RUSSIAN Vanguard. MAIN DIRECTIONS (part 2)
Russian avant-garde of his goals and aspirations. Like the trends of modernism that preceded it, the avant-garde was aimed at a radical transformation of human consciousness by means of art,…

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MASTERPIECES OF PASTEL FROM FUNDS OF THE TREYAKOV GALLERY (part 1)
The collection of the State Tretyakov Gallery contains about 800 pastels, some were purchased by P.M. Tretyakov. Pastel must be stored under glass. It is very vulnerable: it can fall…

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ABOUT AQUARIAN PAINTING TECHNIQUE (part 1)
The element of water and paint Despite the availability and prevalence, the watercolor technique remains mysterious and incomprehensible to many, both amateurs and professional artists. Despite the apparent lightness, this…

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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). Continue reading

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 Academy, a new aggravation of the ideological struggle in art began. Realistic traditions and easel art were opposed by new types of creativity (photography, design, cinema), and models of Western modernism were offered as a standard. This had consequences for Vkhutein (as the Academy of Arts was called in 1923). The directors were accused of restoring academism. The dissatisfaction of some teachers and students of the institute was supported by the art groups “Proletariat”, “Circle”, a group of P. N. Filonov, who opposed, among other things, any control in the development of culture in general and the art school in particular. Continue reading

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 of art issues in the center and in the localities?

Among the supporters of the “left” views, the artists D.P. Sternberg, A.D. Drevin, V.E. Tatlin, V.V. Kandinsky, K.S. Malevich, O.V. Rozanova, M.V. Matyushin, stood out N.I. Altman and others. They formed a rather strong group, which initially determined the artistic policy of the Department of Fine Arts created under the People’s Commissariat for Education, as well as the Moscow and Petrograd Soviets. Continue reading

HISTORY OF THE ORIGIN AND DEVELOPMENT OF STAINED-GLASS ART (part 2)
Let us imagine for a moment the decoration of these choirs: painted walls and ceilings, glazed tiled stoves, patterned carpets and carved shutters ... In the interiors of rich chambers,…

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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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ABOUT AQUARIAN PAINTING TECHNIQUE (part 5)
This is confirmed by laboratory tests. Today, there are world-famous manufacturers who honor the traditions of the best manufactories, they have earned the high trust and respect of professionals. Information…

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