Theatre

"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.

Contemporary Portraiture in the United States: Through the Lens of the Smithsonian National Portrait Gallery's "Outwin Boochever Portrait Competition"

Dorothy Moss

Article: 
"GRANY" FOUNDATION PRESENTS
Magazine issue: 
#2 2014 (43)

CULTURAL HYBRIDITY, IDENTITY, DIVERSITY, INNOVATION, TECHNOLOGY, ACCESSIBILITY, COMMUNITY - THESE ARE SOME OF THE KEY CONCEPTS AND CONCERNS THAT ARE NOT ONLY AT THE CORE OF THE SMITHSONIAN NATIONAL PORTRAIT GALLERY'S IMMEDIATE INITIATIVES BUT ARE ALSO PRESSING ISSUES IN BROADER DISCUSSIONS ABOUT GLOBALIZATION AND THE ROLE OF ART MUSEUMS IN THE UNITED STATES TODAY.

Contemporary Portraiture in the United States

By a process of projection and introjection of theimage, the body comes to have the abstract "form," the abstract totality, by which we know it... We continually project the body into the world in or¬der that itsimage might return to us: onto the other, the mir¬ror, the animal, and the machine, and onto the artistic image.1

Susan Stewart

Moscow and the Art of Anna Golubkina

Tatyana Galina

Article: 
HERITAGE
Magazine issue: 
#2 2014 (43)

MOSCOW WAS THE SECOND HOME TOWN OF ANNA GOLUBKINA: SHE WAS BORN IN ZARAISK ON JANUARY 28 1864. GOLUBKINA BECAME A MUSCOVITE IN 1889, WHEN SHE ENROLLED AT THE FINE ARTS WORKSHOP OF THE ARCHITECT ANATOLY GUNST. LATER, IN 1891-1894, SHE STUDIED AT THE MOSCOW SCHOOL OF PAINTING, SCULPTURE AND ARCHITECTURE. GOLUBKINA LIVED IN MOSCOW FOR A LONG TIME: ALTHOUGH SHE RETURNED TO ZARAISK MANY TIMES, AND MOVED TO ST. PETERSBURG TO STUDY, AND LIVED IN EUROPE FOR LONG PERIODS FOR THE SAME PURPOSE, SHE ALWAYS WANTED TO MAKE HER HOME IN MOSCOW - TO HAVE A STUDIO IN THE CITY, AND TO PARTICIPATE IN ITS CULTURAL AND INTELLECTUAL ACTIVITIES.

Moscow and the Art of Anna Golubkina

MOSCOW WAS THE SECOND HOME TOWN OF ANNA GOLUBKINA: SHE WAS BORN IN ZARAISK ON JANUARY 28 1864. GOLUBKINA BECAME A MUSCOVITE IN 1889, WHEN SHE ENROLLED AT THE FINE ARTS WORKSHOP OF THE ARCHITECT ANATOLY GUNST. LATER, IN 1891-1894, SHE STUDIED AT THE MOSCOW SCHOOL OF PAINTING, SCULPTURE AND ARCHITECTURE. GOLUBKINA LIVED IN MOSCOW FOR A LONG TIME: ALTHOUGH SHE RETURNED TO ZARAISK MANY TIMES, AND MOVED TO ST.

Goncharova, Music and Theatre

Inessa Kouteinikova

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

NATALIA GONCHAROVAS SUBTLE, DISTINGUISHED, HIGHLY MUSICAL AND LEARNED DESIGNS FOR THE THEATRE ELUCIDATE A FUNDAMENTAL SHIFT FROM THE EMPHASIS ON THE BOMBASTIC, GLORY-OBSESSED CELEBRATIONS FOR DIAGHILEV'S SPECTACLES TO PERFORMANCES THAT STRESSED THE VIRTUES OF INDIVIDUALITY, FANTASY AND HISTORY. DIAGHILEV'S ABSOLUTE POWER WITHIN THE RUSSIAN WORLD OF THEATRE, SIMILAR TO THAT OF LOUIS XIV, RESIDED IN ITS REPRESENTATION AND CONTROL OF THAT REPRESENTATION, WHICH RESIDED NOT ONLY WITH DIAGHILEV BUT ALSO WITH HIS ARTISTS, WHO, LIKE THE KING'S HISTORIOGRAPHERS, CREATED THEATRICAL IMAGES ON WHICH THE OPINION OF POSTERITY DEPENDED.

