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.

Exposition Repine au Petit Palais, Paris, du 05 octobre 2021 au 23 janvier 2022.

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.

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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

www.moma.org/collection/artist.php?artist_id=2896

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.

Born into a poor family in a small town, young Sorin didn't attend any school until he was 16. He ran away from home to Odessa, enrolled in an art school, earned a Big Medal upon graduation in 1899 and moved to Saint Petersburg. There Sorin entered the Imperial Academy of Fine Arts; his teacher was the famous painter Ilya Repin.

In 1920, when Sorin left Russia, he was already an established society portraitist. www.artistsandart.org

I think this is a Small Cabbage White Butterfly (Pieris rapae)

Ilja Repin (Russian, 1844-1930)

Oil on canvas

EKM VM 41

Kadriorg Museum

Tallinn, Estonia

Ilya Yefimovich Repin (Russian: Илья́ Ефи́мович Ре́пин, tr. Il'ya Yefimovich Repin, IPA: [ˈrʲepʲɪn]; Finnish: Ilja Jefimovitš Repin; Ukrainian: Ілля́ Юхи́мович Рє́пін;5 August [O.S. 24 July] 1844 – 29 September 1930) was a Russian realist painter.

He was the most renowned Russian artist of the 19th century, when his position in the world of art was comparable to that of Leo Tolstoy in literature.

He played a major role in bringing Russian art into the mainstream of European culture. His major works include "Barge Haulers on the Volga" (1873), "Religious Procession in Kursk Province" (1883) and "Reply of the Zaporozhian Cossacks" (1880–91).

Repin was born in Chuguyev, in Kharkov Governorate, Russian Empire (now Chuhuiv in Ukraine, Kharkiv Region) into a family of "military settlers".

His father traded horses and his grandmother ran an inn. He entered military school to study surveying.

Soon after the surveying course was cancelled, his father helped Repin to become an apprentice with Ivan Bunakov, a local icon painter, where he restored old icons and painted portraits of local notables through commissions.

In 1863 he went to St. Petersburg Art Academy to study painting but had to enter Ivan Kramskoi preparatory school first. He met fellow artist Ivan Kramskoi and the critic Vladimir Stasov during the 1860s, and his wife, Vera Shevtsova in 1872 (they remained married for ten years).

In 1874–1876 he showed at the Salon in Paris and at the exhibitions of the Itinerants' Society in Saint Petersburg. He was awarded the title of academician in 1876.

In 1880 Repin travelled to Zaporizhia to gather material for the 1891 "Reply of the Zaporozhian Cossacks." His "Religious Procession in Kursk Province" was exhibited in 1883, and "Ivan the Terrible and His Son Ivan" in 1885.

In 1892 he published the "Letters on Art" collection of essays. He taught at the Higher Art School attached to the Academy of Arts from 1894.

In 1898 he purchased an estate, Penaty (the Penates), in Kuokkala, Finland (now Repino, Saint Petersburg).

In 1901 he was awarded the Legion of Honour. In 1911 he traveled with his common-law wife Natalia Nordman to the World Exhibition in Italy, where his painting "17 October 1905" and his portraits were displayed in their own separate room.

In 1916 Repin worked on his book of reminiscences, "Far and Near," with the assistance of Korney Chukovsky.

He welcomed the February Revolution of 1917, but was rather skeptical towards the October Revolution.

Soviet authorities asked him a number of times to come back, he remained in Finland for the rest of his life.

Celebrations were held in 1924 in Kuokkala to mark Repin's 80th birthday, followed by an exhibition of his works in Moscow.

In 1925 a jubilee exhibition of his works was held in the Russian Museum in Leningrad. Repin died in 1930 and was buried at the Penates.

en.wikipedia.org/wiki/Ilya_Repin

Exhibition Repin, Petit Palais , Paris

Zinaida Yevgenyevna Serebriakova was the first female Russian painter of distinction. She was born near Kharkov into one of Russia's most refined and artistic families. In 1900 she entered the art school founded by Princess M. K. Tenisheva. She studied under Repin in 1901, and Braz between 1903 and 1905. Between 1902–1903 she spent time in Italy, and from 1905–1906 she studied in Paris. At the outbreak of the October Revolution in 1917 Serebriakova's life suddenly changed. In 1919 her husband Boris died of typhus contracted in Bolshevik jails. She was left without any income, responsible for her four children and her sick mother. She did not want to switch to the futurist style popular in the art of the early Soviet period, nor paint portraits of commissars, but she found some work at the Kharkov Archaeological Museum.

