RUSSIAN ACADEMY OF ART OF ST. PETERSBURG (part 1)
In 2007, the Russian Academy of Arts celebrates its 250th anniversary. November 17, 1757 (old style - November 6) - The governing Senate of the Russian Empire adopted a decree…

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LENINGRAD SCHOOL OF PAINTING (part 2)
In the narrow, literal sense, the Leningrad school usually means the Leningrad Institute of Painting, Sculpture and Architecture named after I.E. Repin (LIZHSA) from 1932 until the early 1990s, its…

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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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TALKS ON THE ISLANDS OF ART (part 3)

The desire for a new one, by all means, was imposed on art at the beginning of the 20th century. In canonical arts, in Russian iconography, for example, the artist was free from the search for composition. He directed all his internal energy to spiritualize the image. There is such an opinion in Russian philosophy of art: the more external limitations the artist has, the freer he is internally. I certainly do not call for this. Now this is impossible. Everyone just has their own way.
I also think that virtual worlds stored on infinitely renewable media, or printed with ink of dubious durability, can burst like soap bubbles at any time.
A pile of plastic garbage will be a monument to the 21st century.All the best,
Tatyana

02.16.2011 Jrn Calo writes:
Hello Tatyana!
First of all, I think that everything is relative. When I talk about the artistic and historical development of art, I mean that every century, every era has its own art that reflects this time. Managers show art that represents our century, which exists today and will exist for a long time thanks to the social and intellectual evolution of society. You can find more beauty in nature, organic and vibrant than in the whole history of art, but as a biological species we think and reason, develop theories and invent new forms of expression, and one of them is art. (The novelty of art is a term that has to do with fashion).
In Nanoart (art that is not yet registered in the history of art, which is not yet on Wikipedia, Google begins to talk about the artists who represent Nanoart), the author digitizes science and technology and I can not judge it. All art is art, and for making judgments about it there is a history of art and an encyclopedia.
Whatever art the artists do, they must learn from Picasso to be the best sellers in the world. In addition, Picasso is an example of how an artist should own information in the modern world. He assimilated all the achievements of contemporary artists, in particular Cezanne, who was actually the inventor of cubism. Picasso was able to convince the audience of the significance of his paintings. He was a marketing genius and his genius at Guernica.
Problems with paints exist in oil painting, restorers have many problems, for example, with the works of Van Gogh.
From the news: “International scientists have deciphered which chemical reaction causes the deterioration of Van Gogh’s work. The artist used a mixture of lead chromate and barium sulfate to create yellow color to achieve maximum brightness and expressiveness. And now this yellow color of sunflowers, in contact with air, becomes chocolate. ”
Similar problems arise with the works of other artists of the 19th century.
All the best,
Jrn

02.17.2011 Tatyana Nesvetaylo writes:
Dear Jrn!
You are absolutely right that every century gives birth to its specific forms of expression. In this case, the goal of art has always been the search for beauty. The possibilities of searches are expanding thanks to the advent of new technical means that give rise to new forms of art. As for, for example, photography, at first a technical opportunity appeared, and only later artistic photography was formed as a form of art. Photography and painting were in a complex relationship, alternately imitating each other, which mutually enriched them. But photography remains photography, painting by painting. The same with digital technology. A huge explosion is really happening right before our eyes, the emergence of new possibilities of expression. But it takes time for this to melt into art, although there are many outstanding examples. Painting can and should be enriched and reach a new level, thanks to a new vision, discovered by new technologies.
I want to introduce the terminological clarity necessary for serious discussions about art. Digital art has a completely different nature of the image compared to painting. I call painting an image created according to the laws of color relations, unfortunately, poorly transmitted using a computer. Many works, even created with paints on canvas, are not paintings. Strictly speaking, they are simply decorative compositions or graphics on canvas. Meanwhile, there are many lovers, connoisseurs and collectors who very sensitively perceive and appreciate the beauty of color relationships, that is, real painting. Unfortunately, there are far fewer of them than those who tend to collect promoted names. The latter are much easier to manipulate.
Picasso was certainly a genius in the sense of creativity, and in the sense of such manipulation. He perfectly understood what the public wanted from him. “Ah, you want that? So get it! ”- this is a famous story! However, he also owns the dictum that a true artist is not the one who does what is for sale, but the one who sells what he does. Often the artist’s internal aspirations run counter to the fact that you can sell well.Do you set the task to combine one with the other?
As for the preservation and restoration of works of art, there are certainly a lot of problems. They will probably find a way over time to make the ink lightfast. But there is nothing eternal, of course. The commitment to tradition speaks in me. In our artistic environment, so far, painting, art photography, and computer graphics are sharply delineated. But I’m interested in everything new and I’m trying to understand and find valuable in all these areas.
All the best.
Tatyana

LENINGRAD SCHOOL OF PAINTING (part 4)
However, in 1928, after a series of publications in the journal Revolution and Culture, edited by N. I. Bukharin, supported by the section of literature and art of the Communist…

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VITEBSK ART SCHOOL (part 3)
The circle of sources covering this time in the biography of the master is mainly identified and studied, therefore all sorts of new information and facts are so rare and…

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HISTORY OF THE ORIGIN AND DEVELOPMENT OF MONUMENTAL PAINTING (part 2)
The term “fresco” came to Russia from Italy no earlier than the 18th century. This can be judged by the fact that even in the XVI-XVII centuries it was not…

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LENINGRAD SCHOOL OF PAINTING (part 3)
And how to explain such a change of state to "left" art, whose representatives continued to occupy key posts in all the organs of this state, which were in charge…

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