On Certain Official Precious and Rare Gifts to the Russian Emperor Peter I from the Chinese Kangxi Emperor
#2 2022 (75)
This year marks the 350th anniversary of the birth of the Russian Tsar Peter the Great (1672-1725). Among the many events commemorating this significant date, the State Hermitage Museum prepared a monographic exhibition called “Exotic and Lavish China. Knowledge of the Orient” (which ran from April 19 to June 12, 2022). For the first time, the unique exhibits preserved by the State Hermitage and directly related to Peter I and his associates were presented in such a configuration. Accompanying the exhibition is an edition that reflects the history of the Chinese collections in the Hermitage at the end of the 17th and beginning of the 18th centuries, as well as the development of Oriental studies and museum work in the Russian Empire. Many documentary exhibits are published for the first time, and their history has only been recently studied.
"I am forever — alone! — I am forever — for everyone!"
#3 2021 (72)
Vrubel’s path from “Demon Seated” to “Demon Flying” and “Demon Downcast” coincided with the period in which Symbolism, as an all-encompassing philosophical and aesthetic movement, along with its stylistic offshoot, Art Nouveau, were taking shape. Vrubel’s creative endeavour proved to be the highest point of “spiritual exertion, religious excitement” and “the sense of mysteriousness of the world” that enveloped and nourished culture at the beginning of the 20th century.
#1 2019 (62)
Born in 1877, Yury Repin was the third child, and only son of Ilya Repin and Vera Shevtsova. By the first decade of the 20th century he had emerged as an artist in his own right, earning acclaim for his historical paintings and lyrical landscapes, and particularly as a portraitist. As his career progressed, religious themes, especially drawn from the Gospels, gradually became dominant in his work. In 1909, he moved to Kuokkala, where he ran an art school; after the revolution, he remained in exile outside Russia, close company for his father until the latter’s death in 1930. Yury Repin died in Finland in 1954: today, his work is little known, even in art history circles.
#1 2019 (62)
Ilya Repin has often been associated, for critics and art-lovers alike, with his pictures focused on the "burning” issues of his day, as well as known for his large-scale historical compositions and the extensive series of portraits that he painted of his contemporaries. It seemed as if his life, so continuous in its artistic endeavour, could have no space left for other genres or topics. But recent scholarship has brought renewed attention to another facet of his work - his paintings on religious themes.
A Premonition of the Future. THE GRAPHIC WORKS OF VASILY CHEKRYGIN FROM THE COLLECTION OF THE TRETYAKOV GALLERY
#2 2018 (59)
The 120th anniversary of the birth of Vasily Chekrygin (1897-1922), the painter and graphic artist whose work many influential critics have called unique in the visual arts of the i9ios-i92os, fell on January 19 2017 Timed to coincide with that anniversary and organized as part of the project “The Tretyakov Gallery Opens Its Reserve Collections”, the show introduced the public to the Tretyakov’s collection of Chekrygin’s graphic works.
“Of Course, You and I Are Sisters...” NATALIA GONCHAROVA AND MARINA TSVETAEVA - THE HIDDEN WORLD OF GONCHAROVA’S POETRY
#2 2018 (59)
“Take Goncharova - she’s never written poetry, she’s never lived poetry, but she understands because she looks and she sees,” the poet Marina Tsvetaeva wrote in 1929, describing Natalia Goncharova’s perceptive appreciation of her poem “To the Herald”. Even though they remained in constant contact in the years 1928-1932, Tsvetaeva was not aware that her artist friend did indeed try her hand at poetry. No doubt she would have found that overlap of brush and the written word intriguing. Today, four complete notebooks and numerous separate handwritten poems are extant, and they make it clear that Goncharova used poetry as a private diary and a means of sketching fleeting impressions. It was also a mode of reflection, a way of searching for a symbol, a colour, or an atmosphere. (Sometimes Goncharova even switched into French to achieve the right tone.) Most of her poems were not dated, with the exception of those written in April and May of 1957, the year when the 76-year-old Goncharova mentioned the idea of publishing her verse in a letter to Orest Rozenfeld, although with little faith in the viability of the project: “Apart from that, there is also something I did for myself, a collection of poems that I am sure will never appear in print.”
