The Tretyakov Gallery magazine

09/06/2024

Julie Mehretu at full speed: from the 24 Hours of Le Mans circuit to Venice, the painter expresses the impossible | Judith Benhamou-Huet Reports

Trains, planes and automobiles… modern painters have always been fascinated by the sensations produced by new forms of locomotion. It’s in this same spirit that on 15 June 2024 a car completely covered in a design by American contemporary art star of Ethiopian origin, Julie Mehretu, will be entering the 24 Hours of Le Mans race under the BMW banner.
https://www.tretyakovgallerymagazine.com/news/julie-mehretu-full-speed-24-hours-le-mans-circuit-venice-painter-expresses-impossible-judith-be

08/06/2024

"Fragile Beauty: Art of the Ocean," a new special exhibition | Hillwood Museum

Special exhibition on view June 8, 2024 through January 5, 2025

Explore the wonders of the sea through exquisite treasures that celebrate the oceans and call for their conservation

Covering over 70% of the planet, the oceans have remained an object of fascination, both treasured and feared, throughout history. For the first time, Hillwood will explore marine-related art through exquisite pieces in the collection, including representations of the sea and objects created with its precious materials, alongside an array of astounding contemporary works on loan.
https://www.tretyakovgallerymagazine.com/news/fragile-beauty-art-ocean-new-special-exhibition-hillwood-museum

07/06/2024

IV Muratovian Readings "Pavel Muratov, archaist and innovator" - Conference Programme | Roma, June 11-12, 2024

https://www.tretyakovgallerymagazine.com/news/iv-muratovian-readings-pavel-muratov-archaist-and-innovator-conference-programme

06/06/2024

06/06/2024

Celebrate Tanabata, the Japanese Star Festival

Hillwood and the Japan-America Society of Washington DC invite you to celebrate Tanabata, the Japanese Star Festival.

Thursday, June 27, 2024
5:30-8 p.m.

Explore the Japanese-style garden, listen to a musical performance, decorate a paper lantern, try Japanese calligraphy and origami, picnic on the Lunar Lawn, and more!
https://www.tretyakovgallerymagazine.com/news/celebrate-tanabata-japanese-star-festival

05/06/2024

/From the current issue - #1 2024 (82)/

Andrei Vladimirovich VASNETSOV. Female portrait. 1957
Oil on canvas. 120 * 100 cm. © The State Tretyakov Gallery, 2024

Andrei Vladimirovich Vasnetsov (1924-2009) is the famous grandson of the legendary great classic Viktor Mikhailovich Vasnetsov. The younger Vasnetsov’s name has been known since the second half of the 1950s: he was one of the leaders of young artists in the “thaw” movement, was among the first Russian masters to discover and promote contemporary style wedding form-building modernist ideas with the poetics of Russian painting. Despite repeated dressing-downs from the Communist Party, he did much to develop contemporary mural painting and monumental-decorative composition, combining vigorous modern rhythms and forms of expression with a humanist philosophy and free intellectual spirit. He also became one of the greatest teachers of the Russian art school in the second half of the 20th century - was head of the chair at Moscow’s Polygraphic Institute, which cohorts of his students graduated from. He was a full member of the Academy of Arts, had the title of the People’s Artist and was the last chairman of the USSR Union of Artists.

From:
Alexander Morozov
Contemporary Artist Andrei Vasnetsov
Magazine issue: #1 2024 (82)
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/contemporary-artist-andrei-vasnetsov

05/06/2024

The Metropolitan Museum of Art Launches Season Two of Immaterial

Hosted by poet Camille T. Dungy, the popular podcast returns with unexpected stories of art with guests including architect Frida Escobedo, writer Robert Macfarlane, and artists from Gee’s Bend, Alabama

