Elizaveta Linnainmaa
The Print Exchange. Reflections on a shared artistic experience

#4 2019 (65)

The exhibition “The 20:20 Print Exchange” took place in Moscow in August 2019, the most recent instalment of an international programme that has been coordinating an exchange of prints between international graphic artists for over a decade now. Russia first took part in the forum in 2018, and 20 artists from the Moscow Print Workshop participated in the new exhibition project, which brought together graphic works from 577 artists in all, representing some 41 studios. The variety of forms submitted - including woodcut, lithography, metal engraving, silk-screen printing and linocut - was matched by an intensive educational programme.

Anton Ainutdinov
Tears and Smiles in the Graphics of Igor Smirnov

#4 2019 (65)

The acclaimed artist-caricaturist Igor Smirnov marked his 75th birthday this year with an exhibition that ran through July 2019 at the Russian Academy of Arts. Titled “This Is Us!”, the show brought together some 80 of his caricatures and graphic works, including pieces drawn from his renowned series “All About Don Quixote” and his recent “Ship 1” and “Ship 2”.



Veronika Kirsanova
Pushkin in Portrait. “Like the memory of first love, you will forever stay dear to Russia’s heart…”

#4 2019 (65)

To mark the 220th anniversary of the birth of Alexander Pushkin in 2019, Moscow’s Pushkin Museum (the State Museum of A.S. Pushkin) staged an unprecedented exhibition of portraits of the great Russian poet. It brought together more than 300 works from Russian museums and galleries, both images created in the poet’s lifetime and works made after his death.


Viktor Kalinin
On Anatoly Slepyshev

#2 2019 (63)

The rough texture of the canvas, traces of the palette knife, fingerprints, brushstrokes - sometimes closely calculated, sometimes random - and unembodied vibrations of colour. All is about registering the evanescent traces of Being, trying to capture, to conserve these traces. It is foreknowing that all these things have existed before. And above everything, from within, by some unfathomable path, there surges a feeling of being doomed for harmony, for the capacity of overcoming the hardships of historic reality locked in the iron circle of being.


Tatyana Yudenkova

#1 2019 (62)

Marking the 175th anniversary of the birth of Ilya Repin (1844-1930), the Tretyakov Gallery is staging a major exhibition of the artist’s works on Krymsky Val. Running until August 2019, it brings together more than 170 paintings and 130 drawings from 27 Russian and foreign museums as well as a number of private collections, featuring both works for which Repin has always been famous and pieces that will be new to the general viewer, including some never shown at the Tretyakov before. Presented chronologically, it follows the evolution of the artist’s career from his academic period through to his final compositions of the 1920s. It gives particular prominence to Repin’s large-scale paintings “dedicated to Russia” - to the fate and fortunes of its prominent individuals, to the Russian people as an entity, and to the nation itself - that cover the period from the aftermath of the 1860s reforms through to the revolutions of the 20th century.




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