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La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles but ending up costing over 4.6 million. The walls and ceilings inside the church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Tsar Alexei chooses his bride, by Grigory Sedov (the winner of the Tsardom-wide contest organized by Boris Morozov was his relative Maria Miloslavskaya).
Alexei's first marriage to Miloslavskaya was harmonious and felicitous. She bore him thirteen children (five sons and eight daughters) in twenty-one years of marriage, and died only weeks after her thirteenth childbirth. Four sons survived her (Alexei, Fyodor, Semyon, and Ivan), but within six months of her death, two of these were dead, including Alexei, the 15-year-old heir to the throne.
(El Zar Alexei elige a su novia, por Grigory Sedov (el ganador del concurso de toda la Tsardom organizado por Boris Morozov fue su pariente Maria Miloslavskaya).
El primer matrimonio de Alexei con Miloslavskaya fue armonioso y feliz. Le dio a luz trece hijos (cinco hijos y ocho hijas) en veintiún años de matrimonio, y murió sólo semanas después de su decimotercer parto. Cuatro hijos sobrevivieron a ella (Alexei, Fyodor, Semyon e Ivan), pero a los seis meses de su muerte, dos de ellos habían muerto, incluyendo a Alexei, el heredero de 15 años del trono.)
en.wikipedia.org/wiki/Alexis_of_Russia
en.wikipedia.org/wiki/Maria_Miloslavskaya
Grigory Semyonovich Sedov (Russian: Григорий Семёнович Седов; (12 January 1836, Moscow - 15 April 1884, Moscow) was a Russian painter; known primarily for historical scenes and religious murals.
He was born to a family of merchants. His first art studies were at the Moscow School of Painting, Sculpture and Architecture, followed by enrollment at the Imperial Academy of Arts in 1857. While there, he received several medals for his work, including gold medals in 1864 and 1866, when he was also awarded the title of "Artist", first-class, and given a stipend to study abroad for six years for his depiction of the Grand Duchy of Vladimir being converted to Christianity.
From 1867 to 1870, he lived in Paris, where he not only painted oils but also created a mural of the Holy Trinity for the altar dome at the new Alexander Nevsky Cathedral. During that time, he also went blind in one eye. Combined with his inability to master the French language, this made his life there too difficult.
In 1870, he returned to Russia and spent the last three years of his stipend period working in Moscow; mostly painting for churches. He was also named an "Academician" for his portrayal of Ivan the Terrible with Malyuta Skuratov. In 1876, his painting of Ivan with Vasilisa Melentyeva won him critical acclaim at an Academy exhibition. Later, he painted a "Baptism of Saint Olga" for the Cathedral of Christ the Saviour. His eye problems prevented him from working for long periods and his total output is relatively small.
en.wikipedia.org/wiki/Grigory_Sedov
(Grigory Semyonovich Sedov (en ruso: Григорий Семёнович Седов; (12 de enero de 1836, Moscú-15 de abril de 1884, Moscú) fue un pintor ruso; conocido principalmente por escenas históricas y murales religiosos.
Nació de una familia de comerciantes. Sus primeros estudios de arte fueron en la escuela de pintura, escultura y arquitectura de Moscú, seguida de la inscripción en la Academia Imperial de las artes en 1857. Mientras estaba allí, recibió varias medallas por su trabajo, incluyendo medallas de oro en 1864 y 1866, cuando también fue galardonado con el título de "artista", de primera clase, y dado un estipendio para estudiar en el extranjero durante seis años por su representación del Gran Ducado de Vladimir siendo convertido al cristianismo.
De 1867 a 1870, vivió en París, donde no sólo pintó aceites sino que también creó un mural de la Santísima Trinidad para la cúpula del altar en la nueva catedral de Alexander Nevsky. Durante ese tiempo, también se volvió ciego en un ojo. Combinado con su incapacidad para dominar el idioma francés, esto hizo que su vida allí fuera demasiado difícil.