Irina Leytes, Yekaterina Arkhipova
The Housing Question*. Interior Scenes in Soviet Graphic Art from the 1920s to the 1980s
#2 2017 (55)
Depictions of everyday life - showing people engaged with their usual activities, in their accustomed home surroundings - have long been common in world art. In 20th century Russia, however, attitudes towards domestic life - byt, in the general Russian word - and indeed towards the concept of the home itself, underwent dramatic shifts. In the past, the home had been seen as a safe, contained space, offering its inhabitants comfort, warmth and a sense of safety. However, following the cataclysmic upheavals of the early 20th century, the radical ideology that took over in Soviet Russia sought to portray the comforts of home as pernicious for those who belonged to the new social order: this “counter-force” governed everything from home furnishings to Mayakovsky’s otherwise blameless canaries.
Léon Bakst and the Writer: of the Russian Silver Age
#2 2017 (55)
A prominent artist of the Silver Age of Russian culture, Léon (Lev Samoilovich) Bakst was also a notable figure in the literary community of his time. He was acquainted with, or a friend of many writers and poets whose portraits he painted and whose books he illustrated.
AS TIMES AND LIVES INTERTWINE...
#4 2016 (53)
A recently-discovered family album belonging to Yelena Gayevskaya, wife of Feodosia town governor Pavel Gayevsky, sheds fascinating light on society in the town, and the interaction of its notable figures, in the first half of the 19th century. Containing remarkable early portrait sketches by Ivan Aivazovsky of some of those concerned, it reveals the broad and various historical links that extended through the beau-monde of the time - including connections which lead to the great Russian poet, Alexander Pushkin. The album affords invaluable context on the close-knit world in which the future great painter moved in his youth.
AN ENGLISH OPENING
#2 2016 (51)
“They have an eye for beautiful and expensive things in Russia”: proof of that was provided by the interest expressed by Russian business and high society individuals in the recent British Antiques Mission in the Moscow Expo that took place in the British Ambassador’s private residence in Moscow in March 2011.
“ I AM STANDING UP FOR SHAKESPEARE... ”
#2 2016 (51)
English literature was discovered by Russia’s educated circles in the 18th century, although mainly in German and French translation; soon after the Patriotic War of 1812 there emerged a keen interest not only in British writers, but in the English language as well.
Mikhail Nesterov. Quiet Truths
#1 2016 (50)
When a soul, sinful but talented and longing for epiphany, encounters genuine holiness, a "divine spark" produced by this encounter kindles an unquenchable flame of creativity. For Mikhail Nesterov, "holiness" was a hallmark of the ideas and objects regarded as sacred by every nation: the lands of the forbears, religion, the history and heroes of the country. But, together with his deep "affection for one's hearth and home, affection for one's ancestral tombstones," he equally revered the title of artist, questioning, until his last days, his right to be called one.
Valentin Serov and Leon Bakst. Seeking an ideal
#3 2015 (48)
Valentin Serov (1865-1911) appeared reserved, earnest, and sombre; Leon Bakst (1866-1924) was vibrant, unpredictable and a little funny - a dedicated dandy. What was it that brought together these two artists, so unlike one another? Why did their fondness for one another grow in the years after they met while publishing “Mir Iskusstva” (World of Art) magazine? The answer seems simple and complicated at the same time: deep down, they were looking for something indiscernibly similar. While their public personas were so different, both used them to protect their respective creative selves from the rude intrusions of outsiders. Both artists were successful and famous, each in his own unique way; both were chasing their dreams and looking for new paths and expressions, while remaining honest and true to themselves in their artistic pursuits.
The "Girl with Peaches": who is she?
#3 2015 (48)
Serov’s famous painting “Girl with Peaches” depicts my grandmother Vera Mamontova in her childhood. I never met her. She died when her daughter, my mother, was only just two. During her short life she managed to accomplish everything that was expected from a woman of her milieu at that time. She was an obedient daughter, a loving sister, a bride who suffered separation from her bridegroom, a caring mother... Her surviving letters, as well as the reminiscences of those who knew her, reveal much about her life.