(New York, June 4, 2024)—The Metropolitan Museum of Art announced today the premiere of the second season of its narrative nonfiction podcast, Immaterial. Each of the eight new episodes, which will be released biweekly starting today, centers on an individual material found in art across cultures and reveals its meaning through intimate and emotional stories told by makers, writers, and scholars. The materials in focus this season range from the traditional, like stone and wood, to the more unexpected, like space and trash, and the new season also features a compelling lineup of guests—including architect Frida Escobedo, mountaineer and writer Robert Macfarlane, and artists from Gee’s Bend, Alabama—along with the returning host, celebrated poet and writer Camille T. Dungy (Soil: The Story of a Black Mother's Garden). As it did in its first season, Immaterial draws out the complexities of how histories are told through art and creativity. All episodes will be available free on The Met’s website and on demand across all major podcast platforms, including Apple Podcasts, Spotify, YouTube, Amazon Music, Google Podcasts, and Stitcher, or wherever podcasts are available.
https://www.tretyakovgallerymagazine.com/news/metropolitan-museum-art-launches-season-two-immaterial

03/06/2024

/From the current issue - #1 2024 (82)/

Apollinary Mikhailovich decorated the interiors of the flat with furniture of his own designs, made in the Moscow Handicraft Museum workshops. He made a small carved sideboard with forged details for the dining room, a wide armchair with a reversible back for the study. These, as well as many other furniture details, can be seen in the museum. Apollinary Mikhailovich was fond of antiques, was connoisseur of their value and artistic merits. He often bought antique items at the famous Sukharevsky market, where he was accompanied by his elder brother Viktor Mikhailovich. The artist’s son Vsevolod Apolli- naryevich recollected that during those walks his father had bought “a patterned shtof-bottle [square bottle containing 1.23 litres] of Peter the Great times, an iron headrest safe of the times of Alexei Mikhailovich [a headrest chest - Note by I.R.], and a wonderful book in a parchment binding, “Voyage to Muscovy by Adam Olearius” published in 1656”.

The main place in Apollinary Mikhailovich’s study was occupied by a massive desk and a cabinet full of books on history, art, astronomy, geography. Science and painting had an important role to play in Vasnetsov’s life. Profound research underlay his paintings and graphic works devoted to the old life style and architectural appearance of Moscow. The artist participated in scientific associations - the Imperial Archaeological Society, the “Old Moscow” Commission attached to that Society, the Moscow Society of Astronomy Lovers, etc. The study was also a preferred place for rest, where the master used to rest on a small Turkish sofa.

From:
Irina Rtischeva
Apollinary Vasnetsov Museum in Furmanny Lane
Magazine issue: #1 2024 (82)
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/apollinary-vasnetsov-museum-furmanny-lane

02/06/2024

June is beautiful at Hillwood

June is here! Explore a new exhibition, wander the beautiful gardens, and enjoy all Hillwood has to offer. There is something for everyone.
https://www.tretyakovgallerymagazine.com/news/june-beautiful-hillwood-1

31/05/2024

/From the current issue - #1 2024 (82)/

Ap. Vasnetsov in his studio in the Moscow School of Painting, Sculpture and Architecture. 1913. Photo
© The Apollinary Vasnetsov Museum, Scientific Department of the State Tretyakov Gallery, 2024

In 1903, Apollinary Mikhailovich and his family moved from Kokorevskoye Podvorye to the rental house (architect Ivan Gavrilovich Kondratenko) in Furmanny Lane owned by Anna Shugayeva. By that time, Vasnetsov had firmly established himself in the world of art - the artist is recognised at home and abroad; is awarded the Great Silver Medal for the painting “Elegy” (1896, State Tretyakov Gallery) at the 1900 Paris World Exhibition; on the recommendation of Ilya Repin, Vasily Polenov and others, is awarded the title of the Academician of Painting (1900); teaches at the Moscow School of Painting, Sculpture and Architecture (from 1901), participates in the organisation of the Union of Russian Artists (1903). The reason for choosing a new flat in Furmanny Lane can be linked to its proximity to the School, to which the master devoted 17 years[3]. There, at the School, the artist occupies a studio (1904) given to him by Valentin Alexandrovich Serov.

From:
Irina Rtischeva
Apollinary Vasnetsov Museum in Furmanny Lane
Magazine issue: #1 2024 (82)
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/apollinary-vasnetsov-museum-furmanny-lane

31/05/2024

Unser Programm im Juni | Zentrum Paul Klee

Ab 1. Juni 2024 präsentiert das Zentrum Paul Klee im Rahmen der Dauerausstellung Kosmos Klee den neuen Fokus Architektur mit Klee. Von Mies van der Rohe bis Lisbeth Sachs.

