Picasso

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.

PICASSO AND RUSSIA

Vitaly Mishin

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

Of all the Picasso shows held in Russia during at least the last 50 years, the 2010 exhibition is the biggest and most representative. Other features, too, lend to this event a certain "Russian touch": the assortment of pictures on display includes several pieces from the Pushkin Museum; the show also has a whole section devoted to Sergei Diaghilev's "Ballets Russes", and presents archival documents relating to the friendship between Picasso and Ilya Ehrenburg. This article provides only highlights of the long history of the relationship between Picasso and Russia.

PICASSO AND RUSSIA

The Zentrum Paul Klee: Meeting Place of Klee and Picasso

Christine Hopfengart

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
#2 2010 (27)

The Zentrum Paul Klee celebrates its 5 years with the exhibition "Klee meets Picasso" - an homage to two giants of art history, presenting these two imposing exponents of modern art and taking as its theme Klee's analysis of Picasso. The exhibition reveals unknown interwoven links between Klee and Picasso. It comprises over 180 works from the Zentrum Paul Klee, from numerous museums and private collections, such as famous collections in the Museum of Modern Art, New York, the Museum Picasso, Barcelona, the Museum Berggruen and the Neue National Galerie, Berlin and the Centre Pompidou in Paris. The exhibition project is supported by the Picasso und Klee families.

The Zentrum Paul Klee: Meeting Place of Klee and Picasso

The Zentrum Paul Klee celebrates its 5 years with the exhibition "Klee meets Picasso" - an homage to two giants of art history, presenting these two imposing exponents of modern art and taking as its theme Klee's analysis of Picasso. The exhibition reveals unknown interwoven links between Klee and Picasso.

The “Everyfeelingism” of Iliazd

Natella Voiskunski

Article: 
CURRENT EXHIBITION
Magazine issue: 
#1 2016 (50)

Better known as Iliazd, Ilia Zdanevich (1894-1975) contrived to remain at the forefront of the avant-garde all his life. From his youthful efforts to his more mature work, through middle age to old age, he was always at the very epicentre of the avant-garde. During his long lifetime - Iliazd lived to the age of 81 - art movements came and went with dizzying speed, with avant-garde styles in a constant state of flux, appearing, disappearing, reorganizing, merging, changing names. The most consistent figure of the avant-garde, Iliazd was something of a living monument - and he was our compatriot. As the exhibition “Iliazd. The 20th Century of Ilia Zdanevich” runs at Moscow’s Pushkin Museum of Fine Arts, curator Boris Fridman recalls a unique figure in 20th century culture.

The “Everyfeelingism” of Iliazd

SPANISH ART: THE CONTEMPORARY PERIOD

Enrique Andrés Ruiz

Magazine issue: 
#4 2015 (49)

There must have existed some moment, all but forgotten now, when the expression "contemporary art" was still capable of alluding to a particular historical reality in the art world. That reality would have provided a sufficiently natural link of continuity between the ancient and modern historical - artistic account with a new chapter. But today we know - and above all feel - that contemporary art (and the idea of the "contemporary" in general) can no longer be just another episode in the wider story, despite the fact that museums and historians find their raison d'être in this "narrative inertia".

SPANISH ART: THE CONTEMPORARY PERIOD

Dedicated to Emilio Vilanova Martinez-Frias

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.

PICASSO AND RUSSIA

Vitaly Mishin

Magazine issue: 
#4 2015 (49)

Of all the Picasso shows held in Russia during at least the last 50 years, the 2010 exhibition is the biggest and most representative. Other features, too, lend to this event a certain "Russian touch": the assortment of pictures on display includes several pieces from the Pushkin Museum; the show also has a whole section devoted to Sergei Diaghilev's "Ballets Russes", and presents archival documents relating to the friendship between Picasso and Ilya Ehrenburg. This article provides only highlights of the long history of the relationship between Picasso and Russia.

PICASSO AND RUSSIA

Of all the Picasso shows held in Russia during at least the last 50 years, the 2010 exhibition is the biggest and most representative. Other features, too, lend to this event a certain "Russian touch": the assortment of pictures on display includes several pieces from the Pushkin Museum; the show also has a whole section devoted to Sergei Diaghilev's "Ballets Russes", and presents archival documents relating to the friendship between Picasso and Ilya Ehrenburg.