En 1870, regresó a Rusia y pasó los últimos tres años de su período de estipendio trabajando en Moscú; sobre todo pintando para las iglesias. También fue nombrado "académico " por su interpretación de Iván el terrible con Malyuta Skuratov. En 1876, su pintura de Iván con Vasilisa Melentyeva le valió la aclamación de la crítica en una exposición de la Academia. Más tarde, pintó un "bautismo de Santa Olga" para la Catedral de Cristo Salvador. Sus problemas oculares le impedían trabajar durante largos periodos y su producción total es relativamente pequeña.)
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles but ending up costing over 4.6 million. The walls and ceilings inside the church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
The elegant carved iconostasis of the Savior on Blood is one of the main attractions of the cathedral. It is made of colored Italian marble by the masters of the Genovese firm "Novi" according to the sketches of the architect A. A. Parland. Stone-cutting works were made according to the models of the Russian modeler Stepanova in 1901-1907. The tones of marble are chosen remarkably: red-brown with multicolored veins from below, it gradually becomes lighter, smoothly turning into a gentle yellowish.
When you look at the iconostasis, it seems that wood carving is before you, so natural are the colors and so finely executed work, and the forms of the iconostasis with its thin columns and large kokoshniks are similar to the carved wooden altar barriers.
Due to the contrast of the warm "wood" marble with greenish facing of the walls, the iconostasis fits well with the colorful interior of the temple.
According to the sketches of VM Vasnetsov, two images of the central iconostasis were created: "Savior" ("Christ on the throne") and "Our Lady with the Child". Special spirituality and tenderness are characteristic of the figure of the Mother of God, in whose eyes mother's anxiety is read. The image of the Savior sitting on the throne is distinguished by its solemnity and monumentality. In the left hand of Christ is the Gospel, and the right one is frozen in a blessing gesture. Through the eyes directed at the viewer, we are given the inner concentration and tension of Christ.
In addition to these two images, the central iconostasis is decorated with smaller mosaic icons created by MV Nesterov's sketches, including "Trinity" and "Christ on the way to Emmaus" in kokoshniks, "Descent into Hell" and "Ascension" on the sides . A small image of "The Last Supper" in the center was created by the original artist N. P. Shakhovskiy. On the southern iconostasis there are images of the holy queen Alexandra and Nicholas the Wonderworker, on the north - of Saint Vladimir and Mary Magdalene.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles but ending up costing over 4.6 million. The walls and ceilings inside the church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Borís Mijáilovich Kustódiev (ruso, Борис Михайлович Кустодиев; 7 de marzo de 1878–28 de mayo de 1927) fue un pintor y escenógrafo ruso.
Borís Kustódiev nació en Astrakán en la familia de un profesor de filosofía, historia de la literatura, y lógica en el seminario teológico local. Entre 1893 y 1896, Borís estudió en el seminario teológico y recibió clases privadas de arte en Astrakán de Pável Vlásov, un alumno de Vasili Perov.3 Posteriormente, desde 1896 hasta 1903, acudió al taller de Iliá Repin en la Academia Imperial de las Artes en San Petersburgo, colaborando posteriormente con él como ayudante. Expuso por vez primera en 1896.
Realizó visitas a Francia y España gracias a una beca de la Academia Imperial en 1904; luego, en 1907, estuvo en Italia, y en 1909 visitó Austria y Alemania, y de nuevo Francia e Italia. En esta época pintó sobre todo retratos y trabajos de género.
En 1905, Kustódiev se dedicó por vez primera a la ilustración de libros, un género que cultivaría el resto de su vida. Ilustró muchas obras de la literatura clásica rusa. Debido a una enfermedad, tuvo que marchar a Suiza, donde pasó un año en tratamiento en una clínica privada. Quedó parapléjico en 1916, estando a partir de entonces confinado en su habitación.
El artista también estuvo interesado en diseño de escenarios. Primero empezó a trabajar en el teatro en 1911, cuando diseñó decorados para la obra de Aleksandr Ostrovski Un corazón ardiente. Fue tal su éxito que le llegaron nuevos encargos. En 1913, diseñó escenario y vestuario para La muerte de Pázujin en el Teatro del Arte de Moscú. Demostró su talento en otras obras de Ostrovski.