The Return. On the Occasion of the 70th Anniversary of the Tretyakov Gallery’s Re-opening after World War II
#2 2015 (47)
THE GREAT PATRIOTIC WAR WAS A TREMENDOUS UPHEAVAL FOR BOTH THE TRETYAKOV GALLERY AND THE ENTIRE COUNTRY. MARKING THE 70TH ANNIVERSARY OF VICTORY, WE ALSO CELEBRATE THE ANNIVERSARY OF THE GALLERY'S RE-OPENING AFTER ITS RETURN TO MOSCOW FROM EVACUATION.
Marina Gritsenko’s Diaries. The Days of War as Recorded by Pavel Tretyakov’s Granddaughter
#2 2015 (47)
THE TRETYAKOV GALLERY'S DEPARTMENT OF MANUSCRIPTS HOUSES A UNIQUE DOCUMENT DATING FROM THE YEARS OF THE GREAT PATRIOTIC WAR: THE DIARIES OF MARINA GRITSENKO (1901-1971), THE GRANDDAUGHTER OF PAVEL TRETYAKOV, THE MUSEUM'S FOUNDER. VIRTUALLY ALL HER LIFE WAS CONNECTED WITH ART. FOLLOWING IN THE FAMILY TRADITION, SHE WAS MORE THAN JUST A FRIEND TO ARTISTS: SHE HELPED THEM GET THROUGH THE HARD TIMES OF THE WAR. THE DIARIES SHE WROTE AT THE TIME ARE A LIVING TESTIMONY OF THE COUNTRY'S SITUATION IN THIS PERIOD.
#2 2015 (47)
EUGENE (YEVGENY) LANCERAY IS ONE OF THE FEW RUSSIAN ARTISTS WHO NOT ONLY EXPERIENCED BUT ALSO CAPTURED IN HIS WORK MANY EVENTS OF BOTH THE FIRST AND SECOND WORLD WARS. IN THE WINTER OF 1914-1915 HE TRAVELLED TO THE TURKISH FRONT TO PAINT LOCAL PEOPLE, COSSACKS AND EVENTS ON THE BATTLEFIELD. THAT WAR WAS CALLED THE T,REAT PATRIOTIC WAR", AND IT WAS FOLLOWED BY THE BOLSHEVIK REVOLUTION IN 1917 AND THE CIVIL WAR. BUT FEW COULD HAVE FORESEEN THAT A NEW WORLD WAR WOULD BREAK OUT SO SOON. ON SEPTEMBER 4 1939 THE ARTIST WROTE IN HIS DIARY: "A SECOND WORLD WAR! AGAIN EVERYTHING IS FALLING APART! BUT INERTIA STILL RULES WHILE BOTH I AND EVERYBODY ELSE TALKS AND CARES ABOUT THE SUBTLETIES OF PROPORTIONS AND SHADES OF COLOURS!.. I'M THINKING ABOUT THE PARISIANS AND KOLYA." ON SEPTEMBER 9: "OLYOK IS FEELING LOW BECAUSE WAR IS LOOMING. PEOPLE SEEM TO BE BUYING UP FOOD. QUEUES EVERYWHERE. HUGE CROWDS IN THE SAVINGS BANKS." ON SEPTEMBER 24: "HISTORICAL EVENTS ARE FOLLOWING EACH OTHER IN A FLASH: THE 17TH - SOVIET TROOPS ENTER POLAND. POLAND'S ULTIMATE DEBACLE, AND YESTERDAY - ITS PARTITION; EVERYONE IS SPECULATING WHO WILL GET HOLD OF WARSAW, WHICH STRADDLES THE DIVIDE." BUT THE WAR WOULD ONLY REACH RUSSIA IN JUNE 1941.
