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Oil on canvas; 91.8 x 72.5 cm.
Filipp Andreevich Malyavin was a Russian painter and draftsman. Trained in icon-painting as well as having studied under the great Russian realist painter Ilya Repin, Malyavin is unusual among the Russian artists of the time for having a peasant background. He was born in the village of Kazanki into a poor peasant family with many children. Even as a child, he was drawn towards art, drawing and creating clay figurines from the age of five. The village was visited by monks, who would bring with them icons from Greece. Fascinated by the icons, Malyavin convinced his parents to allow him to go to Athos to study icon-painting. He traveled to Greece, his journey financed by the villagers. Although the monasteries at Athos were famed for their vast collections of Greek manuscripts and books, icon painting was not actually practiced. Malyavin was disappointed to learn that they only made copies of icons. Having used up his money and unable to return to Russia, he entered the monastery as a novice, and was charged with painting icons and murals. This continued until 1891, when Malyavin met Vladimir Beklemishev, a Russian sculptor and professor at the Petersburg Academy of Arts who was on a visit to Athos. Beklemishev was greatly impressed by Malyavin's work and invited him to Petersburg.
In 1892, Malyavin arrived in St. Petersburg and was enrolled in the Academy of Arts. Malyavin applied for, and was accepted into, the studio of Russian realist Ilya Repin. It was here, in Repin's studio, that Malyavin began creating some of his most famous early works, including Peasant Girl Knitting a Stocking (1895), which is the first of his paintings in which he introduces his favorite color, red. Three of these early works, all depicting peasant women, were exhibited at the Moscow Art Lovers' Society Salon. Two of these were bought by Pavel Tretyakov for the Tretyakov Gallery.
Malyavin also began to perfect his style of portraiture, creating another series of paintings depicting his fellow-artists from Repin's studio. Among the best of these is that of Konstantin Somov, who would later found the World of Art group. Malyavin's fame spread quickly, and it was not long before society grandees such as Baroness Wolf and Mme. Popova began coming to him to have their portraits painted. From 1895 to 1899, Malyavin painted frenetically. In 1897, he was awarded the status of Artist, but only after much debate, and for his series of portraits rather than his competition painting, Laughter, which depicted Russian women in red dresses in a green meadow. His work was too different, too bright, and it had no plot - it did not fit the contemporary art scene at the time.
In 1900, Malyavin traveled to Paris, and took France by storm. French newspapers hailed him as "a credit to Russian painting," and Laughter was awarded a gold medal and bought by the Museo d'arte moderno in Venice. His work was suddenly in demand, with the Luxembourg Museum in Paris buying Three Women. On returning to Russia, Malyavin married Natalia Novaak-Sarich, the daughter of a rich industrialist and Malyavin devoted himself entirely to his art. His work began appearing in the salons of the World of Art group, and the Union of Russian Artists.
Malyavin reached his peak between 1905 and 1907, during Russia's revolutionary crisis. Unlike other painters, at this time he focused on his "peasant" canvases. These paintings are unusual in terms of their use of bright colors and their large scales, which mark them more than their usually generic titles. In 1906, Malyavin painted Whirlwind, his greatest painting, and the Assembly of the Academy of Arts awarded him the rank of "Academician". Between 1908 and 1910, Malyavin did not display any work, and the official art critics began attacking him more and more frequently. He traveled to Paris, and on his return, painted a large family portrait, which he exhibited in 1911, at the salon of the Union of Russian Artists. The painting was a failure, and between 1911 and 1915, Malyavin exhibited only the works of the earlier period.
In 1918, Malyavin moved to Ryazan, where he participated in the Ryazan Commissariat for Education's propaganda of art and taught. In 1920, he went to Moscow, where he was admitted to the Kremlin and made drawings for Lenin's portrait. His works were displayed in Moscow exhibitions. In fall of 1922, Malyavin traveled abroad , to organize a traveling exhibition of his works. The family settled in Paris, where he painted portraits on commission and where his work was exhibited.
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Oil on canvas; 44.8 x 35.6 cm.
Nicolai Ivanovich Fechin (1881-1955) was born in Kazan, Russia on the banks of the Volga River. He would become an important American Impressionist portrait painter during the early 20th century.
As a child, Nicolai Fechin learned wood carving from is father who worked as a craftsman with metals and wood. At the age of 13, Nicolai Fechin enrolled with a scholarship at the Kazan Art School which was started by his grandfather. Six years later, Nicolai began studies at the Imperial Academy of Art in St. Petersburg and his teacher, Ilya E. Repin, worked to make his students aware of the social evils in Russia and to reflect those realities in their art work. Another teacher at the school taught him to use wider, frenetic, nervous-seeming brush strokes in addition to using his fingers in the paint to convey a sense of texture.
After Nicolai Fechin graduated from the Academy of Art he was a teacher at the Kazan Art School while he continued to study at the Imperial Academy of Art in Petrograd. He did so well in his studies there that he earned scholarship money which allowed him to study painting in Paris and throughout Europe. Nicolai Fechin was happy to leave Russia as this was during the Bolshevik Revolution which caused much suffering and deprivation. While Nicolai Fechin was in Europe he was fascinated by the Impressionists' style of painting and he experimented with it and with painting with a palette knife.
He and his wife were quite poor and they immigrated to America with their baby daughter in 1923. Nicolai Fechin was assisted by some wealthy sponsors and they settled in Central Park in New York City. While he searched for work he continued painting and was fascinated by the ethnicities around him. Nicolai Fechin taught at the New York Academy of Art until he gained gallery notoriety. His talent at painting portraits became so well known that many wealthy people hired Nicolai Fechin to paint their portraits. During the summers, Nicolai Fechin and his family traveled west which included California and New Mexico.
Nicolai Fechin suffered from tuberculosis and some artist friends persuaded him to join their circle of friends in the drier climate of Taos, New Mexico. Nicolai Fechin and his family felt comfortable in this community of adobe architecture and Indians and he became a naturalized American citizen while living there. He built a house in Taos of which he carved the doors, the window frames, the pillars, the furniture and even designed the adobe structure. He worked very hard at his painting and created many paintings and portraits of Indians, Mexicans and cowboys. These paintings are regarded as among his best work because of the exotic subject matter, high degree of modeling of the faces, and forceful, intense coloration. He also did impressionist wood sculpture.
Due to a bitter divorce, Nicolai Fechin left Taos in 1927 and his daughter traveled with him. They went to New York for the winter and then on to Los Angeles at the invitation of the renowned Los Angeles art dealer, Earl Stendahl. For the next ten years, Nicolai Fechin and his daughter lived near each other in Hollywood Hills, California. Nicolai Fechin was very well received in Los Angeles and this popularity along with the sales of his artwork picked up his spirits considerably.
Toward the end of his life, Nicolai Fechin was persuaded by his biggest collector and good friend, John Burnham, to have a simultaneous retrospective at the art museums in San Diego and La Jolla. The events were huge successes and a chance for Nicolai Fechin to see paintings he had not seen for many years.
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Russian painter and printmaker, active in Germany. When he was ten, his family moved to Moscow. Following family tradition, he was originally educated for a military career, attending cadet school, and, later, the Alexander Military School in Moscow. However, while still a cadet, he became interested in painting. At the age of 16, he visited the Moscow World Exposition, which had a profound influence on him. He subsequently spent all of his leisure time at the Tret’yakov State Gallery, Moscow. In 1884 he was commissioned as a lieutenant in the Samogita Infantry–Grenadier’s Regiment, based in Moscow. In 1889 he transferred to a regiment in St Petersburg, and later enrolled in the Academy of Art (1889–96), where he was a student of Il’ya Repin. Indeed his works of this period reflected some of the conventions of Realism (e.g. W. W. Mathé Working, 1892; St Petersburg, Rus. Mus.). Seeking to escape the limitations on expression exhorted by the Russian art establishment, in 1896 Jawlensky and his colleagues Igor Grabar, Dmitry Kardovsky and marianne Werefkin moved to Munich to study with Anton Ažbe. Here he made the acquaintance of another expatriate Russian artist, Vasily Kandinsky. In Munich Jawlensky began his lasting experimentation in the combination of colour, line, and form to express his innermost self (e.g. Hyacinth, c. 1902; Munich, Lenbachhaus).
In the early years of the 20th century, backed by the considerable wealth of his companion Werefkin, Jawlensky spent his summers travelling throughout Europe, including France, where his works were exhibited in Paris with the Fauves at the Salon d’Automne of 1905. Travelling exposed him to a diverse range of artists, techniques, and artistic theories during a formative stage in his own career as a painter. His work, initially characterized by simplified forms, flat areas of colour and heavy black outlines, was in many ways a synthesis of the myriad influences to which he was exposed. As well as the influence of Russian icons and folk art, Ažbe imparted a sense of the importance of line and colour. In Paris, Jawlensky became familiar with the works of Vincent van Gogh, and some of his paintings reflect elements of van Gogh’s technique and approach to his subject-matter (e.g. Village in Bayern (Wasserburg), 1907; Wiesbaden, Mus. Wiesbaden). In particular his symbolic and expressive use of bright colour was more characteristic of van Gogh and Paul Gauguin than of the German Expressionists, with whom he had the greatest contact. In 1905 Jawlensky visited Ferdinand Hodler, and two years later he began his long friendship with Jan Verkade and met Paul Sérusier. Together, Verkade and Sérusier transmitted to Jawlensky both practical and theoretical elements of the work of the Nabis, and Synthetist principles of art. The Theosophy and mysticism of the Nabis, with their emphasis on the importance of the soul, struck a responsive chord in Jawlensky, who sought in his art to mirror his own inner being. The combination of technique and spirituality characteristic of these movements, when linked to Jawlensky’s own experience and emerging style, resulted in a period of enormous creativity and productivity.
Between 1908 and 1910 Jawlensky and Werefkin spent summers in the Bavarian Alps with Kandinsky and his companion Gabriele Münter. Here, through painting landscapes of their mountainous surroundings (e.g. Jawlensky’s Summer Evening in Murnau, 1908–9; Munich, Lenbachhaus), they experimented with one another’s techniques and discussed the theoretical bases of their art. In 1909 they helped to found the Neue künstlervereinigung münchen (NKVM). After a break-away group formed the Blaue Reiter in 1911, Jawlensky remained in the NKVM until 1912, when works by him were shown at the Blaue Reiter exhibitions. During this period he made a vital contribution to the development of Expressionism. In addition to his landscapes of this period, Jawlensky also produced many portraits. Like all of his work, his treatment of the human face and figure varied over time. In the years preceding World War I, for example, Jawlensky produced portraits of figures dressed colourfully (e.g. Schokko with a Wide-brimmed Hat, 1910) or even exotically (e.g. Barbarian Princess, 1912; Hagen, Osthaus Mus.). However, following a trip to the Baltic coast, and renewed contact with Henri Matisse in 1911 and Emil Nolde in 1912, Jawlensky turned increasingly to the expressive use of colour and form alone in his portraits. He often stripped from his art the distraction of brightly coloured apparel to emphasize the individual depicted and the artist’s own underlying state of mind (e.g. Head of a Woman, 1912; Berlin, Alte N.G.).
This dynamic period in Jawlensky’s life and art was abruptly cut short by the outbreak of World War I. Expelled from Germany in 1914, he moved to Switzerland. Here he began Variations, a cycle of landscape paintings of the view from his window at isolated St Prex on Lake Geneva. The works in this series became increasingly abstract and were continued long after he had left St Prex (e.g. Variation, 1916; and Variation No. 84, 1921; both Wiesbaden, Mus. Wiesbaden). In ill-health he spent the end of the war in Ascona. While in St Prex, Jawlensky had first met Galka Scheyer, a young art student who was captivated by his works. Scheyer’s expressions of admiration and support reinvigorated Jawlensky’s art and (with less success) his finances, first by embracing his theoretical and stylistic tenets, and later by promoting his work in Europe and the USA.
After a hiatus in experimentation with the human form, Jawlensky produced perhaps his best-known series, the Mystical Heads (1917–19), and the Saviour’s Faces (1918–20), which are reminiscent of the traditional Russian Orthodox icons of his childhood. In these works he attempted to further reduce conventional portraiture to abstract line, form and, especially, colour (e.g. Head of a Girl, 1918; Ascona, Mus. Com. A. Mod.; and Christ, 1920; Long Beach, CA, Mus. A.). In 1921 he began another cycle in the same vein, his Abstract (sometimes called Constructivist) Heads (1921–35), for example Abstract Head: Red Light (1930; Wiesbaden, Mus. Wiesbaden). His graphic art also included highly simplified, almost geometric heads, such as the lithograph Head II (1921–2; Wiesbaden, Mus. Wiesbaden).
In 1922, after marrying Werefkin’s former maid Hélène Nesnakomoff, the mother of his only son, Andreas, born before their marriage, Jawlensky took up residence in Wiesbaden. In 1924 he organized the Blue four, whose works, thanks to Scheyer’s tireless promotion, were jointly exhibited in Germany and the USA. From 1929 Jawlensky suffered from a crippling arthritis that severely limited his creative activity. During this final period of his life he endured not only poor health and near poverty but the threat of official persecution as well. In 1933 the Nazis forbade the display of his ‘degenerate’ works. Nevertheless he continued his series of increasingly abstract faces, producing more than 1000 works in the Meditations series (1934–7), which included examples of abstract landscapes and still-lifes, as well as portraits. These series represented further variations on the face broken down into its component parts, using geometric shapes, line and colour to convey the mood of the painting and, hence, that of the painter himself. Jawlensky’s state of mind is vividly reflected in these works, as he adopted an increasingly dark, brooding palette (e.g. Large Meditation III, No. 16, 1937; Wiesbaden, Mus. Wiesbaden). By 1937, when his physical condition forced him to cease painting altogether, these faces had been deconstructed to their most basic form: a cross forming the expressive brow, nose and mouth of the subject, on a richly coloured background (e.g. Meditation, 1937; Zurich, Ksthaus). No longer able to use art as a means of conveying his innermost self, Jawlensky began to dictate his memoirs in 1938.
Edward Kasinec, From Grove Art Online
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Which one do YOU prefer?
This girl doesn't normally do nude photography and neither do I, but one of her agencies needed just a few chaste ones.
This was a 'special' for me, I'd been thinking about it (yes, one of my 'night-storms' again)
After we finished her session, I told her my idea, and she liked it, I told her this was to be ' Creative Arty Photography'
Taken on the Hasselblad, Zeiss 80 mm lens, and Ilford Delta 100 film and two big softboxes
Just cropped off the bottom, because she was wearing panties.
In answer to the usual questions, no, she was not lying down, gravity never helps, so I pinned up her hair against the background, she stood for over 2 hrs, at some point I asked her if she wanted a drink, with a twinkle in her eyes she thanked me, but, aaahh, the dreaded words: "she had to go for a wee!"
No way was I going to unpin and repin all of that, plus the hair had to be the same in all the images, so we giggled to a solution, I got her a bucket and left the studio.
What a spunky young woman, we're still laughing.
AAAAHHH c'est dure la vie de modele! (life of a model... not easy!)
Have a great day and thank you for your time, Magda, (*_*)
Please do not use any of my images on websites, blogs or any other media without my explicit permission. © All rights reserved
Why not view the set as a slide-show?
Also I often upload more than one image at the same time, I see a tendency to only view the last uploaded...
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© 2014 Limin Kung, Jr. All Rights Reserved.
☆Private collection.
Source: art.biblioclub.ru/picture_128916_anyuta/
Publication by: Фоменко С. Алексей Явленский. Серия: Лучшие современные художники, Т. 33, Комсомольская правда - Директ Медиа, М., 2017.
The portrait of Anyuta demonstrates the talent of a young artist who fully experienced the influence of his first teacher Repin. Academic staging performed by Yavlensky in a realistic manner. The profile of the young model, captured in oil on canvas, reads the artist’s excellent knowledge of the classical compositional laws, black and white relations, the anatomy and proportions of the human figure.
Rus: В портрете «Анюта» очевиден талант молодого художника, в полной мере испытавшего влияние своего первого учителя — И. Е. Репина. Учебная академическая постановка выполнена Явленским в реалистической манере. В профиле юной натурщицы, запечатленном маслом на холсте, читается отличное знание живописцем классических композиционных законов, светотеневых отношений, анатомии и пропорций человеческой фигуры.
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© 2013 Limin Kung, Jr. All Rights Reserved.
Boris Kustodijev (Russian 1878-1927)
Oil on canvas
EKM VM 416
Kadriorg Museum
Tallinn, Estonia
Boris Mikhaylovich Kustodiev (Russian: Бори́с Миха́йлович Кусто́диев; 7 March [O.S. 23 February] 1878 – 28 May 1927) was a Russian painter and stage designer.
Boris Kustodiev was born in Astrakhan into the family of a professor of philosophy, history of literature, and logic at the local theological seminary.
His father died young, and all financial and material burdens fell on his mother's shoulders. The Kustodiev family rented a small wing in a rich merchant's house.
It was there that the boy's first impressions were formed of the way of life of the provincial merchant class. The artist later wrote, "The whole tenor of the rich and plentiful merchant way of life was there right under my nose... It was like something out of an Ostrovsky play."
The artist retained these childhood observations for years, recreating them later in oils and water-colours.
Between 1893 and 1896, Kustodiev studied in theological seminary and took private art lessons in Astrakhan from Pavel Vlasov, a pupil of Vasily Perov.
