HISTORY OF THE DEVELOPMENT OF THE DUTCH AND FLEMAND STILL LIFE (part 1)
In the 50s and 60s of the 16th century, the situation in the Netherlands became extremely tense. If in the first half of the century the burden of economic exploitation…

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ABOUT AQUARIAN PAINTING TECHNIQUE (part 4)
But with the beginning of the technical revolution, with the advent of industrial methods for the manufacture of materials, broader opportunities arose for creative experiments and the popularization of watercolor…

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CLASSIFICATION OF WORKS OF THE FINE ART
Classification of works of art by type, material, technique and genre. Works of fine art are divided into the following main types: painting, graphics, sculpture, decorative and applied art. Recently,…

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ART UNIONS AND CREATIVE UNIONS OF RUSSIA ON THE TURN OF THE XIX-XX CENTURIES (part 1)

Abramtsevsky (Mamontovsky) art circle – the so-called Representatives of the creative intelligentsia, mainly Moscow, united around the famous businessman and philanthropist S.I. Mamontov. Meetings and meetings of artists and art lovers took place in Mamontov’s house on Spassko-Sadovaya Street, and in the summer, in the Abramtsevo estate near Moscow near Sergiev Posad. Mamontov financially helped artists, supported them with many creative endeavors. The circle existed in 1878-93, while it was never an official society or an art group. Artists often came to Abramtsevo for the whole summer with their families. Here they could work and communicate. In the Abramtsevo circle, the study of Russian history and culture was combined with the desire to revive the traditions of folk art. The estate organized workshops for the revival of ancient art crafts (wood carving, majolica, sewing). In the Abramtsev park, buildings were erected in the “Russian style” – “Terem” (I. P. Roneta, 1873), a church and the “Hut on Chicken Legs” (designed by V. M. Vasnetsov, 1881-83). Amateur performances have become one of the most famous endeavors of the Mamontov circle. Starting from 1878, they were placed every season: in winter – in a mansion on Spasskaya-Sadovaya, in summer – in Abramtsevo. The scenery, costumes, posters and programs for them were created by the artists themselves, and they were often also role performers. The most successful production of the Mamontov circle is considered to be “The Snow Maiden” by A. N. Ostrovsky, shown in 1882. These performances greatly contributed to the appearance in the 1890s. Moscow private Russian opera. The Abramtsevo circle included M. M. Antokolsky, A. M. and V. M. Vasnetsov, M. V. Vrubel, K. A. and S. A. Korokin, I. I. Levitan, M. V. Nesterov, I. S. Ostroukhov, V. D. and E. D. Polenov, N. A. Rimsky-Korsakov, V. A. Serov, K. S. Stanislavsky, M. V. Yakunchikova and others.

“Abstraction-Creation” – an international union of abstract artists, founded in February 1931 at the initiative of the Belgian sculptor and painter Van Duisburg. The objectives of the association were the comprehension of the experience of abstract art and its popularization. The Union “Abstraction-Creation” included about four hundred members. The creativity of these artists represented various trends in abstract art. In the years 1932-36. a magazine was published under the same name. The union broke up in the 1940s.

“Scarlet Rose” is an association of Moscow painters of a symbolic direction. At the head were the natives of the city of Saratov P.V. Kuznetsov and P.S. Utkin. The first exhibition was held in May-June 1904 in Saratov at the initiative of students of MUZHVZ. The works of E.V. Aleksandrov, A.A. Arapov, M.V. Volgin (Kuznetsov), I.A. Knabe, P.V. Kuznetsov, N.N. Nordossky, V.P. Polovinkin, E. S. Potekhina, N. N. Sapunova, M. S. Saryana, S. D. Simpol, S. Yu. Sudeikina, P. S. Utkina, K. L. Felden, N. P. Feofilaktova. As honorary exhibitors were invited M. A. Vrubel and V. E. Borisov-Musatov. Works made in the technique of majolica in Abramtsevo workshops were also exhibited. Since 1905, members of the group took part in MTX exhibitions and collaborated in the organ of the Moscow Symbolists – the Libra magazine. In 1907, they formed the core of a new group – “Blue Rose”, where they continued to develop the symbolist trend and principles of decorativeism in painting.

The Artel of Artists (St. Petersburg Artel of Artists) is an association founded in 1863 by young artists participating in the “riot of fourteen” who left the Academy of Arts and refused to write on given programs. These included B. B. Venig, A. K. Grigoriev, N. D. Dmitriev-Orenburg, F. S. Zhuravlev, A. I. Korzukhin, I. N. Kramskoy, K. V. Lemokh, A. D. Litovchenko, A. I. Morozov, M. I. Peskov, N. P. Petrov and N. S. Shustov. Artists settled all together on Vasilyevsky Island, conducted a common household and were engaged in creativity. In 1865, the Charter of the Artel was approved, according to which its members jointly carried out various art orders, and shared the fee among themselves. A certain part of the funds went into the “common boiler”. There were also percentages of individual orders. All questions of creativity were decided by the artisans together. In fact, it was a form of labor commune. Artel also engaged in the organization of exhibitions. On Thursdays, artel’s drawing nights took place, which attracted the St. Petersburg intelligentsia and creative youth. The association of artists was short-lived. After leaving the Artel in 1870, I.N. Kramskoy, she soon ceased to exist. Artel members took an active part in TPHV.

HISTORY OF THE DEVELOPMENT OF THE DUTCH AND FLEMAND STILL LIFE (part 2)
The developed manufactory, which arose on the basis of marine industries and shipping, a huge colonial economy and a leading role in world trade, provided Holland with an economic upsurge.…

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MASTERPIECES OF PASTEL FROM FUNDS OF THE TREYAKOV GALLERY (part 2)
In Russia, pastel technique appeared in the second half of the XVIII century, but never reached such popularity as in Europe. The first pastors known to us were invited foreign…

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ABOUT AQUARIAN PAINTING TECHNIQUE (part 3)
The foregoing applies to any kind of art, but it is watercolor that is particularly susceptible to temperament and the “movement of the brush” emanating from the movement of the…

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OIL ART PAINTS (part 2)
You probably noticed that the colors on the palette soon stop getting dirty, but if you slightly press on them with your finger, you can make sure that they are…

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