Goncharova, Music and Theatre
#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.
#4 2010 (29)
The monumental exhibition of Russian Orientalist paintings from the principal museums of Russia, Ukraine, Armenia and Uzbekistan (with a small part from private collections in Moscow and London) continues the remarkable tradition of the Groningen Museum in the Netherlands in filling a longstanding gap – and filling it most satisfyingly – in researching lesserknown Russian themes and mounting a comprehensive and highly sophisticated exhibition. As we gaze at these impressive canvases in a European setting, we find ourselves confronted by an adapted genre brought back into the milieu of the original.