World of Art

“...I raise my glass...” How Muscovites feted Diaghilev in 1905

Irina Ladygina

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#3 2009 (24)

On March 24 1905 in Moscow, in the restaurant of the Metropol Hotel, a dinner was held honoring Sergei Diaghilev, his work as an editor and art entrepreneur. As the “Novosti Dnya” (News of the Day) newspaper reported[1], “Moscow artists and art lovers feted the editor of the ‘World of Art’ magazine Sergei Diaghilev as a person who has made a major contribution to arts and organized an array of exhibitions that brought out a new trend”.

“...I raise my glass...” How Muscovites feted Diaghilev in 1905

On March 24 1905 in Moscow, in the restaurant of the Metropol Hotel, a dinner was held honoring Sergei Diaghilev, his work as an editor and art entrepreneur. As the “Novosti Dnya” (News of the Day) newspaper reported[1], “Moscow artists and art lovers feted the editor of the ‘World of Art’ magazine Sergei Diaghilev as a person who has made a major contribution to arts and organized an array of exhibitions that brought out a new trend”.

Sergei Diaghilev and the Tretyakov Gallery

Yelena Terkel

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#3 2009 (24)

Sergei Diaghilev, whose aim was to popularize Russian art, looked up to the selfless enthusiast Pavel Tretyakov, who devoted his whole life to collecting Russian art. From the very start Tretyakov inspired in Diaghilev a great respect. In 1901 Diaghilev wrote in an article “On Russian Museums”: “Studying the superb collection of the Moscow gallery, one can easily notice that Tretyakov, for all his sensitivity and fondness of his creation, nevertheless belonged to a certain time... He felt it was his duty to showcase all of Russian art... Thus, his collection is an amazingly comprehensive journal spanning 30 years of his life as a collector.”

Sergei Diaghilev and the Tretyakov Gallery

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.

A Many-sided Genre: The Nude in Russian Graphic Art in the 20th Century

Irina Leytes

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

THE CURRENT EXHIBITION IN THE LAVRUSHINSKY GRAPHIC ARTS HALL REPRESENTS THE SECOND PART OF THE MAJOR PROJECT TITLED "MAGIC OF THE HUMAN BODY". IT TELLS THE STORY OF A MOST POETIC CHAPTER IN THE HISTORY OF RUSSIAN GRAPHIC ARTS AT THE END OF THE 19TH AND BEGINNING OF THE 20TH CENTURIES, THAT OF DRAWING THE NUDE HUMAN FORM. GENERALLY SPEAKING, THE ART OF DRAWING, COMPARED TO PAINTING AND SCULPTURE, IS BY NATURE MORE CAPABLE OF QUICKLY AND FORCEFULLY TRANSFORMING AN INHERENTLY NEUTRAL MOTIF INTO AN ARTISTIC IMAGE THAT EXPRESSES CERTAIN IMPORTANT NOTIONS AND CONCEPTS. THE NUDE GENRE IS NO EXCEPTION, SO IT IS NO SURPRISE THAT EVERY WELL-KNOWN RUSSIAN ARTIST OF THE 20TH CENTURY TRIED HIS OR HER HAND AT IT. THIS EXHIBITION BRINGS TOGETHER THOSE FIGURES WHO MADE THE NUDE DRAWING INTO A SEPARATE GENRE OF THE VISUAL ARTS, AND AN IMPORTANT THEME IN THEIR WORK.

A Many-sided Genre: The Nude in Russian Graphic Art in the 20th Century

THE CURRENT EXHIBITION IN THE LAVRUSHINSKY GRAPHIC ARTS HALL REPRESENTS THE SECOND PART OF THE MAJOR PROJECT TITLED "MAGIC OF THE HUMAN BODY". IT TELLS THE STORY OF A MOST POETIC CHAPTER IN THE HISTORY OF RUSSIAN GRAPHIC ARTS AT THE END OF THE 19TH AND BEGINNING OF THE 20TH CENTURIES, THAT OF DRAWING THE NUDE HUMAN FORM. GENERALLY SPEAKING, THE ART OF DRAWING, COMPARED TO PAINTING AND SCULPTURE, IS BY NATURE MORE CAPABLE OF QUICKLY AND FORCEFULLY TRANSFORMING AN INHERENTLY NEUTRAL MOTIF INTO AN ARTISTIC IMAGE THAT EXPRESSES CERTAIN IMPORTANT NOTIONS AND CONCEPTS.

Valentin Serov. The Line of Life

Maria Ivanova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2012 (34)

Valentin Alexandrovich Serov (1865-1911) is a key figure in Russian art of the late-19th and early-20th centuries. The general public knows him first of all as a painter, although his graphic talent was appreciated even by his contemporaries. " Serov the graphic artist may be even more powerful than Serov the painter," wrote Igor Grabar. The exhibition "Valentin Serov. The Line of Life," on view at the Tretyakov Gallery from December 2011 until May 2012, traces the great artist's trajectory through his works held at the Tretyakov Gallery's graphic art department — many of which have not been publicly displayed before.