Dass Paul Klee mit seiner Kunst vielseitige Einflüsse auf die Musik, die Literatur und die Philosophie hatte, ist bekannt. Der Künstler beeindruckte jedoch auch Architekt:innen nachhaltig: Viele erwarben eines oder mehrere Werke des Künstlers, darunter Ludwig Mies van der Rohe, Lina Bo Bardi und Aldo van Eyck. Die neue Fokus-Ausstellung untersucht erstmals Paul Klees Einfluss auf die Architektur des 20. Jahrhunderts.

https://www.tretyakovgallerymagazine.com/news/unser-programm-im-juni-zentrum-paul-klee

30/05/2024

On Friday 31 May at 6.30 pm the Russian House in Rome will host the opening of the exhibition "Italian dust. Journey through Pavel Muratov's images of Italy" by the painter and photographer from St. Petersburg Nadezhda Kuznetsova.

https://www.tretyakovgallerymagazine.com/news/exposition-rome-italian-dust-journey-through-images-italy-pavel-muratov

29/05/2024

/From the current issue - #1 2024 (82)/

Apollinary Mikhailovich Vasnetsov in profile. Late 19th - early 20th century. Photo
© The Apollinary Vasnetsov Museum, Scientific Department of the State Tretyakov Gallery, 2024

Apollinary Vasnetsov, a landscape painter and explorer of Moscow, lived in the flat in Furmanny Lane for thirty years (1903-1933). In 1960, a memorial studio was opened in the artist’s flat and, in 1965, a memorial museum. The attractive atmosphere of the past and the multifaceted personality of the painter gather ever more new guests in the museum.

Apollinary Vasnetsov (1856-1933) was born in the remote Vyatka province to a large family of a village priest. He came to Moscow for the first time in 1878, following his elder brother Viktor Mikhailovich Vasnetsov. The city attracted the painters with its spirit of antiquity and rich historical past. From the first days of his life in Moscow, the young provincial was struck by its unique appearance. He devoted all his free time to “circling” around the Kremlin, sketching streets, ancient chambers and churches.

The artist finally became a resident of Moscow only in 1891, when he settled at the Koko- revskoye Podvorie hotel on Sofiyskaya Embankment for what turned out to be long ten years. Unlike his elder brother Viktor, he was not keen on making a home for himself and having a large family; enthusiastic by nature, he was completely absorbed by creative, exploratory, and social activity.

From:
Irina Rtischeva
Apollinary Vasnetsov Museum in Furmanny Lane
Magazine issue: #1 2024 (82)
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/apollinary-vasnetsov-museum-furmanny-lane

27/05/2024

Exhibition: Chaïm Soutine. Against the Current (16.8.–1.12.2024) | Kunstmuseum Bern

Chaim Soutine. Against the Current
16.8.2024-1.12.2024

Between 16 August and 1 December 2024 the Kunstmuseum Bern is devoting the major retrospective Chaim Soutine. Against the Current to the painter Chaim Soutine (1893-1943). His expressive and vividly coloured paintings address the existential dimension of life and are at the same time a pure artistic experiments. The exhibition has been organised in collaboration with the Kunstsammlung Nordrhein- Westfalen in Dusseldorf and the Louisiana Museum of Modern Art, Humlebsk, Denmark.

https://www.tretyakovgallerymagazine.com/news/exhibition-cha%C3%AFm-soutine-against-current-168%E2%80%931122024-kunstmuseum-bern

25/05/2024

/From the current issue - #1 2024 (82)/

Apollinary Mikhailovich VASNETSOV. The Orenburg Steppes. 1893
Oil on canvas. 71 х 141 cm
© Vyatka Art Museum, Kirov

Based on his memories of the Southern Urals, the master painted “The Orenburg Steppes” (1893, Vasnetsovs Vyatka Art Museum, Kirov). The laconic peaceful image of open space is poetically described by Vladimir Kign: “Spaciousness, desertedness, silence, overwhelming silence; boundless plains, among which large rivers seem no bigger than a stream of rain; huge hills on which cities lie like splashes; mountains imperceptibly turning into plains; plains imperceptibly rising to great heights; the white-hot sun; the occasional blue little cloud whose wings cast a shadow over endless space, - that is Russian Central Asia, monotonous as submission, endless as nothingness!”