In 1924, she went to Paris, having received a commission for a mural. She intended to return to the Soviet Union. However, she was not able to return, and although she was able to bring her younger children, she could not do the same for her two older children and did not see them again for many years. After this, Serebriakova traveled a great deal. In 1928 and 1930 she traveled to Africa, visiting Morocco. In 1947, she became a French citizen, and it was not until Khruschev's thaw that the Soviet Government allowed her to resume contact with her family. Serebriakova's works were finally exhibited in the Soviet Union in 1966. Her albums sold by the millions, and she was compared to Botticelli and Renoir. However, although she sent about 200 of her works to be shown in the Soviet Union, the bulk of her work remains in France today.

Materials: oil on canvas. Dimensions: 36 x 55 cm. Source: uploads1.wikiart.org/images/ilya-repin/on-a-turf-bench-18.... I have changed the contrast of the original photo.

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.

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.

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.

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.

Born into a poor family in a small town, young Sorin didn't attend any school until he was 16. He ran away from home to Odessa, enrolled in an art school, earned a Big Medal upon graduation in 1899 and moved to Saint Petersburg. There Sorin entered the Imperial Academy of Fine Arts; his teacher was the famous painter Ilya Repin.

In 1920, when Sorin left Russia, he was already an established society portraitist. www.artistsandart.org

L'homme au mauvais oeil

L'homme représenté est Ivan Radov, orfèvre de profession, de la famille de l'artiste. Ilya Répin souligne la particularité physique de son modèle et le rend inquiétant.

Oeuvre d'Ilya Répine (1844-1930)

1877

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

www.petitpalais.paris.fr/expositions/ilya-repine-1844-1930

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.

Ilya Repin (1844-1930), Zelfportret (detail)Self-portrait, 1878. Gezien bij de tentoonstelling 'Peredvizhniki. Russisch Realisme rond Repin 1870-1900', Drents Museum, Assen, 25 september 2016 t/m 2 april 2017.

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.

Tempera on paper mounted on cardboard; 69 x 105 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.

Aleksander Porfírievich Borodín (en ruso, Александр Порфирьевич Бородин; San Petersburgo, Imperio ruso, 12 de noviembre de 1833 – ibídem, 27 de febrero de 1887) fue un compositor, doctor y químico, destacado dentro de los compositores del nacionalismo ruso, también conocido por formar parte del Grupo de los cinco.

Borodín es conocido por sus sinfonías, sus dos cuartetos de cuerda, En las estepas de Asia Central y su ópera El príncipe Ígor. Fue un prominente defensor de los derechos de las mujeres, de la educación en Rusia y fundó la Escuela de medicina para mujeres en San Petersburgo.

Fue hijo ilegítimo del príncipe georgiano Luká Stepánovitch Gedevanishvili (62), quien lo registró conforme a la usanza de la época como hijo de uno de sus sirvientes, Porfiri Borodín. Su madre fue Evdokia (Eudoxie) Constantínovna Antónova (25), apodada por el diminutivo Dunia. Su padre muere cuando Alexander tenía 7 años y lo incluye en su testamento. Alexander fue un autodidacta, aprende a tocar flauta, violonchelo y piano. Tuvo una vida confortable y recibió una buena educación incluyendo clases de piano, francés y alemán. A los 15 años se inscribe en la Facultad de Medicina, a los 21 es contratado en el Hospital de la Armada Territorial y a los 23 como profesor de la Academia Militar de Química. Sin embargo, su área de especialización fue la química, por lo cual no recibió clases formales de composición hasta 1863, cuando se convirtió en discípulo de Mili Balákirev. Tuvo dos hermanos, Dmitri Serguéievich Aleksándrov y Evgueni Fiódorovich Fiódorov, que fueron registrados como hijos de los sirvientes del príncipe. Se casa en 1861 con una famosa y talentosa pianista nacida en Heidelberg, Ekaterina Serguéievna Protopópova, con quien tuvo tres hijos.

