Russian 311 – Weeks 9&10 Course Materials
Grammar
[Click here to see the
lecture notes]
The Pronoun, selected topics and exercises from Pulkina,
Zakhava-Nekrasova, 1992 pp. 148-182.
Vocabulary
Review the Level
1+ lexical minimum list and choose at
least 10% of the vocabulary items pertinent to this topic.
Intentional
Phrases
Review the list of Russian intentional
phrases and choose at least 10% of
the items pertinent to this topic.
Texts
Famous Russian Painters – Time Line
История
русской
живописи
Живопись,
искусство = art
Домашняя
работа:
Напишите 20
предложений
о вашем самом
любимом
художнике, о
его жизни (исторический
период),
направлении
в искусстве,
самых
знаменитых
картинах.
Вопросы
и ответы:
1)
Какой
знаменитый
русский
художник вам
(тебе)
нравится?
Мне
нравятся
несколько
художников:
Нестеров,
Карл Брюлов,
Васнецов,
Врубель,
Кандинский и
Рерих.
А
также мне
нравятся
картины
Генриха Семирадского,
хотя он не
очень
известный
художник. Он
писал
картины в
стиле
голландско-английского
художника
Сэра
Лоуренса
Альма-
Тадемы.
В них много
света и они
похожи на иллюстрации
к сказкам.
2) В
каком году он
родился?
Карл
Брюлов
родился в
тысяча
семьсот девяноста
девятом году.
3) В
каком году он
умер?
Иван
Айвазовский
умер в тысяча
девятьсотом
году.
4)
Какой
художник
нравится
профессору
Крофту?
Профессор
Крофт очень
любит
картины Рериха.
Какой
художник
нравится
твоей маме,
твоему папе,
брату,
сестре, другу,
священнику,
собаке?
Наш
равин любит
современное
искусство.
Мой
священник
(пастор,
наставник,
(наш) поп, батюшка) любит
итальянских
мастеров.
Моя
сестра не
любит
футуристов.
Моя
собака не
любит
картины Энди
Ворхола, она
на них лает.
Какие
картины любит
майор
(капитан)
вашей части?
Майор
нашей части
любит
картины на
которых
нарисовано
старинное
оружие.
(Our major likes paintings of old weaponry)
4)
Какой
иностранный
(немецкий,
английский, французский,
итальянский,
американский)
художник вам
(тебе)
нравится ?
Мне
очень
нравится
итальянский
художник, Сандро
Боттичелли и
его картина
«Рождение Венеры». Это моя
самая
любимая
картина! Я
люблю
картины
Пьеро ди
Козимо,
потому что
они непохожи
ни на кого
другого. А
ещё, я люблю
итальянских
художников
Тициана и
Рафаэля.
Из
современных
художников
обожаю
Гюстава
Климта и
Сальвадора
Дали.
Обожать = to adore
5)
В каком
стиле
рисовал твой
любимый
художник?
Он
рисовал с
стиле эпохи
возрождения
(ренессанса),
(импрессионизма,
реализма,
сюрреализма,
кубизма, футуризма,
абстракционизма,
экспрессионизма.)
Какая
твоя самая
любимая
картина
этого художника?
Моя
самая
любимая
картина
Климта,
«Поцелуй».
6)
В какую
историческую
эпоху жил ваш
( твой) любимый
художник?
Когда жил
ваш (твой)
любимый
художник?
Он жил во
время
правления
Петра
Первого.
(Катерины
Второй).
Он жил при
коммунизме
(Он жил во
время коммунизма).
Он жил в
эпоху
Возрождения.
Картины
Рублёва
являются
исторической
ценностью
Руси. – Rublev’s paintings are historical artifacts of Russia.
По картинам
Антропова и
Левицкого
нам видно как
одевались
люди в эпоху
Петра
Первого и
Екатерины Второй.
7)
Что вам (тебе)
нравится в
его картинах?
Он
очень
своеобразный
художник (He’s a very unique painter).
Он
красиво
рисует море.
У
него хорошие
портреты. (Он
хороший
портретист)
Его натюрморты (still life) восхитительны! (His still lives are superb!)
Он
создал новое
направление
в искусстве – He created a new direction in art.
Ex. Дали – отец
сюрреализма.
Pre 18th Century
Андрей Рублёв
Apostle
Paul
http://www.abcgallery.com/I/icons/rublev4.html
http://www.abcgallery.com/I/icons/rublev6.html
http://www.abcgallery.com/I/icons/rublev8.html
Andrei Rublev
(c. 1360/70-1430)
Little is known about this pupil of
great Byzantine master Theophanes
the Greek, who worked in Rus. Andrei Rublev was most probably born in the
The first mentioning of his name refers to 1405; the document says that for the decoration of the Annunciation Cathedral in Moscow Kremlin there were invited the famous Theophanes the Greek, master Prokhor and monk Andrei Rublev. This means that the painter had already changed the unknown to us name given on birth to the name of Andrei. The decorations of the Annunciation Cathedral did not survive the turbulent time, but the Iconostasis still keeps 7 icons by Rublev. They are evidence of his high skills and the following of the Byzantine tradition.
Rublev also painted murals.
To the 1410s art historians refer the 3 icons in Zvenigorod: Our Savior, Archangel Michael and Apostle Paul. In these icons, especially Our Savior, the new tradition is maturely embodied, marking the beginning of the Golden Age in Russian icon painting.
Probably at that time Rublev painted
the Old
Testament Trinity, the best of Russian icons. Here he managed to
create the mood of spiritual harmony of three souls, the Trinity is an ideal
incarnation/embodiment of the complicated theological/divine theme. “The most
individual element – and also the most distinctively Russian – is the color
scale, which is brighter, more complex, and different in key from that of any
Byzantine work. In the hands of a lesser master, such combinations as orange,
vermilion, and turquoise might easily have a primitive garishness of the sort
we often find in folk art. But here, the controlled intensity of these tones is
an essential part of the composition” (History of Art. By H. W. Janson.
Fifth Edition. Harry N. Abrams Inc., NY. 1995). In the middle of the 1420s
Rublev and Daniil Tcherny worked on decoration of The Trinity-Sergius Lavra
(abbey). The murals have been ruined, only some icons were preserved.
According to the legend Andrei Rublev was a shy and calm person, was busy
exclusively with divine service, icon painting and meditation. As all reformers
Rublev was often criticized for deviation from the canons; his works were
considered to be ‘very joyful’, ‘devoid of fear of the Lord’, ‘lacking
splendor’ and much more.
The date of his death, 1430, is the only precise date of his life. He was respected during his life and after his death became a legend, symbol of high spiritual art. However for a long time his authority was based only on the legend, because nobody knew exactly, which works belonged to him for sure, and the most famous of his works, the Trinity, has changed so greatly during time that it's became next to impossible to judge about its merit. Only in the 20th century thanks to works of many researchers and art restorers our understanding and perception of Rublev as one of the geniuses of the world art has been filled with real meaning.
Rent and watch Tarkovsky’s “Andrei Rublev”, here’s more on the movie
http://www.1worldfilms.com/andrei_rublev.htm
18th Century
In the 18th century, painting of royal or
famous persons was very popular, as well as religious painting. Quite often the
painting had allusions to Greek or Roman themes Classicism or Neo-Classicism in
Literature also occurs during this time. Poets write odes and epistles.
Алексей Антропов Aleksey Antropov 1716-1795
Aleksey Petrovich Antropov was born in 1716 into the family
of a soldier. His inclination for art was revealed early. Since the 1740s he
took part in the decoration of the numerous palaces of
Portrait of Peter the Great. 1772. Oil on
canvas. The
http://www.abcgallery.com/A/antropov/antropov8.html
Portrait of Catherine II the Great. 1766. Oil on canvas. The Novgorod Art and History Museum, Novgorod, Russia.
http://www.abcgallery.com/A/antropov/antropov5.html
Portrait of Grand Duchess Catherine Alekseevna, Future Empress Catherine II the Great. 1760s. Oil on canvas. The Saratov Art Museum, Saratov, Russia.
http://www.abcgallery.com/A/antropov/antropov4.html
Portrait of Empress Elizaveta Petrovna. 1750s. Oil on canvas. The Tula Regional Art Museum, Tula, Russia.
http://www.abcgallery.com/A/antropov/antropov3.html
Дмитрий Левицкий Dmitry Levitzky
(1735 - 1822)
Dmitry Grigoryevich Levitzky was born in Kiev, in 1735, into the family of a
clergyman and an engraver Grigory Levitzky. It was his father who first taught him
to paint. Later, when Aleksey Antropov
came to
In 1770,
Levitzky became famous as a portrait painter after the exhibition of 6 of his
portraits in the Academy of Arts in St. Petersburg. Though Levitzky had many
commissions, they were, in most cases, not well paid, and the painter died in
poverty.
