Russian icon

Tribute to the Album

Savva Yamshchikov

Article: 
POINTS OF VIEW
Magazine issue: 
#3 2006 (12)

The immediate impression of any viewer seeing the album "The Icon Collection in the Tretyakov Gallery" is to feel the impulse to exclaim "splendid!" Published to mark the 150th anniversary of the treasurehouse of Russian art by the ScanRus publishing house and financed by the member of the Board of Trustees of the Tretyakov Gallery Vitaly Machitski this unique publication brings to mind the lines of Pushkin: "The muses at work eschew ado, The beautiful must be majestic." Modern publishing devoted to the popularization of the history of international art is amazingly diverse, and the book market has a wide variety of publications to offer. Regrettably, it should be noted that the quality of art books and albums published today very rarely matches their quantity. Re-issues of popular Western album series, translated into Russian, make our bookstores look like their London or Paris counterparts. This is good because now every person who is more or less interested in the history of architecture, painting and sculpture can find as much information as he or she needs about the subject concerned and can acquire the books for any private library. However, coming across a real gem, the one that makes the buyer of a new publication feel the joy of discovery and appreciate the book's lasting value - alas, this does not happen often.

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Russian Art in Kazan. THE MUSEUM OF FINE ARTS OF THE REPUBLIC OF TATARSTAN

Irina Lobasheva

Article: 
MUSEUMS OF RUSSIA
Magazine issue: 
#2 2018 (59)

Encompassing the period from the 15th to the early 20th century, the collection of Russian art is the oldest and most important part of the Museum of Fine Arts of the Republic of Tatarstan. It was formed over the course of a century on the basis of the private collection of Andrei Lykhachev, which was later enriched through donations and acquisitions from eminent citizens of Kazan and art connoisseurs, such as Olga Alexandrova-Heinz, Sergei Bakhrushin, Pyotr Dulsky, Yevgeny Myasnikov and others.

Russian Art in Kazan. THE MUSEUM OF FINE ARTS OF THE REPUBLIC OF TATARSTAN

On the 90th anniversary of the birth of Galina Mogilnikova, first director of the Museum of Fine Arts of the Republic of Tatarstan

Mission to Peking. ANDREI IVANOV’S COMMISSION FOR THE RUSSIAN LEGATION IN CHINA, AND THE RETURN OF "ST. AMBROSE" TO THE TRETYAKOV

Svetlana Stepanova

Magazine issue: 
#1 2018 (58)

A work of art, just like any human being, may be blessed with a happy fate, or plagued by hardship. As circumstances change, fame can give way to neglect, and luck become misfortune. In such a way, the painting that entered the Tretyakov Gallery collection in ip with the title “Prince Vladimir Baptized in Chersonesus” (1829) had a complicated Its condition and overall quality made some experts doubt that it was indeed the work of Andrei Ivanov (1775-1848), the distinguished professor who was a member of the Imperial Academy of Arts and the teacher of artists such as Alexander Ivanov (his son, who remains best known for “ Appearance of Christ Before the and Karl Bryullov, whose “Last Day of Pompeii” brought European recognition for the Russian school of painting.

Mission to Peking. ANDREI IVANOV’S COMMISSION FOR THE RUSSIAN LEGATION IN CHINA, AND THE RETURN OF "ST. AMBROSE" TO THE TRETYAKO

 

 

THE ICON COLLECTION OF THE YAROSLAVL ART MUSEUM

Olga Kuznetsova, Alexei Fedorchuk

Article: 
RUSSIA’S GOLDEN MAP
Magazine issue: 
#4 2007 (17)

The Yaroslavl Art Museum is the successor to the art gallery that existed in the city from 1919 to 1924. After several administrative transformations the gallery was renamed the Yaroslavl Museum of Arts and became part of various museum associations. Only in 1969 did the museum gain independence from the organisation known as the Yaroslavl-Rostov Museum-Preserve. When first opened the Yaroslavl Art Museum housed an icon collection of about 1,400 items, with the majority of the collection formed in the late 1920s and 1930s.

THE ICON COLLECTION OF THE YAROSLAVL ART MUSEUM

Return of a National Treasure

Anatoly Vilkov

Article: 
MASTERPIECES OF RUSSIAN ART
Magazine issue: 
#4 2009 (25)

Any visitor to the Cathedral of Christ the Saviour in Moscow will surely have noticed the icon of the “Virgin Hodegetria with Scenes of Her Life”; set in a case with a glass front panel, the icon is in a place of honour, to the right from the altar, in a cabinet specially made for the purpose. The discreet setting of the icon, by way of sharp contrast, strongly highlights the mighty spiritual force emanating from this sublime image. Few people know today that already in the 16th century the icon of the Virgin Hodegetria became known as a miracle worker, and in the 17th century its fame spread all over Russia.