En 1869 Balákirev le dirigió su primera sinfonía y en ese mismo año Borodín comenzó la composición de su segunda sinfonía. Aunque el estreno ruso de esta última fue un fracaso, Franz Liszt logró que fuera interpretada en Alemania en 1880, donde tuvo bastante éxito, dándole fama fuera de Rusia.

También en 1869 empezó a trabajar en la composición de su ópera El príncipe Ígor, que es considerada por algunos su obra más importante. Esta ópera contiene las ampliamente conocidas Danzas polovtsianas (o Danzas de los pólovtsy), siendo éste un fragmento comúnmente interpretado por sí mismo, tanto en su versión coral como orquestal. Debido a la gran carga de trabajo como químico, la ópera quedó inconclusa al momento de su muerte, siendo completada posteriormente por Nikolái Rimski-Kórsakov y Aleksandr Glazunov.

Priorizó su ópera sobre la tercera sinfonía, quedando esta inacabada. Alexander Glazunov consiguió arreglar las secciones del primer movimiento, así como recrear el scherzo a partir de uno de sus cuartetos de cuerda, cuyo scherzo iba a ser el mismo. Para el trío del scherzo, Glazunov utilizó temas que se habían desechado durante la composición de El príncipe Igor.

A pesar de ser un compositor reconocido, Borodín siempre se ganó la vida como químico, campo en el cual era bastante respetado, particularmente por su conocimiento de los aldehídos. A Borodín también se le atribuye, junto con Charles-Adolphe Wurtz, el descubrimiento de la reacción aldólica, una importante reacción en química orgánica; además de otra reacción química conocida como reacción Borodin-Hunsdiecker. En 1872, participó en la fundación de una escuela de Medicina para mujeres.

Sus obras incluyen el poema sinfónico En las estepas de Asia Central, dos cuartetos de cuerdas, donde el tercer movimiento Nocturno del segundo cuarteto goza de gran fama, un quinteto para cuerdas, un quinteto para piano y cuerdas, una sonata para violoncelo y piano, 16 canciones para bajo y piano, tres de ellas además con violoncelo, piezas para piano, así como las ya mencionadas sinfonías 1 y 2, más una tercera incompleta al momento de su muerte (con dos movimientos completados por Glazunov), el segundo movimiento de la tercera sinfonía, Borodín lo transcribió a cuarteto de cuerdas como un Scherzo.

Tras la muerte de Modest Músorgski en marzo de 1881, sufre de ataques cardiacos y cólera. Borodín murió a los 53 años de un infarto durante una fiesta organizada por los profesores de la academia en San Petersburgo, el 27 de febrero de 1887 y fue enterrado en el cementerio Tijvin del monasterio de Aleksandr Nevski. Su esposa le sobrevivió 5 meses.

En su honor, un cuarteto de cuerdas fundado en Rusia en 1945 lleva su nombre, el Cuarteto Borodín. El pintor Iliá Yefímovich Repin (1844–1930) hizo un magnífico retrato de Borodín, que se encuentra en el Museo Estatal Ruso de San Petersburgo.

es.wikipedia.org/wiki/Aleksandr_Borodín

es.wikipedia.org/wiki/Los_Cinco_(compositores)

Alexander Porfiryevich Borodin (Russian: Алекса́ндр Порфи́рьевич Бороди́н) (12 November 1833 – 27 February 1887) was a Russian chemist and Romantic musical composer of Georgian ancestry. He was one of the prominent 19th-century composers known as "The Mighty Handful", a group dedicated to producing a uniquely Russian kind of classical music, rather than imitating earlier Western European models. Borodin is known best for his symphonies, his two string quartets, the symphonic poem In the Steppes of Central Asia and his opera Prince Igor. Music from Prince Igor and his string quartets was later adapted for the US musical Kismet.

