Metropolitan Museum of Art

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

Summer in Switzerland. Masterpieces from the New York Metropolitan Museum of Art at Martigny

Yekaterina Selezneva

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
#4 2006 (13)

By lending 50 masterpieces of Western European art to the Fondation Pierre Gianadda the world-famous Metropolitan Museum is sending out a clear message: it trusts the foundation implicitly. The memory of the mysterious story (with a happy ending) when the collection of French paintings from Moscow’s Pushkin Museum of Fine Arts was arrested after the closure of the exhibition remains fresh in the minds of many. At the time, some Russian journalists and museum officials said in no uncertain terms that the Swiss partner did not quite live up to the standards of the Pushkin museum.

Summer in Switzerland. Masterpieces from the New York Metropolitan Museum of Art at Martigny

Succession at the Met

Jasper Rees

Article: 
“GRANY” FOUNDATION PRESENTS
Magazine issue: 
#3 2009 (24)

For decades, no figure in the museum world has been better known or more highly esteemed than Philippe de Montebello. On 31 December of last year, after 31 years as director of the Metropolitan Museum of Art in New York, he stepped down from his post. A day later, it fell to a new director to fill his shoes. As if Thomas P. Campbell was not already aware of the task ahead, an exhibition at the Met enshrined in six crowded rooms showed just how high the bar had been set.

Succession at the Met

For decades, no figure in the museum world has been better known or more highly esteemed than Philippe de Montebello. On 31 December of last year, after 31 years as director of the Metropolitan Museum of Art in New York, he stepped down from his post. A day later, it fell to a new director to fill his shoes. As if Thomas P. Campbell was not already aware of the task ahead, an exhibition at the Met enshrined in six crowded rooms showed just how high the bar had been set.

Succession at the Met

Jasper Rees

Magazine issue: 
Special issue N1. USA–RUSSIA: ON THE CROSSROADS OF CULTURES

For decades, no figure in the museum world has been better known or more highly esteemed than Philippe de Montebello. On 31 December of last year, after 31 years as director of the Metropolitan Museum of Art in New York, he stepped down from his post. A day later, it fell to a new director to fill his shoes. As if Thomas P. Campbell was not already aware of the task ahead, an exhibition at the Met enshrined in six crowded rooms showed just how high the bar had been set.

Succession at the Met

For decades, no figure in the museum world has been better known or more highly esteemed than Philippe de Montebello. On 31 December of last year, after 31 years as director of the Metropolitan Museum of Art in New York, he stepped down from his post. A day later, it fell to a new director to fill his shoes. As if Thomas P. Campbell was not already aware of the task ahead, an exhibition at the Met enshrined in six crowded rooms showed just how high the bar had been set.

Syndicate content