Subsequently, from 1896 to 1903, he attended Ilya Repin’s studio at the Imperial Academy of Arts in St. Petersburg. Concurrently, he took classes in sculpture under Dmitry Stelletsky and in etching under Vasiliy Mate.
He first exhibited in 1896.
"I have great hopes for Kustodiev," wrote Repin. "He is a talented artist and a thoughtful and serious man with a deep love of art; he is making a careful study of nature..."
When Repin was commissioned to paint a large-scale canvas to commemorate the 100th anniversary of the State Council, he invited Kustodiev to be his assistant. The painting was extremely complex and involved a great deal of hard work.
Together with his teacher, the young artist made portrait studies for the painting, and then executed the right-hand side of the final work.
Also at this time, Kustodiev made a series of portraits of contemporaries whom he felt to be his spiritual comrades. These included the artist Ivan Bilibin (1901, Russian Museum), Moldovtsev (1901, Krasnodar Regional Art Museum), and the engraver Mate (1902, Russian Museum).
Working on these portraits considerably helped the artist, forcing him to make a close study of his model and to penetrate the complex world of the human soul
In 1903, he married Julia Proshinskaya (1880–1942).
He visited France and Spain on a grant from the Imperial Academy of Arts in 1904. Also in 1904, he attended the private studio of René Ménard in Paris.
After that he traveled to Spain, then, in 1907, to Italy, and in 1909 he visited Austria and Germany, and again France and Italy.
During these years he painted many portraits and genre pieces. However, no matter where Kustodiev happened to be – in sunny Seville or in the park at Versailles – he felt the irresistible pull of his motherland.
After five months in France he returned to Russia, writing with evident joy to his friend Mate that he was back once more "in our blessed Russian land".
The Russian Revolution of 1905, which shook the foundations of society, evoked a vivid response in the artist's soul.
He contributed to the satirical journals Zhupel (Bugbear) and Adskaya Pochta (Hell’s Mail).
At that time, he first met the artists of Mir Iskusstva (World of Art), the group of innovative Russian artists. He joined their association in 1910 and subsequently took part in all their exhibitions.
In 1905, Kustodiev first turned to book illustrating, a genre in which he worked throughout his entire life. He illustrated many works of classical Russian literature, including Nikolai Gogol's Dead Souls, The Carriage, and The Overcoat; Mikhail Lermontov's The Lay of Tsar Ivan Vasilyevich, His Young Oprichnik and the Stouthearted Merchant Kalashnikov; and Leo Tolstoy's How the Devil Stole the Peasant's Hunk of Bread and The Candle.
In 1909, he was elected into Imperial Academy of Arts. He continued to work intensively, but a grave illness—tuberculosis of the spine—required urgent attention.
On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic.
He pined for his distant homeland, and Russian themes continued to provide the basic material for the works he painted during that year. In 1918, he painted The Merchant's Wife, which became the most famous of his paintings.
In 1916, he became paraplegic. "Now my whole world is my room", he wrote.
His ability to remain joyful and lively despite his paralysis amazed others. His colourful paintings and joyful genre pieces do not reveal his physical suffering, and on the contrary give the impression of a carefree and cheerful life.
In the first years after the Russian Revolution of 1917 the artist worked with great inspiration in various fields. Contemporary themes became the basis for his work, being embodied in drawings for calendars and book covers, and in illustrations and sketches of street decorations, as well as some portraits (Portrait of Countess Grabowska).
His covers for the journals The Red Cornfield and Red Panorama attracted attention because of their vividness and the sharpness of their subject matter.
Kustodiev also worked in lithography, illustrating works by Nekrasov. His illustrations for Leskov's stories . . . were landmarks in the history of Russian book designing, so well did they correspond to the literary images.
The artist was also interested in designing stage scenery. He first started work in the theatre in 1911, when he designed the sets for Alexander Ostrovsky . . . Such was his success that further orders came pouring in. In 1913, he designed the sets and costumes for The Death of Pazukhin at the Moscow Art Theatre.
His talent in this sphere was especially apparent in his work for Ostrovsky's plays; It's a Family Affair, A Stroke of Luck, Wolves and Sheep, and The Storm. The milieu of Ostrovsky's plays—provincial life and the world of the merchant class—was close to Kustodiev's own genre paintings, and he worked easily and quickly on the stage sets.
In 1923, Kustodiev joined the Association of Artists of Revolutionary Russia. He continued to paint, make engravings, illustrate books, and design for the theater up until his death of tuberculosis on 28 May 1927, in Leningrad.
Russian painter and printmaker, active in Germany. When he was ten, his family moved to Moscow. Following family tradition, he was originally educated for a military career, attending cadet school, and, later, the Alexander Military School in Moscow. However, while still a cadet, he became interested in painting. At the age of 16, he visited the Moscow World Exposition, which had a profound influence on him. He subsequently spent all of his leisure time at the Tret’yakov State Gallery, Moscow. In 1884 he was commissioned as a lieutenant in the Samogita Infantry–Grenadier’s Regiment, based in Moscow. In 1889 he transferred to a regiment in St Petersburg, and later enrolled in the Academy of Art (1889–96), where he was a student of Il’ya Repin. Indeed his works of this period reflected some of the conventions of Realism (e.g. W. W. Mathé Working, 1892; St Petersburg, Rus. Mus.). Seeking to escape the limitations on expression exhorted by the Russian art establishment, in 1896 Jawlensky and his colleagues Igor Grabar, Dmitry Kardovsky and marianne Werefkin moved to Munich to study with Anton Ažbe. Here he made the acquaintance of another expatriate Russian artist, Vasily Kandinsky. In Munich Jawlensky began his lasting experimentation in the combination of colour, line, and form to express his innermost self (e.g. Hyacinth, c. 1902; Munich, Lenbachhaus).
In the early years of the 20th century, backed by the considerable wealth of his companion Werefkin, Jawlensky spent his summers travelling throughout Europe, including France, where his works were exhibited in Paris with the Fauves at the Salon d’Automne of 1905. Travelling exposed him to a diverse range of artists, techniques, and artistic theories during a formative stage in his own career as a painter. His work, initially characterized by simplified forms, flat areas of colour and heavy black outlines, was in many ways a synthesis of the myriad influences to which he was exposed. As well as the influence of Russian icons and folk art, Ažbe imparted a sense of the importance of line and colour. In Paris, Jawlensky became familiar with the works of Vincent van Gogh, and some of his paintings reflect elements of van Gogh’s technique and approach to his subject-matter (e.g. Village in Bayern (Wasserburg), 1907; Wiesbaden, Mus. Wiesbaden). In particular his symbolic and expressive use of bright colour was more characteristic of van Gogh and Paul Gauguin than of the German Expressionists, with whom he had the greatest contact. In 1905 Jawlensky visited Ferdinand Hodler, and two years later he began his long friendship with Jan Verkade and met Paul Sérusier. Together, Verkade and Sérusier transmitted to Jawlensky both practical and theoretical elements of the work of the Nabis, and Synthetist principles of art. The Theosophy and mysticism of the Nabis, with their emphasis on the importance of the soul, struck a responsive chord in Jawlensky, who sought in his art to mirror his own inner being. The combination of technique and spirituality characteristic of these movements, when linked to Jawlensky’s own experience and emerging style, resulted in a period of enormous creativity and productivity.
Between 1908 and 1910 Jawlensky and Werefkin spent summers in the Bavarian Alps with Kandinsky and his companion Gabriele Münter. Here, through painting landscapes of their mountainous surroundings (e.g. Jawlensky’s Summer Evening in Murnau, 1908–9; Munich, Lenbachhaus), they experimented with one another’s techniques and discussed the theoretical bases of their art. In 1909 they helped to found the Neue künstlervereinigung münchen (NKVM). After a break-away group formed the Blaue Reiter in 1911, Jawlensky remained in the NKVM until 1912, when works by him were shown at the Blaue Reiter exhibitions. During this period he made a vital contribution to the development of Expressionism. In addition to his landscapes of this period, Jawlensky also produced many portraits. Like all of his work, his treatment of the human face and figure varied over time. In the years preceding World War I, for example, Jawlensky produced portraits of figures dressed colourfully (e.g. Schokko with a Wide-brimmed Hat, 1910) or even exotically (e.g. Barbarian Princess, 1912; Hagen, Osthaus Mus.). However, following a trip to the Baltic coast, and renewed contact with Henri Matisse in 1911 and Emil Nolde in 1912, Jawlensky turned increasingly to the expressive use of colour and form alone in his portraits. He often stripped from his art the distraction of brightly coloured apparel to emphasize the individual depicted and the artist’s own underlying state of mind (e.g. Head of a Woman, 1912; Berlin, Alte N.G.).
This dynamic period in Jawlensky’s life and art was abruptly cut short by the outbreak of World War I. Expelled from Germany in 1914, he moved to Switzerland. Here he began Variations, a cycle of landscape paintings of the view from his window at isolated St Prex on Lake Geneva. The works in this series became increasingly abstract and were continued long after he had left St Prex (e.g. Variation, 1916; and Variation No. 84, 1921; both Wiesbaden, Mus. Wiesbaden). In ill-health he spent the end of the war in Ascona. While in St Prex, Jawlensky had first met Galka Scheyer, a young art student who was captivated by his works. Scheyer’s expressions of admiration and support reinvigorated Jawlensky’s art and (with less success) his finances, first by embracing his theoretical and stylistic tenets, and later by promoting his work in Europe and the USA.
After a hiatus in experimentation with the human form, Jawlensky produced perhaps his best-known series, the Mystical Heads (1917–19), and the Saviour’s Faces (1918–20), which are reminiscent of the traditional Russian Orthodox icons of his childhood. In these works he attempted to further reduce conventional portraiture to abstract line, form and, especially, colour (e.g. Head of a Girl, 1918; Ascona, Mus. Com. A. Mod.; and Christ, 1920; Long Beach, CA, Mus. A.). In 1921 he began another cycle in the same vein, his Abstract (sometimes called Constructivist) Heads (1921–35), for example Abstract Head: Red Light (1930; Wiesbaden, Mus. Wiesbaden). His graphic art also included highly simplified, almost geometric heads, such as the lithograph Head II (1921–2; Wiesbaden, Mus. Wiesbaden).
In 1922, after marrying Werefkin’s former maid Hélène Nesnakomoff, the mother of his only son, Andreas, born before their marriage, Jawlensky took up residence in Wiesbaden. In 1924 he organized the Blue four, whose works, thanks to Scheyer’s tireless promotion, were jointly exhibited in Germany and the USA. From 1929 Jawlensky suffered from a crippling arthritis that severely limited his creative activity. During this final period of his life he endured not only poor health and near poverty but the threat of official persecution as well. In 1933 the Nazis forbade the display of his ‘degenerate’ works. Nevertheless he continued his series of increasingly abstract faces, producing more than 1000 works in the Meditations series (1934–7), which included examples of abstract landscapes and still-lifes, as well as portraits. These series represented further variations on the face broken down into its component parts, using geometric shapes, line and colour to convey the mood of the painting and, hence, that of the painter himself. Jawlensky’s state of mind is vividly reflected in these works, as he adopted an increasingly dark, brooding palette (e.g. Large Meditation III, No. 16, 1937; Wiesbaden, Mus. Wiesbaden). By 1937, when his physical condition forced him to cease painting altogether, these faces had been deconstructed to their most basic form: a cross forming the expressive brow, nose and mouth of the subject, on a richly coloured background (e.g. Meditation, 1937; Zurich, Ksthaus). No longer able to use art as a means of conveying his innermost self, Jawlensky began to dictate his memoirs in 1938.
Edward Kasinec, From Grove Art Online
Alexej von Jawlensky, Torschok, Russisches Kaiserreich 1865 - Wiesbaden 1941
Mädchen mit Pfingstrosen - Girl with peonies (1909)
Von der Heydt Museum, Wuppertal
Alexej von Jawlensky war nach Akademiekursen in St. Petersburg und nach Studienjahren im Kreis des russischen Realisten Ilja Repin 1896 nach München übergesiedelt, wo er schon früh mit Kandinsky und Münter zusammentraf und später auch gemeinschaftlich mit ihnen arbeitete. Die entscheidenden künstlerischen Impulse erhielt er aber während seiner Aufenthalte 1903 - 07 in Paris, wo er mit der Kunst der Fauvisten, vor allem mit Matisse, in Berührung kam.
Die Auseinandersetzung mit der gesteigerten Farbbehandlung der Fauves wird auch in Jawlenskys „Mädchen mit Pfingstrosen“ sichtbar. Hinterfangen von einem grellen, türkisgrünen Hintergrund erscheint die Halbfigur eines Mädchens, vermutlich das häufiger dargestellte Modell Resi aus München. Die plastische Erscheinung der Gestalt tritt zugunsten einer starken Flächenwirkung der Farbe zurück. Eingefasst von breiten, schwarzen Konturlinien bestimmt das kräftige Rot der Jacke, des auffälligen Hutes und des Blumenstraußes die Komposition. Ohne Rücksicht auf die spezielle Beschaffenheit der Kleidung versah er ihren gesamten Oberkörper mit kleinen blauen Punkten, deren Farbe im Hut wiederkehrt. Das Gesicht ist als einziges Detail ansatzweise modelliert. Zu dieser Zeit hatte Jawlensky bereits begonnen, nur noch leichte Schatten zu setzen, um bald darauf die Gesichtsflächen vollständig in leuchtende Farbfelder aufzulösen. Der stille, in sich gekehrte Ausdruck der jungen Frau bildet einen wunderbaren Kontrast zur expressiven Farbgebung.
Quelle: Von der Heydt Museum, Wuppertal
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© 2014 Limin Kung, Jr. All Rights Reserved.
Roof of the Columbus Center. Inner Harbor, Baltimore.
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"It was on Holy Saturday in 1880 when the Vorya River flooded and people from nearby villages had no opportunity to cross the river and attend the Easter service in the church, they directed their steps to the estate because they knew that the matins would be held there. The Abramtsevo manor house was full of worshippers and Savva Mamontov got the idea to correct the situation and to build a separate chapel... But the idea did not come true, – recalled Natalya Polenova, the participant of the Abramtsevo Colony. – In 1881 the spring was wonderful, the matins were organized in the Manor House and then the idea was brought up again. But everybody decided that a chapel would be too small and that it would be better to build a church. We chose the appropriate place in the park and were determined to build a church in the name of the Icon of Christ of Edessa, on the model of Old Russian cathedrals".
The basic project for the church was worked out by Vasily Polenov and the prototype for it became the Church of the Saviour at Nereditsa (12th century) located near Novgorod. This project outlined the main proportions and forms of the future building. The dome reposed on the massive drum crowing the high pyramidal roof. The portal of the main façade with the Icon of Christ of Edessa had the look of a belfry. Three apses were at the eastern sanctuary part. For the northern façade the artist designed two windows: the triple one and the small semi-oval window. The walls were strengthened with buttresses. The main difficulty was the southern façade. Well observed through the alley of the park it was as important as the western one. Vasily Polenov left the project unfinished.
Viktor Vasnetsov continued the work at the project. "I was keen on the Kremlin and Moscow churches, later on the Yaroslavl and Rostov ones", – he wrote in his letter to Vladimir Stasov. The artist changed the proportions, made the walls higher and the roof lower. The two windows of the northern façade were shifted to the southern one thus making it impressive and letting more light into the church. The Vasnetsov's church became proportional and harmonious, it better corresponded to its purpose – to be a small estate church, nestled in the Abramtsevo park.
In 1881 Viktor Vasnetsov wrote about the beginning of the construction: "All of us, the artists – Vasily Polenov, Ilya Repin, me – Savva Mamontov and his family set to work together being inspired. Our art assistants – Yelizaveta Mamontova... Yelena Polenova, Natalya Polenova (she was Yakunchikova then), Vera Repina – kept up with us. We were drawing facades and ornaments, painting icons and our ladies were embroidering gonfalons, veils and cloths, they were even carving ornaments in stone standing on the scaffold like real stonemasons. Savva Mamontov was working as a sculptor... There was so much energy and art creativity: everybody was working tirelessly, competing and with interest..."
By the end of July the church was roofed. Decorative work and interior required the detailed studying of the medieval Russian art and participants of the Colony took trips to Rostov, Yaroslavl and other towns. In summer the church was adorned with stone carved ornaments. The ornament of the portal roller had images connected with Christian symbols and Gospel themes: the Lamb personified Christ; the head of a donkey reminded the Christ's entry into Jerusalem; the cock – the denial of the Apostle Peter; the angel, lion, eagle and calf symbolized evangelists and the like. The frieze of coloured tiles made the massive drum more elegant. Later the Icon of Christ of Edessa painted by Vasily Polenov was placed above the portal (1882) and the chimney was covered with tiles (1890s).
