Still-life

Giorgio Morandi: A Master of Stillness

Tom Birchenough

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
Special issue. ITALY-RUSSIA: ON THE CROSSROADS OF CULTURES

The great Italian artist of the 20th century Giorgio Morandi (1890-1964) received major renown in New York in Autumn 2008, with a landmark exhibition at the Metropolitan Museum of Art, accompanied by a range of other shows at other galleries in the city. The largest retrospective in North America for the artist to date, it will move back, in a slightly adjusted format, to the artist’s hometown, Bologna, to be displayed at that city’s Museo d’Arte Moderna from January 22. It was in Bologna that the artist spent the greater part of his life, and where a museum dedicated to his memory occupies an honoured place in one of the city’s central town square buildings.

Giorgio Morandi: A Master of Stillness

The great Italian artist of the 20th century Giorgio Morandi (1890-1964) received major renown in New York in Autumn 2008, with a landmark exhibition at the Metropolitan Museum of Art, accompanied by a range of other shows at other galleries in the city. The largest retrospective in North America for the artist to date, it will move back, in a slightly adjusted format, to the artist’s hometown, Bologna, to be displayed at that city’s Museo d’Arte Moderna from January 22.

ALEXEI ISUPOV BETWEEN RUSSIA AND ITALY

Irina Lyubimova

Article: 
RUSSIA’S GOLDEN MAP
Magazine issue: 
Special issue. ITALY-RUSSIA: ON THE CROSSROADS OF CULTURES

Alexei Vladimirovich Isupov dedicated his whole life to art and was shaped by his years at the Moscow School of Painting, and later absorbed a great deal from Impressionism and the work of the Italian Renaissance masters. But he kept his distinctive style and remained true to the idea that excited the generation of painters of the turn of the 20th century — “the embodiment of the great beauty of everything alive”.

ALEXEI ISUPOV BETWEEN RUSSIA AND ITALY

 

“The Most Moving Painter of the Human Face”

Olga Atroshchenko

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2015 (48)

The Tretyakov Gallery has prepared a major exhibition to mark the 150th anniversary of Valentin Serov’s birth, with the works of the prominent Russian artist displayed on two levels at the Tretyakov Gallery on Krymsky Val until January 17 2016. Serov proved himself as a remarkable easel and monumental painter, and graphic artist, as well as a theatre and applied arts designer. He painted landscapes and historical compositions, illustrated books and designed stage productions, but his portraiture dominated. His art made an enormous contribution to the formation of new movements, namely the Russian versions of Impressionism and Art Nouveau.

“The Most Moving Painter of the Human Face”

The Tretyakov Gallery has prepared a major exhibition to mark the 150th anniversary of Valentin Serov’s birth, with the works of the prominent Russian artist displayed on two levels at the Tretyakov Gallery on Krymsky Val until January 17 2016.

Ilya Mashkov - Nikolai Zagrekov A Master and His Disciple

Olga Malkova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#2 2011 (31)

The exhibition “A Master and His Disciple” opened at the Mashkov Fine Art Museum in Volgograd on June 10 2011. It charts the relationship between the Soviet master Ilya Mashkov, and his pupil Nikolai Zagrekov, who studied under Mashkov at Vkhutemas, the Arts and Crafts Workshops, from 1919 to 1921. Zagrekov went on to work and achieve fame in Germany, and the exhibition addresses points of comparison between the subsequent work of the “teacher” and the “pupil”.

Ilya Mashkov - Nikolai Zagrekov A Master and His Disciple

The exhibition “A Master and His Disciple” opened at the Mashkov Fine Art Museum in Volgograd on June 10 2011. It charts the relationship between the Soviet master Ilya Mashkov, and his pupil Nikolai Zagrekov, who studied under Mashkov at Vkhutemas, the Arts and Crafts Workshops, from 1919 to 1921. Zagrekov went on to work and achieve fame in Germany, and the exhibition addresses points of comparison between the subsequent work of the “teacher” and the “pupil”.