#2 2015 (47)
BORIS NEMENSKY BEGAN HIS SERVICE IN THE SECOND WORLD WAR AS A 19-YEAR-OLD ENLISTED SOLDIER AND ARTIST EMBEDDED WITH THE ARMY. THE "MUNITIONS" HE CARRIED ON HIS BACK WERE THOSE ALREADY TESTED BY ARTISTS FROM THE GREKOV STUDIO OF WAR ARTISTS WHO HAD PRECEDED HIM TO THE FRONT LINE: A HOME-MADE SKETCH-BOOK FOR DRAWING ON PAPER, WHICH WAS SUITABLE FOR DRAWING IN ALL ELEMENTS, WHETHER STANDING, SITTING OR LYING DOWN. THE YOUNG ARTIST'S MISSION, AS STATED BY GLAVPUR (THE CHIEF DEPARTMENT ON POLITICAL MATTERS OF THE SOVIET ARMY AND NAVY), WAS TO CREATE "A PICTORIAL RECORD OF REAL EVENTS AT THE FRONT". HERE, NEMENSKY REMEMBERS HIS WARTIME EXPERIENCES, AND THE EFFECT THAT THOSE WAR YEARS HAD ON HIS SUBSEQUENT DEVELOPMENT AS AN ARTIST.
#2 2015 (47)
KONSTANTIN MOLCHANOV (1906-1980) WAS BORN IN MOSCOW AND GRADUATED FROM THE RENOWNED VKHUTEMAS-VKHUTEIN (RESPECTIVELY, THE HIGHER ART AND TECHNICAL STUDIOS, OR THE HIGHER ART AND TECHNICAL INSTITUTE, AS IT WAS KNOWN AFTER 1926). HE WAS ONE OF THE FIRST MEMBERS OF THE MOSCOW BRANCH OF THE UNION OF SOVIET ARTISTS, A DISTINGUISHED TEACHER AT THE MOSCOW SECONDARY ART SCHOOL; HIS MILITARY SERVICE BEGAN WHEN MOSCOW WAS THREATENED BY THE APPROACHING GERMAN ARMIES, AND ENDED IN BERLIN. THE ARTIST'S DAUGHTER SVETLANA AND GRANDSON VALERY MOLCHANOV TREASURE THE MEMORABILIA THAT TESTIFY TO HIS CONTRIBUTIONS TO THE WAR EFFORT: HIS MEDALS "FOR THE DEFENCE OF MOSCOW", "FOR THE DEFENCE OF STALINGRAD", "FOR THE LIBERATION OF WARSAW", "FOR THE CAPTURE OF BERLIN", "FOR VALIANT LABOUR IN THE GREAT PATRIOTIC WAR 1941-1945", "FOR VICTORY OVER GERMANY IN THE GREAT PATRIOTIC WAR 1941-1945", AS WELL AS THE ORDER OF THE PATRIOTIC WAR 2ND CLASS, A "DISTINGUISHED COMBAT ENGINEER (SAPPER)" BADGE AND MORE THAN 60 LETTERS OF COMMENDATION FROM HIS COMMANDING OFFICERS.
#3 2014 (44)
IN 1934, IN THE GRIP OF POST-REVOLUTIONARY HARDSHIPS, WHEN ART NOUVEAU WAS ALREADY, IRREVERSIBLY, A THING OF THE PAST - PART OF A HAPPY-GO-LUCKY GONE ERA IN WHICH YOUTH HAD LIVED, AND INSPIRED DEBATES ABOUT ART UNFOLDED ON THE PAGES OF THE MAGAZINES "WORLD OF ART" AND "APOLLO", AND A ROMANTIC ARTIST'S STUDIO SOARING ABOVE THE STAGE OF THE MARIINSKY THEATRE WITNESSED "POETIC" DUELS - MIKHAIL KUZMIN WROTE IN HIS DIARY: "SPRINGTIME. EVERYTHING IS IN BLOSSOM, AND THE VIEW FROM THE WINDOW IS LIKE GOLOVIN'S BLIND MAGAZINE COVERS: THE ENTIRE SPACE IS FILLED WITH GREEN ORNAMENTS OF DIFFERENT SHADES OF COLOUR... IT IS A PLEASURE AND JOY TO WATCH HOW THE BUDS ARE OPENING, THE GRASS IS GROWING, ALL IS LIMPID, AND TWIGS ARE ELEGANT (PICTURE VERSUS COLOURATION)".