Study the dress of the period and people’s expressions.
Dmitry Levitzky. Portrait of A. D. Levitzkaya, Artist's Daughter. 1785. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
http://www.abcgallery.com/L/levitzky/levitzky34.html
Dmitry Levitzky. Portrait
of Catherine II as Legislator in the Temple of the Goddess of Justice.
1783. Oil on canvas. The Russian Museum,
http://www.abcgallery.com/L/levitzky/levitzky2.html
Dmitry Levitzky. Portrait
of Grand Duchess Elena Pavlovna as a Child. 1791. Oil on canvas. The
Museum of Russian Art,
http://www.abcgallery.com/L/levitzky/levitzky57.html
Karl Brulloff Карл
Брюлов
(1799 - 1852)
He was called by his
contemporaries The Great Karl. His masterpiece The Last Day of
Pompeii (1830-1833) (Последний день Помпеи),
an enormous composition painted in
Karl Brulloff (Brullo until 1822,
when the family name was changed according to Russian pronunciation) was born
in 1799 in
He spent in Italy 13 years,
studying art of the ancient Italy. In Italy, Brulloff created over 120
portraits in various techniques. Among them are portraits of the Russian
aristocracy, residing in Italy, as well as painters, sculptors, writers, etc.,
and also Italian statesmen and artists. One of the requirements of the Society
for the Promotion of Artists for its pensioners was to paint a big historical
picture. In 1827, Brulloff visited the excavation site of Pompeii, a town
destroyed and buried in hot lava during an eruption of Volcano Vesuvius on
August 24, 79 A.D. Brulloff was deeply impressed when he saw the town, preserved
under the layer of lava, where a life was suddenly stopped. Six years were to
pass between the first conception and its materialization. The picture The Last Day of
Pompeii (1830-1833) was a huge success in
In 1835, Brulloff returned to Russia. In the years that followed he painted mostly portraits. Among the best portraits of this period are those of Author Nestor Kukolnic, Count A. A. Perovsky (the Author Anton Pogorelsky) and his nephew future Poet and Playwright Alexey Tolstoy, Author A. N. Strugovshchikov, Princess Ye. P. Saltykova, Countess Yu. P. Samoylova.
In 1849, Brulloff had to come to Italy again for his deteriorating health, which was due to his unhappy marriage and his hard work on the paintings of St. Isaac's Cathedral in St. Petersburg, which he was unable to finish. He spent one year on Madeira, the climate of each was believed to be beneficial for the patients with heart diseases, and his last two years in Rome. He created several excellent works during these years, including portraits of members of Tittoni family, with whom he was very close. He died in Rome on June 23, 1852.
Karl Brulloff. Italian Midday. 1827. Oil on canvas. The
Russian Museum,
Note how every grape looks like you wanna bite it! Хочется
скушать
виноград!
http://www.abcgallery.com/B/briullov/briullov8.html
Karl Brulloff. A Dream of a Girl Before a Sunrise. 1830-1833. Watercolour on paper. The Pushkin Museum of Fine Arts, Moscow, Russia.
http://www.abcgallery.com/B/briullov/briullov49.html
Karl Brulloff. Rider. Portrait of Giovanina and Amacilia Pacini, the Foster Children of Countess Yu. P. Samoilova. 1832. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
http://www.abcgallery.com/B/briullov/briullov11.html
The painting he’s most known for, Karl Brulloff. The Last Day of Pompeii. 1830-1833. Oil on canvas. The Russian Museum, St-Petersburg, Russia.
http://www.abcgallery.com/B/briullov/briullov12.html
Alexander Ivanov Александр Иванов
(1806-1858)
Alexander
Andreevich Ivanov was born in 1806 in St. Petersburg. His father, Andrey
Ivanov, was an artist, the professor of the Academy of Arts . It was his father
who first taught Alexander art, and since 1817 till 1824 he studied in the
Academy of Arts. One of his first notable works, made while in the Academy, was
Priam Asking
Achilles to Return Hector's Body (1824). For the picture Joseph Interprets the
Butler's and the Baker's Dreams in a Prison (1827) he was awarded a
Major Gold Medal by the Society for the Promotion of Artists and sent to
He went to
Italy in 1830 and after 1831, settled in Rome. He travelled all over Italy,
studying the masterpieces of art.
Ivanov also
painted several genre pictures such as Ave Maria
(1839), Bridegroom
Buying a Ring for His Fiancee (1839) and very beautiful landscape
studies: Olives
Near Cemetery in Albano. New Moon (1842-1846), A Tree Branch
(1840s-1850s), Via
Appia (1845), Water and Stones Near
Palacculo (1850s). In the 1850s, he conceived another grandiose
plan to paint a series of large frescos illustrating the Bible, in a palace
specially built for this purpose. In preparation to this project he painted
dozens of sketches in watercolour with various scenes from the Bible. Ivanov
died from cholera in St. Petersburg in 1858, several month after his return to
Russia.
http://www.abcgallery.com/I/ivanov/ivanov23.html
Явление
Христа
народу!
Alexander Ivanov. The Appearance of Christ to the People. 1837-1857. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
Ivan Aivazovsky Иван Айвазовский
(1817-1900)
Ivan Konstantinovich Aivazovsky was born in the family of a merchant of
Armenian origin in the town of Feodosia, Crimea. His parents were under
strained circumstances and he spent his childhood in poverty. With the help of
people who had noticed the talented youth, he entered the Simpheropol
gymnasium, and then the St. Petersburg Academy of Arts, where he took the
landscape painting course and was especially interested in marine landscapes.
In the autumn of 1836 Aivazovsky presented 5 marine pictures to the Academic
exhibition, which were highly appreciated. In 1837, Aivazovsky received the
Major Gold Medal for Calm in the Gulf of Finland (1836) and The Great Roads
at Kronstadt (1836), which allowed him to go on a long study trip
abroad. However the artist first went to the Crimea to perfect himself in his
chosen genre by painting the sea and views of Crimean coastal towns.
During the
period of 1840-1844 Aivazovsky, as a pensioner of the Academy of Arts, spent
time in Italy, traveled to Germany, France, Spain, and Holland. He worked much
and had many exhibitions, meeting everywhere with success. He painted a lot of
marine landscapes, which became very popular in
When in 1844
the artist returned to St. Petersburg, he was awarded the title of Academician,
and became attached to the General Naval Headquarters. This allowed him to
travel much with Russian fleet expeditions on different missions; he visited
Turkey, Greece, Egypt, America. From 1846 to 1848 he painted several canvases
with naval warfare as the subject; the pictures portrayed historical battles of
the Russian Fleet The Battle of
Chesme (1848), The Battle in
the Chios Channel (1848), Meeting of
the Brig Mercury with the Russian Squadron... (1848).
Aivazovsky
left more than 6000 pictures, which are of very different value. Aivazovsky got
good commissions and became rich. He spent much money for charity, especially
for his native town, he opened in Feodosia the first School of Arts (in 1865),
then the Art Gallery (in 1889). He was a member of Academies of Stuttgart, Florence,
Rome and Amsterdam.
Ivan Aivazovsky. The Tenth Wave. 1850. Oil on canvas. The Russian Museum, St. Petersburg, Russia.
http://www.abcgallery.com/A/aivazovsky/aivazovsky17.html
Ivan Aivazovsky. View of the Sea from the Mountains at Sunset. Crimea. 1864. Oil on canvas. The Russian Museum, St. Petersburg, Russia.
http://www.abcgallery.com/A/aivazovsky/aivazovsky22.html
Ilya Repin Илья Репин
(1844-1930)
Ilya Efimovich Repin was born in 1844 in a small Ukrainian town of Tchuguev in the
family of a military settler. As a boy he was trained as an icon painter. At
the age of 19 he entered the St. Petersburg Academy of Arts. His arrival to the
capital coincided with an important event in artistic life of the 60s, the
so-called ‘Riot of the Fourteen’, when 14 young artists left the Academy having
refused to use mythological subjects for their diploma works. They stood on the
point that art should be close to real life. Later Repin would be closely
connected with some of them, the members of the Society of Peredvizhniky.