Dmitry Ikonnikov: Artistic Milieu

Alexander Rozhin

Article: 
PORTRAIT OF THE ARTIST
Magazine issue: 
#2 2011 (31)

Dmitry Ikonnikov, through the breadth of his perception and his deeply personal feeling and understanding of the nature of art, as well as his professional experience and unarguable talent, has achieved a remarkable freedom of expression. He has created a unique figurative language, which is marked by the harmonic invariance of the form and content of his work.

Dmitry Ikonnikov: Artistic Milieu

Dmitry Ikonnikov, through the breadth of his perception and his deeply personal feeling and understanding of the nature of art, as well as his professional experience and unarguable talent, has achieved a remarkable freedom of expression. He has created a unique figurative language, which is marked by the harmonic invariance of the form and content of his work.

Chaim Soutine - The Pain and Beauty of the World

Natalya Apchinskaya

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#4 2011 (33)

Throughout the 19th century Paris was the artistic capital of the world, and it was there at the beginning of the 20th century that the art of the new era took shape. Marc Chagall wrote that “... back then, the sun of Art was only shining over Paris”, and young artists from different countries, mostly from Eastern Europe, flocked there. That international community of outstanding artists became known as the “École de Paris” (the Paris School). Among the highlights of the “Paris School” exhibition at the Pushkin Museum of Fine Arts in Autumn 2011 was the work of Chaim Soutine (1893-1943).

Chaim Soutine - The Pain and Beauty of the World

Throughout the 19th century Paris was the artistic capital of the world, and it was there at the beginning of the 20th century that the art of the new era took shape. Marc Chagall wrote that “... back then, the sun of Art was only shining over Paris”, and young artists from different countries, mostly from Eastern Europe, flocked there. That international community of outstanding artists became known as the “École de Paris” (the Paris School).

“The East, Nationality and the West”

Irina Vakar, Tatiana Levina, Tatiana Mikhienko

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

This phrase happened to be the title of a fruitful debate held in 1913. Short though it was, it represented one of the most acute problems in early avant-garde art. Painters, poets and art critics - those who created new Russian art and those who were against it - paid written attention to the subject in those days. It was not the first time that the Russian innovators faced the problem of self-identification. It had been a concern for a few years already, but before it had been expressed in the stylistics and choice of themes of their pictures only, rather than in the theoretical conclusions or statements. The complexity of the situation stemmed from the fact that the young artists traced their artistic roots back both to the French painting tradition and to the national, popular folk culture which they believed to have originated in the East. This combination allowed different trends to exist simultaneously in their painting: the primitive co-existed with Postimpressionism and Fauvism, “quotations” from Henri Matisse could be found next to the “lubok” (popular woodblock prints), while “quotations” from Paul Cezanne could be seen alongside the devices of shop-sign painting. Natalia Goncharova, one of the most notable figures of the movement, insisted that “it is necessary to blend the 'alien' art with the native one”. But what was to be considered “alien” or pure Russian at that point? Some of the works of the members of the “Knave of Diamonds” group of the end of the 1900s and through the 1910s can be interpreted as part of their dialogue with the French painters, as well as their reflection on their own roots.

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This phrase happened to be the title of a fruitful debate held in 1913. Short though it was, it represented one of the most acute problems in early avant-garde art. Painters, poets and art critics - those who created new Russian art and those who were against it - paid written attention to the subject in those days.

"Everything is Decorative and Only Decorative". On the anniversary exhibition of Alexander Golovin at the Tretyakov Gallery

Eleonora Paston

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2014 (44)

THE TRETYAKOV GALLERY HAS OPENED THE EXHIBITION 'ALEXANDER GOLOVIN. FANTASIES OF THE SILVER AGE", DEVOTED TO THE 150TH ANNIVERSARY OF THE ARTIST'S BIRTH. GOLOVIN'S OEUVRE, WHICH IS DISTINGUISHED BY THE INIMITABLE "GOLOVIN STYLE", ELEGANT DECORATIVENESS, INEXHAUSTIBLE IMAGINATION AND GREAT ARTISTIC TEMPERAMENT, REFLECTS THE ESSENTIAL ICONOGRAPHIC AND STYLISTIC FEATURES OF THE ERA OF SYMBOLISM AND ART NOUVEAU IN RUSSIA, AND BECAME ONE OF THE LANDMARKS OF ITS PERIOD.