En 1923, Kustódiev se unió a la Asociación de Artistas de la Rusia Revolucionaria. Siguió pintando, haciendo grabados, ilustrando libros y diseñando para el teatro hasta su muerte el 28 de mayo de 1927, en Leningrado.
es.wikipedia.org/wiki/Borís_Kustódiev
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.[1] 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 Peasants Hunk of Bread and The Candle.[2]
n 1909, he was elected into Imperial Academy of Arts. He continued to work intensively, but a grave illness—tuberculosis of the spine—required urgent attention. On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic. He pined for his distant homeland, and Russian themes continued to provide the basic material for the works he painted during that year. In 1918, he painted The Merchant's Wife, which became the most famous of his paintings.
In 1916, he became paraplegic. "Now my whole world is my room", he wrote. His ability to remain joyful and lively despite his paralysis amazed others. His colourful paintings and joyful genre pieces do not reveal his physical suffering, and on the contrary give the impression of a carefree and cheerful life.
His Pancake Tuesday/Maslenitsa (1916) and Fontanka (1916) are all painted from his memories. He meticulously restores his own childhood in the busy city on the Volga banks.
In the first years after the Russian Revolution of 1917 the artist worked with great inspiration in various fields. Contemporary themes became the basis for his work, being embodied in drawings for calendars and book covers, and in illustrations and sketches of street decorations, as well as some portraits (Portrait of Countess Grabowska)
His covers for the journals The Red Cornfield and Red Panorama attracted attention because of their vividness and the sharpness of their subject matter. Kustodiev also worked in lithography, illustrating works by Nekrasov. His illustrations for Leskov's stories The Darner and Lady Macbeth of the Mtsensk District were landmarks in the history of Russian book designing, so well did they correspond to the literary images.
The artist was also interested in designing stage scenery. He first started work in the theatre in 1911, when he designed the sets for Alexander Ostrovsky's An Ardent Heart. Such was his success that further orders came pouring in. In 1913, he designed the sets and costumes for The Death of Pazukhin at the Moscow Art Theatre.
His talent in this sphere was especially apparent in his work for Ostrovsky's plays; It's a Family Affair, A Stroke of Luck, Wolves and Sheep, and The Storm. The milieu of Ostrovsky's plays—provincial life and the world of the merchant class—was close to Kustodiev's own genre paintings, and he worked easily and quickly on the stage sets.
In 1923, Kustodiev joined the Association of Artists of Revolutionary Russia. He continued to paint, make engravings, illustrate books, and design for the theater up until his death of tuberculosis on 28 May 1927, in Leningrad.
en.wikipedia.org/wiki/Boris_Kustodiev
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
The Church of the Resurrection, also known as the "Savior on Spilled Blood", was built in memory of Alexander II who was assassinated in 1881. The church stands in the very place where a bomb was thrown into his carriage by a young man who opposed the Tsar's reforms.
The Cathedral is decorated with Italian limestone and various semiprecious stones like jasper, mountain crystal, topaz, and others. On the outside, there are twenty granite plates which tell the most important events of Alexander II's reign.
The highlight of both the interior and exterior of the Cathedral are its mosaic collection based on the paintings of Vasnetsov, Nesterol, and Vrubel. With a total area of 23130 square feet, it is one of the largest mosaic collections in Europe.
Viktor Mikhaylovich Vasnetsov (Russian 1848-1926)
Reproduction, Talllinn, Estonia.
About the original:
295,3 x446 cm (9.6' x 14.6')
Oil on canvas
The State Tretyakov Gallery, Moscow, Russia
The original is in the Tretyakov Gallery in Moscow. It took the artist 20 years to complete.
This piece depicts the mythical Russian knights Dobrynya Nikitich, Ilya Muromets and Alyosha Popovich.
My thanks (again!) to Flickrite Manuel for having identified this piece. I don't know how he does it!
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A Bogatyr (Russian: богатырь) is a stock character in medieval East Slavic legends, akin to a Western European knight-errant.