For his
diploma work Raising
of Jairus' Daughter (1871) Repin was awarded The Major Gold Medal
and received a scholarship for studies abroad. Barge Haulers on the
Volga (1870-1873) was the first considerable work painted by Repin
after graduation. It immediately won recognition.
In 1873,
Repin went abroad. For some months he had been traveling in Italy and then
settled and worked in Paris up to 1876. It was in Paris that he witnessed the
first exhibition of the Impressionists, but, judging by the works created then
and by his letters home, he didn't become the ardent follower of this new Paris
school of painting, though he didn't share the opinion of some of his
country-men who saw a dangerous departure from “the truth of life” in
Impressionism.
After
returning to Russia Repin settled in Moscow. He was a frequent visitor in
Abramtsevo – the country estate of Savva Mamontov, one
of the most famous Russian patrons of art. It was a very fruitful period in his
creative activity. During 10-12 years Repin created the majority of his famous
paintings. In 1877, he started to paint religious processions (krestny khod): Krestny Khod (Religious
Procession) in Kursk Gubernia (1880-1883). The composition was
based on the dramatic effect of different attitude of the participants of the
procession to the wonder-working icon carried at the head of the procession.
There were two different versions of the picture. The second one, completed in
1883, became the most popular. At first glance, the spectator discovers an
abundance of social types and human characters in the crowd .
. The range of social, spiritual and psychological problems, which attracted
Repin, is revealed in his works: Unexpected Return
(1884) and Refusal
from the Confession (1879-1885).
Repin is the
author of many portraits, which are an essential part of his artistic heritage.
Repin never painted faces, he painted real people, managing to show his models
in their natural state, to reveal their way of communicating with the world: Portrait of the Composer
Modest Musorgsky (1881), Portrait of the Surgeon
Nikolay Pirogov (1881), Portrait of the Author
Alexey Pisemsky (1880), Portrait of the Poet
Afanasy Fet (1882), Portrait of the Art
Critic Vladimir Stasov (1883), and Portrait of Leo Tolstoy
(1887) and many others are distinguished by the power of the visual
characteristic and the economy and sharpness of execution.
Repin rarely
painted historical paintings. The most popular in this genre is Ivan the
Terrible and his son Ivan (1895). The expressive, intense composition and
psychological insight in rendering the characters produced an unforgettable
impression on the spectators. Another popular work of the genre is The Reply of the
Zaporozhian Cossacks to Sultan Mahmoud IV (1880-1891). The
faithfully rendered spirit of the Zaporoguus freemen, who, according to the
artist, had a particularly strong sense of “liberty, equality and fraternity”
undoubtedly gives the picture its significance. The contemporaries saw it as a
symbol of the Russian people throwing off their chains.
After the
bolsheviks’ revolution in 1917 he lived and worked in his estate Penates in
Finland. There is a Repin museum there.
Ilya Repin. Portrait of the Composer Modest Musorgsky. 1881. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
http://www.abcgallery.com/R/repin/repin30.html
Ilya Repin. Krestny Khod (Religious Procession) in Kursk Gubernia. 1880-1883. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
http://www.abcgallery.com/R/repin/repin8.html
Ilya Repin. The Reply of the Zaporozhian Cossacks to Sultan Mahmoud IV. 1880-1891. Oil on canvas. The Russian Museum, St. Petersburg, Russia.
http://www.abcgallery.com/R/repin/repin75.html
Isaac Levitan Исаак Левитан
(1860-1900)
The work of Isaac Ilyich Levitan belongs to the highest achievements of Russian culture. Its significance is compared with the works of such classics as Anton Chekhov, Pyotr Tchaikovsky, and Konstantin Stanislavsky.
Levitan was born in 1860 into a poor but educated Jewish family. In the late
1860s, the family moved to Moscow, where Isaac studied at the Moscow School of
Painting and Sculpture from 1873 till 1883. He lost his mother in 1875 and his
father two years later. He was left penniless and homeless in Moscow, sleeping
alternately in the homes of relatives and friends, sometimes spending the night
in the empty classrooms of the school. A nightwatch took pity on the youth and
let him sleep in his cubicle. The School waived his tuition fee “because of
extreme poverty and in recognition of his singular success in art”.
The greatest
role in the forming of Levitan’s creative personality belongs to his favorite
teacher Alexey
Savrasov, the most lyrical among Russian landscape painters of the
1860s-1870s, who influenced many well-known artists of Levitan’s generation – Mikhail Nesterov,
Constantin Korovin
and others. Of course, Levitan’s passionate love for poetry and music, his
persistent studying of pleine-air, the sunny paintings of Vasiliy Polenov,
who also taught at the School, the works of the French painters of the
If his
earlier works were chiefly of an intimate and lyrical character, his mature art
becomes philosophical, expressing the artist’s meditation about man and the
world. These pictures were particularly loved by the Russian intellectuals of
the time, for they represented the purest specimen of the ‘mood landscape’,
most popular in Russia at the end of the 19th century.
In 1897,
Levitan felt sick, a severe cardiac disease was revealed. Nevertheless,
notwithstanding the permanent menace of death, he worked with a particular
intensity and inspiration. His latest works are distinguished by a confident
mastership, richness of technical methods, and new stylistic trends. One can
feel the influence of ancient Russian art, which attracted him at the period,
and that of modern style, and the newest searches in French painting, which
Levitan always took a lively interest in. Nevertheless, Levitan did not join
modern art and remained true to realism, utterly alien to mythologizing and
stylization. To the very end of his life Levitan took an active part in
artistic life; he taught at the Moscow School of Painting, where he had been
educated, took part in organizing the Moscow Club of Literature and Art, showed
his pictures at numerous exhibitions of such associations as World of Art and
Munich Secession. Levitan ranks among
the most appreciated and loved of Russian artists.
Isaac Levitan. Fresh Wind. Volga. 1895. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
http://www.abcgallery.com/L/levitan/levitan93.html
Isaac Levitan. Nenuphars. 1895 (?). Oil on canvas. The Kustodiev Picture Gallery, Astrakhan, Russia.
http://www.abcgallery.com/L/levitan/levitan91.html
Isaac Levitan. Spring Flood. 1897. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
http://www.abcgallery.com/L/levitan/levitan54.html
Vasily Surikov Василий Суриков
Russia's greatest historical
painter.
(1848-1916)
Vasily Ivanovich Surikov was born in
He received
his first art lessons from his school teacher, N. V. Grebnev, who, seeing the
talent of the boy, started to work with him individually. After finishing
school in 1868, the young man left for St. Petersburg on horse-back to join the
Academy. He spent a year on his journey, because on his way he made frequent
stops in the ancient towns through which he passed. In 1869, he entered the
Academy of Art, where he studied excellently.
In 1874,
Surikov painted his first historical work The Knyaz’s (Grand
Duke’s) Court of Law, in 1875 – Apostle Paul explains the
Christian Dogmas to Agripinna and his sister Berenice. That year he
received commissions for 4 big paintings for the Cathedral of Christ the Savior
in Moscow. To fulfill the commissions Surikov moved to Moscow, where he settled
permanently.
Moscow with
its old architecture impressed the artist deeply. The views of the Red Square,
monasteries and cathedrals, Kitay-Gorod called to mind dramatic historical
events. “When I moved to Moscow, this center of the nation, I immediately found
my way in art.” – Surikov. On impulse, he started the big historical canvas Morning of Strelets’
Execution (finished in 1881). This painting defined the main
direction of his work – depiction of Russians in turning points of their
history. The next big painting, Menshikov in Berezovo,
dealt with the personal drama of an outstanding politician. Once a mighty courtier,
the right hand of Peter the Great, now an exile, Surikov’s Menshikov impresses
the viewers with his strong personality. Surikov’s wife sat for Menshikov's
daughter, Maria, who is beside her father wrapping herself in a fur coat .
After the
collector of Russian art Pavel Tretyakov bought both of Surikov’s canvases, the
artist had money to go abroad. He visited Germany, Italy, France, Austria,
studying and admiring the rich collection and different schools of painting,
drawing and painting his impressions. The interesting fact is that while
getting foreign impressions, the artist thought out his next work from Russian
history Boyarynya
Morozova. On his return Surikov started the work on this canvas.
In 1887, Surikov’s wife died. Her death caused a deep depression: he gave up
painting, turned to religion, and left with his children for Siberia. The
atmosphere, familiar from childhood, and the caring attitude of his friends restored
him to life. In 1891, in
After the Taking
of Snow Fortress Surikov started painting The Conquest of
Siberia by Yermak (1895). The battle of the 16th century between
the Cossacks under their ataman (commander) Yermak Timofeevich and the troops
of Kuchum-Khan, the ruler of Siberia, he showed with reliability of a witness.
