Portrait

Remembering Yevgenia Lang

Svetlana Volodina

Article: 
HERITAGE
Magazine issue: 
#2 2019 (63)

FOUR DECADES IN FRANCE, RETURN TO MOSCOW, RECOLLECTIONS OF MAYAKOVSKY

The artist Yevgenia Lang (1890-1973) was an acquaintance of my aunt, Lyudmila Mayakovskaya, the sister of the poet Vladimir Mayakovsky. My aunt was closely involved in my education, hoping to prepare me to take over the mission of preserving the great poet’s legacy and studying his work. Lyudmila, an artist herself introduced me to many interesting personalities from the world of art and literature of her time, and I developed a particular friendship with Lang.

Remembering Yevgenia Lang

 

FACES. THE MODERN RUSSIAN PORTRAIT

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#4 2005 (09)

Modern culture - and modern art, In particular - has encompassed the term "re-actualization”, which refers to cases when a phenomenon or genre is taken out of the archive and presented to the cultural community in a new light, with new meanings and a new functional orientation.

FACES. THE MODERN RUSSIAN PORTRAIT

 

-Oleg KULIK. Lisa and Quilty. 2004
Oleg KULIK. Lisa and Quilty. 2004
From the series “The Fears of White Man”. Black and white photo

"Living and working with Repin!" IN HIS MASTER’S FOOTSTEPS: THE LIFE AND ART OF MICHAEL WERBOFF

Irina Medvedeva

Article: 
“GRANY” FOUNDATION PRESENTS
Magazine issue: 
#1 2019 (62)

The artist Michael Alexander Werboff (1896-1996) began his creative life as a student of Ilya Repin. After leaving Russia in the first wave of emigration, his career flourished, first in France, then later in America: he went on to paint portraits of many outstanding individuals from world culture, as well as prominent public figures, including kings and presidents. Even as he gained recognition in the West, Werboff remained true to the traditions of Russian realist art, in particular to Repin’s influence as his mentor and spiritual father.

"Living and working with Repin!" IN HIS MASTER’S FOOTSTEPS: THE LIFE AND ART OF MICHAEL WERBOFF

Tracing the Story of a Drawing Attributed to Repin. A LITERARY-ARTISTIC LINK BETWEEN ILYA REPIN AND IVAN LEONTIEV (SHCHEGLOV) EXPLORED

Irina Zhukova

Article: 
INVESTIGATIONS AND FINDS
Magazine issue: 
#1 2019 (62)

In 2008, the Alexander Radishchev Art Museum in Saratov acquired a graphite pencil drawing, on a small sheet of yellowed paper (19 x 13.5 cm), that was catalogued as “I. Repin (?). Portrait of a Man”. It depicts a middle-aged man in pince-nez sitting at a table; he is holding a pencil, or perhaps a quill, in his right hand, and resting his chin on his left hand. The man’s head is turned to the left ever so slightly - deep in thought, he does not look at the viewer; his hair is a little dishevelled, and he seems ready to get back to his work. The artist’s signature and the date, “Ilya Repin. 90”, are in the lower right-hand corner, with “23 Apr.” inscribed below, in the centre of the sheet. An attribution of such significance clearly required confirmation by specialists: this article follows attempts to establish the provenance of the work.

Tracing the Story of a Drawing Attributed to Repin. A LITERARY-ARTISTIC LINK BETWEEN ILYA REPIN AND IVAN LEONTIEV (SHCHEGLOV) EX

Ilya Repin in Paris. STAGES IN THE ARTIST’S ENGAGEMENT WITH THE CITY OF LIGHTS

Yelena Terkel

Article: 
HERITAGE
Magazine issue: 
#1 2019 (62)

Historically, Paris has proved irresistible to many of Russia’s greatest cultural figures - artists, writers and musicians alike. Vibrant and inspirational, simultaneously ancient and contemporary, it has always been a place of celebration, love and beauty. Ilya Repin visited Paris on various occasions in the last three decades of the 19 th century, leaving behind a fascinating record of the rich variety of experiences, both personal and artistic, that he found there.

Ilya Repin in Paris. STAGES IN THE ARTIST’S ENGAGEMENT WITH THE CITY OF LIGHTS

Historically, Paris has proved irresistible to many of Russia’s greatest cultural figures - artists, writers and musicians alike. Vibrant and inspirational, simultaneously ancient and contemporary, it has always been a place of celebration, love and beauty. Ilya Repin visited Paris on various occasions in the last three decades of the 19 th century, leaving behind a fascinating record of the rich variety of experiences, both personal and artistic, that he found there.

