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Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
The painting depicts the only future ahead for the knight. He seems resigned to this future, and in a moment of contemplation. The wonderful painting by Victor Vasnetsov was seen at the Russian Museum .
Watercolor on paper.
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.
Спас на крови
Both the interior and exterior of the church is decorated with incredibly detailed mosaics, designed and created by the most prominent Russian artists of the day (V.M. Vasnetsov, M.V. Nesterov and M.A. Vrubel). Interestingly, despite the church’s very obviously Russian aspect, its principle architect, A. Parland, was not even Russian by birth.
The Abramtsevo Museum is located near the town of Sergiev Posad 60 kilometers (37 miles) to the north-east of Moscow. The estate was laid out on the bank of the River Vorya in the middle of the 18th century and soon became famous due to its owners.
The writer Sergey Aksakov purchased Abramtsevo in 1843. He created here his best works: notes on angling, hunting and autobiographical stories. In the days of Aksakov, writers Nikolay Gogol and Ivan Turgenev, historian Mikhail Pogodin, actor Mikhail Schepkin and other celebrated contemporaries were his guests in Abramtsevo.
The railroad magnate and patron of arts Savva Mamontov bought Abramtsevo in 1870. The new owner played host to artists Vasily Polenov, Viktor Vasnetsov, Ilya Repin, Ilya Ostroukhov, Valentin Serov, Konstantin Korovin, Mikhail Nesterov, Mikhail Vrubel and other creative personalities who united to an informal community known as the Abramtsevo Colony. Participants of the Colony created paintings, drawings, sculptures, architectural projects, decorative and applied art articles. They collected peasant handicrafts and staged amateur performances. The foundation of Abramtsevo joinery and pottery started the revival and development of traditional Russian crafts – woodcarving and majolica.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
a postcard based on the russian folk tale of Princess Frog, from Russia 2018. Viktor Vasnetsov, Russian artist, designer, architect 1848-1926
The rear of The Church of Our Savior on the Spilled Blood, St. Petersburg, Russia.
This marvelous Russian-style church was built on the spot where Emperor Alexander II was assassinated in March 1881. After assuming power in 1855 in the wake of Russia’s disastrous defeat in the Crimean war against Britain, France and Turkey, Alexander II initiated a number of reforms. In 1861 he freed the Russian serfs (peasants, who were almost enslaved to their owners) from their ties to their masters and undertook a rigorous program of military, judicial and urban reforms, never before attempted in Russia. However, during the second half of his reign Alexander II grew wary of the dangers of his system of reforms, having only barely survived a series of attempts on his life, including an explosion in the Winter Palace and the derailment of a train. Alexander II was finally assassinated in 1881 by a group of revolutionaries, who threw a bomb at his royal carriage.
The decision was taken to build a church on the spot where the Emperor was mortally wounded. The church was built between 1883 and 1907 and was officially called the Resurrection of Christ Church (a.k.a. The Church of Our Savior on Spilled Blood ). The construction of the church was almost entirely funded by the Imperial family and thousands of private donators. Both the interior and exterior of the church is decorated with incredibly detailed mosaics, designed and created by the most prominent Russian artists of the day (V.M. Vasnetsov, M.V. Nesterov and M.A. Vrubel). Interestingly, despite the church’s very obviously Russian aspect, its principle architect, A. Parland, was not even Russian by birth.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
The Nikolskaya Tower (70 meters tall, built in 1491) behind the State Historic Museum.
The Kremlin in Moscow - towers and walls facing the Red Square. / A moszkvai Kreml Vörös térre néző fala és bástyái.
Pictures from Moscow, Russia in May 2011. I stopped here for one day before continuing my flights to a conference in StPetersburg. In spite of the rain, I managed to visit the Red Square and most of the Kremlin sites in the morning.
Képek Moszkva belvárosában 2011. májusában. Egy napot töltöttem itt, mielőtt továbbrepültem Szentpétervárra egy konferenciára. Az esős idő ellenére sikerült a Vörös teret és a Kreml jelentős részét megnéznem a délelőtti órákban.
The State Historical Museum of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The present structure was built based on Vladimir Osipovich Shervud's (or Sherwood, 1833–97) neo-Russian design between 1875 and 1881. The first 11 exhibit halls officially opened in 1883 during a visit from the Tsar and his wife. Then in 1894 Tsar Alexander III became the honorary president of the museum and the following year, 1895, the museum was renamed the Tsar Alexander III Imperial Russian History Museum. Its interiors were intricately decorated in the Russian Revival style by such artists as Viktor Vasnetsov, Henrik Semiradsky, and Ivan Aivazovsky. During the Soviet period the murals were proclaimed gaudy and were plastered over. The museum went through a painstaking restoration of its original appearance between 1986 and 1997.
The Nikolskaya Tower was built in 1491 by an Italian architect Pietro Antonio Solari. It was named after Nikolaevsky (Nikolsky) Greek Monastery, which is no longer there. In 1806, the tower was rebuilt in the neo-Gothic style by an architect Luigi Rusca. In 1812, the top of the tower was blown up by the retreating French army. It was restored in 1816 by an architect Osip Bove. The Nikolskaya Tower was once again severely damaged by the artillery fire in October 1917 and was later restored by an architect Nikolai Markovnikov. In 1935, the Soviets installed a red star on top of the tower. Its current height with the star is 70.4 m. The original icon of Saint Nicholas of Mozhaysk, placed above the entrance on Red Square had been plastered over by Soviet authorities and was uncovered and restored in 2010.
Built in 1883-1907 to the design of Alfred Parland, on the site of the tragic attempt upon the life of Emperor Alexander II by terrorist I. Grinevitskij on 1 March 1881.
The masterpiece of art is the carpet-like mosaic decoration of the walls and vault executed to the design of Victor Vasnetsov, Mikhail Nesterov, Andrei Riabushkin and other.