Another big canvases, devoted to Cossacks is Stepan Rasin
(RAH-zin), which depicts the moment of the Cossacks return from a successful
campaign against
Besides historical pictures Surikov created many portraits and self-portraits
which show the gift of the master and his interest into the inner world of his
models.
Surikov
executed only nine historical canvases out of hundreds of portraits, studies,
and sketches, but he is still considered Russia's greatest historical
painter.
Vasily Surikov. The Boyarynia Morozova. 1887. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
http://www.abcgallery.com/S/surikov/surikov5.html
Victor Vasnetsov
(1848-1926)
Son of a village clergyman, Victor Mikhailovich Vasnetsov prepared himself for
the same career, but the passionate love for art brought the 19-year-old
student of ecclesiastical seminary to St. Petersburg's Academy of Arts. During
his years (1868-75) in the Academy Vasnetsov got a thorough professional
training; an especially big role in his education was played by professorPavel
Tchistyakov.
Victor
Vasnetsov started as a scene painter; the influence of Fedotov and Perov in his early works
is evident Moving House
(1876), At
a Bookseller's (1876), News from
the Front (1878), A Game of
Preference (1879). In the late 1870s early 1880s, Vasnetsov tried
himself in historical genre Battle of Slavs
and Scythians (1881), After Prince
Igor's Battle with the Polovtsy (1880). He borrowed the subjects
from ancient history. He found another source of subjects in Russian mythology
– legends, ballads, fairy-tales. Vasnetsov was born and grew up in a northern
Russian village and almost to the age of 20 lived in an environment where the ‘folklore
outlook’ was still alive; his very soul was steeped in the poetry of Russian
epic literature. He wasn't only the first artist to use subjects from folklore,
but also the first to borrow methods and techniques from national folk
art. Thus he became the founder of new style in Russian painting.
Vasnetsov
was an active member of the Abramtsevo circle (Abramtsevo is the estate of the
well-known patron of arts Savva Mamontov), which sought to revive national
traditions. Many undertakings by the Abramtsevo Colony, whether the
construction of a church at Abramtsevo, where Vasnetsov, as the designer, first
coped with the problem of creating a whole, integral ensemble, or the erection
of the ‘Witch’s Hut” (also to his design), or the sets and costumes for the
production of Alexander Ostrovsky’s lyrical fairy-tale The Snow Maiden
and for Nikolai Rimsky-Korsakov’s opera of the same name, staged at Mamontov’s
private Opera in 1885, were to become milestones not only for Vasnetsov but
also for the Russian art in whole.
In 1882,
Vasnetsov received a commission to produce a decorative panel for the rotunda
of the Historical Museum in Moscow, which was his first big monumental project.
Yet the most significant and time-consuming work of this type was the
decoration of the Cathedral of St. Vladimir in Kiev, which Vasnetsov began in
the autumn of 1885 at the invitation of the art historian Adrian Prakhov, who
supervised the construction of the cathedral. Vasnetsov jumped at this offer as
it gave him the opportunity to create an integral ensemble comparable to those
done by ancient fresco-painters. Work on the decoration of the cathedral took
over 10 years, during which Vasnetsov executed nearly 400 sketches and studies.
The murals he painted with his assistants covered almost two thousand square
meters. Fulfilling this assignment Vasnetsov relied on his favorite range of
motifs and characters, painting the walls with the images of princes Vladimir,
Alexander Nevsky, Andrey Bogoliubsky, Princess Olga, the chronicler Nestor, and
other outstanding figures from Russian history.
In the late
19th and early 20th centuries, Vasnetsov actively worked in different fields.
He produced a number of architectural designs, including those for his own
house in Moscow (1894), for a pavilion at the World Fair in Paris (1898), and
for E. Tsvetkov’s house on the Moskva River (1901-03), as well as designs for
decoration of the Great Kremlin Palace (1898), the Faceted Chamber (1901-03),
and other buildings in the Kremlin. In 1904, he designed the façade of the
Tretyakov Gallery.
During the
last 20 years of his life Vasnetsov turned to his favorite lyrical subjects
inspired by Russian fairy-tales. These include Three Bogatyrs
(1898), The Frog Tsarevna
(1918), The Tale of the Sleeping Beauty (1900-26), and the Unsmiling
Tsarevna (1916-26). Thanks to his enchantment with Russian epos and
history, thanks to his search for a genuinely Russian pictorial idiom,
Vasnetsov was able, of the eve of the 20th century, to inspire many artists to
reaffirm the moral and aesthetic ideals of the people, to revive Russian’s
spiritual legacy.
His painting
influenced greatly the development of modernism and symbolism in Russian
painting and poetry.
Victor Vasnetsov. Moving House. 1876. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
http://www.abcgallery.com/V/vasnetsov/vasnetsov18.html
Victor Vasnetsov. Three Tsarevnas of the Underground Kingdom. 1879-81. First version. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
http://www.abcgallery.com/V/vasnetsov/vasnetsov3.html
Victor Vasnetsov. Alionushka. Study. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
http://www.abcgallery.com/V/vasnetsov/vasnetsov5.html
Victor Vasnetsov. Three Bogatyrs.1898. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
http://www.abcgallery.com/V/vasnetsov/vasnetsov65.html
Mikhail Nesterov
(1862-1942)
Mikhail
Vasilyevich Nesterov was born into the family of a merchant on May 1862 in the
city of Ufa in the Urals, Russia. In 1874, his parents brought him to Moscow to
study in a technical college, where he caught the attention of K. Trutovsky, an
artist and inspector of the Moscow School of Art. This was an important
meeting, the turning point in his life. In 1876 on the recommendation of K.
Trutovsky he entered the Moscow School of Painting and Sculpture; he studied in
the classes of Perov,
Savrasov and
Pryanishnikov. In 1881, he entered St. Petersburg Academy of Art, studio of
professor Pavel
Tchistyakov (1881-84), actively participated in the Itinerants’ Society of
Traveling Exhibitions (the society organized the traveling exhibitions through
all
First he
tried himself in the genres of historic and everyday scenes, but later, in the
1890s, he became interested in religious themes. In technique his religious
pictures are much influenced by style modern. In the 1890s-1900s, he fulfilled
paintings in the Vladimir Cathedral in Kiev, mosaics in the Cathedral of the
Resurrection of Christ in St. Petersburg (1894-96), paintings in the Church of
Alexander Nevsky in Abastuman, Georgia (1899-1904), frescoes in
Marfo-Mariinsky Cloister in Moscow (1907-11). His other works of the period are
also connected with religion: Hermit
(1889), Vision
to Youth Bartholomew (1889-1890), Youth of Saint
Sergey Radonezhsky (1892-1897), Tzarevich Dmitry
(1899), Philosophers
(Portrait of Pavel Florenskiy and Sergey Bulgakov) (1917), Archbishop
(Portrait of Antoniy Volynskiy) (1917) and many others.
In 1885, he
married Maria Ivanovna Martynovskaya. Unfortunately, she died next year after
giving birth to their daughter, Olga. “The death of Masha made me an artist”,
Nesterov wrote later. His paintings, which according to his own judgment had
lacked feelings, now obtained them. From now on he depicted moods, not events.
One of his most lyrical works is Portrait of Olga
Nesterova, known as Woman in a Riding Habit (1906), which
personifies a typical Russian girl from an upper-middle class family.
In the
‘Soviet’ period of his creative work Nesterov paints portraits, mostly of his
colleagues, Portrait
of Ivan Shadr (1934), Portrait of Vera
Mukhina (1940) etc. There are several interesting portraits of
outstanding people of his time: Portrait of Sergey
Yudin (1935), Portrait of Ivan
Pavlov (1935), etc.
(I brought the book of this painter into class).
Kasimir Malevich
(1878-1935)
http://painters.strawberry.ru/painters/malevich/
“Black Square at the bottom”
Kasimir Malevich is
Belorussian painter and designer, with Mondrian the most important pioneer of
geometric abstract art.
Malevich was born February
26, 1878, near Kiev. He studied at the Moscow Institute of Painting, Sculpture,
and Architecture in 1903
(Early
creativity) During the early years of his career, he experimented with
various Modernist styles and participated in avant-garde exhibitions, such as
those of the Moscow Artists’ Association, which included Vasily Kandinsky and
Mikhail Larionov, and the Jack of Diamonds exhibition of 1910 in Moscow.
