Yevgenia Ilyukhina
"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.

Olga Atroshchenko

#3 2018 (60)

Running through to February 2019, the Arkhip Kuindzhi exhibition at the Engineering Wing of the Tretyakov Gallery pays tribute, on the occasion of the 175th anniversary of his birth, to one of the greatest Russian landscape painters of the second half of the 19th century. A contemporary of Vasily Polenov, Ivan Shishkin and Mikhail Klodt, Kuindzhi (1842-1910) could “singularly examine” nature to find a mysterious, captivating beauty in it, an ability that would contribute considerably to the rise of the genre of the symbolist landscape. The artist was especially attracted to scenes with arresting natural lighting effects - moonlit nights that beckoned in mystery, fiery sunsets, or the heat of the noonday sun. He set his sights on the earth and sea, mountains and sky, but most of all on space, which he regarded as the fulcrum of the Universe. Full of musical and poetic allusions, Kuindzhi’s works draw viewers in, taking them towards philosophy.

Irina Leytes, Yekaterina Arkhipova
“Why look for another like her? Moscow stands unmatched...” THE CITY AND THE PEOPLE. MOSCOW IN 20TH CENTURY GRAPHIC ARTS

#2 2018 (59)

“Why look for another like her? Moscow stands unmatched...’’ These words, chosen for the title of a memoir by the 19th century architect Vladimir Bakarev, remain a fitting expression of the Russian capital's enduring appeal.1 Today, drastic changes in the way the city looks leave some excited, others outraged, but no one indifferent. Moscow has always attracted both painters and graphic artists, who have chosen the city as their subject.





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