A doctor and chemist by profession, Borodin made important early contributions to organic chemistry. Although he is presently known better as a composer, during his lifetime, he regarded medicine and science as his primary occupations, only practising music and composition in his spare time or when he was ill. As a chemist, Borodin is known best for his work concerning organic synthesis, including being among the first chemists to demonstrate nucleophilic substitution, as well as being the co-discoverer of the aldol reaction. Borodin was a promoter of education in Russia and founded the School of Medicine for Women in Saint Petersburg, where he taught until 1885.

Borodin was born in Saint Petersburg as an illegitimate son of a 62-year-old Georgian nobleman, Luka Stepanovich Gedevanishvili, and a married 25-year-old Russian woman, Evdokia Konstantinovna Antonova. Due to the circumstances of Alexander's birth, the nobleman had him registered as the son of one of his Russian serfs, Porfiry Borodin, hence the composer's Russian last name. As a result of this registration, both Alexander and his nominal Russian father Porfiry were officially serfs of Alexander's biological father Luka. The Georgian father emancipated Alexander from serfdom when he was 7 years old and provided housing and money for him and his mother. Despite this, Alexander was never publicly recognized by his mother, who was referred to by young Borodin as his "aunt".

Despite his status as a commoner, Borodin was well provided for by his Georgian father and grew up in a large four-storey house, which was gifted to Alexander and his "aunt" by the nobleman. Although his registration prevented enrollment in a proper gymnasium, Borodin received good education in all of the subjects through private tutors at home. During 1850 he enrolled in the Medical–Surgical Academy in Saint Petersburg, which was later the workplace of Ivan Pavlov, and pursued a career in chemistry. On graduation he spent a year as surgeon in a military hospital, followed by three years of advanced scientific study in western Europe.

During 1862 Borodin returned to Saint Petersburg to begin a professorship of chemistry at the Imperial Medical-Surgical Academy and spent the remainder of his scientific career in research, lecturing and overseeing the education of others. Eventually, he established medical courses for women (1872).

He began taking lessons in composition from Mily Balakirev during 1862. He married Ekaterina Protopopova, a pianist, during 1863, and had at least one daughter, named Gania. Music remained a secondary vocation for Borodin besides his main career as a chemist and physician. He suffered poor health, having overcome cholera and several minor heart failures. He died suddenly during a ball at the Academy, and was interred in Tikhvin Cemetery at the Alexander Nevsky Monastery in Saint Petersburg.

In his profession Borodin gained great respect, being particularly noted for his work on aldehydes. Between 1859 and 1862 Borodin had a postdoctoral position in Heidelberg. He worked in the laboratory of Emil Erlenmeyer working on benzene derivatives. He also spent time in Pisa, working on halocarbons. One experiment published during 1862 described the first nucleophilic displacement of chlorine by fluorine in benzoyl chloride. The radical halodecarboxylation of aliphatic carboxylic acids was first demonstrated by Borodin during 1861 by his synthesis of methyl bromide from silver acetate. It was Heinz Hunsdiecker and his wife Cläre, however, who developed Borodin's work into a general method, for which they were granted a US patent during 1939, and which they published in the journal Chemische Berichte during 1942. The method is generally known as either the Hunsdiecker reaction or the Hunsdiecker–Borodin reaction.

During 1862, Borodin returned to the Medical–Surgical Academy (now known as the S.M. Kirov Military Medical Academy), and accepted a professorship of chemistry. He worked on self-condensation of small aldehydes in a process now known as the aldol reaction, the discovery of which is jointly credited to Borodin and Charles-Adolphe Wurtz. Borodin investigated the condensation of valerian aldehyde and oenanth aldehyde, which was reported by von Richter during 1869. During 1873, he described his work to the Russian Chemical Society and noted similarities with compounds recently reported by Wurtz.

He published his last full article during 1875 on reactions of amides and his last publication concerned a method for the identification of urea in animal urine.

His successor as chemistry professor of the Medical-Surgical academy was his son-in-law and fellow chemist, Alexander Dianin.