On the anniversary exhibition of Alexander Golovin at the Tretyakov Gallery

THE TRETYAKOV GALLERY HAS OPENED THE EXHIBITION 'ALEXANDER GOLOVIN. FANTASIES OF THE SILVER AGE", DEVOTED TO THE 150TH ANNIVERSARY OF THE ARTIST'S BIRTH. GOLOVIN'S OEUVRE, WHICH IS DISTINGUISHED BY THE INIMITABLE "GOLOVIN STYLE", ELEGANT DECORATIVENESS, INEXHAUSTIBLE IMAGINATION AND GREAT ARTISTIC TEMPERAMENT, REFLECTS THE ESSENTIAL ICONOGRAPHIC AND STYLISTIC FEATURES OF THE ERA OF SYMBOLISM AND ART NOUVEAU IN RUSSIA, AND BECAME ONE OF THE LANDMARKS OF ITS PERIOD.

Objects of their Time

Svetlana Usacheva

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

The genre presenting "motionless nature" has always been alien to the concept of haste. It attunes us to unhurried communication, making us admire details and seek hidden meanings and significance in simple things. A still-life turns real items created by nature or the human hand into an artistic image reflecting the signs of its time and art's style and character. These characteristics of the genre defined the content of the exhibition "Still-life. Metamorphoses. A Dialogue between the Classic and the Modern", that will open at the Tretyakov Gallery in November 2012. The curators have brought together works from the 18th and 19th centuries, set alongside those of the late 20th-early 21st century in a common space, offering the viewer the opportunity to witness an unusual creative dialogue between past masters and modern artists.

Objects of their Time

The genre presenting "motionless nature" has always been alien to the concept of haste. It attunes us to unhurried communication, making us admire details and seek hidden meanings and significance in simple things. A still-life turns real items created by nature or the human hand into an artistic image reflecting the signs of its time and art's style and character. These characteristics of the genre defined the content of the exhibition "Still-life. Metamorphoses.

More Than Romanticism

Lyudmila Markina

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

THE EXHIBITION "MORE THAN ROMANTICISM" WAS HELD FROM NOVEMBER 2013 TO JANUARY 2014 IN THE ENGINEERING WING OF THE TRETYAKOV GALLERY AS PART OF THE "EXCHANGE" YEAR OF CULTURAL COOPERATION BETWEEN RUSSIA AND HOLLAND. FOR THE FIRST TIME THE MOSCOW PUBLIC COULD SEE WORKS FROM THE TRETYAKOV GALLERY ALONGSIDE PAINTINGS FROM THE TEYLERS MUSEUM IN HAARLEM AND THE PRIVATE COLLECTION OF JEF RADEMAKERS FROM BRASSCHAAT, A PROVINCE OF ANTWERP. BEARING IN MIND THE UNIQUE FEATURES OF THE TWO COLLECTIONS, THE CURATORS TRIED TO HIGHLIGHT BOTH THEIR SHARED FEATURES AND THEIR DIFFERENCES, AS WELL AS THE EUROPEAN AND THE NATIONAL ELEMENTS OF RUSSIAN AND DUTCH FINE ART. THE NAMES OF GREAT PAINTERS SUCH AS REMBRANDT VAN RIJN AND FRANS HALS, WHOSE MASTERPIECES ARE IN THE HERMITAGE'S COLLECTION OF THE GOLDEN AGE OF DUTCH ART, ARE WELL KNOWN TO THE RUSSIAN PUBLIC. THANKS TO THE FAMOUS FILM, THE YOUNGER GENERATION IS FAMILIAR WITH JOHANNES VERMEER'S PAINTING "GIRL WITH A PEARL EARRING" (1665). THE ART OF THE UNITED KINGDOM OF THE NETHERLANDS OF THE 1800-1850S, HOWEVER, IS ONLY KNOWN TO A SMALL CIRCLE OF ART EXPERTS. MEANWHILE, THE PAINTING TRADITIONS OF THE GREAT AND "LESSER" DUTCH MASTERS WERE CARRIED ON INTO A NEW HISTORICAL ERA, THAT OF ROMANTICISM.

More Than Romanticism

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