“I love variety...” ILYA REPIN’S INDEFATIGABLE NOVELTY ACROSS TIME AND GENRE

Tatyana Yudenkova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2019 (62)

Marking the 175th anniversary of the birth of Ilya Repin (1844-1930), the Tretyakov Gallery is staging a major exhibition of the artist’s works on Krymsky Val. Running until August 2019, it brings together more than 170 paintings and 130 drawings from 27 Russian and foreign museums as well as a number of private collections, featuring both works for which Repin has always been famous and pieces that will be new to the general viewer, including some never shown at the Tretyakov before. Presented chronologically, it follows the evolution of the artist’s career from his academic period through to his final compositions of the 1920s. It gives particular prominence to Repin’s large-scale paintings “dedicated to Russia” - to the fate and fortunes of its prominent individuals, to the Russian people as an entity, and to the nation itself - that cover the period from the aftermath of the 1860s reforms through to the revolutions of the 20th century.

“I love variety...” ILYA REPIN’S INDEFATIGABLE NOVELTY ACROSS TIME AND GENRE

Whistler and Russia

Galina Andreeva

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#4 2006 (13)

Early in the 1990s a professor from Simon Fraser University in Canada, Evelyn Harden, was working in the Tretyakov Gallery archives. Preparing for the publication of the journals of James McNeill Whistler's mother, she requested help in searching for information about the artist's Russian mentor, Alexander Koritsky. It was Evelyn Harden who drew my attention to a little known but important fact in Whistler's biography - the years he spent in Russia, the country that this unconventional individual, with a penchant for "deliberate pranksterism" and hoaxes, called the cradle of his talent. As a researcher of the international contacts associated with Russian art, I became interested in the subject of Whistler and Russia because of its apparent impossibility. Fifteen years later this project has materialized in the exhibition "Whistler and Russia" which is to be held at the Tretyakov Gallery from 7 December 2006 to 15 February 2007. It will be one of the most remarkable events in the international programme celebrating the Tretyakov Gallery's 150th anniversary.

Whistler and Russia

Early in the 1990s a professor from Simon Fraser University in Canada, Evelyn Harden, was working in the Tretyakov Gallery archives. Preparing for the publication of the journals of James McNeill Whistler's mother, she requested help in searching for information about the artist's Russian mentor, Alexander Koritsky.

An "Historic" Exhibition GRAPHIC ART FROM THE STATE HISTORICAL MUSEUM

Anastasia Vasilchenko, Yevgeny Lukyanov

Article: 
HERITAGE
Magazine issue: 
#2 2018 (59)

The exhibition “Masterpieces of Russian Graphics from the Collection of the Historical Museum. Drawings and Watercolours, 18th-19th Century” at the Tretyakov Gallery showcases the volume and quality of the graphic art held by this unique Moscow institution. It offers a comprehensive and lively overview of a vast and diverse collection, tracing the evolution of Russian graphic art from its inception in the 18th century through to the end of the 19th century.

An "Historic" Exhibition GRAPHIC ART FROM THE STATE HISTORICAL MUSEUM

The exhibition “Masterpieces of Russian Graphics from the Collection of the Historical Museum. Drawings and Watercolours, 18th-19th Century” at the Tretyakov Gallery showcases the volume and quality of the graphic art held by this unique Moscow institution. It offers a comprehensive and lively overview of a vast and diverse collection, tracing the evolution of Russian graphic art from its inception in the 18th century through to the end of the 19th century.

Fyodor Bruni. THE FOUNDER OF THE DYNASTY

Lyudmila Markina

Article: 
ARTISTIC DYNASTY
Magazine issue: 
#1 2018 (58)

The Tretyakov Gallery's permanent exhibition features, alongside the works of Karl Bryullov, a gripping male portrait. It was painted by an apprentice of ugrcat Karl”, Fyodor Moller (Theodor von Moller), and features a hazel-eyed, brownhaired man with bushy hair and fluffy whiskers. The pale face is set off by a white starched dress shirt, while the black silk necktie highlights the model's elegance. A gold chain and the insignia of the Order of St. Stanislaus indicate the holder’s wealth and position in society, while an overcoat flung over the shoulders lends a certain romantic casual look to the model.[1] Who is the subject?

Fyodor Bruni. THE FOUNDER OF THE DYNASTY

"Meeting Modigliani" - at the Pushkin Museum of Fine Arts

Vitaly Mishin

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#2 2007 (15)

The exhibition’s title makes clear that this is the first truly extensive show of works by the brilliant Italian master in Russia. The artistic legacy of Modigliani is scattered all over the world, in museums and private collections - and only international exhibition projects would have a chance to present any significant number of works by this artist, even if for a limited time only. Over 20 museums and private collections in Europe and America participated in the Moscow project. Ultimately, the exhibition organizers have managed to present 25 paintings, one sculpture, and 27 drawings, accompanied with the archive materials. (Russian museums own only two works of the master - drawings in the Pushkin Museum collection).

"Meeting Modigliani" - at the Pushkin Museum of Fine Arts

The exhibition’s title makes clear that this is the first truly extensive show of works by the brilliant Italian master in Russia. The artistic legacy of Modigliani is scattered all over the world, in museums and private collections - and only international exhibition projects would have a chance to present any significant number of works by this artist, even if for a limited time only. Over 20 museums and private collections in Europe and America participated in the Moscow project.

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