Return of a National Treasure

The Painting and the Frame. Dialogues [1]

Tatiana Karpova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2015 (46)

THE EXHIBITION "A PRECIOUS FRAME. THE PAINTING AND THE FRAME. DIALOGUES" RAN FROM SEPTEMBER 10 UNTIL NOVEMBER 30 AT THE TRETYAKOV GALLERYS ENGINEERING WING. THE GALLERY HAS A UNIQUE COLLECTION OF FRAMES WHICH, AS INTERESTING AND VALUABLE ART WORKS IN THEMSELVES, HAVE LONG BEEN WAITING TO "MEET" THEIR VIEWERS AND ATTRACT CLOSER ATTENTION FROM EXPERTS.

The Painting and the Frame. Dialogues

THE EXHIBITION "A PRECIOUS FRAME. THE PAINTING AND THE FRAME. DIALOGUES" RAN FROM SEPTEMBER 10 UNTIL NOVEMBER 30 AT THE TRETYAKOV GALLERYS ENGINEERING WING. THE GALLERY HAS A UNIQUE COLLECTION OF FRAMES WHICH, AS INTERESTING AND VALUABLE ART WORKS IN THEMSELVES, HAVE LONG BEEN WAITING TO "MEET" THEIR VIEWERS AND ATTRACT CLOSER ATTENTION FROM EXPERTS.

Mikhail Nesterov and Alexei Shchusev. Collaborate Unknown projects

Sergei Koluzakov

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#1 2013 (38)

BY THE LAST YEARS OF THE ROMANOV DYNASTY MIKHAIL NESTEROV AND ALEXEI SHCHUSEV WERE ALREADY FULLY-FLEDGED CULTURAL LUMINARIES IN RUSSIA. NESTEROV HAD WON ACCLAIM WITH HIS NATIONAL-ROMANTIC PAINTINGS SUCH AS "THE HERMIT", "THE VISION OF THE YOUNG BARTHOLOMEW", AND "THE MURDERED TSAREVICH DMITRY", WHILE SHCHUSEV'S DESIGN HAD BEEN CHOSEN FOR MOSCOW'S LARGEST CONSTRUCTION PROJECT - THE KAZAN RAILWAY STATION IN MOSCOW. BOTH MEN WERE REGARDED BY THEIR CONTEMPORARIES AS VERY ORIGINAL FIGURES IN CHURCH PAINTING AND ARCHITECTURE. THIS ARTICLE'S FOCUS ON THEIR ARTISTIC COLLABORATION IS NATURAL, BECAUSE NESTEROV, AL¬WAYS DEMANDING OF HIMSELF, CONSIDERED THE CHURCH BUILDINGS DESIGNED BY SHCHUSEV IN COLLABORATION WITH HIM AS HIS GREATEST ACCOMPLISHMENTS MADE "ON THE CHURCH SCAF¬FOLDING". MOREOVER, THE NATURE OF THIS COLLABORATION ARGUABLY INDICATES THAT THE TWO MASTERS INFLUENCED ONE ANOTHER. NOT SURPRISINGLY, AFTER THE BOLSHEVIK REVOLU¬TION THEIR CHURCH-RELATED PROJECTS WERE RARELY MENTIONED. IN THE COURSE OF THE PREPARATION FOR THE EXHIBITION "MIKHAIL NESTEROV. IN SEARCH OF HIS RUSSIA", I HAVE MAN¬AGED TO EXAMINE UNKNOWN EPISODES IN THE ARTIST'S CAREER, STUDYING THOSE OF HIS COM¬MISSIONED WORKS THAT EVEN EXPERTS KNOW LITTLE ABOUT, AND IDENTIFYING IMAGES AND DRAWINGS NEVER PREVIOUSLY PRINTED.

Mikhail Nesterov and Alexei Shchusev

BY THE LAST YEARS OF THE ROMANOV DYNASTY MIKHAIL NESTEROV AND ALEXEI SHCHUSEV WERE ALREADY FULLY-FLEDGED CULTURAL LUMINARIES IN RUSSIA. NESTEROV HAD WON ACCLAIM WITH HIS NATIONAL-ROMANTIC PAINTINGS SUCH AS "THE HERMIT", "THE VISION OF THE YOUNG BARTHOLOMEW", AND "THE MURDERED TSAREVICH DMITRY", WHILE SHCHUSEV'S DESIGN HAD BEEN CHOSEN FOR MOSCOW'S LARGEST CONSTRUCTION PROJECT - THE KAZAN RAILWAY STATION IN MOSCOW. BOTH MEN WERE REGARDED BY THEIR CONTEMPORARIES AS VERY ORIGINAL FIGURES IN CHURCH PAINTING AND ARCHITECTURE.