Bogatyrs are mainly found in Rus' epic poems called Bylinas and came into existence during Vladimir the Great's reign as part of his elite warriors, akin to Knights of the Round Table except, King Arthur accompanied his men on most of their adventures unlike Prince Vladimir.
Bogatyrs are described as warriors of immense strength, courage and bravery, rarely using magic while fighting enemies in order to maintain the "loosely based on historical fact" aspect of Bylinas.
They are characterized as having resounding voices, with patriotic and religious pursuits, defending Rus' from foreign enemies (Turks at the time) and their religion. In modern Russian, the word is used to describe a courageous hero, an athlete or a physically strong person.
The word bogatyr is not, originally, a Russian word. There have been different theories about the origin of the word but researchers agree that bogatyr is not of Slavic origin.
Many researchers suspect the word bogatyr is derived from Mongolian word: baatar, bagadur, baghtur, bator, batyr, and batur, all meaning along the lines of hero, warrior, and brave. This reasoning originates from noted interactions between Mongols and Rus-Kievan people in the form war and battle, the chance of one influencing the other and vice versa being high.
The word bogatyr is used similarly in other modern languages such as Polish (bohater), Hungarian (bator) and Persian (bahadur) meaning hero, and/or athlete.
The first time bogatyr is used to denote "hero" and subsequently becoming synonymous with each other was recorded in Stanisław Sarnicki's book Descriptio veteris et novae Poloniae cum divisione ejusdem veteri et nova, (A description of the Old and the New Poland with the old, and a new division of the same,) printed in 1585 in Cracow (in the Aleksy Rodecki's printing house), in which he says, "Rossi… de heroibus suis, quos Bohatiros id est semideos vocant, aliis persuadere conantur."[4] ("Russians... try to convince others about their heroes whom they call Bogatirs, meaning demigods.")
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Viktor Mikhaylovich Vasnetsov (Russian: Ви́ктор Миха́йлович Васнецо́в) was a Russian artist who specialized in mythological and historical subjects. He is considered the co-founder of Russian folklorist and romantic nationalistic painting (see also neo-romanticism), and a key figure in the Russian revivalist movement.
Viktor Vasnetsov was born in the remote village of Lopyal in Vyatka Governorate in 1848, the second of the six children.
His father Mikhail Vasilievich Vasnetsov, known to be philosophically inclined, was a member of priesthood, and of scholarly dictation in the natural sciences and astronomy. His grandfather was an icon painter.
Two of Mikhail Vasnetsov's three sons, Viktor and Apollinary, became remarkable painters, the third one becoming a schoolteacher. It was in Lopyal that Viktor started to paint, mostly landscapes and scenes of village life. Recalling his childhood in a letter to Vladimir Stasov, Vasnetsov remarked that he "had lived with peasant children and liked them not as a narodnik but as a friend".
From the age of ten, Viktor studied in a seminary in Vyatka, each summer moving with his family to a rich merchant village of Ryabovo. During his seminary years, he worked for a local icon shopkeeper. He also helped an exiled Polish artist, Michał Elwiro Andriolli, to execute frescoes for Vyatka's Alexander Nevsky cathedral.
Having graduated from the seminary, Viktor decided to move to Saint Petersburg to study art. He auctioned his paintings of Woman Harvester and Milk-maid (both 1867) in order to raise money required for the trip to the Russian capital.
In August 1867 Viktor entered the Imperial Academy of Arts. Three years later, the Peredvizhniki movement of realist painters rebelled against the Academism.
Vasnetsov befriended their leader Ivan Kramskoi, referring to him as his teacher. He also became very close to his fellow student Ilya Yefimovich Repin.
It is ironic, but Viktor, whose name is associated with historical and mythological paintings, initially avoided these subjects at all costs. For his graphic composition of Christ and Pontius Pilate Before the People, the Academy awarded a small silver medal to him.
In the early 1870s he executed a lot of engravings depicting contemporary life. Two of them ("Provincial Bookseller" from 1870 and "A Boy with a Bottle of Vodka" from 1872) won him a bronze medal at the World Fair in London (1874).
At that period he also started producing genre paintings in oil. Such pieces as "Peasant Singers" (1873) and "Moving House" (1876) were warmly welcomed by democratic circles of Russian society.