Valentin Serov. The Line of Life

Valentin Alexandrovich Serov (1865-1911) is a key figure in Russian art of the late-19th and early-20th centuries. The general public knows him first of all as a painter, although his graphic talent was appreciated even by his contemporaries. " Serov the graphic artist may be even more powerful than Serov the painter," wrote Igor Grabar. The exhibition "Valentin Serov.

Konstantin Korovin: His Paintings and Theatre Work at the Tretyakov Gallery

Lydia Iovleva

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2012 (34)

November 23 (December 5, in the "New Style") 2011 was the 150th anniversary of the outstanding Russian painter of the late 19th-early 20th centuries Konstantin Alexeevich Korovin (1861-1939). In anticipation of this momentous anniversary, the Tretyakov Gallery and the Russian Museum in St. Petersburg agreed to team up for a project in which each party organised a Korovin exhibition so that the two shows would share essential elements but vary in details: the two museums, the main keepers of the great artist's legacy, exchange his best works but each presents its own version of the exhibition and prepares its own publications to accompany it.

Konstantin Korovin: His Paintings and Theatre Work at the Tretyakov Gallery

November 23 (December 5, in the "New Style") 2011 was the 150th anniversary of the outstanding Russian painter of the late 19th-early 20th centuries Konstantin Alexeevich Korovin (1861-1939). In anticipation of this momentous anniversary, the Tretyakov Gallery and the Russian Museum in St.

Letters on Love, Friendship, Creativity. On the 150th anniversary of the birth of Leonid Pasternak

Yevgeny Pasternak

Article: 
HERITAGE
Magazine issue: 
#3 2012 (36)

Leonid Osipovich Pasternak, a member of the Academy of Fine Arts, professor at the Moscow School of Painting, Sculpture and Architecture, and one of the founders of the Union of Russian Artists, was born in Odessa on March 22 (April 4) 1862. Art historians consider him a member of a small group of Russian Impressionists, an art movement which is yet to be comprehensively studied.

Letters on Love, Friendship, Creativity. On the 150th anniversary of the birth of Leonid Pasternak

Leonid Osipovich Pasternak, a member of the Academy of Fine Arts, professor at the Moscow School of Painting, Sculpture and Architecture, and one of the founders of the Union of Russian Artists, was born in Odessa on March 22 (April 4) 1862. Art historians consider him a member of a small group of Russian Impressionists, an art movement which is yet to be comprehensively studied.

The Formation of a Great Collection

Oleg Antonov

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#4 2012 (37)

The Tretyakov Gallery show "Drawings and Watercolours by Russian Artists of the Second Half of the 19th-beginning of the 20th Centuries" constitutes a small part of the Pushkin Museum of Fine Arts's extensive collection of Russian graphics, which totals 150,000 sheets in all. This part of the collection, especially drawings dating back to the second half of the 19th century, has never been carefully studied or exhibited, so is not well known by either the general public or art experts. It does, however, stand on its own, including some unique works and offering certain important details that complement our overall understanding of that period in the development of Russian art.

The Formation of a Great Collection

The Tretyakov Gallery show "Drawings and Watercolours by Russian Artists of the Second Half of the 19th-beginning of the 20th Centuries" constitutes a small part of the Pushkin Museum of Fine Arts's extensive collection of Russian graphics, which totals 150,000 sheets in all. This part of the collection, especially drawings dating back to the second half of the 19th century, has never been carefully studied or exhibited, so is not well known by either the general public or art experts.

Symbolism and Russian Art

Alla Gusarova

Article: 
HERITAGE
Magazine issue: 
#2 2013 (39)

FLOURISHING IN THE LATE 19TH-EARLY 20TH CENTURIES, SYMBOLISM ASPIRED TO CONVEY IN ART INTUITIVE INSIGHTS INTO DIFFERENT REALITIES - THE REALITY OF DREAM, REVERIE, MEMORY, FAIRY TALE, LEGEND, OR THAT OF A DIFFERENT, HIGHER WORLD. THIS NEW WORLDVIEW, REPLACING POSITIVISM, BECAME ONE OF THE FEATURES OF THE CULTURAL SILVER AGE IN RUSSIA, AND EMBRACED ALL AREAS OF CREATIVE ENDEAVOUR, INCLUDING LITERATURE, RAINTING AND MUSIC RUSSIAN WRITERS AND POETS SUCH AS ALEXANDER BLOK, ANDREI BELY AND VY-ACHESLAV IVANOV, AND THE RELIGIOUS PHILOSOPHERS VLADIMIR SOLOVIEV, PAVEL FLORENSKY AND SERGEI BULGAKOV BECAME EVANGELISTS AND INTERPRETERS OF THE NEW MOVEMENT: THEY PREACHED ABOUT THE MYSTICAL AND EVEN DIVINE ESSENCE OF ART WHICH WAS BOUND TO TRANSFORM THE WORLD.

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FLOURISHING IN THE LATE 19TH-EARLY 20TH CENTURIES, SYMBOLISM ASPIRED TO CONVEY IN ART INTUITIVE INSIGHTS INTO DIFFERENT REALITIES - THE REALITY OF DREAM, REVERIE, MEMORY, FAIRY TALE, LEGEND, OR THAT OF A DIFFERENT, HIGHER WORLD.

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.

2013_3_art_09_th.jpg

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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