TALKS ON THE ISLANDS OF ART (part 2)
02/13/2011 Jrn Calo: Dear Tatyana! First of all, I must tell you that I like to think and manage the reading public. We live in an era of image, when…

Continue reading →

PRINT. CLASSIFICATION AND VARIETIES (part 1)
An engraving (from French estampe) is a generalized name for works of printed graphics, which is an engraving or any other print on paper from a printing form. There are…

Continue reading →

STYLES AND DIRECTIONS IN THE FINE ART (part 1)
The number of styles and directions is huge, if not endless. The key feature by which works can be grouped by style is the unified principles of artistic thinking. The…

Continue reading →

cadmium lemon

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 masters – G.-F. Schmidt, V. Eriksen, Gagelgans, I.-G. Schmidt, I. Bardou and their younger contemporary K. Bardou. Many of them were portrait painters. Their works are executed at a good professional level, in the tradition of cabinet portraiture. They are characterized by a picturesque solution, they carefully wrote out individual features, finely modeled faces, powdered wigs, carefully detailed clothing, thin foam of lace, the mysterious sparkle of orders, the gentle shimmer of tones typical of pastels. In these small, often paired, family portraits that once adorned the walls of Russian noble nests, live human faces, famous and unknown, appear in front of the viewer – people who have gone down in history but have not sunk into oblivion, thanks to artists who have preserved their appearance for posterity. Continue reading

ART UNIONS AND CREATIVE UNIONS OF RUSSIA ON THE TURN OF THE XIX-XX CENTURIES (part 3)

“Bauhaus” (German: Bauhaus – building house) – art educational institution and creative association in Germany. It was founded in 1919 by the architect V. Groppius in Weimar, in 1925 it was transferred to Dessau, in 1933 it was abolished by the fascist authorities. The leaders of the Bauhaus (H. Mayer, J. Albers and others), relying on the aesthetics of functionalism, set out to develop new principles of shaping in plastic arts; they strove for a comprehensive artistic solution to the domestic environment, developed the ability of students to creatively comprehend new materials and designs, and taught them how to create solid and practical products. A significant place was given to design teaching. The main link of the educational process at the Bauhaus was the students’ labor practice in production, art and design workshops, where, along with studies and studies, they created architectural projects, decorative plastic works, and samples of mass household products. Continue reading

VITEBSK ART SCHOOL (part 2)

Having learned the lessons of new European art and declaring himself to be a rapidly maturing master, M. Chagall returned to Vitebsk on the eve of the First World War. In fact, in less than a decade, from an unknown student of a provincial artist, he grows into one of the leading masters of the emerging avant-garde. And this is not surprising if you pay attention to how easily and organically he created his original art system, attracting childishly naive imagination and romantic metaphor, intrepidly departing from realism and ahead of the masters of Western Europe, whose evolution indicates the intense efforts made to free oneself from the tenacious embrace of the artistic tradition. Continue reading

RUSSIAN ACADEMY OF ART OF ST. PETERSBURG (part 2)
Under Catherine II, in 1764, a new detailed Charter of the Imperial Academy of Arts was adopted, and the close sovereign Ivan Ivanovich Betskoy became president. The Empress wrote: "For…

...

ART UNIONS AND CREATIVE UNIONS OF RUSSIA ON THE TURN OF THE XIX-XX CENTURIES (part 2)
The Association of New Architects (ASNOVA) is the first organization of innovative architects in post-revolutionary Russia, founded in 1923 in Moscow. The aim of the Association was to develop a…

...

LENINGRAD SCHOOL OF PAINTING (part 1)
The history of the Leningrad school of painting covers the period from the beginning of the 1930s to the beginning of the 1990s. Having arisen in the midst of a…

...

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…

...