The leading role in the interior design was given to Vasily Polenov. His sketches were used to make the iconostasis, icon cases, candleholders, the altarpiece cross, the church chandelier, wedding crowns, gonfalons and other church utensils. The double-level iconostasis dates back to the interiors of the rural churches in the Russian North. Icons of traditional painting collected by the Abramtsevo Colony participants are combined with the authors' icons: "Christ of Edessa" by Ilya Repin (1881–1882), "St. Nicholas" by Nikolay Nevrev (1881), "St. Sergius of Radonezh" and "Virgin and Child" (1881) by Viktor Vasnetsov (1882), "Annunciation" by Vasily Polenov (1882) and other works of the Abramtsevo artists. It was the first time when the icons of the Orthodox Church were painted in realistic manner, anticipating the work of Viktor Vasnetsov in the St. Vladimir's Cathedral of Kiev. The relief "The Head of John the Baptist" on the northern wall was made by Mark Antokolsky (1880s), the icon on the southern wall "St. Prince Fyodor with his Sons Konstantin and David" was painted by Yelena Polenova (1890s). Viktor Vasnetsov painted flowers and butterflies on the choirs. He was also the author of the mosaic floor with a stylized flower and the dates of the construction: 1881–1882 written in Slavonic letters. In 1892 Mikhail Vrubel designed the stove.
Preparation of documents took all summer in 1881. In autumn, when the church was already built, the official laying was held, and the next summer the church was consecrated in the name of the Icon of Christ of Edessa.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Nicolás Tarkhov (Ruso: Тархов, Николай Александрович) fue un pintor ruso nacido en Moscú el 20 de enero de 1871, y fallecido en Orsay, Francia el 5 de junio de 1930. Finalmente se instaló en Francia, primero en París, en 1898.
Tarkhoff es tarde para pintar. Él es el hijo de una familia de comerciantes ricos. Realizó su servicio militar y luego trató en vano de volver a la escuela de pintura, escultura y arquitectura en Moscú, donde falló el examen de entrada. Se formó en sus viajes en Rusia, especialmente en el Cáucaso y Crimea. Hará una reunión que determine su vida artística, la de Constantino Korovin, uno de los pocos representantes del impresionismo en Rusia.
Tarkhoff también se hizo amigo de los Pintores simbolistas rusos: Nicolas Millioti, Pavel Kuznetsov y Piotr Savvitch Utkin. Participó en la primera exposición de Mir Iskusstva en 1899.
Viajó a París en 1898 y vivió allí definitivamente desde 1899, asistiendo a la Académie Julian durante algún tiempo, y permaneciendo durante el verano en Bretaña en Doëlan. Regresa con sus lienzos punteados, la naturaleza de Bretaña ofreciéndole la oportunidad de hacer muchas pinturas. Se instaló en Orsay desde 1911.
En Francia, expone en la Feria de Independents en 1901 y en el salón de otoño en 1904. Participó de nuevo en 1911 en exposiciones de Mir Iskusstva en Rusia.
Sus temas favoritos son la naturaleza, París, su hogar, sus seres queridos. Fue descrito como "cervatillo impresionista" por Gérard Weaver. En 1911, se instaló en Orsay, se unió a la revolución bolchevique y vivió aislado del mundo parisino. Murió en Orsay en 1930.
fr.wikipedia.org/wiki/Nicolas_Tarkhoff
Nicolas Tarkhov (Russian: Тархов, Николай Александрович) was a Russian painter born in Moscow on January 20, 1871, and died in Orsay, France on June 5, 1930. He finally settled in France, first Paris, in 1898.
Tarkhoff is late for painting. He is the son of a family of wealthy traders. He performed his military service and then tried in vain to return to the school of Painting, sculpture and architecture in Moscow where he failed the entrance examination. He is formed in his travels in Russia, especially in the Caucasus and Crimea. He will make a meeting that determines his artistic life, that of Constantine Korovin, one of the few representatives of Impressionism in Russia.
Tarkhoff also became friends with Russian Symbolist painters: Nicolas Millioti, Pavel Kuznetsov and Piotr Savvitch Utkin. He participated in the first exhibition of Mir Iskusstva in 1899.
He travelled to Paris in 1898 and lived there definitively from 1899, attending the Académie Julian for some time, and staying during the summer in Brittany in Doëlan. He returns with his dotted canvases, the nature of Brittany offering him the opportunity to make many paintings. He settled in Orsay from 1911.
In France, he exhibits at the Independents ' fair in 1901 and at the autumn salon in 1904. He took part again in 1911 at exhibitions of Mir Iskusstva in Russia.
His favorite themes are nature, Paris, her home, his loved ones. He was described as "impressionistic fawn" by Gérard Tisserand. In 1911, he settled in Orsay, he joined the Bolshevik Revolution and lived isolated from the Parisian world. He died in Orsay in 1930.
fr.wikipedia.org/wiki/Nicolas_Tarkhoff
Nicolas Tarkhoff (en russe : Тархов, Николай Александрович) est un peintre russe né à Moscou le 20 janvier 1871, et mort à Orsay en France, le 5 juin 1930. Il s'établit définitivement en France, d'abord Paris, en 1898.
Tarkhoff se met tard à la peinture. Il est fils d'une famille de commerçants aisés. Il accomplit son service militaire puis tente en vain de rentrer à l'École de peinture, de sculpture et d'architecture de Moscou où il échoue à l'examen d'entrée. Il se forme dans ses voyages en Russie, notamment dans le Caucase et la Crimée. Il y fera une rencontre qui détermine sa vie artistique, celle de Constantin Korovine, un des rares représentants de l'Impressionnisme en Russie.
Tarkhoff se lie aussi d'amitié avec les peintres symbolistes russes : Nicolas Millioti, Pavel Kouznetsov et Piotr Savvitch Outkine. Il participe à la première exposition de Mir Iskousstva en 1899.
Il se rend à Paris en 1898 et y vit définitivement à partir de 1899, fréquentant quelque temps l'académie Julian, et séjournant pendant l'été en Bretagne à Doëlan. Il en revient avec ses toiles pointillistes, la nature de la Bretagne lui offrant l'occasion de réaliser de nombreuses toiles. Il s'installe à Orsay à partir de 1911.
En France, il expose au Salon des indépendants en 1901 et au Salon d'automne, en 1904. Il participe à nouveau en 1911 à des expositions de Mir Iskousstva en Russie.
Ses thèmes favoris sont la nature, Paris, sa maison, ses proches. Il a été qualifié de « fauve impressionniste » par Gérard Tisserand. En 1911, il s'installe à Orsay , il adhère à la révolution bolchévique et vit isolé du monde parisien. Il décède à Orsay en 1930.
fr.wikipedia.org/wiki/Nicolas_Tarkhoff
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
The term Russian soul (Russian: Русская душа; also great Russian soul, mystifying Russian soul) has been used in literature to describe Russian spirituality. The writings of many Russian writers such as Nikolai Gogol, Leo Tolstoy and Fyodor Dostoyevsky offer descriptions of the Russian soul.
Russian soul is a mystery for other cultures. Russians are talented nation. Russia gave world beautiful names of Pushkin and Lermontov, Chaikovsky and Repin, thousands of names of world famous poets, writers, composers, scientists. It is not easy to understand Russian people, but once you've understood them, you are one of them once and forever. Russians are reach and poor at the same time, simple and complicated, weak and strong. Russian traditions are special and some of them can seem wild to others but Russian people treat them very much.
In Russia a person's soul or „Dusha“ is the key to a person's identity and behavior and this cultural understanding that equates the person with his soul is what is described as the Russian soul.
Depth, strength, and compassion are general characteristics of the Russian soul. The Russian soul has been described as: sensitive, reverential, imaginative, generous, pride, hospitable, compassionate, inclined toward tears, patience that permits survival in what would seem to be unbearable circumstances, poetic, mystic, fatalistic, introspective, mistrusting of rational thought, trusting intuition, having ability to feel a wide array of extreme human emotions (from absolute joy to the darkest despair), submissiveness mingled with stubbornness, sudden unmotivated cruelty.
The harder is the life of Russian, the stronger beats the heart of romantic in the chest. Russian romanticism is unconquerable, unsinkable. The way that the people love is just matchless: very passion, emotional, strength and handsomely. Russians not afraid to love, not afraid to get hurt; not afraid to exaggerate or act impulsively.
Russians maintain their integrity in a way that conforms to their inner notion of what a human being should be, with a blatant honesty and integrity seldom seen elsewhere in the world.
Marianna Wladimirowna Werefkina, a member of ancient Russian nobility, was born on 29 August 1860 in the Russian town of Tula. She was well educated according to western standards and the young girl's artistic talents were recognised early and encouraged. She had her first private academic drawing lessons at the age of fourteen. She was introduced to Illarion Michailowitsch Prjanischnikow, a member of the "Peredwischniki" (travelling painter), where she began her studies, by the Repin family. When her family moved to St. Petersburg in 1886 Marianne von Werefkin took private lessons under Repin.
While hunting in 1888 she accidentally shot her right hand which remained crippled after a lengthy period of recovery. By practising persistently she finally managed to use drawing and painting instruments with her right hand again. She soon reached a perfection in realist painting which gave her the reputation as "Russian Rembrandt".
In 1891 the painter met Alexej von Jawlensky, who deeply fascinated her and whom she accompanied to Munich five years later. She put aside her own work and initiated a Salon which soon became a centre of lively artistic exchange. She also founded the "Lukasbruderschaft" of which also Kandinsky was a member.
A private crisis with Jawlensky culminated at the birth of their son in 1902 and Marianne von Werefkin was so badly effected that she needed to recover during extensive travels in France. She began painting again in 1906. She and Jawlensky spent several periods working with Kandinsky and Münter after their discovery of the picturesque town of Murnau in 1908.
They formed a new group: the "Neue Künstlervereinigung München". When Wassily Kandinsky and Franz Marc distanced themselves from this group and formed the "Blauer Reiter", Werefkin also began exhibiting together with this group in 1913. She moved to Switzerland with Jawlensky in 1914. Another move in 1919 took the couple to Ascona where she joined the artist group "Großer Bär". She and Jawlensky separated two years later.
Marianne von Werefkin died in Ascona on 6 February 1938.
Le 17 octobre 1905
La signature du Manifeste le 17 octobre 1905 marque le début de la démocratisation du régime russe mais par la suite le Tsar ne le respectera pas. La foule représentée par l'artiste montre diverses classes sociales favorables aux réformes. Un amnistié est porté en triomphe au centre des manifestants. Ilya Répine était progressiste et s'est réjouit de cette libéralisation.
Oeuvre d'Ilya Répine (1844-1930)
1907, retravaillé en 1911
Huile sur toile
Saint Pétersbourg, musée d'État russe
Oeuvre présentée dans l'exposition "Ilya Répine (1844-1930)
Peindre l’âme russe", Petit Palais, Musée des beaux-arts de la ville de Paris
Du 5 octobre 2021 au 23 janvier 2022, le Petit Palais présente la première rétrospective française consacrée à Ilya Répine, l’une des plus grandes gloires de l’art russe. Peu connu en France, son œuvre est pourtant considéré comme un jalon essentiel de l’histoire de la peinture russe des XIXe et XXe siècles. Une centaine de tableaux, prêtés notamment par la Galerie Nationale Trétiakov de Moscou, le Musée d’État russe de Saint-Pétersbourg et le musée d’art de l’Ateneum d’Helsinki, dont certains très grands formats, permettent de retracer son parcours à travers ses chefs- d’œuvre. Extrait du site de l'exposition
View in "fullscreen" mode (double click on the photo) or Lightbox (press "L")....enjoy!
Please do not duplicate, repin, post, link, copy or use any of my photographs without my permission.
© 2013 Limin Kung, Jr. All Rights Reserved.
From the series: People@work.
Models need a portfolio and updates.
Which one do YOU prefer?
This girl doesn't normally do nude photography and neither do I, but one of her agencies needed just a few chaste ones. View On Black
This was a 'special' for me, I'd been thinking about it (yes, one of my 'night-storms' again)
After we finished her session, I told her my idea, and she liked it, I told her this was to be ' Creative Arty Photography'
Taken on the Hasselblad, Zeiss 80 mm lens, and Ilford Delta 100 film and two big softboxes
Just cropped off the bottom, because she was wearing panties.
In answer to the usual questions, no, she was not lying down, gravity never helps, so I pinned up her hair against the background, she stood for over 2 hrs, at some point I asked her if she wanted a drink, with a twinkle in her eyes she thanked me, but, aaahh, the dreaded words: "she had to go for a wee!"
No way was I going to unpin and repin all of that, plus the hair had to be the same in all the images, so we giggled to a solution, I got her a bucket and left the studio.
What a spunky young woman, we're still laughing.
AAAAHHH c'est dure la vie de modele! (life of a model... not easy!)
Have a great day and thank you for your time, Magda, (*_*)
Please do not use any of my images on websites, blogs or any other media without my explicit permission. © All rights reserved
Why not view the set as a slide-show?
Also I often upload more than one image at the same time, I see a tendency to only view the last uploaded...
Alexandre III recevant les doyens des cantons dans la cour du palais Pétrovski à Moscou
Il s'agit d'une oeuvre de commande pour commémorer le couronnement d'Alexandre III en mai 1883. Autour du Tsar, le peuple russe est montré dans toute sa diversité. Le peintre s'est représenté au fond de la scène, un carnet de dessin à la main.
Oeuvre d'Ilya Répine (1844-1930)
1886
Huile sur toile
Moscou, Galerie nationale Trétiakov
Oeuvre présentée dans l'exposition "Ilya Répine (1844-1930)
Peindre l’âme russe", Petit Palais, Musée des beaux-arts de la ville de Paris
Du 5 octobre 2021 au 23 janvier 2022, le Petit Palais présente la première rétrospective française consacrée à Ilya Répine, l’une des plus grandes gloires de l’art russe. Peu connu en France, son œuvre est pourtant considéré comme un jalon essentiel de l’histoire de la peinture russe des XIXe et XXe siècles. Une centaine de tableaux, prêtés notamment par la Galerie Nationale Trétiakov de Moscou, le Musée d’État russe de Saint-Pétersbourg et le musée d’art de l’Ateneum d’Helsinki, dont certains très grands formats, permettent de retracer son parcours à travers ses chefs- d’œuvre. Extrait du site de l'exposition
Saint Petersburg, Russia
Ilya Repin, Russian painter (1844-1930)
Alexander III receiving rural district elders in the yard of Petrovsky Palace in Moscow (1886)
Saint Petersburg, Russia
Ilya Repin, Russian painter (1844-1930)
Religious Procession in Kursk Province, Tretyakov Gallery, Moscow
PZ 400:25 Inv 4005
Ilya Repin: The Zaparozhye Cossacks writing a Mocking Letter to the Turkish Sultan, 1880-91
The Russian Museum
Que c’est beau la peinture à l’eau..!
Création d’après….d’après…??? Je ne sais plus……….
Au secours capitaine…au secours Jean Louis…
(En fait llia Répine, 1876).
Oil on cardboard mounted on masonite; 53.7 x 49.2 cm.
Source: Oxford University Press
Russian painter and printmaker, active in Germany. When he was ten, his family moved to Moscow. Following family tradition, he was originally educated for a military career, attending cadet school, and, later, the Alexander Military School in Moscow. However, while still a cadet, he became interested in painting. At the age of 16, he visited the Moscow World Exposition, which had a profound influence on him. He subsequently spent all of his leisure time at the Tret’yakov State Gallery, Moscow. In 1884 he was commissioned as a lieutenant in the Samogita Infantry–Grenadier’s Regiment, based in Moscow. In 1889 he transferred to a regiment in St Petersburg, and later enrolled in the Academy of Art (1889–96), where he was a student of Il’ya Repin. Indeed his works of this period reflected some of the conventions of Realism (e.g. W. W. Mathé Working, 1892; St Petersburg, Rus. Mus.). Seeking to escape the limitations on expression exhorted by the Russian art establishment, in 1896 Jawlensky and his colleagues Igor Grabar, Dmitry Kardovsky and marianne Werefkin moved to Munich to study with Anton Ažbe. Here he made the acquaintance of another expatriate Russian artist, Vasily Kandinsky. In Munich Jawlensky began his lasting experimentation in the combination of colour, line, and form to express his innermost self (e.g. Hyacinth, c. 1902; Munich, Lenbachhaus).
In the early years of the 20th century, backed by the considerable wealth of his companion Werefkin, Jawlensky spent his summers travelling throughout Europe, including France, where his works were exhibited in Paris with the Fauves at the Salon d’Automne of 1905. Travelling exposed him to a diverse range of artists, techniques, and artistic theories during a formative stage in his own career as a painter. His work, initially characterized by simplified forms, flat areas of colour and heavy black outlines, was in many ways a synthesis of the myriad influences to which he was exposed. As well as the influence of Russian icons and folk art, Ažbe imparted a sense of the importance of line and colour. In Paris, Jawlensky became familiar with the works of Vincent van Gogh, and some of his paintings reflect elements of van Gogh’s technique and approach to his subject-matter (e.g. Village in Bayern (Wasserburg), 1907; Wiesbaden, Mus. Wiesbaden). In particular his symbolic and expressive use of bright colour was more characteristic of van Gogh and Paul Gauguin than of the German Expressionists, with whom he had the greatest contact. In 1905 Jawlensky visited Ferdinand Hodler, and two years later he began his long friendship with Jan Verkade and met Paul Sérusier. Together, Verkade and Sérusier transmitted to Jawlensky both practical and theoretical elements of the work of the Nabis, and Synthetist principles of art. The Theosophy and mysticism of the Nabis, with their emphasis on the importance of the soul, struck a responsive chord in Jawlensky, who sought in his art to mirror his own inner being. The combination of technique and spirituality characteristic of these movements, when linked to Jawlensky’s own experience and emerging style, resulted in a period of enormous creativity and productivity.