Malevich showed his Primitivist paintings of peasants at the exhibition
Donkey’s Tail in 1912. After this exhibition, he broke with Larionov’s group.
In 1913, with composer Mikhail Matiushin and writer Alexei Kruchenykh, Malevich
drafted a manifesto for the First Futurist Congress. That same year, he
designed the sets and costumes for the opera Victory over the Sun by Matiushin
and Kruchenykh. Malevich showed at the Salon des Ind?pendants in Paris in 1914.
At the 0.10: The Last Futurist Exhibition in Petrograd in 1915, Malevich
introduced his non-objective, geometric Suprematist paintings. In 1919, he
began to explore the three-dimensional applications of Suprematism in
architectural models. Following the Russian Revolution in 1917, Malevich and
other advanced artists were encouraged by the Soviet government and attained
prominent administrative and teaching positions. Malevich began teaching at the
Vitebsk Popular Art School in 1919; he soon became its director. In 1919–20, he
was given a solo show at the Sixteenth State Exhibition in Moscow, which
focused on Suprematism and other non-objective styles. Malevich and his students
at Vitebsk formed the Suprematist group Unovis. From 1922 to 1927, he taught at
the Institute of Artistic Culture in Petrograd, and between 1924 and 1926 he
worked primarily on architectural models with his students. In 1927, Malevich
traveled with an exhibition of his paintings to Warsaw and also went to Berlin,
where his work was shown at the Grosse Berliner Kunstausstellung. In Germany,
he met Jean Arp, Naum Gabo, Le Corbusier, and Kurt Schwitters and visited the
Bauhaus , where he met Walter Gropius. The Tretiakov Gallery in Moscow gave
Malevich a solo exhibition in 1929. Because of his connections with German
artists, he was arrested in 1930 and many of his manuscripts were destroyed. In
his final period, he painted in a representational style. Malevich died May 15,
1935, in Leningrad.
Mikhail Vrubel
(1856-1910)
Mikhail Alexandrovich Vrubel (1865-1910) is a Russian artist of remarkable
talent and an unusual outlook on life. His paintings were produced in
alternately hostile and sympathetic atmosphere. In his lifetime, he knew both
praise and disdain, the spectator’s opinions ranging from “wild ugliness” to
“fascinating symphonies of a genius”. Gradually, however, Vrubel’s painting
came to be viewed as an integral part of Russian culture. Some scholars were
inclined to relate his painting directly to the Early Renaissance or Late
Byzantine art and looked upon Vrubel as a proud artistic individual who held
aloof from contemporary trends. On the other hand, many art historians of today
tend to consider Vrubel as the founder of Russian Art Nouveau.
Born into
the family of a military lawyer, Vrubel first finished the St. Petersburg
University (in 1880) to become a lawyer, but the same year entered the Academy
of Arts. In his autobiography, written in 1901, Vrubel referred to his Academy
years as the happiest in his life as an artist. For that he was indebted to
professor Pavel
Tchistyakov, who was famous for his method of teaching painting and
drawing. Among Tchistyakov’s pupils were such outstanding painters as Vasily Surikov, Viktor Vasnetsov
and Vasily Polenov
who all thought very highly of their teacher. Vrubel owed much to the Academy
and never shared the distaste felt by many advanced painters of the time. Vrubel’s
art, academic in a sense, was based on the cult of the model and drawing. His
Academy drawings on classical subjects are striking for their elegant
workmanship.
The knowledge
Vrubel acquired in the process of this work contributed to the perfection of
his style as a painter. In St. Cyril’s Church, Vrubel executed new murals in
place of the lost ones, The Descent of the Holy
Spirit upon the Apostles (Pentecost) and Three Angels over
the Body of Christ. Later, he was commissioned to paint icons for the
iconostasis of the church, which he did in Venice where he spent several months
in the years 1884-85. In
Back in
Other works
of the
Vrubel
planned to stop in Moscow for a few days during his business trip, but the
acquaintances from Moscow's artistic life kept him in Moscow for years. During
his first year in Moscow, Vrubel went on working on the paintings he had
conceived in Kiev. Among others are The Seated Demon
(1890) and a series of illustrations for Mikhail Lermontov’s poem The Demon
(1890) and his novel A Hero of Our Time (1890-1891). The illustrations
made his name known to the public but brought him notoriety rather than fame:
too unusual for the tastes of 1880s, they caused bewilderment and derision. But
in the artistic circles of Russia, Vrubel was received favorably. He found
support from Savva
Mamontov, a famous
Later on,
Vrubel tried himself at various artistic media such as applied art (ceramics,
majolica, stained glass), architectural masks, stage set and costume design,
and even architecture. His talent proved truly universal: in everything he did,
and he could do almost everything, was the search for a lucid beautiful style.
This search eventually made Vrubel the true founder of Russian Art Nouveau, a
style that partially grew out of Russian neo-romanticism.
The most
characteristic feature of this style is its cult of beauty – melancholic,
enigmatic and refined – and its tendency to the synthesis of arts in
everything, be it an illustrated book, a theater performance, or décor. Art
Nouveau never was confined to easel painting or sculpture alone. It found its
way into people’s households becoming an essential part of interior decoration.
The somewhat affected mannerism generally typical of the style, also manifested
itself in Vrubel’s works of the Moscow period. His panels, ceramic dishes,
stylized furniture, costumes, and vignettes, perfect as they are, are at the
same time superficial, as if intended for a fancy ball.
Vrubel’s
best Moscow works include the Fortune-Teller
(1895), Lilac
(1900), At
Nightfall (1900), Pan (1899),
The Swan
Princess (1900) as well as the portraits of Savva Mamontov
(1891), his business partner K. Artsybushev
(95-96), and Painter’s
Wife in Empire Dress (1898).
In 1896, in
an opera in St. Petersburg, Vrubel heard the singer Nadezhda Zabela, he fell in
love with the voice immediately. After the performance they got acquainted and,
half a year later, married. At the time Vrubel was referred to as the husband
of the famous opera singer Nadezhda Zabela. They settled in Moscow, and
Nadezhda started to sing in Mamontov’s Private Opera.
In the last
years of the 19th century, Vrubel was preoccupied with motifs of the Russian
epic and fairy tales, this largely under the influence of Rimsky-Korsakov’s
operas, e.g. The Snow Maiden, The Tale of Tzar Saltan, and
others, where his wife sang the parts of the Snow Maiden, the Swan Princess,
princess Volkhova, etc. He designed dresses for his wife, both for the stage
and for real life, he drew stage sets, designed costumes.
Later, he
resumed work on the Demon theme. In 1901, he started his large canvas Demon
Downcast. Exhibited in 1902, the painting overwhelmed the audience and
won real fame for the artist. The painting, charged with motion, is strongly
decorative. Striving to create the astounding effect, Vrubel, who at the time,
was already unbalanced, repainted the Demon’s face, his sinister eyes, his
lips, twisted by pain. He repeatedly repainted the picture even when it was on
display until he had one of his breakdowns.
Having
recovered, Vrubel never again returned to this theme. While in the hospital, he
painted a great deal from life – portraits, landscapes, still lifes, as if in
hope to rejuvenate the faded palette of his art through painstaking study of
nature. Most of these late works were painted from life. They include numerous
portraits of Vrubel’s wife, a portrait of his little son (1902), several
self-portraits, and, at last, his remarkable Pearl Oyster
(1904) where the mystifying play of the mother-of-pearl is rendered with the
virtuosi brush of the artist.
Alongside
these works, Vrubel produced many versions of the prophet, inspired by the
famous Pushkin’s poem. In one of the versions, the Prophet’s face is actually a
self-portrait while the figure of the six-winged Seraph is apparently Azrael,
the angel of death. Azrael
(1904), though not so famous as the Demon Downcast, is one of
Vrubel’s best achievements. In his many variations on the Prophet theme, Vrubel
relates a tragedy of the artist who, as he believed, failed to fulfill his
mission to “sear the hearts of men with righteous word”.
Unfortunately, many of Vrubel’s works have changed with time; he used to add
bronze powder to his oils to give them a glistening effect. Bronze darkened,
and Vrubel’s paintings lost their initial coloring.
In 1906,
when Vrubel was hospitalized in Dr. Usoltsev’s mental clinic, he continued to
make studies for the Prophet and even his rapidly developing blindness did not
prevent him from doing this. At the same time, Vrubel executed the Portrait of the Poet
Valery Briusov, destined to be his last work.
During the
last four years of his life Vrubel lived in complete mental decline.