From:
Margarita Senyushchenkova
Nature of the Urals in Apollinary Vasnetsov's Oeuvre
Magazine issue: #1 2024 (82)
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/nature-urals-apollinary-vasnetsovs-oeuvre

22/05/2024

/From the current issue - #1 2024 (82)/

Apollinary Mikhailovich VASNETSOV. Blagodat Mountain. Urals. 1890. Study
Oil on canvas on carton. 38 х 31 cm © The State Tretyakov Gallery, 2024

In the early 1890s, Apollinary Mikhailovich Vasnetsov began work on one of his major landscape cycles dedicated to the nature of the Middle and Southern Urals.

To collect field material, the artist made two trips in 1890 and 1891. In the summer of 1890, at the invitation of his younger brother Arkady Mikhailovich Vasnetsov, he spent more than a month in the small factory town of Kushva in the Middle Urals. There he went on long journeys along the slopes of the nearby mountains, made pencil sketches and painted studies. The nature of the Urals reminded the artist of his native Vyatka land serving as a source of inspiration for many years[1].

Apollinary Vasnetsov expressed his impressions of what he had seen in a short travel essay “From a Trip to the Urals”. He speaks about the power and immensity of the Urals nature: “Take the forests - they have grown here ominous and thick; the hills have risen to the clouds; and the rivers flow copious, deep to blackness, meandering in mighty curves and losing themselves on the horizon; and the distances spread for many dozens of versts [a Russian unit of distance equal to 1.067 kilometres], going far into the cold blue”[2].

From:
Margarita Senyushchenkova
Nature of the Urals in Apollinary Vasnetsov's Oeuvre
Magazine issue: #1 2024 (82)
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/nature-urals-apollinary-vasnetsovs-oeuvre

20/05/2024

/From the current issue - #1 2024 (82)/

Vasily Kozmich Vasnetsov (1801-1827), the artists’ grandfather, after graduating from a theological seminary, was appointed rector of the church in the village of Taliye Klyuchi (now the village of Bogorodskoye). In September 1822, he married the daughter of the hereditary priest Alexander Grigoryevich Vechtomov. Olga Alex- androvna, Apollinary and Viktor’s grandmother, five years after the wedding was widowed, and with her children moved to her father’s house, which was considered one of the richest houses in the Kurchum district of the Vyatka diocese. The life style of the Vechtomov house had an enormous influence on the formation of the views and interests of Mikhail (the father of the future artists, the Vasnetsov brothers). The head of the family, priest Alexander Vechtomov, supported his daughter’s passion for drawing. Olga Alexandrovna did not part with her paints until the end of her days. Her love for painting was inherited by her son Mikhail. Home lessons in painting and arts became a family tradition.

Viktor Mikhailovich Vasnetsov recollected: “... Apollinary and I saw the first real paintings in the house of our grandmother, to whom our father took us “to pay court” every time after we came from the seminary and had just a little rest from the road. It was at this grandmother’s house that for the first time we saw hanging on the walls of the room not just some popular lubok prints, but what seemed real pictures to us. They were watercolours done by grandmother herself. All of the same size, all under glass, in golden frames, and all in several rows covering the walls of the square drawing room, in which grandma solemnly sat in a soft armchair receiving guests. I don’t remember now what pictures they were, but from the fact that they were cherished and shown to the guests, we concluded that those were the real thing, and were proud of grandma’s talent, if secretly a little envious. Father also praised them”[4]. Olga Alexandrovna directly influenced the formation of artistic tastes of her young grandchildren.

