Nina Markova
Nina Markova
Two Female Faces of the Art of Colour Etching: MARIA YAKUNCHIKOVA AND YELIZAVETA KRUGLIKOVA IN PARIS
#3 2020 (68)
In European art, the period 1850-1900 saw a crisis in engraving as a printing technique and the birth of engraving as a new artform with its own distinctive means of expression. The pace of this revolution was especially dynamic in Paris, one of the most advanced centres of printmaking development, and it was from this global centre of attraction for all artistic souls and communities of the era that the process spread to different countries and art schools. As it happened, in Russia creative printmaking was pioneered by women. In the early 20th century, Anna Ostroumova-Lebedeva was discovering the potential of printing on wood, Nadezhda Voitinskaya-Levidova, the potential of lithography and Yelizaveta Kruglikova, the potential of etching.
EXCLUSIVE PUBLICATIONS
Nina Markova
Isaac Levitan: Beyond Landscape
Special issue. ISAAC LEVITAN
"The import and significance of every true, great artist consists in the irresistible appeal of his personality and in how it reflects in his artwork", wrote Leonid Pasternak in a memoir about Isaac Levitan1. The originality of Levitan as an artist lies in his being a natural, entirely self-sufficient landscape artist who fully realized his talent in landscape art. His landscapes eclipsed all his forays into different genres and creative activities. Who remembers now that Levitan illustrated magazines and books, designed stage sets, created portraits and still-lifes?
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EXCLUSIVE PUBLICATIONS Nina Markova №3 2011 (32) On the return of the Geneva collection of Nikolai Ge's drawings to Russia In May 2011, with the financial assistance of VTB Bank, a set of Nikolai Ge's drawings was returned from Geneva to the artist's homeland: the collection is an important fragment of Russian cultural heritage that vanished from Russia into exile more than 100 years ago. This is a landmark event which had been eagerly anticipated by Russia's museum community for more than 20 years. |
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HERITAGE Nina Markova №1 2011 (30) The coronation album of the Russian Empress Yelizaveta (Elizabeth) Petrovna may appear to the general public as something that is both well-known and properly studied. However, this is not quite so. Since the end of the 19th century, when Dmitry Rovinsky published a full listing of the engravings printed in the catalogue, with brief comments, we have learned little new. It took a long time to prepare the album: the work started in the autumn of 1742 and continued until the end of 1744. Over that entire period, active correspondence went on between Moscow, where the court continued to celebrate the coronation, and St. Petersburg, the seat of the Imperial Academy of Sciences, as the parties concerned tried to resolve numerous problems relating to the work. Their correspondence was published as part of “Materials for the History of the Imperial Academy of Sciences”. In the late 20th century, this body of documents increased significantly due to the addition of new papers published in the collected volume on the history of the Engraving Chamber. |
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EXCLUSIVE PUBLICATIONS Nina Markova №3 2010 (28) “The import and significance of every true, great artist consists in the irresistible appeal of his personality and in how it reflects in his artwork”, wrote Leonid Pasternak in a memoir about Isaac Levitan. The originality of Levitan as an artist lies in his being a natural, entirely self-sufficient landscape artist who fully realized his talent in landscape art. His landscapes eclipsed all his forays into different genres and creative activities. Who remembers now that Levitan illustrated magazines and books, designed stage sets, created portraits and still-lifes? |
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