(brought a book of Vrubel to class).
http://www.abcgallery.com/V/vrubel/vrubel.html
Николай
Константинович
Рерих
родился
27 сентября 1874
года в
Петербурге, в
семье
нотариуса
Константина
Федоровича
Рериха. Мать
Николая
Константиновича,
Мария
Васильевна
Калашникова,
родом из
купеческой
семьи.
Древний
скандинавский
род Рерихов
обосновался
в России при
Петре I и дал ей
немало
государственных
и военных деятелей.
Жили
Рерихи
неподалеку
от Академии
художеств,
Университета,
Академии
наук. В их
гостиной
можно было
увидеть
ученых, общественных
деятелей,
писателей,
художников.
Такое
общение,
конечно,
сказалось на
молодой душе
и усилило
тягу к
искусству.
Осенью1893-ro Рерих
сдал
вступительные
экзамены в
Академию
художеств и
поступил на
юридический
факультет
Петербургского
университета.
В
Академии
художеств
молодому
художнику приходилось
учиться у
многих
выдающихся людей,
но, пожалуй,
одним из
близких и
значимых
учителей в
его
художественном
образовании и
духовном
становлении
стал,
бесспорно, Архип
Иванович
Куинджи.
Любовь
к музыке,
увлечение
богатым
историческим
прошлым Руси
во многом
определили многогранность
таланта
Рериха.
В
ноябре 1897 года
в Академии
художеств
состоялась
конкурсная
выставка и
торжественный
акт вручения
дипломов на
звание художника.
Это звание
присвоили и
Николаю Константиновичу
за его
картину "Гонец.
Восстал
род на род "
из сери и
"Начало Руси.
Славяне ".
Это
произведение
в свое время
оценил и Л.Н.Толстой,
его
напутствие
"держать руль
выше "
вдохновляло
на новые
творческие поиски.
Вернувшись
из-за
границы,
Рерих
почувствовал
напряжение
обстановки в
России. Все
говорило об
изменении
жизни в
стране,
волнения
среди
рабочих,
крестьян и
студентов,
политические
убийства.
В
поисках
духовных ценностей
Рерих изучал
труды
мыслителей Востока.
Во второй
половине XIX века в
российских
университетах
открываются
кафедры
санскрита, а
на начало XX века
приходится
расцвет
русской
индологии.
Рама
Кришна и
Вивекананда -
первые
мыслители, по
трудам
которых
Рерих
знакомился с
оригинальной
индийской
философией.
Большое
влияние
оказала "Бхагавад-Гита",
что я вилось
толчком к
изучению
буддийской
философии.
Из
современников
Рериху
особенно
близок был
Рабиндранат
Тагор.
В
начале 1915 года
Николай
Константинович
заболел
воспалением
легких и по
рекомендации
врачей
покинул
Санкт-Петербург.
Он арендовал
дом в
Сердоболе
(Карелия),
куда и переехал
вместе с
семьей.
Неизменно
в планы на
будущее
входит поездка
на Восток.
Помогла
случайность,
Рериха пригласили
посетить
Стокгольм,
для
выяснения
положения
русского художественного
отдела.
Николай
Константинович
воспользовался
этим
предложением
и договор
ился в
Стокгольме
об организации
там выставки.
В
Стокгольме
Николай
Константинович
искал
возможность
попасть в
Англию, так
как
оформлением
виз в Индию
занималось
Британское
министерство
колоний.
Снова помог случай.
С. Дягилев
предложил
ему принять
участие в
постановке
оперы "Князь
Игорь" в Лондоне.
В конце марта
Николай
Константинович
с семьей
покинул
Финляндию и
вскоре находился
уже в
Лондоне, но
мыслями он
был в Индии.
Непредвиденная
задержка в
Лондоне
побудила его
принять
предложение
директора Чикагского
института
искусств
Р.Харше провести
в США
выставочное
турне.
Николай Константинович
надеялся в
Америке
найти союзников
для получения
права на
поездку в
Индию.
В
начале 20-х
годов Рерих
знакомил и
объяснял
Западу идеи
России и
Востока.
Практически
каждое его
выступление
или статья
содержали
ссылки на
свою страну
или на труды
мыслителей
Востока.
Находясь
в США, Рерих
не прерывал подготовку
к поездке в
Индию. Связь
с самой Индией
не
прерывалась.
В апреле 1922
года Николая
Константиновича
приглашает в
Индию один из
лидеров
теософского
движения,
индийский
философ и
писатель Д.
Кришнамурти.
Уехал
Рерих из
Нью-Йорка в
мае 1923 года, прожив
в Америке со 2
октября 1920
года по 8 мая
1923года. После
этого он
трижды - в 1924, 1929 и в
1934 годах -
посещал США
на очень
короткое
время.
2
декабря 1923
года Николай
Константинович
с семьей
благополучно
прибыли в
Индию. Остановившись
в Бомбее, Рерихи
начали
осмотр
известных
исторических
достопримечательностей.
Беседы
с учеными и
общественными
деятелями
Востока и
результаты
первых
научных экспедиций
в Сиккиме
укрепили
намерения Николая
Константиновича
предпринять
грандиозное
путешествие
по Центральной
Азии. В
программу
экспедиции
входила разнообразная
научно -
исследовательская
и художественная
работа.
Николай
Константинович
имел также
твердое
намерение
посетить
Россию.
Через
месяц после
прибытия в
Индию Рерих писал:
"Уже
складываются
у меня серии
картин: 1.
"Жемчуг
исканий", 2.
"Сожжение
тьмы", 3. "Светочи
прихода". В 1924-1925
годах
начинается
работа над
циклами
картин -
"Сиккимский
путь", "Его
страна",
"Зарождение
тайн",
"Гималаи", "Майтрейя",
"Учитель
востока".
Rerich conducted many expeditions in Central Asia, Ceylon, etc.
Об
этой
грандиозной
экспедиции
обстоятельно
рассказано в
книгах
Николая
Константиновича
"Сердце
Азии", "Алтай -
Гималаи", "Шамбала
Сияющая", В
трудах Юрия
Николаевича
"Звериный
стиль у
кочевников
северного
Тибета" и "По
тропам Срединной
Азии", а также
в
многочисленных
научных
статьях.
При
поддержке
ученых Индии,
Америки и
Европы, 29 июля
1928 года, в
Сиккиме,
Рерих
заложил основы
для создания
Гималайского
института научных
исследований
"Урусвати" ( в
переводе
"Свет
утреней
звезды" ).
В мае
1934 года
Николай
Константинович
принял
предложение
департамента
земледелия США
по поводу
организации
специальной
экспедиции
для сбора
семян
растений,
предотвращающих
разрушение
плодоносных
слоев почвы.
Экспедиция
прошла по
Маньчжурии,
Китаю, приближалась
к границам
пустыни Гоби,
работала в
предгорьях
Хингана.
Успешно
закончив
экспедицию,
Рерих 21
сентября 1935
года приехал
в Шанхай.
Большое
художественное
наследие
Рериха явилось
ценнейшим
вкладом в
историю русского
искусства.
Далекое
прошлое славянской
Руси и
народов
Востока, их
легенды и
мифы в
талантливом
переложении
художника
ожили для нас
в
незабываемых
картинах.
http://vcn.vorstu.ac.ru/win/home/antonova/page6.html
|
Wassily Kandinsky 1866 - 1944 Russian Expressionist |
|
1866 |
Born in Moscow,
Russia .(4 december) |
|
1886 |
Begins studying
law and economics in Moscow. |
|
1889 |
Travels to the
province of Wologda to study agricultural law and rural ways. Travels to St.
Petersburg and to Paris. |
|
1892 |
Passes law exams
in Moscow. Marries Anja Tschimiakin. Second journey to Paris. |
|
1893 |
Lecturer in law
at the University of Moscow. |
|
1895 |
Visits the
Impressionist exhibition in Moscow. |
|
1896 |
Turns down
teaching post and moves to Munich. |
|
1897 |
Enrols for the
art classes given by Anton Azbe, meets Alexej von Jawlensky. |
|
1900 |
Accepted to study
at the Munich Academy of Art under Franz von Stuck. |
|
1901 |
Co-founder of
the artists' group "Phalanx". |
|
1902 |
Meets Gabriele
Münter. |
|
1903- |
Travels to
Venice, Vienna, Odessa and Moscow, the Netherlands and Tunisia. Participates
at Salon d'Automne in Paris. Stays in Sevres near Paris, in Switzerland and
in Berlin. |
|
1908 |
Returns to
Munich. First sojourn in Murnau with Gabriele Münter, Alexej von Jawlensky
and Marianne von Werefkin. |
|
1909 |
Moves to Murnau.