From:
Yelena Yadokhina
At the Vasnetsovs’ Birthplace
Magazine issue: #1 2024 (82)
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/vasnetsovs-birthplace

17/05/2024

Save the Date:

GENTA ISHIZUKA: INTERNAL
Private View: Wednesday, 29th May from 6-8pm, Artist Present

Erskine, Hall & Coe are delighted to hold a third exhibition of work by acclaimed Japanese artist, Genta Ishizuka. As the winner of the annual LOEWE FOUNDATION Craft Prize and The Best Young Artist Award by the City of Kyoto in 2019, Ishizuka is internationally recognised for his outstanding achievements in lacquer and represented by important public collections, including The British Museum and The Victoria and Albert Museum in London.
https://www.tretyakovgallerymagazine.com/news/save-date-genta-ishizuka-internal

15/05/2024

/From the current issue - #1 2024 (82)/

Apollinary Mikhailovich VASNETSOV. Early May. Ryabovo. 1918. Detail
“My Homeland” series. Watercolour, pencil on paper on carton.
© The Apollinary Vasnetsov Museum, Scientific Department of the State Tretyakov Gallery, 2024

In the memorial museum of the artist Apollinary Mikhailovich Vasnetsov at 6 Furmanny Lane in Moscow, a small exposition, “At the Vasnetsovs’ Birthplace”, has been prepared as part of the exhibition “The Vasnetsovs. Across the Generations. From the 19th to the 21st Century”, which will be held in the halls of the New Tretyakov Gallery from 24 May to 4 November, 2024. One of the halls will show a series of graphic works, “My Homeland” (1918-1919, 1924), and memorial items from the collection of the artist's family associated with their birthplace, the village of Ryabovo in the Vyatka region.

From:
Yelena Yadokhina
At the Vasnetsovs’ Birthplace
Magazine issue: #1 2024 (82)
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/vasnetsovs-birthplace

13/05/2024

/From the current issue - #1 2024 (82)/

Viktor Mikhailovich VASNETSOV. Apocalypse. 1889.
Sketch of the unrealized painting in the St Vladimir Cathedral in Kiev Oil on canvas. 216.5 * 136 cm
© The Viktor Vasnetsov Museum, Scientific Department of the State Tretyakov Gallery, 2024

On 25 August, 1953, the museum was opened to the public. Dmitry Arkadyevich remained its director until 1957. Alexei Viktorovich’s widow Zinaida Konstantinovna Vasnetsova-Sokolova was appointed principal custodian. Tatyana Viktorovna lived in the house, but did not hold any position. At that time, she seemed to have livened up and took whatever part she was able to in the work associated with the renovation, collaborated with the Tretyakov Gallery, searching for her father’s works - she was particularly concerned about the fate of the portrait of Ye. A. Prakhova. She prepared new tour guides, spoke to collectors asking them to donate V.M. Vasnetsov’s works to the museum. In addition, she was asked to participate in the development of the museum concept and creation of its first exposition. Three rooms - dining room, drawing room and children’s room - were opened for observation on the ground floor, and the studio on the first floor, which could be reached by a spiral staircase.

Tatyana Viktorovna lived in the house until her death in 1961. She donated to the museum the collections that remained in her possession.

From:
Alina Degtiaryova
“Our common desire is to preserve everything ” – history of the Viktor Vasnetsov Memorial Museum
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/our-common-desire-preserve-everything-history-viktor-vasnetsov-memorial

11/05/2024

/From the current issue - #1 2024 (82)/

Interior of V.M. Vasnetsov’s studio 25 July 1926.
Photo
© The Viktor Vasnetsov Museum, Scientific Department of the State Tretyakov Gallery, 2024

The house was visited by famous figures of Russian culture. The museum keeps visiting cards of the master’s acquaintances - artists S. Yu. Zhukovsky, 1.1. Levitan, K. Ye. Makovsky, V.M. Maximov, I.S. Ostroukhov, I.Ye. Repin, V.A. Serov, N.K. Roerich, art historian N.P. Ghe, architects A.A. Parland, A.V. Shchusev, V.A. Pokrovsky, professor and art historian A.V. Prakhov, essay writer I.L. Shcheglov (Leontyev), professor of Moscow University I.V. Tsvetayev, director of the Moscow Synodal Choir and professor of the Moscow Conservatoire S.V. Smolensky and many others. Many people sought to visit his studio... There exists an emotional letter from Moscow University students Boris Bugayev (Andrei Bely)[10] and Vasily Vladimirov[11] with a request to let them “for a short while”[12] into the studio: “... each of your works, in addition to the highest artistic pleasure, is a step forward in our spiritual development; not to see a work of yours, and not to have at least a remote opportunity to do so, seems to us an unpardonable sin”[13] . German poet Rainer Maria Rilke, travelling in Russia, asked to be received “for no more than a minute”[14]. Maria Nikolayevna[15], the daughter of N.S. Shcherbatov, director of the History Museum, kept a lifelong memory of her visit to the artist’s house, when Viktor Mikhailovich invited her “to look at his old icons, which were remarkably good, and he himself next to them, with a candle in his hand, was extraordinary”[16].