Borodin met Mily Balakirev during 1862. While under Balakirev's tutelage in composition he began his Symphony No. 1 in E-flat major; it was first performed during 1869, with Balakirev conducting. During that same year Borodin started on his Symphony No. 2 in B minor, which was not particularly successful at its premiere during 1877 under Eduard Nápravník, but with some minor re-orchestration received a successful performance during 1879 by the Free Music School by Rimsky-Korsakov's direction. During 1880 he composed the popular symphonic poem In the Steppes of Central Asia. Two years later he began composing a third symphony, but left it unfinished at his death; two movements of it were later completed and orchestrated by Alexander Glazunov.

During 1868 Borodin became distracted from initial work on the second symphony by preoccupation with the opera Prince Igor, which is considered by some to be his most significant work and one of the most important historical Russian operas. It contains the Polovtsian Dances, often performed as a stand-alone concert work forming what is probably Borodin's best-known composition. Borodin left the opera (and a few other works) incomplete at his death.

Prince Igor was completed posthumously by Rimsky-Korsakov and Glazunov. It is set in the 12th century, when the Russians, commanded by Prince Igor of Seversk, determined to conquer the barbarous Polovtsians by travelling eastward across the Steppes. The Polovtsians were apparently a nomadic tribe originally of Turkish origin who habitually attacked southern Russia. A full solar eclipse early during the first act foreshadows an ominous outcome to the invasion. Prince Igor's troops are defeated. The story tells of the capture of Prince Igor, and his son, Vladimir, of Russia by Polovtsian chief Khan Konchak, who entertains his prisoners lavishly and orders his slaves to perform the famous 'Polovtsian Dances', which provide a thrilling climax to the second act. The second half of the opera finds Prince Igor returning to his homeland, but rather than finding himself in disgrace, he is welcomed home by the townspeople and by his wife, Yaroslavna. Although for a while rarely performed in its entirety outside of Russia, this opera has received two notable new productions recently, one at the Bolshoi State Opera and Ballet Company in Russia during 2013, and one at the Metropolitan Opera Company of New York City during 2014.

No other member of the Balakirev circle identified himself so much with absolute music as did Borodin in his two string quartets, and in his many earlier chamber compositions. Himself a cellist, he was an enthusiastic chamber music player, an interest that increased during his chemical studies in Heidelberg between 1859 and 1861. This early period yielded, among other chamber works, a string sextet and a piano quintet. In thematic structure and instrumental texture he based his pieces on those of Felix Mendelssohn.

During 1875 Borodin started his First String Quartet, much to the displeasure of Mussorgsky and Vladimir Stasov. That Borodin did so in the company of The Five, who were hostile to chamber music, demonstrates his independence. From the First Quartet onward, he displayed mastery of the form. His Second Quartet, in which his strong lyricism is represented in the popular "Nocturne", followed during 1881. The First Quartet is richer in changes of mood. The Second Quartet has a more uniform atmosphere and expression.

Borodin's fame outside the Russian Empire was made possible during his lifetime by Franz Liszt, who arranged a performance of the Symphony No. 1 in Germany during 1880, and by the Comtesse de Mercy-Argenteau in Belgium and France. His music is noted for its strong lyricism and rich harmonies. Along with some influences from Western composers, as a member of The Five his music has also a Russian style. His passionate music and unusual harmonies proved to have a lasting influence on the younger French composers Debussy and Ravel (in homage, the latter composed during 1913 a piano piece entitled "À la manière de Borodine").

The evocative characteristics of Borodin's music made possible the adaptation of his compositions in the 1953 musical Kismet, by Robert Wright and George Forrest, notably in the songs "Stranger in Paradise" and "And This Is My Beloved". In 1954, Borodin was posthumously awarded a Tony Award for this show.

en.wikipedia.org/wiki/Alexander_Borodin

en.wikipedia.org/wiki/List_of_compositions_by_Alexander_B...

en.wikipedia.org/wiki/The_Five_(composers)

Aeroflot - Russian Airlines,

Airbus A320-214, VP-BLO (cn 7863) "I. Repin"

www.airliners.net/photo/Aeroflot-Russian-Airlines/Airbus-...