Founding member and board member of the New Association of Munich Artists (Neue
Künstlervereinigung München). Controversial exhibition by the association
in the Thannhauser gallery. |
|
1910 |
Meets Franz
Marc. Travels to Moscow, St. Petersburg and Odessa. First abstract
watercolour. Writes concerning the "Spiritual in Art". |
|
1911 |
Becomes a close
friend of Franz Marc and Paul Klee. Meets August Macke and Hans Arp. Founds
the editorial group "Der blaue Reiter" (The Blue Rider) together
with Franz Marc. First exhibition by the group in the Thannhauser gallery.
. |
|
1912 |
Publication of
the almanac "Der blaue Reiter" and second (graphics) exhibition by
the group in the Galerie Göltz in Munich. Publication of the text concerning
the "Spiritual in Art". |
|
1913 |
Exhibits at the
first German Autumn Salon held by Herwarth Walden in the gallery Der Sturm in
Berlin. |
|
1914 |
Forced to leave
Germany upon the outbreak of World War I and returns to Moscow via
Switzerland. |
|
1915 |
Moves to
Stockholm. |
|
1916 |
Separation from
Gabriele Münter, returns to Moscow. |
|
1917 |
Marries Nina
Andreewsky. |
|
1918 |
Member of the
Art Collegium at the People's Commissariat for Education. Teaches at the
State Art Workshops in Moscow. |
|
1919- |
Foundation of
the Museum for painting culture and establishment of numerous provincial
museums. |
|
1920 |
Appointed as
Honorary Professor of Art Theory at the University of Moscow. |
|
1921 |
Foundation of
the Academy for Artistic Sciences in Moscow. Moves to Berlin. |
|
1922 |
Appointed as a
teacher to the "Bauhaus" in Weimar. |
|
1924 |
Foundation of
"Die Blaue Vier" (The Blue Four), comprising Feininger, Jawlensky,
Klee and Kandinsky, by Emmy Scheyer. Joint exhibitions in Germany and the
USA. |
|
1925 |
Moves with the
Bauhaus to Dessau. |
|
1926 |
Publication of
the text "Point and Line to Surface" (Bauhaus publication). |
|
1928 |
Becomes a German
citizen. |
|
1929 |
First exhibition
in Paris in Gallery Zack. |
|
1932 |
Closure of the
"Bauhaus" in Dessau. Moves to Berlin. |
|
1933 |
Moves to Paris.
Participates at the events held by the group "abstraction-creation"
|
|
1934 |
Meets Joan Miro,
Robert Delaunay and Piet Mondrian. |
|
1937 |
14 of
Kandinsky's works are displayed at the "Entartete Kunst" exhibition
in Munich ("Degenerate Art" exhibition organized by the Nazis). 57
works by Kandinsky in public collections in Germany are confiscated. |
|
1939 |
Receives French
citizenship. |
|
1944 |
Dies in Neuilly-sur-Seine,
near Paris. (13 december) |
|
|
|
Kandinsky’s paintings
http://www.globalgallery.com/ggresult.asp?ref=goto&artist=kandinsky
http://www.hadassah.org.il/hmo/art/chagal_CV.htm
Marc Chagall
(painted the inside of the
French opera house)
Marc Chagall was born in Vitebsk, Byelorussia to a poor Hassidic family. The eldest of nine children, he studied first in a heder before moving to a secular Russian school, where he began to display his artistic talent. With his mother's support, and despite his father's disapproval, Chagall pursued his interest in art, going to St. Petersburg in 1907 to study art with Leon Bakst. Influenced by contemporary Russian painting, Chagall's distinctive, child-like style, often centering on images from his childhood, began to emerge.
From 1910 to 1914, Chagall lived in Paris, and there absorbed the works of the leading cubist, surrealist, and fauvist painters. It was during this period that Chagall painted some of his most famous paintings of the Jewish shtetl or village, and developed the features that became recognizable trademarks of his art. Strong and often bright colors portray the world with a dreamlike, non-realistic simplicity, and the fusion of fantasy, religion, and nostalgia infuses his work with a joyous quality. Animals, workmen, lovers, and musicians populate his figures; the "fiddler on the roof" recurs frequently, often hovering within another scene. Chagall's work of this period displays the influence of contemporary French painting, but his style remains independent of any one school of art. He exhibited regularly in the Salon des Independants.
In 1914, before the outbreak of World War I, Chagall held a one-man show in Berlin, exhibiting work dominated by Jewish images and personages. During the war, he resided in Russia, and in 1917, endorsing the revolution, he was appointed Commissar for Fine Arts in Vitebsk and then director of the newly established Free Academy of Art. The Bolshevik authorities, however, frowned upon Chagall's style of art as too modern, and in 1922, Chagall left Russia, settling in France one year later. He lived there permanently except for the years 1941 - 1948 when, fleeing France during World War II, he resided in the United States. Chagall's horror over the Nazi rise to power is expressed in works depicting Jewish martyrs and Jewish refugees.
In addition to images of the Hassidic world, Chagall's paintings are inspired by themes from the Bible. His fascination with the Bible culminated in a series of over 100 etchings illustrating the Bible, many of which incorporate elements from Jewish folklore and from religious life in Vitebsk. Chagall's other illustrations include works by Gogol, La Fontaine, Y. L. Peretz, and his autobiographical Ma Vie (1931; My Life 1960) and Chagall by Chagall (1979).
Chagall painted with a variety of media, such as oils, water colors, and gouaches. His work also expanded to other forms of art, including ceramics, mosaics, and stained glass. Among his most famous building decorations are the ceiling of the Opera House in Paris, murals at the New York Metropolitan Opera, a glass window at the United Nations, and decorations at the Vatican.
Israel, which Chagall first visited in 1931 for the opening of the Tel Aviv Art Museum, is likewise endowed with some of Chagall's work, most notably the twelve stained glass windows at Hadassah Hospital and wall decorations at the Knesset.
Chagall received many prizes and much recognition for his work. He was also one of very few artists to exhibit work at the Louvre in their lifetime.
Дейнека
Александр
Александрович
Deineka Alexandr Alexandrovich
http://kursk.amr-museum.ru/Gal/russian/vv/vv_1_rus_1.htm
Александр
Александрович
Дейнека
вошел в историю
советского
изобразительного
искусства
как автор
многих
живописных и
графических
произведений,
фресок,
росписей,
мозаик,
скульптур.
"Искусство, —
писал Дейнека,
— обладает
изумительным
качеством —
воскрешать
прошлое,
показывать
завтрашнее.
Мировой
известностью
пользуется
обширная
(свыше 800
экспонатов) и
разнообразная
коллекция
работ
А.А.Дейнеки в
Курской
картинной
галерее, с 1969 г
носящей его
имя. Начало
коллекции
было
положено
подаренными
автором в 1935 г
двумя
картинами:
«Футболист» (1932)
и «Пионер» (1934). В галерее
представлены
графические
листы для
агитационно-массовых
журналов 1920-х
гг. «Безбожник»
и «Безбожник
у станка»,
авторские
работы к
детским
книжкам-картинкам
«В облаках»,
«Парад Красной
Армии»,
«Электромонтер»,
акварели 1930-х
гг., среди
которых
шедевры -
«Гроза
заходит.
Дождь» (1934), «Рим.
Площадь
Испании» (1935),
плакаты,
эскизы росписей
различных
общественных
зданий,
эскизы
мозаик для станций
метро
«Маяковская»,
«Новокузнецкая»,
мозаики,
графика
военных лет,
скульптура, фарфор,
терракота.
Среди
живописных
работ – «Портрет
К.Вялова» (1923), «В
воздухе» (1932),
«Отдыхающие дети»
(1933), «Сухие листья»
(1933), «Портрет
С.И.Л.» (1936),
«Итальянский
мотив» (1935) и другие.
Многие
произведения
А.Дейнеки из
собрания
галереи
экспонировались
за рубежом: в
Германии,
Австрии,
Венгрии,
Японии, Италии,
США,
Финляндии.
Диалог
«Картина»
Молодые
жена и муж,
иммигранты
из России,
живущие в
Фениксе.
Жена: Милый, я
хочу купить
картину в
гостиную.
Муж: А зачем?
Жена: Помнишь,
там раньше
висело
зеркало на
стене, а
теперь мы его
перевесили в
спальню?
Муж: (Зевая) Ну
да...Так что ты
хочешь?