In 1876 Repin invited Vasnetsov to join the Peredvizhniki colony in Paris. While living in France, Viktor studied classical and contemporary paintings, academist and Impressionist alike.
At that period, he painted "Acrobats" (1877), produced prints, and exhibited some of his works at the Salon. It was in Paris that he became fascinated with fairy-tale subjects, starting to work on "Ivan Tsarevich Riding a Grey Wolf" and "The Firebird." Vasnetsov was a model for Sadko in Repin's celebrated painting "Sadko in the Underwater Kingdom." In 1877 he returned to Moscow.
In the late 1870s Vasnetsov concentrated on illustrating Russian fairy tales and the epic narrative poem Bylinas, executing some of his best known pieces: "The Knight at the Crossroads" (1878), "Prince Igor's Battlefield" (1878), "Three princesses of the Underground Kingdom" (completed 1884 ), "The Flying Carpet"(1880), and "Alionushka" (1881).
These works were not appreciated at the time they appeared. Many radical critics dismissed them as undermining the realist principles of the Peredvizhniki. Even such prominent connoisseurs as Pavel Mikhailovich Tretyakov refused to buy them. The vogue for Vasnetsov's paintings would spread in the 1880s, when he turned to religious subjects and executed a series of icons for Abramtsevo estate of his patron Savva Mamontov.
In 1884-1889 Vasnetsov was commissioned to paint frescos in the St Vladimir's Cathedral of Kiev. This was a challenging work which ran contrary to both Russian and Western traditions of religious paintings. The influential art critic Vladimir Stasov labelled them a sacrilegious play with religious feelings of the Russian people. Another popular critic, Dmitry Filosofov, referred to these frescoes as "the first bridge over 200 years-old gulf separating different classes of Russian society".
While living in Kiev, Vasnetsov made friends with Mikhail Vrubel, who was also involved in the cathedral's decoration. While they worked together, Vasnetsov taught the younger artist a great deal. It was in Kiev that Vasnetsov finally finished "Ivan Tsarevich Riding a Grey Wolf" and started his most famous painting, the "Bogatyrs."
In 1885 the painter travelled to Italy. The same year he worked on stage designs and costumes for Nikolai Rimsky-Korsakov's opera "The Snow Maiden."
The following two decades were productive for Vasnetsov. He increasingly turned to other media during this period. In 1897 he collaborated with his brother Apollinary on the theatrical design of another Rimsky-Korsakov premiere, "Sadko."
At the turn of the century, Vasnetsov elaborated his hallmark "fairy-tale" style of Russian Revivalist architecture. His first acclaimed design was a church in Abramtsevo (1882), executed jointly with Vasily Polenov. In 1894, he designed his own mansion in Moscow. The Russian pavilion of the World Fair in Paris followed in 1898. Finally, in 1904, Vasnetsov designed the best known of his "fairy-tale" buildings — the façade of the Tretyakov Gallery.
Between 1906 and 1911, Vasnetsov worked on the design of the mosaics for Alexander Nevsky Cathedral, Warsaw; he was also involved in the design of Alexander Nevsky Cathedral, Moscow.
In 1912, he was given a noble title by Czar Nicholas II. In 1914, he designed a revenue stamp intended for voluntary collection for victims of World War I.
Even prior to the Russian Revolution, Vasnetsov became active as a regent of the Tretyakov Gallery. He allocated a significant portion of his income to the State Historical Museum, so that a large part of the museum's collection was acquired on Vasnetsov's money. After the October Revolution he advocated removing some of the religious paintings (notably those by Alexander Ivanov) from churches to the Tretyakov Gallery.
In 1915 Vasnetsov participated in the designing of a military uniform for the Victory parade of Russian army in Berlin and Constantinopole. Vasnetsov is credited with the creation of the budenovka (initially named bogatyrka), a military hat reproducing the style of ancient Rus' cone-shaped helmets.
He died in Moscow in 1926.