Oil on canvas; 91.4 x 76.2 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.

DAP Cezanne

Это "написано" стилем Сезанна, но композиционно отсылает к картине Ильи Репина "Яблоки и листья" 1879 года.

Случайное совпадение с картиной Репина. /

Ceci est peint par le style de Cézanne, mais la composition fait référence à la peinture par Ilya Repin "Pommes et feuilles" de 1879.

Une coïncidence accidentelle avec l'image de Repin. /

This is painted by the style of Cezanne, but compositional refers to the painting by Ilya Repin "Apples and Leaves" of 1879.

An accidental coincidence with the picture of Repin.

The State Russian Museum 2025

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.

en.wikipedia.org/wiki/Boris_Kustodiev

Osip Emmanuilovich Braz was a Russian-Jewish realist painter. He began his art education in Odessa, and continued it in Munich (1891-1893), where he studied at the Academy of Fine Arts, Munich. During his stay in Europe he studied Western European painting, which had a significant influence on his work. After Germany, he went to Paris, and then to Holland where he studied the Dutch masters. The thorough knowledge of painting he gained played an important role in his future as an artist. In 1895-1896, he attended the Saint Petersburg Academy of Fine Arts, studying in the workshop of Ilya Repin.

In the following years, a series of portraits of fellow artists, including Leonid Pasternak and Sergey Ivanov, and prominent figures of Russian culture done for Pavel Tretyakov brought Braz fame. His best known work was his 1898 portrait of the writer Anton Chekhov. His talent was also displayed in his landscapes of France, the Crimea, and Finland, originating in his travels to the places mentioned. From 1900 to 1905 he gave lessons in his studio on the Moyka River. In 1907 Braz went to France, where he lived until 1911. The latest achievements of French art influenced his work. In 1914 Braz became an academician, and a member of the commission for the restoration of paintings by the Hermitage Museum. In the first years of Soviet power, he was appointed curator of the Hermitage.

In 1924 Braz was arrested on charges of buying paintings for export abroad, and espionage, and was then imprisoned for three years in Solovki prison camp, while his art collections, including important Dutch works from the 17th century, were confiscated and made state property. In late 1926, he was released at the request of the Leningrad artistic societies. In order to avoid more trouble he moved to Germany in 1928, and then settled in Paris. He spent the last years of his life in Paris, where he continued painting, trading antiques and collecting.

Oil on canvas; 261 x 447 cm.

Mikhail Aleksandrovich Vrubel, born at Omsk in Siberia, in 1856, was the son of an officer of the Russian army - Alexander Vrubel. The family had many different ethnic roots -- Russian, Polish, Tartar and Danish. Mikhail Vrubel had an older sister Anna with whom he kept a friendly relationship until his death. His younger sister Ekaterina and brother Alexander died in childhood. This caused a deep trauma for the artist. Despite his father's rank as a colonel, the family was never prosperous. Moreover, military attitudes were not emphasized in the family; on the contrary, the parents, especially Alexander, taught the children fundamental educational skills, providing them with literature in several languages (Latin, French, German), encouraging and stimulating the children's interest in history, art, theater, music, and literature.

Mikhail Vrubel was interested in drawing from childhood. Alexander Vrubel had a positive attitude towards his son's enthusiasm for painting. Vrubel received formal painting lessons at the Society for the Encouragement of the Arts at St. Petersburg in 1864, and 1868-1869. He studied as a law student at St. Petersburg University from 1874 to 1880, but simultaneously he began to take painting classes during 1878-1879. During his study at St. Petersburg University he learned German philosophy with great enthusiasm, especially the theories of Nietzche, along with the idealist philosophers Kant and Schopenhauer.