#3 2014 (44)
WHEN WE LOOK AT PAINTINGS, WE OFTEN WONDER WHAT THE ARTIST WAS LIKE IN REAL LIFE, WHAT EXCITED HIM, WHAT KIND OF PEOPLE SURROUNDED HIM, WHAT INSPIRED HIM TO CREATE HIS MASTERPIECES. IT IS NOT ALWAYS EASY TO FIND ANSWERS TO THESE QUESTIONS, EITHER IN THE ARTIST'S WORKS OR IN EXPERT STuDIES Of HIS OR HER OEuVRE. MEMOIRS AND CORRESPONDENCE SOMETIMES HELP US LIFT THE VEIL OF MYSTERY. ALEXANDER GOLOVIN'S OWN "ENCOUNTERS AND IMPRESSIONS", PUBLISHED BY ERICH GOLLERBAKH, OUTLINED THE EXPERIENCES OF THE ARTIST'S LIFE; HE FOCUSED ON CULTURAL EVENTS, ON HIS ASSESSMENT OF VARIOUS PERSONALITIES AND PHENOMENA, BUT MUCH LESS ON HIS REFLECTIONS ON ART. THE ARTIST'S INNER WORLD AND HIS CREATIVE PROCESS REMAIN ALMOST ALWAYS "OFF THE RECORD".
Russian Patriarchs of the 20th Century in Pavel Korin's Works
#2 2014 (43)
THE LIFE AND ARTISTIC CAREER OF PAVEL KORIN (1892-1967) COINCIDED WITH THE RESTORATION OF THE INSTITUTION OF THE PATRIARCHATE IN RUSSIA. HE WAS PRIVILEGED TO MEET ALL THE PRIMATES OF THE RUSSIAN ORTHODOX CHURCH ELECTED DURING THE SOVIET PERIOD, FROM TIKHON TO PIMEN, THE FUTURE PATRIARCH. THESE FATEFUL ENCOUNTERS TOOK PLACE AT A TIME WHEN THE VERY EXISTENCE OF THE RUSSIAN CHURCH WAS CHALLENGED.
The Holy Trinity Church in Cuhurestii
#1 2014 (42)
ONE OF THE REMAINING ENIGMAS OF NATALIA GONCHAROVAS ARTISTIC LEGACY CONCERNS HER WORK ON THE MURALS FOR A CHURCH IN BESSARABIA (NOW MOLDOVA) BUILT BY THE ARCHITECT ALEXEI SHCHUSEV. FOR A LONG TIME HER INVOLVEMENT IN THE PROJECT WAS A MATTER OF DISPUTE.
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.
Isaac Levitan's Summer. Day Rediscovered
#1 2014 (42)
EVERY WORK BY THE EMINENT LANDSCAPE ARTIST ISAAC LEVITAN, WHETHER HIS LARGE FINISHED COMPOSITIONS OR SKETCHES FROM NATURE, HIS DRAWINGS OR Refined pASTEL pIEcES, IS A "SwEET Melody" ABOuT RuSSIAN NATuRE – A MELODY WHICH SOUNDS SOMETIMES CLEARLY AND CHEERFULLY, SOMETIMES TENSELY AND ANXIOUSLY, BUT ALWAYS EARNESTLY AND EMOTIONALLY. LEVITAN'S APPRECIATION OF RUSSIAN CULTURE, IN WHICH HE WAS RAISED BOTH AS AN ARTIST AND AS AN INDIVIDUAL, AND WHICH HE KNEW AND LOVED, MADE HIM ONE OF THE MOST SENSITIVE LANDSCAPE ARTISTS WHO EXPRESSED THE NATIONAL ESSENCE AND THE INNERMOST MYSTERY OF THE COUNTRY'S NATURE. AS ALEXANDRE BENOIS CHARACTERISED HIM: "A SENSITIVE AND GREAT ARTIST."
