Larionov

Larionov’s Swiss Impressions

Andrei Sarabyanov

Article: 
HERITAGE
Magazine issue: 
#4 2018 (61)

These five postcards, with images created by Mikhail Larionov for the theatre director Alexander Tairov, were all sent on the same day, October 7 1915. Since July 1915, Larionov and Goncharova had been living in Ouchy, a small town (now a part of Lausanne) on Lake Geneva: they were staying in the same boarding house as Sergei Diaghilev, Leonide Massine and Leon Bakst. A famous photograph of the time shows the company together with Igor Stravinsky.

Larionov’s Swiss Impressions

These five postcards, with images created by Mikhail Larionov for the theatre director Alexander Tairov, were all sent on the same day, October 7 1915. Since July 1915, Larionov and Goncharova had been living in Ouchy, a small town (now a part of Lausanne) on Lake Geneva: they were staying in the same boarding house as Sergei Diaghilev, Leonide Massine and Leon Bakst. A famous photograph of the time shows the company together with Igor Stravinsky.

"Living in the territory of art”. NEW PERSPECTIVES ON MIKHAIL LARIONOV

Yevgenia Ilyukhina

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#4 2018 (61)

Something of a legend in Russian art of the early 20th century, and one of the most brilliant representatives of the country’s avant-garde of that time, Mikhail Larionov is one of the last artists of his generation whose work can be said to have “returned” to Russia in its entirety. His exhibition history has been complicated: a participant in, and organizer of some of the “roaringly popular” shows of the 1910s, Larionov left Russia on Diaghilev’s invitation in 1915, and his name has somehow been “missing” from the country’s cultural map ever since. World War I, the Russian Revolution and the Civil War made it practically impossible for the artist, then living in France, to participate in the artistic life of his homeland. Thus, the new exhibition at the Tretyakov Gallery on Krymsky Val that opened in September 2018 reveals many new facets of Larionov’s work to Russian viewers.

"Living in the territory of art”. NEW PERSPECTIVES ON MIKHAIL LARIONOV

RUSSIAN ART of the 19th and early 20th centuries in the Serpukhov Museum of History and Art

Andrei Pilipenko

Article: 
GOLDEN MAP OF RUSSIA
Magazine issue: 
#1 2008 (18)

The Serpukhov Museum of History and Art is one of the richest provincial Russian museums and the largest visual arts museum in the Moscow region. It is located in a former mansion that was built in the late 19th century by the architect Robert Klein and belonged to the textile manufacturer, the merchant of the third guild Anna Vasilievna Maraeva.

RUSSIAN ART of the 19th and early 20th centuries in the Serpukhov Museum of History and Art

The 30th exhibition of the “Golden Map of Russia”

The Serpukhov Museum of History and Art is one of the richest provincial Russian museums and the largest visual arts museum in the Moscow region. It is located in a former mansion that was built in the late 19th century by the architect Robert Klein and belonged to the textile manufacturer, the merchant of the third guild Anna Vasilievna Maraeva.

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.

NATALIA GONCHAROVA'S SPANISH EXTRAVAGANZA

Yevgenia Ilyukhina

Magazine issue: 
#4 2015 (49)

Goncharova's discovery of Spain, through a journey undertaken with her husband Mikhail Larionov in 1916 on the invitation of Sergei Diaghilev, would profoundly influence the artist's work, marking both her painting and her frequent ballet and theatre design projects.

NATALIA GONCHAROVA'S SPANISH EXTRAVAGANZA

Goncharova's discovery of Spain, through a journey undertaken with her husband Mikhail Larionov in 1916 on the invitation of Sergei Diaghilev, would profoundly influence the artist's work, marking both her painting and her frequent ballet and theatre design projects.

On Knaves and Diamonds[1]

Gleb Pospelov

Article: 
KNAVE OF DIAMONDS
Magazine issue: 
Special issue. KNAVE OF DIAMONDS

“When you've got nothing better, play diamonds!” “This brazen Knave... is more like a lunatic asylum than an art exhibition!” Thus, the newspapers greeted the new “Knave of Diamonds” exhibition which opened on 10 December 1910.

2005_spec_bv_art_02_th.jpg

“When you've got nothing better, play diamonds!” “This brazen Knave... is more like a lunatic asylum than an art exhibition!” Thus, the newspapers greeted the new “Knave of Diamonds” exhibition which opened on 10 December 1910.

Working with the Material

Irina Shumanova, Yevgeniya Ilyukhina

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2012 (36)

The exhibition "The Basic Materials of Graphic Art: Paper and Wood, Silk and Glass..." features items from the Tretyakov Gallery's collection of drawings of the 18th-early 20th centuries. It is the final show in a series devoted to drawing materials, media and techniques used in Russia, and is intended to introduce to the public the history and diversity of the materials used in graphic art. The word traditionally applied to them in Russia — "the foundation" — most aptly characterises their role in the creation of an artwork, that of a "tuner" directing the artist towards a certain drawing style. The choice of material to a large extent determines how strokes or dabs of colour are applied — their tempo, rhythm, energy, and density. The exhibition is thematically arranged, exploring different kinds of materials and their characteristics such as structure, texture of the surface, colour, and tone.

Working with the Material

The exhibition "The Basic Materials of Graphic Art: Paper and Wood, Silk and Glass..." features items from the Tretyakov Gallery's collection of drawings of the 18th-early 20th centuries. It is the final show in a series devoted to drawing materials, media and techniques used in Russia, and is intended to introduce to the public the history and diversity of the materials used in graphic art.

Goncharova -"This Name Had the Ring of Victory"

Irina Vakar

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2014 (42)

THE EXHIBITION "NATALIA GONCHAROVA. EAST AND WEST", RUNNING AT THE TRETYAKOV GALLERY FROM OCTOBER 16 2013 TO FEBRUARY 16 2014, PRESENTS MANY OF THE ARTIST'S PAINTINGS FROM HER LATER EUROPEAN PERIOD TO RUSSIAN VIEWERS FOR THE FIRST TIME. DISPLAYING THE FULL STYLISTIC RANGE OF HER WORK, IT REVEALS A FIGURE FOR WHOM THE CONCEPT OF EXPERIMENTATION IN GENRE REMAINED FUNDAMENTAL.

Goncharova -"This Name Had the Ring of Victory"

THE EXHIBITION "NATALIA GONCHAROVA. EAST AND WEST", RUNNING AT THE TRETYAKOV GALLERY FROM OCTOBER 16 2013 TO FEBRUARY 16 2014, PRESENTS MANY OF THE ARTIST'S PAINTINGS FROM HER LATER EUROPEAN PERIOD TO RUSSIAN VIEWERS FOR THE FIRST TIME. DISPLAYING THE FULL STYLISTIC RANGE OF HER WORK, IT REVEALS A FIGURE FOR WHOM THE CONCEPT OF EXPERIMENTATION IN GENRE REMAINED FUNDAMENTAL.

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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