Between 1908 and 1910 Jawlensky and Werefkin spent summers in the Bavarian Alps with Kandinsky and his companion Gabriele Münter. Here, through painting landscapes of their mountainous surroundings (e.g. Jawlensky’s Summer Evening in Murnau, 1908–9; Munich, Lenbachhaus), they experimented with one another’s techniques and discussed the theoretical bases of their art. In 1909 they helped to found the Neue künstlervereinigung münchen (NKVM). After a break-away group formed the Blaue Reiter in 1911, Jawlensky remained in the NKVM until 1912, when works by him were shown at the Blaue Reiter exhibitions. During this period he made a vital contribution to the development of Expressionism. In addition to his landscapes of this period, Jawlensky also produced many portraits. Like all of his work, his treatment of the human face and figure varied over time. In the years preceding World War I, for example, Jawlensky produced portraits of figures dressed colourfully (e.g. Schokko with a Wide-brimmed Hat, 1910) or even exotically (e.g. Barbarian Princess, 1912; Hagen, Osthaus Mus.). However, following a trip to the Baltic coast, and renewed contact with Henri Matisse in 1911 and Emil Nolde in 1912, Jawlensky turned increasingly to the expressive use of colour and form alone in his portraits. He often stripped from his art the distraction of brightly coloured apparel to emphasize the individual depicted and the artist’s own underlying state of mind (e.g. Head of a Woman, 1912; Berlin, Alte N.G.).
This dynamic period in Jawlensky’s life and art was abruptly cut short by the outbreak of World War I. Expelled from Germany in 1914, he moved to Switzerland. Here he began Variations, a cycle of landscape paintings of the view from his window at isolated St Prex on Lake Geneva. The works in this series became increasingly abstract and were continued long after he had left St Prex (e.g. Variation, 1916; and Variation No. 84, 1921; both Wiesbaden, Mus. Wiesbaden). In ill-health he spent the end of the war in Ascona. While in St Prex, Jawlensky had first met Galka Scheyer, a young art student who was captivated by his works. Scheyer’s expressions of admiration and support reinvigorated Jawlensky’s art and (with less success) his finances, first by embracing his theoretical and stylistic tenets, and later by promoting his work in Europe and the USA.
After a hiatus in experimentation with the human form, Jawlensky produced perhaps his best-known series, the Mystical Heads (1917–19), and the Saviour’s Faces (1918–20), which are reminiscent of the traditional Russian Orthodox icons of his childhood. In these works he attempted to further reduce conventional portraiture to abstract line, form and, especially, colour (e.g. Head of a Girl, 1918; Ascona, Mus. Com. A. Mod.; and Christ, 1920; Long Beach, CA, Mus. A.). In 1921 he began another cycle in the same vein, his Abstract (sometimes called Constructivist) Heads (1921–35), for example Abstract Head: Red Light (1930; Wiesbaden, Mus. Wiesbaden). His graphic art also included highly simplified, almost geometric heads, such as the lithograph Head II (1921–2; Wiesbaden, Mus. Wiesbaden).
In 1922, after marrying Werefkin’s former maid Hélène Nesnakomoff, the mother of his only son, Andreas, born before their marriage, Jawlensky took up residence in Wiesbaden. In 1924 he organized the Blue four, whose works, thanks to Scheyer’s tireless promotion, were jointly exhibited in Germany and the USA. From 1929 Jawlensky suffered from a crippling arthritis that severely limited his creative activity. During this final period of his life he endured not only poor health and near poverty but the threat of official persecution as well. In 1933 the Nazis forbade the display of his ‘degenerate’ works. Nevertheless he continued his series of increasingly abstract faces, producing more than 1000 works in the Meditations series (1934–7), which included examples of abstract landscapes and still-lifes, as well as portraits. These series represented further variations on the face broken down into its component parts, using geometric shapes, line and colour to convey the mood of the painting and, hence, that of the painter himself. Jawlensky’s state of mind is vividly reflected in these works, as he adopted an increasingly dark, brooding palette (e.g. Large Meditation III, No. 16, 1937; Wiesbaden, Mus. Wiesbaden). By 1937, when his physical condition forced him to cease painting altogether, these faces had been deconstructed to their most basic form: a cross forming the expressive brow, nose and mouth of the subject, on a richly coloured background (e.g. Meditation, 1937; Zurich, Ksthaus). No longer able to use art as a means of conveying his innermost self, Jawlensky began to dictate his memoirs in 1938.
Edward Kasinec, From Grove Art Online
Oil on canvas; 74.8 x 62.8 cm.
Russian painter and printmaker, active in Germany. When he was ten, his family moved to Moscow. Following family tradition, he was originally educated for a military career, attending cadet school, and, later, the Alexander Military School in Moscow. However, while still a cadet, he became interested in painting. At the age of 16, he visited the Moscow World Exposition, which had a profound influence on him. He subsequently spent all of his leisure time at the Tret’yakov State Gallery, Moscow. In 1884 he was commissioned as a lieutenant in the Samogita Infantry–Grenadier’s Regiment, based in Moscow. In 1889 he transferred to a regiment in St Petersburg, and later enrolled in the Academy of Art (1889–96), where he was a student of Il’ya Repin. Indeed his works of this period reflected some of the conventions of Realism (e.g. W. W. Mathé Working, 1892; St Petersburg, Rus. Mus.). Seeking to escape the limitations on expression exhorted by the Russian art establishment, in 1896 Jawlensky and his colleagues Igor Grabar, Dmitry Kardovsky and marianne Werefkin moved to Munich to study with Anton Ažbe. Here he made the acquaintance of another expatriate Russian artist, Vasily Kandinsky. In Munich Jawlensky began his lasting experimentation in the combination of colour, line, and form to express his innermost self (e.g. Hyacinth, c. 1902; Munich, Lenbachhaus).
In the early years of the 20th century, backed by the considerable wealth of his companion Werefkin, Jawlensky spent his summers travelling throughout Europe, including France, where his works were exhibited in Paris with the Fauves at the Salon d’Automne of 1905. Travelling exposed him to a diverse range of artists, techniques, and artistic theories during a formative stage in his own career as a painter. His work, initially characterized by simplified forms, flat areas of colour and heavy black outlines, was in many ways a synthesis of the myriad influences to which he was exposed. As well as the influence of Russian icons and folk art, Ažbe imparted a sense of the importance of line and colour. In Paris, Jawlensky became familiar with the works of Vincent van Gogh, and some of his paintings reflect elements of van Gogh’s technique and approach to his subject-matter (e.g. Village in Bayern (Wasserburg), 1907; Wiesbaden, Mus. Wiesbaden). In particular his symbolic and expressive use of bright colour was more characteristic of van Gogh and Paul Gauguin than of the German Expressionists, with whom he had the greatest contact. In 1905 Jawlensky visited Ferdinand Hodler, and two years later he began his long friendship with Jan Verkade and met Paul Sérusier. Together, Verkade and Sérusier transmitted to Jawlensky both practical and theoretical elements of the work of the Nabis, and Synthetist principles of art. The Theosophy and mysticism of the Nabis, with their emphasis on the importance of the soul, struck a responsive chord in Jawlensky, who sought in his art to mirror his own inner being. The combination of technique and spirituality characteristic of these movements, when linked to Jawlensky’s own experience and emerging style, resulted in a period of enormous creativity and productivity.
Between 1908 and 1910 Jawlensky and Werefkin spent summers in the Bavarian Alps with Kandinsky and his companion Gabriele Münter. Here, through painting landscapes of their mountainous surroundings (e.g. Jawlensky’s Summer Evening in Murnau, 1908–9; Munich, Lenbachhaus), they experimented with one another’s techniques and discussed the theoretical bases of their art. In 1909 they helped to found the Neue künstlervereinigung münchen (NKVM). After a break-away group formed the Blaue Reiter in 1911, Jawlensky remained in the NKVM until 1912, when works by him were shown at the Blaue Reiter exhibitions. During this period he made a vital contribution to the development of Expressionism. In addition to his landscapes of this period, Jawlensky also produced many portraits. Like all of his work, his treatment of the human face and figure varied over time. In the years preceding World War I, for example, Jawlensky produced portraits of figures dressed colourfully (e.g. Schokko with a Wide-brimmed Hat, 1910) or even exotically (e.g. Barbarian Princess, 1912; Hagen, Osthaus Mus.). However, following a trip to the Baltic coast, and renewed contact with Henri Matisse in 1911 and Emil Nolde in 1912, Jawlensky turned increasingly to the expressive use of colour and form alone in his portraits. He often stripped from his art the distraction of brightly coloured apparel to emphasize the individual depicted and the artist’s own underlying state of mind (e.g. Head of a Woman, 1912; Berlin, Alte N.G.).
This dynamic period in Jawlensky’s life and art was abruptly cut short by the outbreak of World War I. Expelled from Germany in 1914, he moved to Switzerland. Here he began Variations, a cycle of landscape paintings of the view from his window at isolated St Prex on Lake Geneva. The works in this series became increasingly abstract and were continued long after he had left St Prex (e.g. Variation, 1916; and Variation No. 84, 1921; both Wiesbaden, Mus. Wiesbaden). In ill-health he spent the end of the war in Ascona. While in St Prex, Jawlensky had first met Galka Scheyer, a young art student who was captivated by his works. Scheyer’s expressions of admiration and support reinvigorated Jawlensky’s art and (with less success) his finances, first by embracing his theoretical and stylistic tenets, and later by promoting his work in Europe and the USA.
After a hiatus in experimentation with the human form, Jawlensky produced perhaps his best-known series, the Mystical Heads (1917–19), and the Saviour’s Faces (1918–20), which are reminiscent of the traditional Russian Orthodox icons of his childhood. In these works he attempted to further reduce conventional portraiture to abstract line, form and, especially, colour (e.g. Head of a Girl, 1918; Ascona, Mus. Com. A. Mod.; and Christ, 1920; Long Beach, CA, Mus. A.). In 1921 he began another cycle in the same vein, his Abstract (sometimes called Constructivist) Heads (1921–35), for example Abstract Head: Red Light (1930; Wiesbaden, Mus. Wiesbaden). His graphic art also included highly simplified, almost geometric heads, such as the lithograph Head II (1921–2; Wiesbaden, Mus. Wiesbaden).
In 1922, after marrying Werefkin’s former maid Hélène Nesnakomoff, the mother of his only son, Andreas, born before their marriage, Jawlensky took up residence in Wiesbaden. In 1924 he organized the Blue four, whose works, thanks to Scheyer’s tireless promotion, were jointly exhibited in Germany and the USA. From 1929 Jawlensky suffered from a crippling arthritis that severely limited his creative activity. During this final period of his life he endured not only poor health and near poverty but the threat of official persecution as well. In 1933 the Nazis forbade the display of his ‘degenerate’ works. Nevertheless he continued his series of increasingly abstract faces, producing more than 1000 works in the Meditations series (1934–7), which included examples of abstract landscapes and still-lifes, as well as portraits. These series represented further variations on the face broken down into its component parts, using geometric shapes, line and colour to convey the mood of the painting and, hence, that of the painter himself. Jawlensky’s state of mind is vividly reflected in these works, as he adopted an increasingly dark, brooding palette (e.g. Large Meditation III, No. 16, 1937; Wiesbaden, Mus. Wiesbaden). By 1937, when his physical condition forced him to cease painting altogether, these faces had been deconstructed to their most basic form: a cross forming the expressive brow, nose and mouth of the subject, on a richly coloured background (e.g. Meditation, 1937; Zurich, Ksthaus). No longer able to use art as a means of conveying his innermost self, Jawlensky began to dictate his memoirs in 1938.
Edward Kasinec, From Grove Art Online
best_of_2021: The Wire, Uncut, Resident Advisor, The Quietus, Rough Trade UK, Gorilla vs Bear, Mojo, Rolling Stone, Louder Than War, Stereogum, Billboard, AllMusic, Consequence of Sound, Pitchfork, NME, Slant, NPR, PopMatters, Gigwise, The Guardian & deepskyobject.
...
The 50 Best Albums of 2021 by deepskyobject
1. Crystal Canyon - Yours With Affection and Sorrow [shoegaze]
2. Wolf Alice - Blue Weekend [alternative]
3. Черноплодь/Чернохор - И З Г О Р А [drone, russian avantgarde metal]
4. Nation of Language - A Way Forward [new wave]
5. Amyl and The Sniffers - Comfort To Me [punk]
6. Trigg & Gusset - Black Ocean [dark jazz]
7. TRPP - TRPP [dream pop]
8. Biosphere - Angel's Flight [ambient]
9. Alessandro Cortini - Scuro Chiaro [drone, electronic]
10. Divide and Dissolve - Gas Lit [doom]
11. Flyying Colours - Fantasy Country [shoegaze, dream pop]
12. Stereolab - Electrically Possessed [Switched On vol. 4] [lo-fi]
13. НОМ - МАЛГИЛ [Посвящается ОБЭРИУ] [russian avantgarde]
14. Kraków Loves Adana - Follow The Voice [darkwave]
15. Kælan Mikla - Undir Köldum Norðurljósum [icelandic post-punk]
16. Soft Blade - Softic [minimal wave, russian electronic]
17. Drug Store Romeos - The World Within Our Bedrooms [indie pop]
18. Vollam - Mirror EP [shoegaze, dream pop]
19. Ethereal Shroud - Trisagion [atmospheric black]
20. Olivia Rodrigo - Sour [pop]
21. Goat Girl - On All Fours [indie pop]
22. Faye Webster - I Know I'm Funny Haha [indie pop]
23. The Splashers - Homesick EP [dream pop]
24. Françoiz Breut - Flux Flou de la Foule [french pop]
25. Jarvis Cocker - Chansons D'Ennui Tip-Top [pop]
26. Tape Waves - Bright [dream pop]
27. 김민하 [BrokenTeeth] - 편지(The Letters) [shoegaze, dream pop]
28. Blankenberge - Everything [shoegaze]
29. Midwife - Luminol [ambient pop, shoegaze, slowcore]
30. Dry Cleaning - New Long Leg [indie rock]
31. Minuit Machine - Sainte Rave [darkwave]
32. Leila Abdul-Rauf - Phantasiai [dark ambient]
33. Alice Phoebe Lou - Glow [pop]
34. Wednesday - Twin Plagues [dream pop]
35. Lucid Express - Lucid Express [shoegaze, dream pop]
36. Suffering Hour - The Cyclic Reckoning [black, death]
37. Vessel of Iniquity - The Doorway [death, industrial]
38. Space Afrika - Honest Labour [ambient]
39. Still Corners - The Last Exit [dream pop]
40. Seefeel - St / Fr / Sp [unreleased][electronic]
41. Pia Fraus - Now You Know It Still Feels the Same [shoegaze, dream pop]
42. BadBadNotGood - Talk Memory [jazz fusion]
43. White Flowers - Day By Day [dream pop]
44. Dummy - Mandatory Enjoyment [noise pop, kraut]
45. Mogwai - As The Love Continues [post-rock]
46. Elephant9 - Arrival of the New Elders [nu-jazz]
47. Shamblemaths - Shamblemaths 2 [avant-prog]
48. Ora Clementi - Sylva Sylvarum [electroacoustic]
49. BRUIT ≤ - The Machine is burning and now everyone knows it could happen again [post-rock, drone]
50. Valentina Goncharova - Recordings 1987-1991, vol. 1,2 (2020-2021) [musique concrète]
...
The Wire's Releases of the Year 2021
1. L'Rain - Fatigue
2. Moor Mother - Black Encyclopedia of the Air
3. Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises
4. Low - Hey What
5. Daniel Bachman - Axacan
6. Apartment House - Number Pieces
7. Hamid Drake, Elaine Mitchener, William Parker, Orphy Robinson & Pat Thomas - Some Good News
8. Jana Rush - Painful Enlightenment
9. Circuit Des Yeux - -io
10. Phew - New Decade
11. Dry Cleaning - New Long Leg
12. Angel Bat Dawid - Hush Harbor Mixtape Vol. 1 Doxology
13. James Brandon Lewis - Jesup Wagon
14. Chris Corsano & Bill Orcutt - Made Out Of Sound
15. Les Filles de Illighadad - At Pioneer Works
16. Tomaga - Intimate Immensity
17. Anthony Braxton - 12 Comp (ZIM) 2017
18. The Bug - Fire
19. Sons of Kemet - Black To The Future
20. Maggie Nicols - Creative Contradiction: Poetry, Story, Song & Sound
21. BBC Scottish Symphony Orchestra - Minds in Flux
22. Muqata'a - Kamil manqus
23. Alpha Maid - CHUCKLE
24. William Parker - Migration of Silence Into and Out of the Tone World (Volumes 1–10)
25. Aaron Dilloway & Lucrecia Dalt - Lucy & Aaron
26. Space Afrika - Honest Labour
27. Clarissa Connelly - The Voyager
28. Perila - How much time it is between you and me?
29. Grouper - Shade
30. Sourdure - De mòrt viva
31. Madlib - Sound Ancestors
32. Moor Mother & Billy Woods - BRASS
33. Divide And Dissolve - Gas Lit
34. RP Boo - Established!
35. Eliane Radigue - Occam Ocean 3
36. Karkhana - Al Azraqayn
37. Pauline Anna Strom - Angel Tears in Sunlight
38. Pamela Z - A Secret Code
39. Patricia Brennan - Maquishti
40. Rambutan - parallel systems
41. Mdou Moctar - Afrique Victime
42. Azita - Glen Echo
43. Raed Yassin - Archeophony
44. Damon Locks Black Monument Ensemble - Now
45. William Parker - Mayan Space Station
46. Meemo Comma - Neon Genesis: Soul Into Matter²
47. Patrick Shiroishi - Hidemi
48. Ahmed [حمد] - Nights on Saturn (Communication)
49. Ben LaMar Gay - Open Arms to Open Us
50. IZ Band - IZ: 路过旧天堂书店 Drop by Old Heaven Books
...