The artist lived in this house for 32 years. The studio became for him a place of creative retreat and fruitful work.

From:
Alina Degtiaryova
“Our common desire is to preserve everything ” – history of the Viktor Vasnetsov Memorial Museum
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/our-common-desire-preserve-everything-history-viktor-vasnetsov-memorial

09/05/2024

/From the current issue - #1 2024 (82)/

Today the house of Viktor Mikhailovich Vasnetsov is a memorial museum, a research department of the State Tretyakov Gallery. The history of its creation covers the period from the beginning of construction of the house in 1894 to the opening of the museum in it in 1953. To this day, the house retains its inimitable appearance conveying the atmosphere of one of the unique corners of old Moscow, and the history of the museum is intertwined with the fates of its creators - the wife and children of the artist.

In 1894, Viktor Mikhailovich Vasnetsov, choosing a quiet neighbourhood of Meshchansky streets, built a two-storey house of his own design in No- voproyektirovanny Lane (from 1954 - Vasnetsov Lane). Against the background of typical buildings, it stood out for its unusual architecture and intricate decoration. The log superstructure above the entrance with a barrel roof painted in a bright red and green checker pattern gave the whole building the image of an old Russian terem [traditional Russian tower house]. On the background of the white smooth plastered wall of the main facade, multi-coloured glazed tiles with floral ornaments glistened festively. The fairy-tale impression was given to the house by the “terem windows” with platbands in the form of kokoshniks and the ornate porch.

From:
Alina Degtiaryova
“Our common desire is to preserve everything ” – history of the Viktor Vasnetsov Memorial Museum
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/our-common-desire-preserve-everything-history-viktor-vasnetsov-memorial

06/05/2024

/From the current issue - #1 2024 (82)/

With the outbreak of the First World War and then the Civil War, work to order ceased, so Vasnetsov was able to devote himself entirely to the implementation of his old artistic ideas, one of which was a cycle of paintings “The Poem of Seven Tales” (1901-1926).

Vasnetsov worked on the paintings of the cycle mainly in 1914-1925, at a time when there were rapid changes not only in the socio-political order of Russia, but also in art. The artist did not accept those changes and said: “I am a man of the old Russia, and the new Russia (rather - non-Russia) is not to my liking”[10]. Working on the fairy-tale cycle, he realised that he would not show it to the general public, the paintings would forever remain in his studio. A kind of secrecy surrounding his work allowed the artist to reveal himself to the fullest extent and, without regard for the opinion of the contemporaries, to show himself not only as a painter, but also as a profound artist-philosopher who went beyond the boundaries of fairy-tale narrative and created an inimitable pictorial mosaics of fairytale and religious images, philosophical reflections and references to contemporary events.

The cycle consists of seven works: “The Sleeping Tsarevna” (1913-1917, State Tretyakov Gallery), “The Unsmiling Tsarevna Nesmeyana” (1916, State Tretyakov Gallery), “Baba-Yaga” (1917, V.M. Vasnetsov House-Museum, branch of State Tretyakov Gallery), “The Frog Tsarevna” (1918, State Tretyakov Gallery), “Kashchey the Immortal” (1917-1919, V.M. Vasnetsov House-Museum, branch of State Tretyakov Gallery), “The Flying Carpet” (1920-1923, 1925, State Tretyakov Gallery) and “Sivka-Burka” (early 1920s, all V.M. Vasnetsov House-Museum, branch of the State Tretyakov Gallery). However, within the framework of this short paper we will focus only on one of them, “The Sleeping Tsarevna”.