Mikhail Nesterov as Muralist and Icon Painter

Anastasia Bubchikova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2013 (38)

CHURCH MURALS WERE ONE OF THE MOST IMPORTANT FIELDS OF MIKHAIL NESTEROV'S LIFE AS AN ARTIST. HAVING FIRST CLIMBED CATHEDRAL SCAFFOLDING WHEN HE WAS A YOUNG MAN OF 28, HE DEVOTED MORE THAN 20 YEARS OF HIS LIFE TO RELIGIOUS MURAL ART. BY 1890, HE HAD ALREADY CREATED "THE HERMIT" (1889) AND "THE VISION OF THE YOUNG BARTHOLOMEW" (1890), WHICH BRO­UGHT HIM FAME AND SECURED HIS PLACE AMONG THE GENERATION OF NEW PAINTERS EXPLORING NEW PATHS AND NEW IDEALS IN ART. WHEN HE WAS INVITED IN 1890 TO CREATE MURALS FOR THE ST. VLADIMIR (VOLODYMYR) CATHEDRAL IN KIEV, HE WAS AFFORDED THE OPPORTUNITY NOT ONLY TO TACKLE A FASCINATING ARTISTIC CHALLENGE BUT ALSO TO LEAVE A DISTINCTIVE MARK ON RELI­GIOUS ART, WHICH WAS SUFFERING A DEEP CRISIS ON THE EVE OF THE 20TH CENTURY.

Mikhail Nesterov as Muralist and Icon Painter

CHURCH MURALS WERE ONE OF THE MOST IMPORTANT FIELDS OF MIKHAIL NESTEROV'S LIFE AS AN ARTIST. HAVING FIRST CLIMBED CATHEDRAL SCAFFOLDING WHEN HE WAS A YOUNG MAN OF 28, HE DEVOTED MORE THAN 20 YEARS OF HIS LIFE TO RELIGIOUS MURAL ART. BY 1890, HE HAD ALREADY CREATED "THE HERMIT" (1889) AND "THE VISION OF THE YOUNG BARTHOLOMEW" (1890), WHICH BROUGHT HIM FAME AND SECURED HIS PLACE AMONG THE GENERATION OF NEW PAINTERS EXPLORING NEW PATHS AND NEW IDEALS IN ART. WHEN HE WAS INVITED IN 1890 TO CREATE MURALS FOR THE ST.

Tribute to the Album

Savva Yamshchikov

Article: 
POINTS OF VIEW
Magazine issue: 
#3 2013 (40)

The immediate impression of any viewer seeing the album "The Icon Collection in the Tretyakov Gallery" is to feel the impulse to exclaim "splendid!" Published to mark the 150th anniversary of the treasurehouse of Russian art by the ScanRus publishing house and financed by the member of the Board of Trustees of the Tretyakov Gallery Vitaly Machitski this unique publication brings to mind the lines of Pushkin: "The muses at work eschew ado, The beautiful must be majestic." Modern publishing devoted to the popularization of the history of international art is amazingly diverse, and the book market has a wide variety of publications to offer. Regrettably, it should be noted that the quality of art books and albums published today very rarely matches their quantity. Re-issues of popular Western album series, translated into Russian, make our bookstores look like their London or Paris counterparts. This is good because now every person who is more or less interested in the history of architecture, painting and sculpture can find as much information as he or she needs about the subject concerned and can acquire the books for any private library. However, coming across a real gem, the one that makes the buyer of a new publication feel the joy of discovery and appreciate the book's lasting value - alas, this does not happen often.

2013_3_art_03_th.jpg

Andrei Rublev: Image of the "Holy Trinity"

Natalya Sheredega

Article: 
THEORY
Magazine issue: 
#3 2013 (40)

In 1929, the Zagorsk History and Art Museum passed over the most acclaimed Russian icon, the “Holy Trinity” by Andrei Rublev, which is considered the acme of Russian national art, to the State Tretyakov Gallery; since then the icon has been kept under the constant attention of its curators and restorers. Rublev’s “Holy Trinity” has attracted thousands of people of every creed, profession and age with a common desire to worship this ideal of beauty and true spirituality, executed with perfect artistic means.

2013_3_art_02_th.jpg

"The great never occurs by accident, and never comes as a flash of fancy: it is the word that makes countless threads long pre-planned in history meet together. The great is a synthesis of the whole that, in its parts, had gleamed with a phosphoric light amongst the entire nation; it would have never become great unless it had met the creative yearning of the entire people."1.

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