the contrasts and the picturesque quality of strokes; for the “Peredvizhniki” (Wanderers) artists, pencils were “modest workers”, and the modernist movement re-invented the selfsufficiency of lines and the aesthetic value of the process of drawing as such.

DRAWING TECHNIQUE: From Orest Kiprensky to Kazimir Malevich

The Tretyakov Gallery thanks Ivan Kardashidi for support of the exhibition

Anna Antonova, Lydia Tornstensen and Yevgenia Plotnikova also contributed to the publication.

Pencil drawing is one of the oldest art forms, the source of all visual arts, recording the inception of an idea and the stages of its further development. But drawing also has a life of its own as an independent art form with a distinctive language, specific rules and history.

Ilya Mashkov - Nikolai Zagrekov A Master and His Disciple

Olga Malkova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#2 2011 (31)

The exhibition “A Master and His Disciple” opened at the Mashkov Fine Art Museum in Volgograd on June 10 2011. It charts the relationship between the Soviet master Ilya Mashkov, and his pupil Nikolai Zagrekov, who studied under Mashkov at Vkhutemas, the Arts and Crafts Workshops, from 1919 to 1921. Zagrekov went on to work and achieve fame in Germany, and the exhibition addresses points of comparison between the subsequent work of the “teacher” and the “pupil”.

Ilya Mashkov - Nikolai Zagrekov A Master and His Disciple

The exhibition “A Master and His Disciple” opened at the Mashkov Fine Art Museum in Volgograd on June 10 2011. It charts the relationship between the Soviet master Ilya Mashkov, and his pupil Nikolai Zagrekov, who studied under Mashkov at Vkhutemas, the Arts and Crafts Workshops, from 1919 to 1921. Zagrekov went on to work and achieve fame in Germany, and the exhibition addresses points of comparison between the subsequent work of the “teacher” and the “pupil”.

Syndicate content