Uncut's 75 Best Albums of 2021
1. The Weather Station - Ignorance
2. Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises
3. Nick Cave & Warren Ellis - CARNAGE
4. Low - Hey What
5. SAULT - Nine
6. Arooj Aftab - Vulture Prince
7. Cassandra Jenkins - An Overview On Phenomenal Nature
8. The War on Drugs - I Don't Live Here Anymore
9. Black Country, New Road - For the first time
10. Richard Dawson & Circle - Henki
11. Lana Del Rey - Chemtrails Over the Country Club
12. Sons of Kemet - Black To The Future
13. Mdou Moctar - Afrique Victime
14. Saint Etienne - I've Been Trying To Tell You
15. Mogwai - As the Love Continues
16. Sleaford Mods - Spare Ribs
17. Dry Cleaning - New Long Leg
18. Hiss Golden Messenger - Quietly Blowing It
19. John Grant - Boy from Michigan
20. Modern Nature - Island Of Noise
21. Little Simz - Sometimes I Might Be Introvert
22. The Coral - Coral Island
23. St. Vincent - Daddy's Home
24. Valerie June - The Moon And Stars: Prescriptions For Dreamers
25. Jane Weaver - Flock
26. Paul Weller - Fat Pop (Volume 1)
27. Arlo Parks - Collapsed In Sunbeams
28. Ryley Walker - Course In Fable
29. Steve Gunn - Other You
30. Teenage Fanclub - Endless Arcade
31. Robert Plant and Alison Krauss - Raise The Roof
32. The Hold Steady - Open Door Policy
33. Chuck Johnson - The Cinder Grove
34. Courtney Barnett - Things Take Time, Take Time
35. John Murry - The Stars Are God's Bullet Holes
36. Arab Strap - As Days Get Dark
37. Dean Wareham - I Have Nothing to Say to the Mayor of L A
38. Madlib - Sound Ancestors
39. Squid - Bright Green Field
40. Sturgill Simpson - The Ballad of Dood & Juanita
41. Damon Albarn - The Nearer the Fountain, More Pure the Stream Flows
42. Faye Webster - I Know I'm Funny haha
43. My Morning Jacket - My Morning Jacket
44. Rhiannon Giddens With Francesco Turrisi - They're Calling Me Home
45. Bobby Gillespie & Jehnny Beth - Utopian Ashes
46. Israel Nash - Topaz
47. Elephant9 - Arrival of the New Elders
48. David Crosby - For Free
49. Sunburned Hand Of The Man - Pick A Day To Die
50. Lindsey Buckingham - Lindsey Buckingham
51. Yasmin Williams - Urban Driftwood
52. Damon Locks Black Monument Ensemble - Now
53. The Black Keys - Delta Kream
54. Daniel Bachman - Axacan
55. LoneLady - Former Things
56. Damon & Naomi - A Sky Record
57. Haiku Salut - The Hill, The Light, The Ghost
58. Big Red Machine - How Long Do You Think It's Gonna Last?
59. Strand of Oaks - In Heaven
60. Grouper - Shade
61. The Besnard Lakes - The Besnard Lakes Are the Last of the Great Thunderstorm Warnings
62. Sufjan Stevens & Angelo De Augustine - A Beginner’s Mind
63. Chris Schlarb & Chad Taylor - Time No Changes
64. Pino Palladino & Blake Mills - Notes With Attachments
65. Moor Mother - Black Encyclopedia of the Air
66. Sarah Davachi - Antiphonals
67. Lucy Dacus - Home Video
68. Cathal Coughlan - Song of Co-Aklan
69. Dave - We're All Alone In This Together
70. black midi - Cavalcade
71. Buffalo Nichols - Buffalo Nichols
72. Marianne Faithfull With Warren Ellis - She Walks In Beauty
73. Sleater-Kinney - Path of Wellness
74. Rosali - No Medium
75. Rose City Band - Earth Trip
...
Resident Advisor's Best Albums of 2021
1. Space Afrika - Honest Labour
2. AceMoMa - A Future
3. Eris Drew - Quivering in Time
4. Emeka Ogboh - Beyond the Yellow Haze
5. Erika De Casier - Sensational
6. George Riley - interest rates, a tape
7. Hoavi - Invariant
8. Virtual Dreams: Ambient Explorations In The House & Techno Age, 1993-1997
9. Various Artists - The Sound Of Limo
10. Skee Mask - Pool
11. Yu Su - Yellow River Blue
12. Perila - How much time it is between you and me?
13. Andy Stott - Never the Right Time
14. Wanton Witch - Wanton Witch
15. Dawn Richard - Second Line
16. L'Rain - Fatigue
17. Various Artists - Amapiano Now
18. Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises
19. DJ Manny - Signals in My Head
20. Dean Blunt - Black Metal 2
21. Tirzah - Colourgrade
22. aya - im hole
23. HTRK - Rhinestones
24. Joy Orbison - still slipping vol. 1
25. Mr. Mitch - Lazy
26. Loraine James - Reflection
27. Arushi Jain - Under the Lilac Sky
28. Conclave - Conclave
29. Nala Sinephro - Space 1.8
...
The Quietus Albums Of The Year 2021
1. The Bug – Fire
2. aya – im hole
3. Dean Blunt – Black Metal 2
4. The Weather Station – Ignorance
5. William Doyle – Great Spans Of Muddy Time
6. Loraine James – Reflection
7. Richard Dawson & Circle – Henki
8. Scotch Rolex – Tewari
9. Sleaford Mods – Spare Ribs
10. Gazelle Twin & NYX – Deep England
11. Tanz Mein Herz – Quattro
12. Liars – The Apple Drop
13. Divide And Dissolve – Gas Lit
14. The Armed – ULTRAPOP
15. L'Rain – Fatigue
16. Tomaga – Intimate Immensity
17. Tirzah – Colourgrade
18. Arab Strap – As Days Get Dark
19. Rắn Cạp Đuôi – Ngủ Ngày Ngay Ngày Tận Thế
20. black midi – Cavalcade
21. Natalia Beylis & Eimear Reidy – Whose Woods These Are
22. Eris Drew – Quivering In Time
23. audiobooks – Astro Tough
24. Ben LaMar Gay – Open Arms To Open Us
25. MICROCORPS – XMIT
26. Joy Orbison – still slipping vol. 1
27. Little Simz – Sometimes I Might Be Introvert
28. The Transcendence Orchestra – All Skies Have Sounded
29. HARD FEELINGS – HARD FEELINGS
30. Part Chimp – Drool
31. Rochelle Jordan – Play With The Changes
32. ioulus – oddkin
33. Kìzis – Tidibàbide / Turn
34. Black Country, New Road – For The First Time
35. Space Afrika – Honest Labour
36. Shirley Collins – Crowlink
37. Skee Mask – Pool
38. Shackleton – Departing Like Rivers
39. Grouper – Shade
40. Ed Dowie – The Obvious I
41. Dry Cleaning – New Long Leg
42. ---__--___ – The Heart Pumps Kool-Aid
43. Godspeed You! Black Emperor – G_d's Pee At STATE'S END!
44. Erika de Casier – Sensational
45. Hawthonn – Earth Mirror
46. Rufus Isabel Elliot – A/am/ams (come ashore, turn over)
47. Japanese Breakfast – Jubilee
48. Ruth Goller – Skylla
49. Succumb – XXI
50. Melvins – Working With God
51. Frog Of Earth – Frog Of Earth
52. Oliver Leith – 'Me Hollywood'
53. Andy Stott – Never The Right Time
54. Goodbye World – At Death's Door
55. Slikback – MELT
56. Max Syedtollan / Plus-Minus Ensemble – Four Assignments
57. Time Binding Ensemble – Nothing New Under The Sun
58. William Parker – Mayan Space Station
59. NONEXISTENT – NONEXISTENT
60. Årabrot – Norwegian Gothic
61. Sylvie Courvoisier & Mary Halvorson – Searching For The Disappeared Hour
62. Manic Street Preachers – The Ultra Vivid Lament
63. Claire Rousay – a softer focus
64. Helm – Axis
65. Clairo – Sling
66. Aging ~ Land Trance – Embassy Nocturnes
67. Rien Virgule – La Consolation Des Violettes
68. Jane Weaver – Flock
69. Jeff Parker – Forfolks
70. Vapour Theories – Celestial Scuzz
71. At The Gates – The Nightmare Of Being
72. GNOD – La Mort Du Sens
73. Ursula Sereghy – OK Box
74. Bloody Head – The Temple Pillars Dissolve Into The Clouds
75. Jorja Chalmers – Midnight Train
76. Leather Rats – No Live 'Til Leather '98
77. Koreless – Agor
78. Snapped Ankles – Forest Of Your Problems
79. Hedvig Mollestad – Tempest Revisited
80. Richard Youngs – CXXI
81. Squid – Bright Green Field
82. Mirage – Mirage
83. Laura Cannell & Kate Ellis – May Sounds
84. My Bloody Sex Party – Vol. 2
85. Taqbir – Victory Belongs To Those Who Fight For A Right Cause
86. The Altered Hours – Convertible
87. Perkins & Federwisch – One Dazzling Moment
88. Converge & Chelsea Wolfe – Bloodmoon. I
89. Fluisteraars – Gegrepen Door De Geest Der Zielsontluiking
90. Angharad Davies – gwneud a gwneud eto / Do And Do Again
91. Vanishing Twin – Ookii Gekkou
92. Antonina Nowacka – Vocal Sketches From Oaxaca
93. Turnstile – GLOW ON
94. Mdou Moctar – Afrique Victime
95. Senyawa – Alkisah
96. Ruth Mascelli – A Night At The Baths
97. LoneLady – Former Things
98. Low – HEY WHAT
99. Marco Shuttle – Cobalt Desert Oasis
100. Celestial – I Had Too Much To Dream Last Night
...
Rough Trade UK's Albums of the Year 2021
1. Dry Cleaning - New Long Leg
2. Arlo Parks - Collapsed In Sunbeams
3. Little Simz - Sometimes I Might Be Introvert
4. Black Country, New Road - For the first time
5. Idles - CRAWLER
6. Squid - Bright Green Field
7. Jane Weaver - Flock
8. Wolf Alice - Blue Weekend
9. Cassandra Jenkins - An Overview On Phenomenal Nature
10. Madlib - Sound Ancestors
11. The Weather Station - Ignorance
12. black midi - Cavalcade
13. For Those I Love - For Those I Love
14. Bicep - Isles
15. Japanese Breakfast - Jubilee
16. St Vincent - Daddy's Home
17. Courtney Barnett - Things Take Time, Take Time
18. Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises
19. Mdou Moctar - Afrique Victime
20. 박 혜진 [Park Hye Jin] - Before I Die
21. Leon Vynehall - Rare, Forever
22. L'Rain - Fatigue
23. Koreless - Agor
24. Alfa Mist - Bring Backs
25. Vanishing Twin - Ookii Gekkou
26. Viagra Boys - Welfare Jazz
27. Snapped Ankles - Forest of Your Problems
28. Pip Blom - Welcome Break
29. Jungle - Loving In Stereo
30. Damon Albarn - The Nearer the Fountain, More Pure the Stream Flows
31. shame - Drunk Tank Pink
32. Godspeed You! Black Emperor - G_d's Pee AT STATE'S END!
33. Lady Blackbird - Black Acid Soul
34. Amyl & The Sniffers - Comfort to Me
35. Sleaford Mods - Spare Ribs
36. Altın Gün - Yol
37. Nick Cave & Warren Ellis - CARNAGE
38. Marina Allen - Candlepower
39. Clairo - Sling
40. Tindersticks - Distractions
41. Tirzah - Colourgrade
42. Saint Etienne - I've Been Trying To Tell You
43. LUMP - Animal
44. Durand Jones & The Indications - Private Space
45. Joy Orbison - still slipping vol
46. Sunroof - Electronic Music Improvisations Vol
47. Sufjan Stevens & Angelo De Augustine - A Beginner’s Mind
48. Desire Marea - Desire
49. Mogwai - As the Love Continues
50. Lingua Ignota - Sinner Get Ready
51. SAULT - Nine
52. Public Service Broadcasting - Bright Magic
53. Martha Wainwright - Love Will Be Reborn
54. Julien Baker - Little Oblivions
55. Orla Gartland - Woman on the Internet
56. Low - Hey What
57. FUR - When You Walk Away
58. Nao - And Then Life Was Beautiful
59. Goat Girl - On All Fours
60. Drug Store Romeos - The world within our bedrooms
61. Jordan Rakei - What We Call Life
62. Portico Quartet - Terrain
63. Sedibus - The Heavens
64. Elder Island - Swimming Static
65. Sons of Kemet - Black To The Future
66. dodie - Build a Problem
67. Paul Weller - Fat Pop (Volume 1)
68. Greentea Peng - MAN MADE
69. Manic Street Preachers - The Ultra Vivid Lament
70. The Joy Formidable - Into the Blue
71. Bobby Gillespie & Jehnny Beth - Utopian Ashes
72. Parquet Courts - Sympathy for Life
73. Olivia Rodrigo - SOUR
74. John Grant - Boy from Michigan
75. TORRES - Thirstier
76. Django Django - Glowing in the Dark
77. Faye Webster - I Know I'm Funny haha
78. The Goon Sax - Mirror II
79. Tot Taylor - Frisbee
80. Pom Pom Squad - Death of a Cheerleader
81. Yann Tiersen - Kerber
82. Squirrel Flower - Planet (i)
83. Spencer Cullum - Spencer Cullum's Coin Collection
84. Hannah Peel - Fir Wave
85. Berwyn - DEMOTAPE/VEGA
86. Skee Mask - Pool
87. slowthai - TYRON
88. Kojaque - Town’s Dead
89. Pearl Charles - Magic Mirror
90. Stephen Fretwell - Busy Guy
91.Steve Earle - J.T.
92. Flock of Dimes - Head of Roses
93. Geese - Projector
94. Nation of Language - A Way Forward
95. Rostam - Changephobia
96. Villagers - Fever Dreams
97. Gruff Rhys - Seeking New Gods
98. Sleater-Kinney - Path of Wellness
99. Chubby and The Gang - The Mutt's Nuts
100. serpentwithfeet - DEACON
...
Gorilla vs Bear’s Top 50 Albums of 2021
1. Magdalena Bay - Mercurial World
2. Tirzah - Colourgrade
3. HTRK - Rhinestones
4. Grouper - Shade
5. Mach-Hommy - Pray For Haiti
6. Dean Blunt - Dean Blunt
7. Space Afrika - Honest Labour
8. Wet - Letter Blue
9. Dorothea Paas - Anything Can't Happen
10. Karima Walker - Waking the Dreaming Body
11. Enumclaw - Jimbo Demo
12. Doss - 4 New Hit Songs
13. Jessy Lanza - DJ-Kicks
14. Mr Twin Sister - Al Mundo Azul
15. Armand Hammer & The Alchemist - Haram
16. Erika de Casier - Sensational
17. Men I Trust - Untourable Album
18. Wednesday - Twin Plagues
19. Loraine James - Reflection
20. Small Black - Cheap Dreams
21. Hildegard - Hildegard
22. Ada Lea - one hand on the steering wheel the other sewing a garden
23. Sun June - Somewhere
24. Nana Yamato - Before Sunrise
25. Rosie Lowe & Duval Timothy - Son
26. DJ Sabrina The Teenage DJ - The Makin' Magick II Album
27. Madlib - Sound Ancestors
28. Buzzy Lee - Spoiled Love
29. Tyler, The Creator - Call Me If You Get Lost
30. Sangre Nueva - Goteo
31. Indigo Sparke - echo
32. harvey_dug - Nu Grip
33. Snail Mail - Valentine
34. Cassandra Jenkins - An Overview on Phenomenal Nature
35. Nite Jewel - No Sun
36. Skee Mask - Pool
37. Renée Reed - Renée Reed / J’ai rêvé
38. Cleo Sol - Mother
39. Low - Hey What
40. JPEGMAFIA - LP! (OFFLINE)
41. Lana Del Rey - Blue Banisters
42. Hand Habits - Fun House
43. Holy Other - Lieve
44. Sloppy Jane - Madison
45. VA - I can't complain but sometimes I still do
46. Navy Blue - Navy’s Reprise
47. Arooj Aftab - Vulture Prince
48. Equiknoxx - Basic Tools
49. You’ll Never Get to Heaven - Wave Your Moonlight Hat for the Snowfall Train
50. Wau Wau Collectif - Yaral Sa Doom
...