After graduation from the Law Department, Vrubel entered the St. Petersburg Academy of Arts (one of the leading schools in Russia at that time) as a full-time student in 1880, where he studied under Pavel Chistyakov until 1884. This teacher, famous for his teaching abilities in painting and drawing, played a significant role in the development of Vrubel's style, developing in him a taste for detail. Such Russian painters as Ilya Repin, Vasilii Polenov, Victor Vasnetsov, Valentin Serov, Vasilii Surikov were also appreciative pupils of Chistyakov. The artist shared with his teacher the idea of the primary importance of drawing, modeling, form over color, and appreciation of the monumentality of classical art. Vrubel had great respect for the Art Academy and never dismissed its influence on his art as many advanced artists of the time did. In his autobiography, written in 1901, Vrubel referred to his Academy years as the happiest in his life as an artist.

The next step in the development of Vrubel's artistic career began in Kiev in April 1884 when he accepted an invitation from professor Adrian Prakhov to take part in the restoration work of old Russian churches in Kiev. Not incidentally during the 1884-1889 period Vrubel painted not only the commissioned religious works, but also images of Christ, the Virgin Mary, and angels for himself. Working in the twelfth century churches, trying to find unity with the style of the old frescoes, Vrubel remained a prominent artist of the late nineteenth century. In the figures of the saints and angels, in the plasticity of their forms and in the psychological importance of drawing, compositions, and color are evidence that Vrubel was closer to the modern ways of painting than to Byzantine and Old-Russian frescoes and mosaics. He was one of the first Russian artists who tried to develop a style that unified old traditions and modern sensibility, a style which became a basis for his future artistic experimentation.

The analysis of Vrubel's work done in Moscow, where he lived during the two decade period (1889-1910), shows the influence of old traditions and contemporary artistic movements -- Neo-Romanticism, Symbolism, Art Nouveau. Some of the artist's work have features similar to Neo-Primitivism, Rayonism, Futurism, Cubism which soon caught on with many painters in the Russian Avant-Garde.

Among the advanced Russian artists of the turn of the century, such as Isaac Levitan, Valentin Serov, Victor Borisov-Musatov, Vrubel stands out because of the originality of his art. Despite the absence of direct followers, the importance of Vrubel's art should not be underestimated. He pointed the way and made possible the experiments of the succeeding decades. This many-sided painter, sculptor, theater designer, draftsman, and illustrator can be considered as a transitional figure between traditional and modern art because of his influence on and inspiration for the artists of a new generation.

Oil on canvas; 58 x 75 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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Location : Republic Square of Yerevan

The floors above the National History Museum contain the National Picture Gallery. Start by taking the elevator to the top, then descend through the huge collection of Russian, Armenian, and European works, some of the latter copies or else spoils of WWII divided among the various Soviet republics.

In regard to the amount of artistic treasures the national art gallery of Armenia is considered one of the best museums in the former Soviet Union, founded in 1921 the national art museum of Armenia originally counted five divisions including one on arts which in 1931 was re-modeled into an art gallery of its own. The national art gallery enriched its collection rapidly thanks to government procurements and donations.

Currently its collection exceeds 19,000 specimens shown in the Russian, Armenian and West-European divisions of paintings, sculptures, graphic and applied arts.

The old Armenian subdivision owns the works of famous Armenian artists of the early mediaeval and the succeeding periods. The section of the Armenian Middle Ages exhibits imitations of canvases by the miniaturists Toros Roslin, Sarkis Pitsak, Grigor Tatevatsi and others. A number of rare samples of mural painting, preserved in the monasteries and churches of Tatev and Kaghpat, have been transferred to the gallery along with specimens of the applied arts.

Armenian painting of modern times is represented by the productions of Hakop Hovnatanian, a magnificent adept of portrait painting of the past century, his contemporary Stepanos Ner-cissian, the immortal sea-scapist Hovhannes Ayvazovsky, the gorgeous landscapes of Gevork Bashinjaghian, the refined multi-genre art of Vartkes Soureniants, the colourful canvases of Yeghishe Tadevossian and Panos Terlemezian, Edgar Shahin's wonderful etchings pervaded with deep-souled feelings, Hakop Gyurjian's exalted, highly expressive sculptures, etc.

