"Living in the territory of art”. NEW PERSPECTIVES ON MIKHAIL LARIONOV
#4 2018 (61)
Something of a legend in Russian art of the early 20th century, and one of the most brilliant representatives of the country’s avant-garde of that time, Mikhail Larionov is one of the last artists of his generation whose work can be said to have “returned” to Russia in its entirety. His exhibition history has been complicated: a participant in, and organizer of some of the “roaringly popular” shows of the 1910s, Larionov left Russia on Diaghilev’s invitation in 1915, and his name has somehow been “missing” from the country’s cultural map ever since. World War I, the Russian Revolution and the Civil War made it practically impossible for the artist, then living in France, to participate in the artistic life of his homeland. Thus, the new exhibition at the Tretyakov Gallery on Krymsky Val that opened in September 2018 reveals many new facets of Larionov’s work to Russian viewers.
NATALIA GONCHAROVA'S SPANISH EXTRAVAGANZA
#4 2015 (49)
Goncharova's discovery of Spain, through a journey undertaken with her husband Mikhail Larionov in 1916 on the invitation of Sergei Diaghilev, would profoundly influence the artist's work, marking both her painting and her frequent ballet and theatre design projects.
Natalia Goncharova. Pochoirs
#1 2014 (42)
THE EXHIBITION "NATALIA GONCHAROVA. EAST AND WEST" AT THE TRETYAKOV GALLERY OFFERS AN OPPORTUNITY TO APPRECIATE NOT ONLY THE ARTIST'S FAMOUS PAINTINGS BUT ALSO HER LESSER-KNOWN GRAPHIC WORK. A VAST BODY OF THE LATTER WAS MADE USING THE POCHOIR TECHNIQUE, AND IS REPRESENTED COMPLETE WITH THE ORIGINAL SKETCHES.
The Mansion of Serge Koussevitzky. The Story Behind a Commission
#1 2014 (42)
NATALIA GONCHAROVA IS ONE OF THOSE RARE PAINTERS WITH A PRONOUNCED TOUCH FOR THE MONUMENTAL FORM. IN HER RUSSIAN YEARS IT MANIFESTED ITSELF IN RELIGIOUS PAINTINGS THAT WERE FAR FROM "ORTHODOX" - AT LEAST BY COMPARISON WITH CONTEMPORARY ECCLESIASTICAL ART AS REPRESENTED BY TH E LI KES OF VIKTOR VASNETSOV AN D MIKHAIL NESTEROV - A FACTOR THAT EFFECTIVELY BLOCKED ANY POSSIBILITY OF HER RECEIVING OFFICIAL COMMISSIONS. IT WAS ONLY IN 1915 AFTER HER DEPARTURE FROM RUSSIA, THAT WITH THE HELP OF THE ARCHITECT ALEXEI SHCHUSEV THE ARTIST WAS COMMISSIONED TO DECORATE A PRIVATE CHURCH ON AN ESTATE IN BESSARABIA. EVEN THAT WORK WAS DOOMED NEVER TO BE COMPLETED, BECAUSE OF THE WAR AND REVOLUTION.
Yevgenia Ilyukhina, Irina Shumanova
Sergei Diaghilev's "Ballets Russes" on the Tretyakov Gallery Stage
№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.