Mojo's 75 Best Albums of 2021
1. Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises
2. St Vincent - Daddy's Home
3. Lana Del Rey - Chemtrails Over the Country Club
4. Low - Hey What
5. Nick Cave & Warren Ellis - CARNAGE
6. Paul Weller - Fat Pop (Volume 1)
7. The Coral - Coral Island
8. Sons of Kemet - Black To The Future
9. Robert Plant and Alison Krauss - Raise The Roof
10. Villagers - Fever Dreams
11. John Grant - Boy from Michigan
12. The Weather Station - Ignorance
13. Sleaford Mods - Spare Ribs
14. Black Country, New Road - For the first time
15. Dry Cleaning - New Long Leg
16. Manic Street Preachers - The Ultra Vivid Lament
17. The War on Drugs - I Don't Live Here Anymore
18. Idles - CRAWLER
19. David Crosby - For Free
20. Mdou Moctar - Afrique Victime
21. The Bug - Fire
22. Amyl & The Sniffers - Comfort to Me
23. Teenage Fanclub - Endless Arcade
24. SAULT - Nine
25. The Black Keys - Delta Kream
26. Mogwai - As the Love Continues
27. Lindsey Buckingham - Lindsey Buckingham
28. Little Simz - Sometimes I Might Be Introvert
29. Field Music - Flat White Moon
30. Yola - Stand for Myself
31. King Gizzard and the Lizard Wizard - L.W.
32. Paul McCartney - McCartney III
33. Endless Boogie - Admonitions
34. Greentea Peng - MAN MADE
35. The Stranglers - Dark Matters
36. Wolf Alice - Blue Weekend
37. Sturgill Simpson - Cuttin' Grass - Vol. 2 (Cowboy Arms Sessions)
38. Saint Etienne - I've Been Trying To Tell You
39. Jane Weaver - Flock
40. Chrissie Hynde - Standing in the Doorway: Chrissie Hynde Sings Dylan
41. Nala Sinephro - Space 1.8
42. Durand Jones & The Indications - Private Space
43. Damon Albarn - The Nearer the Fountain, More Pure the Stream Flows
44. Arab Strap - As Days Get Dark
45. Jungle - Loving In Stereo
46. Faye Webster - I Know I'm Funny haha
47. Tyler, the Creator - CALL ME IF YOU GET LOST
48. Squid - Bright Green Field
49. Public Service Broadcasting - Bright Magic
50. Bonnie 'Prince' Billy & Matt Sweeney - Superwolves
51. Dean Blunt - Black Metal 2
52. Nathan Salsburg - Psalms
53. Angel Bat Dawid & Tha Brothahood - LIVE
54. Tony Joe White - Smoke from the Chimney
55. BADBADNOTGOOD - Talk Memory
56. Lorde - Solar Power
57. Reigning Sound - A Little More Time with Reigning Sound
58. Ryley Walker - Course In Fable
59. Billy F Gibbons - Hardware
60. Cedric Burnside - I Be Trying
61. Steve Gunn - Other You
62. Parquet Courts - Sympathy for Life
63. Howlin' Rain - The Dharma Wheel
64. Tony Allen - There Is No End
65. Godspeed You! Black Emperor - G_d's Pee AT STATE'S END!
66. Lucy Dacus - Home Video
67. AC/DC - Power Up
68. Loretta Lynn - Still Woman Enough
69. Dinosaur Jr. - Sweep It Into Space
70. black midi - Cavalcade
71. Emma-Jean Thackray - Yellow
72. Hiss Golden Messenger - Quietly Blowing It
73. Stephen Fretwell - Busy Guy
74. Gruff Rhys - Seeking New Gods
75. BLK JKS - Abantu/Before Humans
...
Rolling Stone's 50 Best Albums of 2021
1. Olivia Rodrigo - SOUR
2. Adele - 30
3. Rauw Alejandro - VICE VERSA
4. Tyler, the Creator - CALL ME IF YOU GET LOST
5. Lucy Dacus - Home Video
6. Lil Nas X - MONTERO
7. Jazmine Sullivan - Heaux Tales
8. Turnstile - GLOW ON
9. C. Tangana - El Madrileño
10. Japanese Breakfast - Jubilee
11. Playboi Carti - Whole Lotta Red
12. He has never been more enigmatic
13. PinkPantheress - to hell with it
14. Morgan Wade - Reckless
15. Polo G - Hall Of Fame
16. Billie Eilish - Happier Than Ever
17. Low - Hey What
18. Tems - If Orange Was A Place
19. Halsey - If I Can't Have Love, I Want Power
20. Arlo Parks - Collapsed In Sunbeams
21. Leon Bridges - Gold-Diggers Sound
22. Doja Cat - Planet Her
23. Dawn Richard - Second Line
24. Cimafunk - El Alimento
25. Dry Cleaning - New Long Leg
26. Carly Pearce - 29
27. Mdou Moctar - Afrique Victime
28. This is how free rock & roll should sound
29. The Weather Station - Ignorance
30. Mabiland - Niñxs Rotxs
31. Young Thug - Punk
32. Mustafa - When Smoke Rises
33. Madlib - Sound Ancestors
34. Snail Mail - Valentine
35. Summer Walker - STILL OVER IT
36. Adult Mom - Driver
37. Silk Sonic - An Evening with Silk Sonic
38. Little Simz - Sometimes I Might Be Introvert
39. Pooh Shiesty - Shiesty Season
40. Yola - Stand for Myself
41. Topaz Jones - Don't Go Tellin' Your Momma
42. Foo Fighters - Medicine at Midnight
43. Mickey Guyton - Remember Her Name
44. illuminati hotties - Let Me Do One More
45. Myke Towers - LYKE MIKE
46. Iron Maiden - Senjutsu
47. Boldy James & The Alchemist - Bo Jackson
48. TOMORROW X TOGETHER - The Chaos Chapter: FIGHT OR ESCAPE
49. Jhay Cortez - Timelezz
50. Drake - Certified Lover Boy
...
Louder Than War Albums of the Year 2021
1. Amyl & The Sniffers - Comfort to Me
2. JOHN - Nocturnal Manoeuvres
3. Little Simz - Sometimes I Might Be Introvert
4. The Courettes - Back in Mono
5. Mogwai - As the Love Continues
6. The Stranglers - Dark Matters
7. Sleaford Mods - Spare Ribs
8. Self Esteem - Prioritise Pleasure
9. Cold Water Swimmers - Holiday At The Secret Lake
10. Squid - Bright Green Field
11. Dry Cleaning - New Long Leg
12. Gazelle Twin & NYX - Deep England
13. King Gizzard and the Lizard Wizard - L.W.
14. Sons of Kemet - Black To The Future
15. Carol Hodge - The Crippling Space Between
16. Hello Cosmos - Golden Dirt
17. Nick Cave & Warren Ellis - CARNAGE
18. Idles - CRAWLER
19. CHIHUAHUA - Violent Architecture
20. Greentea Peng - MAN MADE
21. Rats On Rafts - Excerpts From Chapter 3: The Mind Runs A Net Of Rabbit Paths
22. The Mudd Club - Bottle Blonde
23. Arab Strap - As Days Get Dark
24.St. Vincent - Daddy's Home
25. black midi - Cavalcade
26. Matt Berry - The Blue Elephant
27. Mad Daddy - Mad Daddy
28. Private Function - Whose Line Is It Anyway?
29. Stephen Fretwell - Busy Guy
30. Pink Suits - Political Child
31. Blue Orchids - Speed The Day
32. Jane Weaver - Flock
33. Wolf Alice - Blue Weekend
34. ZoZo Ginzburg - Blue Mountains
35. Steve Conte - Bronx Cheer
36. James - All the Colours of You
37. 24/7 Diva Heaven - Stress
38. Deathretro - Deathretro
39. The William Loveday Intention - Will There Ever Be A Day That You’re Hung Like A Thief?
40. Damon Albarn - The Nearer the Fountain, More Pure the Stream Flows
41. Marissa Nadler - The Path of the Clouds
42. Lola In Slacks - Moon Moth
43. Neighborhood Brats - Confines of Life
44. The Catenary Wires - Birling Gap
45. Sam Fender - Seventeen Going Under
46. Turner - Daydreams & Stars
47. LUMP - Animal
48. Reigning Sound - A Little More Time with Reigning Sound
49. Slow Down, Molasses - Minor Deaths
50. The Stan Laurels - There is No Light Without the Dark
51. Low - Hey What
52. La Luz - La Luz
53. Gojira - Fortitude
54. Viagra Boys - Welfare Jazz
55. Kiwi Jr
56. Manic Street Preachers - The Ultra Vivid Lament
57. Dark Mark & Skeleton Joe - Dark Mark Vs Skeleton Joe
58. The Bug - Fire
59. The Shadracks - From Human Like Forms
60. Amigo the Devil - Born Against
61. shame - Drunk Tank Pink
62. LoneLady - Former Things
63. Night Beats - Outlaw R&B
64. Fightmilk - Contender
65. Johnny Mafia - Sentimental
66. Jim Bob - Who Do We Hate Today
67. The Coral - Coral Island
68. Field Music - Flat White Moon
69. Jim McCulloch - When I Mean What I Say
70. Alan Vega - Mutator
71. Kiss Me, Killer - 2020 Vision
72. John Grant - Boy from Michigan
73. Lou Barlow - Reason To Live
74. Parquet Courts - Sympathy for Life
75. Snapped Ankles - Forest of Your Problems
76. Sonny Vincent - Snake Pit Therapy
77. The Chills - Scatterbrain
78. Sister John - I Am By Day
79. Du Blonde - Homecoming
80. Hooveriii - Water for the Frogs
81. Erica Nockalls - Dark Music From a Warm Place
82. Piroshka - Love Drips And Gathers
83. Amy MacDonald - The Human Demands
84. Francis Lung - Miracle
85. Cult Figures - Deritend
86. ANTHRAX - Serfs Out
87. VEX - Average Minds Think Alike
88. Freya Beer - Beast
89. Digital Resistance - Alternative Facts
90. Divide And Dissolve - Gas Lit
91. Mush - Lines Redacted
92. Filthydirty - The Rise And Fall Of Blasphemouth
93. Gary Numan - Intruder
94. Godspeed You! Black Emperor - G_d's Pee AT STATE'S END!
95. Rutger Hoedemaekers - The Age of Oddities
96. The Bevis Frond - Little Eden
97. Blowers - Blowers
98. The Brothers Steve - Dose
99. Delilah Bon - Delilah Bon
100. Primitive Knot - A New Ontology of Evil
101. TV Priest - Uppers
...
Stereogum's 50 Best Albums of 2021
1. The War on Drugs - I Don't Live Here Anymore
2. Snail Mail - Valentine
3. Turnstile - GLOW ON
4. Low - Hey What
5. Japanese Breakfast - Jubilee
6. serpentwithfeet - DEACON
7. Bonnie 'Prince' Billy & Matt Sweeney - Superwolves
8. The Weather Station - Ignorance
9. Polo G - Hall Of Fame
10. Cassandra Jenkins - An Overview On Phenomenal Nature
11. Wednesday - Twin Plagues
12. Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises
13. Olivia Rodrigo - SOUR
14. Lucy Dacus - Home Video
15. Nick Cave & Warren Ellis - CARNAGE
16. Tyler, the Creator - CALL ME IF YOU GET LOST
17. Arab Strap - As Days Get Dark
18. Tirzah - Colourgrade
19. Clairo - Sling
20. Fiddlehead - Between The Richness
21. Water From Your Eyes - Structure
22. KA - A Martyr's Reward
23. Julien Baker - Little Oblivions
24. The Armed - Ultrapop
25. Nation of Language - A Way Forward
26. Halsey - If I Can't Have Love, I Want Power
27. SPIRIT OF THE BEEHIVE - ENTERTAINMENT, DEATH
28. Kacey Musgraves - star-crossed
29. Squid - Bright Green Field
30. 파란노을 [Parannoul] - To See the Next Part of the Dream
31. Boldy James & The Alchemist - Bo Jackson
32. One Step Closer - This Place You Know
33. Xenia Rubinos - Una Rosa
34. Madlib - Sound Ancestors
35. Sons of Kemet - Black To The Future
36. Men I Trust - Untourable Album
37. Armand Hammer & The Alchemist - HARAM
38. Summer Walker - STILL OVER IT
39. Home Is Where - I Became Birds
40. Erika De Casier - Sensational
41. Ada Lea - one hand on the steering wheel the other sewing a garden
42. Portrayal of Guilt - We Are Always Alone
43. Loraine James - Reflection
44. Chris Corsano & Bill Orcutt - Made Out Of Sound
45. Iceage - Seek Shelter
46. CHVRCHES - Screen Violence
47. Mach-Hommy - Pray For Haiti
48. Flock of Dimes - Head of Roses
49. Brandi Carlile - In These Silent Days
50. Closer - Within One Stem
...
Billboard's 50 Best Albums of 2021
1. Olivia Rodrigo - SOUR
2. Tyler, the Creator - CALL ME IF YOU GET LOST
3. Lil Nas X - MONTERO
4. Adele - 30
5. Doja Cat - Planet Her
6. Halsey - If I Can't Have Love, I Want Power
7. Silk Sonic - An Evening with Silk Sonic
8. Billie Eilish - Happier Than Ever
9. Jazmine Sullivan - Heaux Tales
10. C. Tangana - El Madrileño
11. Baby Keem - The Melodic Blue
12. Bo Burnham - Inside (The Songs)
13. Kacey Musgraves - star-crossed
14. PinkPantheress - to hell with it
15. Arlo Parks - Collapsed In Sunbeams
16. Japanese Breakfast - Jubilee
17. Summer Walker - STILL OVER IT
18. Drake - Certified Lover Boy
19. Little Simz - Sometimes I Might Be Introvert
20. Snail Mail - Valentine
21. Isaiah Rashad - The House Is Burning
22. Giveon - When It's All Said And Done
23. Brandi Carlile - In These Silent Days
24. Karol G - KG0516
25. Taylor Swift - Red (Taylor's Version)
26. girl in red - if i could make it go quiet
27. Turnstile - GLOW ON
28. Lucky Daye - Table For Two
29. Elton John - The Lockdown Sessions
30. Porter Robinson - Nurture
31. Carín León - Inédito
32.J. Cole - The Off-Season
33. Mon Laferte - SEIS
34. Vince Staples - Vince Staples
35. Carly Pearce - 29: Written In Stone
36. Justin Bieber - Justice
37. Rauw Alejandro - VICE VERSA
38. Joy Oladokun - In Defense of My Own Happiness
39. Kanye West - Donda
40. The War on Drugs - I Don't Live Here Anymore
41. Willow - lately i feel EVERYTHING
42. Tems - If Orange Was A Place
43. Don Toliver - Life of a DON
44. Fred Again
45. Myke Towers - LYKE MIKE
46. Julien Baker - Little Oblivions
47. SG Lewis - times
48. Young Dolph & Key Glock - Dum and Dummer 2
49. Jack Ingram, Miranda Lambert & Jon Randall - The Marfa Tapes
50. Clairo - Sling
...
AllMusic's Best of 2021 (alphabetic)
Adele - 30
Aimee Mann - Queens Of The Summer Hotel
Allison Russell - Outside Child
Amyl & The Sniffers - Comfort to Me
BADBADNOTGOOD - Talk Memory
Ben LaMar Gay - Open Arms to Open Us
Billie Eilish - Happier Than Ever
Billy F Gibbons - Hardware
Bo Burnham - Inside (The Songs)
Bomba Estéreo - Deja
Brandi Carlile - In These Silent Days
C. Tangana - El Madrileño
Cadence Weapon - Parallel World
Cassandra Jenkins - An Overview On Phenomenal Nature
Chelsea Carmichael - The River Doesn’t Like Strangers
CHVRCHES - Screen Violence
Clark - Playground in a Lake
Cleo Sol - Mother
Cola Boyy - Prosthetic Boombox
Colleen - The Tunnel and the Clearing
Converge & Chelsea Wolfe - Bloodmoon: I
Curtis Harding - If Words Were Flowers
Damon Albarn - The Nearer the Fountain, More Pure the Stream Flows
Dry Cleaning - New Long Leg
Ed Dowie - The Obvious I
Eivind Aarset - Phantasmagoria or a Different Kind of Journey
Eric Bibb - Dear America
Field Music - Flat White Moon
Foo Fighters - Medicine at Midnight
Geoffrey O'Connor - For As Long As I Can Remember
Grouper - Shade
Halsey - If I Can't Have Love, I Want Power
Helado Negro - Far In
Helsinki Chamber Choir / Nils Schweckendiek - Pärt: Passio
Hiatus Kaiyote - Mood Valiant
Jack Ingram, Miranda Lambert & Jon Randall - The Marfa Tapes
James McMurtry - The Horses and the Hounds
Japanese Breakfast - Jubilee
Jazzmeia Horn And Her Noble Force - Dear Love
Jean-Efflam Bavouzet - Haydn: Piano Sonatas, Vol. 9
Jerry Cantrell - Brighten
John Carroll Kirby - Septet
Jon Batiste - WE ARE
Jorge Elbrecht - Presentable Corpse 002
Karol G - KG0516
Kenneth Whalum - Broken Land 2
King Gizzard and the Lizard Wizard - Butterfly 3000
Klenke Quartett, Nicola Jürgensen & Stephan Katte - Mozart: Clarinet Quintet; Horn Quintet
L'Rain - Fatigue
Laura Mvula - Pink Noise
Lil Nas X - MONTERO
Lindsey Buckingham - Lindsey Buckingham
Little Simz - Sometimes I Might Be Introvert
Liz Phair - Soberish
LoneLady - Former Things
Los Lobos - Native Sons
Makthaverskan - För Allting
Manfred Honeck & Pittsburgh Symphony Orchestra - Beethoven: Symphony No. 9
Marisa Monte - Portas
Marissa Nadler - The Path of the Clouds
Mastodon - Hushed and Grim
Matthias Goerne / Seong-Jin Cho - Im Abendrot: Wagner, Pfitzner, Strauss
Mdou Moctar - Afrique Victime
Mocky - Overtones for the Omniverse
Mogwai - As the Love Continues
Mouse on Mars - AAI
Nala Sinephro - Space 1.8
Olivia Rodrigo - SOUR
Olivier Latry - Liszt: Inspirations
PinkPantheress - to hell with it
Playboi Carti - Whole Lotta Red
Polo & Pan - Cyclorama
René Jacobs - Beethoven: Missa Solemnis
Robert Finley - Sharecropper's Son
Robert Plant and Alison Krauss - Raise The Roof
Rochelle Jordan - Play with the Changes
Roxana Amed - Ontology
Saint Etienne - I've Been Trying To Tell You
Smile Machine - Bye For Now
Sons of Kemet - Black To The Future
Squid - Bright Green Field
Steve Gunn - Other You
TEKE::TEKE - Shirushi
Terrace Martin - DRONES
The Armed - Ultrapop
The Coral - Coral Island
The Hold Steady - Open Door Policy
The Mountain Goats - Dark in Here
The Reds, Pinks & Purples - Uncommon Weather
...