Жена: А до
этого, там
стояла
тумбочка.
Муж: Ну-ну.
Жена: Так наш
кот как-то
запрыгнул на
тумбочку, а он
был с улицы, и
грязными
лапами
порвал и испачкал
обои.
Муж: А-а-а.
Теперь я
понял!
Ты хочешь
пятно чем-то
закрыть!
Жена: Да. Вот
только я не
знаю – купить
репродукцию
известного
художника
или просто
какую-нибудь
картину с
выставки. Ты
поедешь со мной
на выставку в
субботу
вечером?
Муж: В
субботу
вечером... Не, я
хочу
смотреть
футбол.
Может, ты
сама
съездишь?
Жена: А вдруг
я выберу
картину, а
она тебе не
понравится? И потом,
я не знаю
какое
направление в
искусстве
тебе
нравится!
Муж:
Направление
в искусстве?
А что это
такое?
Жена: Ну,
например,
импрессионизм.
Тебе
нравится импрессионизм?
Муж: Лапа, ты
на меня не
обижайся, но
я полный
профан в
искусстве. Я
лучше тебе
скажу, что
мне нравится:
я люблю горы
и море и
картины в
светлых
рамках.
Жена: Но я
могу тебе
рассказать
об
импрессионизме
и даже об
абстракционизме,
например о творчестве
Кандинского. У него
восхитительные
тона,
красивые
композиции,
очень продуманные
картины.
Муж: Я в этом
не
сомневаюсь,
что ты у меня
умница и всё
знаешь!
Просто
сейчас по телевизору
будут
баскетбол
показывать,
финальный
матч команды,
за которую я
болею.
Жена: Ну
ладно. Ты
тогда смотри
баскетбол, а
я съезжу в
магазин
посмотреть репродукции.
Муж: Катюш, а,
Катюш, пока
ты ещё не
ушла, ты мне
не принесёшь
холодного
пивка?
Жена: Лентяй
ты! Ну ладно
(приносит пиво
и
протягивает
мужу)
Через
некоторое
время жена
возвращается
из магазина,
неся картину,
завёрнутую в
бумагу и
перевязанную
бечёвкой.
Муж: Ура!
Наши
«Финикийские
солнца» выиграли!
Ура! Ура! Ура!
Жена: А я
купила
картину, где
есть и море и
горный
пейзаж! То,
что ты хотел.
Муж:
Здорово!
Давай
показывай!
(Муж
достаёт
перочинный
ножик и
аккуратно разрезает
бечёвку и разворачивает
картину.)
Муж: (в
изумлении)
Сирень...А
где море,
горы?
Жена: Ну
разве ты не
видешь, вон
там в окне
горы и вид на
море, на
заднем плане.
Муж: Но
передним
планом –
сирень и какая-то
меховая
шапка с
хвостом. Это
что, енот?
Жена: Это не енот
и никакая не
шапка!
Это кот,
просто он
лежит к нам
задом.
Муж:
(вздыхая) Мда...
небось, какой-то
модный «изм»,
кота задом
рисовать. А тебе
она нравится?
Жена:
Картина?
Муж: Ну да
(улыбаясь).
Жена: (С
воодушевлением)
Очень. Ты посмотри,
как у него
краски
гармонируют
с нашими
обоями!
Муж:
(вздыхая)
Гармонируют,
говоришь...
Ну
раз тебе
нравится, я
пошёл за
молотком и стремянкой.
Сейчас
закроем
пятно этой
гармонией.
Новогодние песни (New Years Songs – i.e. Christmas Songs)
Раз морозною зимой (Самуил Маршак)– Once upon a time during frosty winter
Раз морозною зимой
Once upon a time
during frosty winter
Вдоль опушки лесной
Аlong a clearing in the woods
Шел медведь к себе домой
A bear was walking to his
home
В теплой
шубе меховой.
In a warm fur coat
Шел он, шел к
своей
берлоге
He walked, he walked to his
bear cave
По
проселочной
дороге
Using the village road
И шагая
через мост,
And while strutting across
the bridge
Наступил
лисе на
хвост.
Stepped on a fox’s tail.
Подняла лисица крик,
The fox started screaming
Зашумел темный лес,
The black forest began to
make noise
А медведь с испугу вмиг
And the bear while being
afraid, in an instant
На сосну
большую влез.
Climbed a large pine tree.
На сосне
веселый
дятел
On the pine tree a happy
woodpecker
Белке домик конопатил
Was making a house for a
squirrel
И промолвил: "Ты, медведь,
And he stated to the bear,
“You, Bear
Должен под ноги смотреть."
Should look at (under) your
feet (when you’re walking)
С той поры
медведь
решил,
From that time the bear
decided
Что зимой нужно спать
That during winter one
should sleep
По тропинкам не гулять
Not stroll on the narrow
pathways
На хвосты не наступать.
And not to step on
(someone’s) tales.
И теперь он безмятежно
So now he without any
worries
Спит зимой в
берлоге
снежной.
Sleeps in the winter in his
snowy bear cave
И доволен не
спроста,
And he’s happy not just for naught
что родился
без хвоста!
That he was born without a
tail!
Nice Sultan
stories by your classmates.
Kees Cambell
(Максим
Степанович)
Cултан
жил в оазисе,
в пустыне. У него было
много
богатств,
такие как
золото, серебро
и платина. У
султана
также были драгоценности:
рубины,
алмазы и
изумруды. Но
самая лучшая
часть жизни
султана – это
его гарем
полный
женщин. Одна
на
понедельник,
одна на
вторник и так
далее. Женщин
султана
всегда
окружали красивые
мужчины. Но
султан не
ревновал их,
так как все
они были
евнухами.
Roxanne Anderson
(Оксана
Степановна)
Однажды,
был султан,
который жил в
Истамбуле. Он
был очень богатый
и
могущественный. У него
были четыре
жены, которые
были очень
красивые. Однажды,
он ехал
верхом на
верблюде
через город и
увидел
Эсмеральду.
Она была
самая красивая
женщина,
которую он
когда-либо
видел.
Он захотел
жениться на
ней прямо сейчас. А Эсмеральда,
была
влюблена в
Алладина,
сына соседа. К
сожалению, её
родители
были очень
бедные и она
вынуждена
была выйти замуж
за султана.
Эсмеральда
ехала во дворец
для того
чтобы
готовиться к
церемонии. Она
была очень
грустная
потому что
она не любила
султана.
Другие жёны
ревновали её
красоту и они
помогли ей
сбежать. У
Эсмеральды была
страшая
сестра,
которая была
некрасива. Её
звали Эздра. Из-за тяжёлой
чадры, в
которую
невеста
одета на cвадьбу,
султан не
знал что
женится на
Эздре. Когда
султан обнаружил
что женился
на другой
женщине, он
был очень
сердит, но со
временем
полюбил
Эздру, больше
чем других
жён потому
что Эздра поистине
любила его. Султан
был так рад что
он пригласил
Эсмеральду и
Алладина жить
во дворце и
все жили
счастливо!
Аdam Peterson (Адам
Петрович)
Давным-
давно жил
очень
хороший и
добрый султан,
который
любил своих
людей.
У него была
одна дочь –
самая
красивая
девушка на
всей земле. Дела в
стране шли
хорошо – люди
жили дружно и
преуспевали,
работали
днём и
спокойно
спали ночью. Но
однажды,
неожиданно
появился
огромный ужасный
дракон.
Он
начал кушать
коров, куриц,
овец и людей.
Конечно,
султан очень
расстроился потому
что дракон
мешал жить
его народу.
Он
искал среди
своих солдат
самых
храбрых, сильных
молодых
мужчин.
Султан объяснил
им что он
даст свою
дочь в жёны
тому из них,
кто мог бы
убить
дракона. Они
все радовались
и каждый
мечтал о том,
как он убьёт
дракона и
женится на
дочери
султана. Они
все очень
усердно и
смело
старались
убить дракона,
но дракон был
сильнее всех
и съел каждого
солдата.
Султан
очень
расстроился
из-за того
что он не
знал, что
делать. Он
обсуждал со
своими советниками
разные планы
и даже думал
о том, что ему
скоро
придётся
прикзать
своему народу
уйти из
страны чтобы
не стать
жертвами
дракона.
Но
дочь султана
сказала что
она знает как
убить
дракона.
Вначале она
плакала и
собирала свои
слёзы, а
потом она их
вылила на
дракона стоя
на вершине
большой
башни. Дракон
сразу умер, и
все люди,
особенно
султан и его
дочь были
счастливы!