THE PRADO NATIONAL MUSEUM

Pablo Jiménez Díaz

Magazine issue: 
#4 2015 (49)

Any museum, especially a national museum, is also a history book. We enter it to contemplate the individual works it holds: to enjoy and, to the degree we can, understand them individually. But a museum also has its own melody in addition to the individual notes, and to comprehend that single entity, composed from objects that are often widely divergent, is to understand a piece of history. Not only, not even mainly, about the artists' history but rather of the people who looked at them, then organized and arranged the works. The museum's sensibility comes into play in that history, and with that the circumstances surrounding it, the society, its government and political elements, its faith and beliefs, and perhaps also the ways in which those beliefs have changed. The impulse behind collecting and the forms of displaying each period are children of their time and, as such, museums bring that time-stamp with them.

THE PRADO NATIONAL MUSEUM

Any museum, especially a national museum, is also a history book. We enter it to contemplate the individual works it holds: to enjoy and, to the degree we can, understand them individually. But a museum also has its own melody in addition to the individual notes, and to comprehend that single entity, composed from objects that are often widely divergent, is to understand a piece of history. Not only, not even mainly, about the artists' history but rather of the people who looked at them, then organized and arranged the works.

A LINE THROUGH TIME FROM KAZIMIR MALEVICH TO JULIE MEHRETU

Natella Voiskounski

Article: 
“GRANY” FOUNDATION PRESENTS
Magazine issue: 
#1 2011 (30)

The exhibition “On Line: Drawing Through the 20th Century” was quite a notable event in New York’s MOMA 2010-2011 calendar not so much because of the eye-catching works on display, but rather, for its cognitive value. The title given to it says much to an attentive and interested viewer who would recognize Kandinsky’s essay with the same title; besides, it uses a term from the Internet, a kind of a homonym that is familiar to everybody.
The second part of the title marks the scope of the introduction within a century-long period of transformation of drawing, its “groundbreaking history of an art form”, starting with revolutionary innovative processes at the beginning of the 20th century and following its development along the same lines up to the present day; it is formulated by “pushing the line of drawing into real space, expanding its relationship to gesture and form and invigorating its links with painting and sculpture, photography and film, and, notably, dance and performance”.

A LINE THROUGH TIME FROM KAZIMIR MALEVICH TO JULIE MEHRETU

The line conquered everything and destroyed the last citadels of painting - colour, tone, texture, and surface.

Alexander Rodchenko

The Cone Sisters: Collectors for Pleasure

Natella Voiskounski

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
#1 2012 (34)

The New York Jewish Museum's show last year, "Collecting Matisse and Modern Masters: The Cone Sisters of Baltimore", proved breathtaking. The exhibition displayed only a small part of what has been called "a collection of collections" of exquisite paintings, graphic works, prints, sculpture, furniture, embroidery, rugs, and textiles. But the core of the collection, its pride and glory, is Matisse, whose portraiture, still-lifes, sculpture and landscapes were on view. The exhibition told the fascinating story of the two sisters who, led by a female instinct for buying beautiful and often useless — or at least unnecessary — things, developed a perfect taste for genuine art and became distinguished collectors of 19th- and 20th-century modern European art. "A thing of beauty is a joy forever," wrote the British poet John Keats, and once the Cone sisters had experienced the joy of art, they cherished this sublime feeling throughout their lives.

The Cone Sisters: Collectors for Pleasure

THE NEW YORK JEWISH MUSEUM'S SHOW LAST YEAR, "COLLECTING MATISSE AND MODERN MASTERS: THE CONE SISTERS OF BALTIMORE", PROVED BREATHTAKING. THE EXHIBITION DISPLAYED ONLY A SMAH PART OF WHAT HAS BEEN CALLED "A COLLECTION OF COLLECTIONS" OF EXQUISITE PAINTINGS, GRAPHIC WORKS, PRINTS, SCULPTURE, FURNITURE, EMBROIDERY, RUGS, AND TEXTILES. BUT THE CORE OF THE COLLECTION, ITS PRIDE AND GLORY, IS MATISSE, WHOSE PORTRAITURE, STILL-LIFES, SCULPTURE AND LANDSCAPES WERE ON VIEW.

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