Consequence of Sound's Top 50 Albums of 2021
1. Tyler, the Creator - CALL ME IF YOU GET LOST
2. Japanese Breakfast - Jubilee
3. Arlo Parks - Collapsed In Sunbeams
4. Turnstile - GLOW ON
5. Little Simz - Sometimes I Might Be Introvert
6. Lucy Dacus - Home Video
7. CHVRCHES - Screen Violence
8. Lil Nas X - MONTERO
9. Armand Hammer & The Alchemist - HARAM
10. illuminati hotties - Let Me Do One More
11. serpentwithfeet - DEACON
12. Snail Mail - Valentine
13. Doja Cat - Planet Her
14. Manchester Orchestra - The Million Masks Of God
15. Julien Baker - Little Oblivions
16. Idles - CRAWLER
17. Dry Cleaning - New Long Leg
18. Boldy James & The Alchemist - Bo Jackson
19. Geese - Projector
20. Adele - 30
21. Pom Pom Squad - Death of a Cheerleader
22. Olivia Rodrigo - SOUR
23. McKinley Dixon - For My Mama and Anyone Who Look Like Her
24. Nick Cave & Warren Ellis - CARNAGE
25. Hovvdy - True Love
26. Billie Eilish - Happier Than Ever
27. SAULT - Nine
28. Indigo De Souza - Any Shape You Take
29. Remi Wolf - Juno
30. Bo Burnham - Inside (The Songs)
31. Taylor Swift - Red (Taylor's Version)
32. The War on Drugs - I Don't Live Here Anymore
33. Isaiah Rashad - The House Is Burning
34. Jon Batiste - WE ARE
35. Mdou Moctar - Afrique Victime
36. Mach-Hommy - Pray For Haiti
37. Black Country, New Road - For the first time
38. The Armed - Ultrapop
39. Amigo the Devil - Born Against
40. Halsey - If I Can't Have Love, I Want Power
41. Injury Reserve - By the Time I Get to Phoenix
42. The Weather Station - Ignorance
43. Squid - Bright Green Field
44. Haviah Mighty - Stock Exchange
45. Courtney Barnett - Things Take Time, Take Time
46. BROCKHAMPTON - ROADRUNNER: NEW LIGHT, NEW MACHINE
47. Yola - Stand for Myself
48. Amyl & The Sniffers - Comfort to Me
49. Katy Kirby - Cool Dry Place
50. St. Vincent - Daddy's Home
...
Pitchfork's 50 Best Albums of 2021
1. Jazmine Sullivan - Heaux Tales
2. L'Rain - Fatigue
3. Tyler, the Creator - CALL ME IF YOU GET LOST
4. Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises
5. Low - Hey What
6. Turnstile - GLOW ON
7. The Weather Station - Ignorance
8. Mdou Moctar - Afrique Victime
9. Playboi Carti - Whole Lotta Red
10. Dry Cleaning - New Long Leg
11. Faye Webster - I Know I'm Funny haha
12. Arooj Aftab - Vulture Prince
13. Tirzah - Colourgrade
14. Japanese Breakfast - Jubilee
15. Snail Mail - Valentine
16. MIKE - Disco!
17. Cassandra Jenkins - An Overview On Phenomenal Nature
18. Grouper - Shade
19. Dean Blunt - Black Metal 2
20. Mach-Hommy - Pray For Haiti
21. Olivia Rodrigo - SOUR
22. Dawn Richard - Second Line
23. black midi - Cavalcade
24. Nala Sinephro - Space 1.8
25. Indigo De Souza - Any Shape You Take
26. Armand Hammer & The Alchemist - HARAM
27. Moor Mother - Black Encyclopedia of the Air
28. Spirit Of The Beehive - Entertainment, Death
29. Little Simz - Sometimes I Might Be Introvert
30. Claire Rousay - A Softer Focus
31. Wiki - Half God
32. Adele - 30
33. Xenia Rubinos - Una Rosa
34. The War on Drugs - I Don't Live Here Anymore
35. illuminati hotties - Let Me Do One More
36. Lost Girls - Menneskekollektivet
37. RP Boo - Established!
38. Navy Blue - Navy's Reprise / Song of Sage: Post Panic!
39. Loraine James - Reflection
40. Erika De Casier - Sensational
41. Lingua Ignota - Sinner Get Ready
42. Vijay Iyer, Linda May Han Oh & Tyshawn Sorey - Uneasy
43. Hand Habits - Fun House
44. Sofia Kourtesis - Fresia Magdalena
45. aya - im hole
46. Helado Negro - Far In
47. dltzk - Frailty
48. KA - A Martyr's Reward
49. Magdalena Bay - Mercurial World
50. Yasmin Williams - Urban Driftwood
...
NME's 50 Best Albums of 2021
1. Sam Fender - Seventeen Going Under
2. Little Simz - Sometimes I Might Be Introvert
3. Wolf Alice - Blue Weekend
4. Self Esteem - Prioritise Pleasure
5. Tyler, the Creator - CALL ME IF YOU GET LOST
6. Nick Cave & Warren Ellis - CARNAGE
7. Arlo Parks - Collapsed In Sunbeams
8. Halsey - If I Can't Have Love, I Want Power
9. Turnstile - GLOW ON
10. Olivia Rodrigo - SOUR
11. For Those I Love - For Those I Love
12. The War on Drugs - I Don't Live Here Anymore
13. Ghetts - Conflict Of Interest
14. Clairo - Sling
15. Billie Eilish - Happier Than Ever
16. Sleaford Mods - Spare Ribs
17. Lana Del Rey - Blue Banisters
18. Dave - We're All Alone In This Together
19. Lorde - Solar Power
20. Lil Nas X - MONTERO
21. London Grammar - Californian Soil
22. Silk Sonic - An Evening with Silk Sonic
23. Bicep - Isles
24. Snail Mail - Valentine
25. Royal Blood - Typhoons
26. CHVRCHES - Screen Violence
27. Summer Walker - STILL OVER IT
28. Idles - CRAWLER
29. Genesis Owusu - Smiling With No Teeth
30. The Killers - Pressure Machine
31. slowthai - TYRON
32. Laura Mvula - Pink Noise
33. AJ Tracey - Flu Game
34. Remi Wolf - Juno
35. Big Red Machine - How Long Do You Think It's Gonna Last?
36. girl in red - if i could make it go quiet
37. Ray BLK - Access Denied
38. TOMORROW X TOGETHER - The Chaos Chapter: FREEZE
39. Easy Life - Life's a Beach
40. Black Country, New Road - For the first time
41. Joy Crookes - Skin
42. Vince Staples - Vince Staples
43. Dry Cleaning - New Long Leg
44. Bleachers - Take The Sadness Out of Saturday Night
45. Young Thug - Punk
46. Nao - And Then Life Was Beautiful
47. SAULT - Nine
48. Kacey Musgraves - star-crossed
49. Inhaler - It Won't Always Be Like This
50. Doja Cat - Planet Her
...
Slant Magazine's 50 Best Albums of 2021
1. Japanese Breakfast - Jubilee
2. St. Vincent - Daddy's Home
3. Lana Del Rey - Blue Banisters
4. Lana Del Rey - Chemtrails Over the Country Club
5. Low - Hey What
6. Billie Eilish - Happier Than Ever
7. Nick Cave & Warren Ellis - CARNAGE
8. serpentwithfeet - DEACON
9. PinkPantheress - to hell with it
10. Courtney Barnett - Things Take Time, Take Time
11. Suzanne Santo - Yard Sale
12. Taylor Swift - Red (Taylor's Version)
13. Lucy Dacus - Home Video
14. Tyler, the Creator - CALL ME IF YOU GET LOST
15. Cassandra Jenkins - An Overview On Phenomenal Nature
16. Lost Girls - Menneskekollektivet
17. TORRES - Thirstier
18. Erika De Casier - Sensational
19. Spellling - The Turning Wheel
20. Halsey - If I Can't Have Love, I Want Power
21. Loraine James - Reflection
22. Mdou Moctar - Afrique Victime
23. Little Simz - Sometimes I Might Be Introvert
24. Snail Mail - Valentine
25. The Killers - Pressure Machine
26. Sufjan Stevens & Angelo De Augustine - A Beginner’s Mind
27. James McMurtry - The Horses and the Hounds
28. Hiatus Kaiyote - Mood Valiant
29. Doja Cat - Planet Her
30. Porter Robinson - Nurture
31. Kanye West - Donda
32. The War on Drugs - I Don't Live Here Anymore
33. DJ Seinfeld - Mirrors
34. Helado Negro - Far In
35. Tinashe - 333
36. LSDXOXO - Dedicated 2 Disrespect
37. For Those I Love - For Those I Love
38. Dry Cleaning - New Long Leg
39. Lingua Ignota - Sinner Get Ready
40. Valerie June - The Moon And Stars: Prescriptions For Dreamers
41. Julien Baker - Little Oblivions
42. Olivia Rodrigo - SOUR
43. Squid - Bright Green Field
44. Young Stoner Life, Young Thug & Gunna - Slime Language 2 (Deluxe)
45. Vince Staples - Vince Staples
46. Lightning Bug - A Color of the Sky
47. Armand Hammer & The Alchemist - HARAM
48. Black Country, New Road - For the first time
49. Jazmine Sullivan - Heaux Tales
50. MARINA - Ancient Dreams In A Modern Land
...
NPR Music's 50 Best Albums of 2021
1. Jazmine Sullivan - Heaux Tales
2. Little Simz - Sometimes I Might Be Introvert
3. Lucy Dacus - Home Video
4. Allison Russell - Outside Child
5. C. Tangana - El Madrileño
6. Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises
7. Arooj Aftab - Vulture Prince
8. Arlo Parks - Collapsed In Sunbeams
9. Vince Staples - Vince Staples
10. Wild Up & Christopher Rountree - Julius Eastman, Vol. 1: Femenine
11. Japanese Breakfast - Jubilee
12. Helado Negro - Far In
13. Tyler, the Creator - CALL ME IF YOU GET LOST
14. Adele - 30
15. Tems - If Orange Was A Place
16. Baby Keem - The Melodic Blue
17. Willow - lately i feel EVERYTHING
18. Mach-Hommy - Pray For Haiti
19. illuminati hotties - Let Me Do One More
20. Injury Reserve - By the Time I Get to Phoenix
21. Low - Hey What
22. PinkPantheress - to hell with it
23. Mickey Guyton - Remember Her Name
24. Turnstile - GLOW ON
25. Eris Drew - Quivering in Time
26. Cleo Sol - Mother
27. Toumani Diabaté & The London Symphony Orchestra - Kôrôlén
28. Summer Walker - STILL OVER IT
29. Lukah - When The Black Hand Touches You
30. Lil Nas X - MONTERO
31. Doja Cat - Planet Her
32. Hiatus Kaiyote - Mood Valiant
33. James Brandon Lewis - Jesup Wagon
34. Emily D'Angelo - enargeia
35. Moor Mother - Black Encyclopedia of the Air
36. Spellling - The Turning Wheel
37. Amythyst Kiah - Wary + Strange
38. Mon Laferte - SEIS
39. MIKE - Disco!
40. Yasmin Williams - Urban Driftwood
41. Susana Baca - Palabras Urgentes
42. Kenny Garrett - Sounds from the Ancestors
43. Yebba - Dawn
44. Adia Victoria - A Southern Gothic
45. Rodrigo Amarante - Drama
46. Vadim Repin, Gewandhausorchester Leipzig & Andris Nelsons - Sofia Gubaidulina: Dialog: Ich und Du; The Wrath of God; The Light of the End
47. Artifacts - ...and then there's this
48. Pink Siifu - GUMBO'!
49. Circuit Des Yeux - -io
50. Silk Sonic - An Evening with Silk Sonic
...
PopMatters' 75 Best Albums of 2021
1. Little Simz - Sometimes I Might Be Introvert
2. Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises
3. Sam Fender - Seventeen Going Under
4. Arlo Parks - Collapsed In Sunbeams
5. Dawn Richard - Second Line
6. Sleaford Mods - Spare Ribs
7. Kacey Musgraves - star-crossed
8. Dave - We're All Alone In This Together
9. Lil Nas X - MONTERO
10. Rochelle Jordan - Play with the Changes
11. Injury Reserve - By the Time I Get to Phoenix
12. Deafheaven - Infinite Granite
13. Mdou Moctar - Afrique Victime
14. Black Country, New Road - For the first time
15. Olivia Rodrigo - SOUR
16. St. Vincent - Daddy's Home
17.Pepe Deluxé - Phantom Cabinet, Vol. 1
18. Brandi Carlile - In These Silent Days
19. The Bug - Fire
20. Magdalena Bay - Mercurial World
21. Loraine James - Reflection
22. Wolf Alice - Blue Weekend
23. Lingua Ignota - Sinner Get Ready
24. Damon Albarn - The Nearer the Fountain, More Pure the Stream Flows
25. Public Service Broadcasting - Bright Magic
26. Snail Mail - Valentine
27. Valerie June - The Moon And Stars: Prescriptions For Dreamers
28. The Weather Station - Ignorance
29. Genesis Owusu - Smiling With No Teeth
30. Japanese Breakfast - Jubilee
31. Elbow - Flying Dream 1
32. Moor Mother - Black Encyclopedia of the Air
33. Headie One - Too Loyal for My Own Good
34. Lana Del Rey - Chemtrails Over the Country Club
35. Yasmin Williams - Urban Driftwood
36. Rhiannon Giddens With Francesco Turrisi - They're Calling Me Home
37. Amythyst Kiah - Wary + Strange
38. Julien Baker - Little Oblivions
39. Helado Negro - Far In
40. Sierra Ferrell - Long Time Coming
41. Backxwash - I Lie Here Buried With My Rings and My Dresses
42. Lucy Dacus - Home Video
43. Self Esteem - Prioritise Pleasure
44. Yola - Stand for Myself
45. Billie Eilish - Happier Than Ever
46. The War on Drugs - I Don't Live Here Anymore
47. Maisie Peters - You Signed Up For This
48. Cassandra Jenkins - An Overview On Phenomenal Nature
49. Godspeed You! Black Emperor - G_d's Pee AT STATE'S END!
50. CHVRCHES - Screen Violence
51. Goat Girl - On All Fours
52. Hayes Carll - You Get It All
53. Vince Staples - Vince Staples
54. Hiatus Kaiyote - Mood Valiant
55. Jungle - Loving In Stereo
56. Turnstile - GLOW ON
57. Jane Weaver - Flock
58. Between the Buried and Me - Colors II
59. John Grant - Boy from Michigan
60. Courtney Barnett - Things Take Time, Take Time
61. Anz - All Hours
62. Mastodon - Hushed and Grim
63. Alessia Cara - In The Meantime
64. Bremer/McCoy - Natten
65. King Woman - Celestial Blues
66. John Hiatt With The Jerry Douglas Band - Leftover Feelings
67. Jon Hopkins - Music for Psychedelic Therapy
68. Low Cut Connie - Tough Cookies: Best of the Quarantine Broadcasts
69. Aaron Lee Tasjan - Tasjan! Tasjan! Tasjan!
70. Iron Maiden - Senjutsu
71. Halsey - If I Can't Have Love, I Want Power
72. Portico Quartet - Terrain
73. black midi - Cavalcade
74. Altın Gün - Yol
75. Mogwai - As the Love Continues
...