Mikhail Nesterov and lexeiShchusev Collaborate. Unknown projects
#1 2013 (38)
BY THE LAST YEARS OF THE ROMANOV DYNASTY MIKHAIL NESTEROV AND ALEXEI SHCHUSEV WERE ALREADY FULLY-FLEDGED CULTURAL LUMINARIES IN RUSSIA. NESTEROV HAD WON ACCLAIM WITH HIS NATIONAL-ROMANTIC PAINTINGS SUCH AS "THE HERMIT", "THE VISION OF THE YOUNG BARTHOLOMEW", AND "THE MURDERED TSAREVICH DMITRY", WHILE SHCHUSEV'S DESIGN HAD BEEN CHOSEN FOR MOSCOW'S LARGEST CONSTRUCTION PROJECT - THE KAZAN RAILWAY STATION IN MOSCOW. BOTH MEN WERE REGARDED BY THEIR CONTEMPORARIES AS VERY ORIGINAL FIGURES IN CHURCH PAINTING AND ARCHITECTURE. THIS ARTICLE'S FOCUS ON THEIR ARTISTIC COLLABORATION IS NATURAL, BECAUSE NESTEROV, ALWAYS DEMANDING OF HIMSELF, CONSIDERED THE CHURCH BUILDINGS DESIGNED BY SHCHUSEV IN COLLABORATION WITH HIM AS HIS GREATEST ACCOMPLISHMENTS MADE "ON THE CHURCH SCAFFOLDING". MOREOVER, THE NATURE OF THIS COLLABORATION ARGUABLY INDICATES THAT THE TWO MASTERS INFLUENCED ONE ANOTHER. NOT SURPRISINGLY, AFTER THE BOLSHEVIK REVOLUTION THEIR CHURCH-RELATED PROJECTS WERE RARELY MENTIONED. IN THE COURSE OF THE PREPARATION FOR THE EXHIBITION "MIKHAIL NESTEROV. IN SEARCH OF HIS RUSSIA", I HAVE MANAGED TO EXAMINE UNKNOWN EPISODES IN THE ARTIST'S CAREER, STUDYING THOSE OF HIS COMMISSIONED WORKS THAT EVEN EXPERTS KNOW LITTLE ABOUT, AND IDENTIFYING IMAGES AND DRAWINGS NEVER PREVIOUSLY PRINTED.
Mikhail Nesterov's Family in His Art
#1 2013 (38)
THERE ARE SOME ARTISTS WHOSE ART MAY BE EXAMINED WITHOUT MUCH STUDY OF THEIR BIOGRAPHIES, OR REFERENCE TO THEIR LOVED ONES, WHILE WITH OTHERS THEIR WORK IS SO CLOSELY LINKED TO THEIR FAMILIES THAT IT BECOMES ESSENTIAL TO ANY ANALYSIS OF THEIR OEUVRE. MIKHAIL NESTEROV (1862-1942) IS AMONG THE LATTER: THIS ARTICLE, WHICH INCLUDES MATERIALS, LETTERS AND PHOTOGRAPHS FROM VARIOUS ARCHIVES, EXAMINES THE CONNECTION BETWEEN THE ARTIST'S FAMILY AND HIS WORK. THESE LETTERS HELP US SEE WHAT IS USUALLY HIDDEN FROM THE VIEWER'S EYES - THE DIFFERENT ROLES THAT AN ARTIST'S FAMILY PLAYS IN HIS LIFE. NESTEROV'S FAMILY MEMBERS OFTEN INSPIRED HIM TO CREATE HIS PAINTINGS, OR SERVED AS "PROTOTYPES" FOR THE SUBJECTS OF HIS LARGE-SCALE WORKS, EVEN FOR THE FRESCOES THAT THE ARTIST CREATED FOR VARIOUS CATHEDRALS. WITHOUT DOUBT, THIS WAS VERY IMPORTANT FOR THE ARTIST; HE WROTE THAT "...IF THERE IS A FACE, THERE IS A PAINTING. IF THERE IS NO [FACE], NO EXPRESSION THAT I SEEK <...> - THERE WILL BE NO PAINTING. LIKE SEROV, IT IS THE HUMAN SOUL THAT I NEEDED FIRST AND FOREMOST." IN MAKING THE ACQUAINTANCE OF NESTEROV'S FAMILY MEMBERS IT IS NOT ONLY HIS LETTERS AND PAINTINGS THAT ARE IMPORTANT, BUT ALSO THE PHOTOGRAPHS THAT HAVE BEEN PRESERVED, WHICH SOMETIMES REFLECT MUCH ON NESTEROV'S CREATIVE PROCESS. THE LEGACY OF THE ARTIST'S DESCENDANTS, WHOSE LIVES WERE PROFOUNDLY INFLUENCED BY THE PERSONALITY OF THEIR FATHER AND GRANDFATHER, IS ALSO REVEALING.