The works of the 20th century classical artists, who have been the trailblazers of Soviet Armenian art, are also shown in monographic presentation. The list includes such past-masters of Armenian painting as Step an Aghajanian, Sedrak Arakelian, Hakop Kojoyan. Martiros Sarian, Gabriel Gyurjian who have a well-merited representation in the art gallery. National tradition has always been alive in Armenian painting; moreover, it has been enriched with novel, socialist content by such masters of the chisel and the brush as Yervand Kochar, Ara Sarldssian, Souren Stepanian, Nikoghayos Nikoghossian, Aytsemik Urartu, Hovhannes Zardarian, Grigor Khanjian, Edward Issafoekian, Sedrak Rashmaj-ian, Marism Aslamazian and those of the next generation: the artists Minas Avetissian, Hakop Hakopian, Lavinia Bazhbeuk-Melikian, Sarkis Mouradian. Arpenik Nalbandian, Mekertich Kamal-ian, Rafik Atoyan, Anatoly Papian, Ashot Melkonian, Robert Elibekian, Ara Shiraz and many more.

The history of the Armenian people shaped a peculiar chapter also in Armenian painting. The art of the Armenians living abroad develops parallel to the basic trend in the national art. Exposed to view in the gallery are the best hangings of such popular artists of the Armenian Diaspora as Carzou, Jansem, R. Jeranian, J. Orakian, Armis, Tirid, S. Khachaturian, G. Shiltian, Khoren Der-Harootian, A. Zorian, G. Avakian, A. Tadossian, P. Kirakossian and others.

Armenian national applied art is also displayed in profusion. The division of Russian art, rich and varied, has placed on show the works of a great many famous Russian artists.

The collection of Russian art in the museum was enriched thanks to the transfer of the stocks of the former Lazarian College and donations from the museums of Moscow and Leningrad. Thus the art gallery of Armenia demonstrates the pieces of art by brilliant Russian artists from the end of the 18th century through Soviet times.

Representing Russian classical art are: I. Argunov, D. Levitsky, V. Tropinin, V. Vereshchagin, I. Repin, I. Shishkin, A. Kouinji, I. Levitan, V. Surikov, V. Serov. K. Korovin, M. Vrubel, A. Golovina and others.

Russian Soviet art claims a large portion of its own in the gallery. Most of the exhibited artists embarked on their career before the October Revolution, however, their art continued to record progress in Soviet times. Their names are A. Golubkina, S. Konenkoy, Nesterov, I. Mashkov, A. Kuprin, P. Konchalovsky, K. Petrov-Vodkin, P. Falk, I. Tyrsa and many more.

In the post-October period the following artists have achieved renown I. Shadr, Z. Serebryakov, S. Gerasimov, V. Lebedev, P. Korin, A. Plastov, A. Deineka, M. Manizer et al. Shelved in the Russian division is the collection of 17th—19th century icons and a rich exposition in 18th—19th century porcelain.

Apart from specimens of the applied arts the collection of West-European art dismays the works of four major national schools from the 14th to the 19th centuries: Italian, Flemish, Dutch and French. Representing the Italian school are the productions of Garofalo, J. Bassano, Tintoretto, G. Strozzi, J. Lanfranco, F. Guardi, A. Kanovy; Flemish—Rubens, Vandyke, J. Jordaens, J. Feit; Dutch—van Goyen, K. Berham, K. Dujardin, K. Netcher, P. Kodde, G. Flinka; French—J. O. Fragonard, Greuze, F. Drouais, H. Robert, J. Vernet, T. Rousseau, Diaz, Boudin, G. Courbet, A. Monticelli. Even an incomplete enumeration of the names of the artists gives an idea of the scope and high artistic value of the exhibits of the gallery.

The National Art Gallery of Armenia has a number of branches in Yerevan and other towns of the republic. The memorial-houses of the artist Hakop Kojoyan and the sculptor Ara Sarkissian are in the capital. They exhibit the best works of the two far-famed men of arts.

Tsar Nicholas II or Nikolai II was the last Emperor of Russia, ruling from 1 November 1894 until his forced abdication on 15 March 1917

by Ilya Repin...Ilya Yefimovich Repin was a Russian realist painter. He was the most renowned Russian artist of the 19th century, when his position in the world of art was comparable to that of Leo Tolstoy in literature.