Gigwise's 51 Best Albums of 2021
1. Self Esteem - Prioritise Pleasure
2. Sleaford Mods - Spare Ribs
3. Amyl & The Sniffers - Comfort to Me
4. Sons of Kemet - Black To The Future
5. PinkPantheress - to hell with it
6. McKinley Dixon - For My Mama and Anyone Who Look Like Her
7. For Those I Love - For Those I Love
8. Little Simz - Sometimes I Might Be Introvert
9. Arab Strap - As Days Get Dark
10. Du Blonde - Homecoming
11. Sam Fender - Seventeen Going Under
12. Emma-Jean Thackray - Yellow
13. Charli Adams - Bullseye
14. Billie Eilish - Happier Than Ever
15. Olivia Rodrigo - SOUR
16. Silk Sonic - An Evening with Silk Sonic
17. Mogwai - As the Love Continues
18. Jazmine Sullivan - Heaux Tales
19. Idles - CRAWLER
20. Surfbort - Keep On Truckin'
21. Dry Cleaning - New Long Leg
22. Drug Store Romeos - The world within our bedrooms
23. Mdou Moctar - Afrique Victime
24. Lil Nas X - MONTERO
25. Wolf Alice - Blue Weekend
26. Tyler, the Creator - CALL ME IF YOU GET LOST
27. Tommy Genesis - goldilocks x
28. The Vaccines - Back In Love City
29. Summer Walker - STILL OVER IT
30. Indigo De Souza - Any Shape You Take
31. Arlo Parks - Collapsed In Sunbeams
32. Clairo - Sling
33. The War on Drugs - I Don't Live Here Anymore
34. Nick Cave & Warren Ellis - CARNAGE
35. JPEGMAFIA - LP!
36. St. Vincent - Daddy's Home
37. Laura Mvula - Pink Noise
38. Bicep - Isles
39. CHAI - WINK
40. Paris Texas - BOY ANONYMOUS
41. Low Hummer - Modern Tricks For Living
42. Nation of Language - A Way Forward
43. Parquet Courts - Sympathy for Life
44. James Blake - Friends That Break Your Heart
45. Doja Cat - Planet Her
46. Joe & The Shitboys - The Reson for Hardcore Vibes Again
47. Iceage - Seek Shelter
48. Royal Blood - Typhoons
49. Bull - Discover Effortless Living
50. Ashnikko - DEMIDEVIL
51. Remi Wolf - Juno
...
The Guardian's 50 Best Albums of 2021
1. Self Esteem - Prioritise Pleasure
2. Wolf Alice - Blue Weekend
3. Little Simz - Sometimes I Might Be Introvert
4. The Weather Station - Ignorance
5. Tyler, the Creator - CALL ME IF YOU GET LOST
6. SAULT - Nine
7. Dry Cleaning - New Long Leg
8. Olivia Rodrigo - SOUR
9. Arlo Parks - Collapsed In Sunbeams
10. Mdou Moctar - Afrique Victime
11. Sam Fender - Seventeen Going Under
12. Jazmine Sullivan - Heaux Tales
13. Japanese Breakfast - Jubilee
14. Lil Nas X - MONTERO
15. Nick Cave & Warren Ellis - CARNAGE
16. Deafheaven - Infinite Granite
17. Tirzah - Colourgrade
18. Turnstile - GLOW ON
19. Dave - We're All Alone In This Together
20. Arooj Aftab - Vulture Prince
21. The Coral - Coral Island
22. Laura Mvula - Pink Noise
23. Floating Points, Pharoah Sanders & The London Symphony Orchestra - Promises
24. Billie Eilish - Happier Than Ever
25. Madlib - Sound Ancestors
26. Mogwai - As the Love Continues
27. St. Vincent - Daddy's Home
28. Kacey Musgraves - star-crossed
29. Clairo - Sling
30. Greentea Peng - MAN MADE
31. Low - Hey What
32. Cassandra Jenkins - An Overview On Phenomenal Nature
33. PinkPantheress - to hell with it
34. The War on Drugs - I Don't Live Here Anymore
35. Aly & AJ - a touch of the beat gets you up on your feet...
36. aya - im hole
37. Erika De Casier - Sensational
38. Goat Girl - On All Fours
39. Hayley Williams - FLOWERS for VASES / descansos
40. Lana Del Rey - Chemtrails Over the Country Club
41. Eris Drew - Quivering in Time
42. Gojira - Fortitude
43. Chris Corsano & Bill Orcutt - Made Out Of Sound
44. Black Country, New Road - For the first time
45. For Those I Love - For Those I Love
46. Stephen Fretwell - Busy Guy
47. CHAI - WINK
48. Lucy Dacus - Home Video
49. Møl - Diorama
50. Agnes - Magic Still Exists
...
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Mstislav Pavlov was born in 1967 in Leningrad, Russia. She graduated from the I. E. Repin Institute for Painting, Sculpture and Architecture and has exhibitions in France, America, the Netherlands and Spain.
Painted by Russian artist Ilya Repin who was a follower of the Wanderers group and lived for many years with his family at Abramtsevo after Mamontov and his wife invited Repin to settle there.
to quote from Camilla Gray..... "'Mamontov's circle, as this colony of artists came to be called, was drawn together by the common determination to create a new Russian culture. It grew out of a group of artists who declared their secession from the Academy of Art in 1863. The thirteen artists who made this heroic gesture of apparent economic suicide were inspired by the idea of bringing art to the people. They called themselves 'the Wanderers' because they thought to put their ideas into practice by taking traveling exhibitions throughout the countryside. These artists sought to make their art "useful to the people."
Not surprising that this became the official Soviet view of art after the revolution. The officials actually referred to the Wanders as the ideal art direction. But there were others whose work took an entirely different direction while involved with Abramtsevo and Vrubel was one of them.
There are excellent photographs on Flickr showing this and other Russian paintings in their museum setting, many at the Tretyakov Museum, Moscow, Russia.
Movement: Blaue Reiter
Theme: Genre
Tempera; 68 x 72 cm.
Marianna Wladimirowna Werefkina, a member of ancient Russian nobility, was born on 29 August 1860 in the Russian town of Tula. She was well educated according to western standards and the young girl's artistic talents were recognised early and encouraged. She had her first private academic drawing lessons at the age of fourteen. She was introduced to Illarion Michailowitsch Prjanischnikow, a member of the "Peredwischniki" (travelling painter), where she began her studies, by the Repin family. When her family moved to St. Petersburg in 1886 Marianne von Werefkin took private lessons under Repin.
While hunting in 1888 she accidentally shot her right hand which remained crippled after a lengthy period of recovery. By practising persistently she finally managed to use drawing and painting instruments with her right hand again. She soon reached a perfection in realist painting which gave her the reputation as "Russian Rembrandt".
In 1891 the painter met Alexej von Jawlensky, who deeply fascinated her and whom she accompanied to Munich five years later. She put aside her own work and initiated a Salon which soon became a centre of lively artistic exchange. She also founded the "Lukasbruderschaft" of which also Kandinsky was a member.
A private crisis with Jawlensky culminated at the birth of their son in 1902 and Marianne von Werefkin was so badly effected that she needed to recover during extensive travels in France. She began painting again in 1906. She and Jawlensky spent several periods working with Kandinsky and Münter after their discovery of the picturesque town of Murnau in 1908.
They formed a new group: the "Neue Künstlervereinigung München". When Wassily Kandinsky and Franz Marc distanced themselves from this group and formed the "Blauer Reiter", Werefkin also began exhibiting together with this group in 1913. She moved to Switzerland with Jawlensky in 1914. Another move in 1919 took the couple to Ascona where she joined the artist group "Großer Bär". She and Jawlensky separated two years later.
Marianne von Werefkin died in Ascona on 6 February 1938.
View in "fullscreen" mode (double click on the photo) or Lightbox (press "L")....enjoy!
Please do not duplicate, repin, post, link, copy or use any of my photographs without my permission.
© 2013 Limin Kung, Jr. All Rights Reserved.
Ivan Yendogurov (1861-1898), Begin van de lente/The Beginning of spring, 1885. Gezien bij de tentoonstelling 'Peredvizhniki. Russisch Realisme rond Repin 1870-1900', Drents Museum, Assen, 25 september 2016 t/m 2 april 2017.
This painting is said to have inaugurated Russian Impressionism.
Serov was born in St. Petersburg, son of the Russian composer Alexander Serov, and his wife Valentina Bergman, a composer of German-Jewish and English background. In his childhood he studied in Paris and Moscow under Ilya Repin and in the St. Petersburg Academy of Arts under Pavel Chistyakov. Serov's early creativity was sparked by the realistic art of Repin and strict pedagogical system of Chistyakov. Further influences on Serov were the old master paintings he viewed in the museums of Russia and Western Europe, friendships with Mikhail Vrubel and Konstantin Korovin, and the creative atmosphere of the Abramtsevo Colony, to which he was closely connected.
Oil on millboard laid on plywood; 52.2 x 50.2 cm.
Source: Oxford University Press
Russian painter and printmaker, active in Germany. When he was ten, his family moved to Moscow. Following family tradition, he was originally educated for a military career, attending cadet school, and, later, the Alexander Military School in Moscow. However, while still a cadet, he became interested in painting. At the age of 16, he visited the Moscow World Exposition, which had a profound influence on him. He subsequently spent all of his leisure time at the Tret’yakov State Gallery, Moscow. In 1884 he was commissioned as a lieutenant in the Samogita Infantry–Grenadier’s Regiment, based in Moscow. In 1889 he transferred to a regiment in St Petersburg, and later enrolled in the Academy of Art (1889–96), where he was a student of Il’ya Repin. Indeed his works of this period reflected some of the conventions of Realism (e.g. W. W. Mathé Working, 1892; St Petersburg, Rus. Mus.). Seeking to escape the limitations on expression exhorted by the Russian art establishment, in 1896 Jawlensky and his colleagues Igor Grabar, Dmitry Kardovsky and marianne Werefkin moved to Munich to study with Anton Ažbe. Here he made the acquaintance of another expatriate Russian artist, Vasily Kandinsky. In Munich Jawlensky began his lasting experimentation in the combination of colour, line, and form to express his innermost self (e.g. Hyacinth, c. 1902; Munich, Lenbachhaus).
In the early years of the 20th century, backed by the considerable wealth of his companion Werefkin, Jawlensky spent his summers travelling throughout Europe, including France, where his works were exhibited in Paris with the Fauves at the Salon d’Automne of 1905. Travelling exposed him to a diverse range of artists, techniques, and artistic theories during a formative stage in his own career as a painter. His work, initially characterized by simplified forms, flat areas of colour and heavy black outlines, was in many ways a synthesis of the myriad influences to which he was exposed. As well as the influence of Russian icons and folk art, Ažbe imparted a sense of the importance of line and colour. In Paris, Jawlensky became familiar with the works of Vincent van Gogh, and some of his paintings reflect elements of van Gogh’s technique and approach to his subject-matter (e.g. Village in Bayern (Wasserburg), 1907; Wiesbaden, Mus. Wiesbaden). In particular his symbolic and expressive use of bright colour was more characteristic of van Gogh and Paul Gauguin than of the German Expressionists, with whom he had the greatest contact. In 1905 Jawlensky visited Ferdinand Hodler, and two years later he began his long friendship with Jan Verkade and met Paul Sérusier. Together, Verkade and Sérusier transmitted to Jawlensky both practical and theoretical elements of the work of the Nabis, and Synthetist principles of art. The Theosophy and mysticism of the Nabis, with their emphasis on the importance of the soul, struck a responsive chord in Jawlensky, who sought in his art to mirror his own inner being. The combination of technique and spirituality characteristic of these movements, when linked to Jawlensky’s own experience and emerging style, resulted in a period of enormous creativity and productivity.
Between 1908 and 1910 Jawlensky and Werefkin spent summers in the Bavarian Alps with Kandinsky and his companion Gabriele Münter. Here, through painting landscapes of their mountainous surroundings (e.g. Jawlensky’s Summer Evening in Murnau, 1908–9; Munich, Lenbachhaus), they experimented with one another’s techniques and discussed the theoretical bases of their art. In 1909 they helped to found the Neue künstlervereinigung münchen (NKVM). After a break-away group formed the Blaue Reiter in 1911, Jawlensky remained in the NKVM until 1912, when works by him were shown at the Blaue Reiter exhibitions. During this period he made a vital contribution to the development of Expressionism. In addition to his landscapes of this period, Jawlensky also produced many portraits. Like all of his work, his treatment of the human face and figure varied over time. In the years preceding World War I, for example, Jawlensky produced portraits of figures dressed colourfully (e.g. Schokko with a Wide-brimmed Hat, 1910) or even exotically (e.g. Barbarian Princess, 1912; Hagen, Osthaus Mus.). However, following a trip to the Baltic coast, and renewed contact with Henri Matisse in 1911 and Emil Nolde in 1912, Jawlensky turned increasingly to the expressive use of colour and form alone in his portraits. He often stripped from his art the distraction of brightly coloured apparel to emphasize the individual depicted and the artist’s own underlying state of mind (e.g. Head of a Woman, 1912; Berlin, Alte N.G.).
This dynamic period in Jawlensky’s life and art was abruptly cut short by the outbreak of World War I. Expelled from Germany in 1914, he moved to Switzerland. Here he began Variations, a cycle of landscape paintings of the view from his window at isolated St Prex on Lake Geneva. The works in this series became increasingly abstract and were continued long after he had left St Prex (e.g. Variation, 1916; and Variation No. 84, 1921; both Wiesbaden, Mus. Wiesbaden). In ill-health he spent the end of the war in Ascona. While in St Prex, Jawlensky had first met Galka Scheyer, a young art student who was captivated by his works. Scheyer’s expressions of admiration and support reinvigorated Jawlensky’s art and (with less success) his finances, first by embracing his theoretical and stylistic tenets, and later by promoting his work in Europe and the USA.
After a hiatus in experimentation with the human form, Jawlensky produced perhaps his best-known series, the Mystical Heads (1917–19), and the Saviour’s Faces (1918–20), which are reminiscent of the traditional Russian Orthodox icons of his childhood. In these works he attempted to further reduce conventional portraiture to abstract line, form and, especially, colour (e.g. Head of a Girl, 1918; Ascona, Mus. Com. A. Mod.; and Christ, 1920; Long Beach, CA, Mus. A.). In 1921 he began another cycle in the same vein, his Abstract (sometimes called Constructivist) Heads (1921–35), for example Abstract Head: Red Light (1930; Wiesbaden, Mus. Wiesbaden). His graphic art also included highly simplified, almost geometric heads, such as the lithograph Head II (1921–2; Wiesbaden, Mus. Wiesbaden).
In 1922, after marrying Werefkin’s former maid Hélène Nesnakomoff, the mother of his only son, Andreas, born before their marriage, Jawlensky took up residence in Wiesbaden. In 1924 he organized the Blue four, whose works, thanks to Scheyer’s tireless promotion, were jointly exhibited in Germany and the USA. From 1929 Jawlensky suffered from a crippling arthritis that severely limited his creative activity. During this final period of his life he endured not only poor health and near poverty but the threat of official persecution as well. In 1933 the Nazis forbade the display of his ‘degenerate’ works. Nevertheless he continued his series of increasingly abstract faces, producing more than 1000 works in the Meditations series (1934–7), which included examples of abstract landscapes and still-lifes, as well as portraits. These series represented further variations on the face broken down into its component parts, using geometric shapes, line and colour to convey the mood of the painting and, hence, that of the painter himself. Jawlensky’s state of mind is vividly reflected in these works, as he adopted an increasingly dark, brooding palette (e.g. Large Meditation III, No. 16, 1937; Wiesbaden, Mus. Wiesbaden). By 1937, when his physical condition forced him to cease painting altogether, these faces had been deconstructed to their most basic form: a cross forming the expressive brow, nose and mouth of the subject, on a richly coloured background (e.g. Meditation, 1937; Zurich, Ksthaus). No longer able to use art as a means of conveying his innermost self, Jawlensky began to dictate his memoirs in 1938.
Edward Kasinec, From Grove Art Online
Marianna Wladimirowna Werefkina, a member of ancient Russian nobility, was born on 29 August 1860 in the Russian town of Tula. She was well educated according to western standards and the young girl's artistic talents were recognised early and encouraged. She had her first private academic drawing lessons at the age of fourteen. She was introduced to Illarion Michailowitsch Prjanischnikow, a member of the "Peredwischniki" (travelling painter), where she began her studies, by the Repin family. When her family moved to St. Petersburg in 1886 Marianne von Werefkin took private lessons under Repin.
While hunting in 1888 she accidentally shot her right hand which remained crippled after a lengthy period of recovery. By practising persistently she finally managed to use drawing and painting instruments with her right hand again. She soon reached a perfection in realist painting which gave her the reputation as "Russian Rembrandt".
In 1891 the painter met Alexej von Jawlensky, who deeply fascinated her and whom she accompanied to Munich five years later. She put aside her own work and initiated a Salon which soon became a centre of lively artistic exchange. She also founded the "Lukasbruderschaft" of which also Kandinsky was a member.
A private crisis with Jawlensky culminated at the birth of their son in 1902 and Marianne von Werefkin was so badly effected that she needed to recover during extensive travels in France. She began painting again in 1906. She and Jawlensky spent several periods working with Kandinsky and Münter after their discovery of the picturesque town of Murnau in 1908.
They formed a new group: the "Neue Künstlervereinigung München". When Wassily Kandinsky and Franz Marc distanced themselves from this group and formed the "Blauer Reiter", Werefkin also began exhibiting together with this group in 1913. She moved to Switzerland with Jawlensky in 1914. Another move in 1919 took the couple to Ascona where she joined the artist group "Großer Bär". She and Jawlensky separated two years later.
Marianne von Werefkin died in Ascona on 6 February 1938.