This painting has become a kind of capstone of the whole cycle, it expresses not only artistic but also religious and philosophical views of the author, as well as his reflections on military events in Russia and in the world in the 1910s.

From:
Yekaterina Vasina
Folklore in Viktor Vasnetsov’s Art
Magazine issue: #1 2024 (82)
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/folklore-viktor-vasnetsov-art

Image:
Viktor Mikhailovich VASNETSOV. The Flying Carpet. 1920-1923, 1925
From the cycle "The Poem of Seven Tales” (1901-1926). Oil on canvas. 260 * 187 cm
© The Viktor Vasnetsov Memorial Museum, Scientific Department of the State Tretyakov Gallery, 2024

03/05/2024

/From the current issue - #1 2024 (82)/

Viktor Mikhailovich Vasnetsov, one of the brightest artists of the turn of the 19th-20th centuries, formed a new folklore trend in the national art, his works to this day continue to influence our idea of what the heroes of Russian epic bylinas and fairy tales should look like.

Vasnetsov was not the first artist to show interest in the folklore theme. Not long before him, V.G. Perov created a series of fairy-tale sketches “Ivan-Tsarevich on the Grey Wolf” and “The Snow Maiden” (all - 1879, State Tretyakov Gallery); I.E. Repin did “Sadko” (1876, State Russian Museum), a painting commissioned by Tsesarevich Alexander Alexandrovich (future Emperor Alexander III); V. P. Vereshchagin, professor of the Imperial Academy of Arts (IAA), painted a significant series of allegorical panels on folklore subjects for the palace of Grand Duke Vladimir Alexandrovich, a fellow president of the IAA[1], - “Ilya Muromets at the Feast of Prince Vladimir” (1871), “Dobrynya Nikitich Rescues Captive Zabava Putyatishna from the Dragon Gorynych” (1872), “The Fight of Alyosha Popovich with Tugarin the Serpent” (1874), “Solar Deity (Ovsen)” (1874) and “Virgin Zorya") (all at the M. Gorky House of Scientists, St Petersburg).

From:
Yekaterina Vasina
Folklore in Viktor Vasnetsov’s Art
Magazine issue: #1 2024 (82)
https://www.tretyakovgallerymagazine.com/articles/1-2024-82/folklore-viktor-vasnetsov-art

Image:
Viktor Mikhailovich VASNETSOV. The Flying Carpet. 1920-1923, 1925
From the cycle "The Poem of Seven Tales” (1901-1926). Oil on canvas. 260 * 187 cm
© The Viktor Vasnetsov Memorial Museum, Scientific Department of the State Tretyakov Gallery, 2024

02/05/2024

The Met to Present Exhibition of Edward C. Moore's Collection of Decorative Arts

Featuring more than 180 works, the exhibition presents Moore's personal collection alongside silver designed under his direction for Tiffany & Co.

Exhibition Dates: June 9–October 20, 2024
Location: The Met Fifth Avenue, Gallery 199

Edward C. Moore (1827–1891)—the creative force who led Tiffany & Co. to unparalleled originality and success during the second half of the 19th century—amassed a vast collection of decorative arts of exceptional quality and in various media, from Greek and Roman glass and Japanese baskets to metalwork from the Islamic world. The objects were a source of inspiration for Moore, a noted silversmith in his own right, as well as the designers he supervised. The exhibition Collecting Inspiration: Edward C. Moore at Tiffany & Co. (opening June 9, 2024) will feature more than 180 extraordinary examples from Moore's personal collection, which he bequeathed to The Met, alongside 70 magnificent silver objects designed at Tiffany & Co. under his direction. Drawn primarily from the Museum's holdings, the display will also include seldom-seen examples from a dozen private and public lenders. A defining figure in the history of American silver, Moore played a pivotal role in shaping the legendary Tiffany design aesthetic and the evolution of The Met's collection.
https://www.tretyakovgallerymagazine.com/news/met-present-exhibition-edward-c-moores-collection-decorative-Museum of Fine Arts, Boston