Goncharova, Music and Theatre

NATALIA GONCHAROVAS SUBTLE, DISTINGUISHED, HIGHLY MUSICAL AND LEARNED DESIGNS FOR THE THEATRE ELUCIDATE A FUNDAMENTAL SHIFT FROM THE EMPHASIS ON THE BOMBASTIC, GLORY-OBSESSED CELEBRATIONS FOR DIAGHILEV'S SPECTACLES TO PERFORMANCES THAT STRESSED THE VIRTUES OF INDIVIDUALITY, FANTASY AND HISTORY.

IBSEN'S LESSON

Inna Solovieva

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
Special issue. NORWAY–RUSSIA: ON THE CROSSROADS OF CULTURES

FOR A RUSSIAN HISTORIAN IT WOULD BE NATURAL TO JUXTAPOSE THE YEARS OF IBSEN'S BIRTH AND DEATH (1828-1906) WITH THOSE OF LEO TOLSTOY, WHO WAS ALSO BORN IN 1828, AND WHOSE LIFE, STRENUOUS AND ACTIVE, ALSO CONTINUED INTO THE FIRST DECADE OF THE NEW CENTURY. IN THE DAILY OPERATIONS OF RUSSIAN CULTURE THESE FORMIDABLE PERSONALITIES, CONSTITUTIONALLY INCLINED TO CLAIM POWER OVER HUMAN MINDS, LOOKED LIKE ADVERSARIES. TOLSTOY LAMPOONED THE STORYLINE OF "THE MASTER BUILDER", NEGLECTING TO MENTION THE TITLE OF THE PLAY AND ITS AUTHOR'S NAME (IN "ON SHAKESPEARE AND HIS DRAMAS", A PERSUASIVE TRACT WITH ALL THE TRAPPINGS OF AN ACADEMIC WORK AND A HINT OF MISCHIEF - ALMOST A LAMPOON OF ALL PROFESSORS).

IBSEN'S LESSON

FOR A RUSSIAN HISTORIAN IT WOULD BE NATURAL TO JUXTAPOSE THE YEARS OF IBSEN'S BIRTH AND DEATH (1828-1906) WITH THOSE OF LEO TOLSTOY, WHO WAS ALSO BORN IN 1828, AND WHOSE LIFE, STRENUOUS AND ACTIVE, ALSO CONTINUED INTO THE FIRST DECADE OF THE NEW CENTURY. IN THE DAILY OPERATIONS OF RUSSIAN CULTURE THESE FORMIDABLE PERSONALITIES, CONSTITUTIONALLY INCLINED TO CLAIM POWER OVER HUMAN MINDS, LOOKED LIKE ADVERSARIES.

A Renaissance Assassinated

Natella Voiskounski

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
#4 2013 (41)

THE EXHIBITION "BORIS KOSAREV: MODERNIST KHARKIV 1915-1931" AT THE UKRAINIAN MUSEUM IN NEW YORK EXPLORES THE DESTINIES OF KHARKOV MODERNISM THROUGH THE LIFE AND ARTWORK OF ONE OF ITS MOST PRE-EMINENT FIGURES. THE TALLY OF YEARS, AS ON A TOMBSTONE, DEFINES THE BRIEF PERIOD OF THE DEVELOPMENT AND FLOURISHING OF MODERNISM IN KHARKOV.

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But the plan of action is determined,
And the end irrevocably sealed.

Boris Pasternak

Boris Kosarev
Photo. 1918

Sergei Diaghilev's "Ballets Russes" on the Tretyakov Gallery Stage

Yevgenia Ilyukhina, Irina Shumanova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2013 (40)

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.

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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.

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