H.M. Queen Sonja’s Art Collection
#4 2012 (37)
It was a beautiful day. We were on a hike in Northern Norway. In Leirfjord a large rectangular steel installation had been placed in the landscape. Everyone thought it was odd. But I insisted – we should not be discouraged. We should go and have a look! As we approached, we saw that the seemingly randomly sited construction framed the landscape in an infinite number of perspectives, depending upon where one was standing. The landscape had been there since the dawn of time. Art helps us realize that.
What more can we ask?
Queen Sonja in “Impulses” 2001
John E. Bowlt, Anna Chernukhina, Olga Kovaleva, Elena Terkel
“Words of Magic”: The Literary Heritage of Leon Bakst
#1 2008 (18)
Of the many artists of the Russian Silver Age Léon Bakst (Lev Samoilovich Rozenberg, 1866–1924) deserves the highest acclaim for his contribution to both studio painting and the decorative arts. Among Russian stage designers, he enjoyed – and continues to enjoy – the widest recognition for legendary productions such as Cléopatre , Schéhérazade, Le Dieu Bleu and The Sleeping Princess, in which he astounded audiences with munificence of colour, tactile form and exposure of the dynamic force of the human body.
#1 2007 (14)
The growth and development of Ingush art is a little researched topic. The creative Weltanschauung is closely connected with the history, religious customs, ethical norms and aesthetic values of a people. The work of the two “fathers” of Ingush professional art, Khadzhi-Bekr Akhriev and GaziMagomed Dourbekov, is no exception.
Yevgeny Lancere. Character, Feeling and Independence
#1 2005 (06)
Sculpture is known to have gone out of fashion in Russia in the late 19th century: a reaction towards realistic trends with their worldy principles and everyday subjects, against the academic arts of previous periods, encouraged painting rather than sculpture. As a result, the sculpture of the time came to be lacking in its sense of material, in an attractiveness of the plastic means, as well as in a wholeness and completion of form. The specific language of sculpture needed other subjects, different from the simple narrations of realistic art.
#1 2003 (01)
IT WAS IN JUNE 1920 THAT THE GROUP UNOVIS ("AFFIRMERS OF THE NEW ART"), CENTRED AROUND THE FIGURE OF MALEVICH, ISSUED FIVE TYPED COPIES OF THE ALMANAC OF THE SAME NAME, CONTAINING ARTICLES, MANIFESTS, DECLARATIONS AND DRAWINGS BY ITS MEMBERS. IT IS KNOWN THAT ONLY TWO COPIES HAVE SURVIVED: ONE OF THEM WAS PRESENTED BY MALEVICH TO DAVID SHTERENBERG, AND THEN SOLD BY HIS HEIRS TO A PRIVATE COLLECTOR; THE OTHER, WHICH HAD BELONGED TO EL LISSITSKY, WAS DONATED TO THE DEPARTMENT OF MANUSCRIPTS OF THE TRETYAKOV GALLERY BY S.LISSITSKY-KYUPERS IN 1959. THERE IS NO INFORMATION ABOUT THE OTHER THREE COPIES.