Biserica Rusă, Biserica studenţilor, Bucuresti
St. Nicholas Russian Church [finished in 1909], Bucharest, Romania
Architect: V. A. Prevbrajenski
Murals: Viktor Vasnetsov
en.wikipedia.org/wiki/Bucharest_Russian_Church
www.monumenteromania.ro/index.php/monumente/detalii/en/Ru...
This marvellous 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 Saviour 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.
The church was closed for services in the 1930s, when the Bolsheviks went on an offensive against religion and destroyed churches all over the country. It remained closed and under restoration for over 30 years and was finally re-opened in 1997 in all its dazzling former glory.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Borís Mijáilovich Kustódiev (ruso, Борис Михайлович Кустодиев; 7 de marzo de 1878–28 de mayo de 1927) fue un pintor y escenógrafo ruso.
Borís Kustódiev nació en Astrakán en la familia de un profesor de filosofía, historia de la literatura, y lógica en el seminario teológico local. Entre 1893 y 1896, Borís estudió en el seminario teológico y recibió clases privadas de arte en Astrakán de Pável Vlásov, un alumno de Vasili Perov.3 Posteriormente, desde 1896 hasta 1903, acudió al taller de Iliá Repin en la Academia Imperial de las Artes en San Petersburgo, colaborando posteriormente con él como ayudante. Expuso por vez primera en 1896.
Realizó visitas a Francia y España gracias a una beca de la Academia Imperial en 1904; luego, en 1907, estuvo en Italia, y en 1909 visitó Austria y Alemania, y de nuevo Francia e Italia. En esta época pintó sobre todo retratos y trabajos de género.
En 1905, Kustódiev se dedicó por vez primera a la ilustración de libros, un género que cultivaría el resto de su vida. Ilustró muchas obras de la literatura clásica rusa. Debido a una enfermedad, tuvo que marchar a Suiza, donde pasó un año en tratamiento en una clínica privada. Quedó parapléjico en 1916, estando a partir de entonces confinado en su habitación.
El artista también estuvo interesado en diseño de escenarios. Primero empezó a trabajar en el teatro en 1911, cuando diseñó decorados para la obra de Aleksandr Ostrovski Un corazón ardiente. Fue tal su éxito que le llegaron nuevos encargos. En 1913, diseñó escenario y vestuario para La muerte de Pázujin en el Teatro del Arte de Moscú. Demostró su talento en otras obras de Ostrovski.
En 1923, Kustódiev se unió a la Asociación de Artistas de la Rusia Revolucionaria. Siguió pintando, haciendo grabados, ilustrando libros y diseñando para el teatro hasta su muerte el 28 de mayo de 1927, en Leningrado.
es.wikipedia.org/wiki/Borís_Kustódiev
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.[1] 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 Peasants Hunk of Bread and The Candle.[2]
n 1909, he was elected into Imperial Academy of Arts. He continued to work intensively, but a grave illness—tuberculosis of the spine—required urgent attention. On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic. He pined for his distant homeland, and Russian themes continued to provide the basic material for the works he painted during that year. In 1918, he painted The Merchant's Wife, which became the most famous of his paintings.
In 1916, he became paraplegic. "Now my whole world is my room", he wrote. His ability to remain joyful and lively despite his paralysis amazed others. His colourful paintings and joyful genre pieces do not reveal his physical suffering, and on the contrary give the impression of a carefree and cheerful life.
His Pancake Tuesday/Maslenitsa (1916) and Fontanka (1916) are all painted from his memories. He meticulously restores his own childhood in the busy city on the Volga banks.
In the first years after the Russian Revolution of 1917 the artist worked with great inspiration in various fields. Contemporary themes became the basis for his work, being embodied in drawings for calendars and book covers, and in illustrations and sketches of street decorations, as well as some portraits (Portrait of Countess Grabowska)
His covers for the journals The Red Cornfield and Red Panorama attracted attention because of their vividness and the sharpness of their subject matter. Kustodiev also worked in lithography, illustrating works by Nekrasov. His illustrations for Leskov's stories The Darner and Lady Macbeth of the Mtsensk District were landmarks in the history of Russian book designing, so well did they correspond to the literary images.
The artist was also interested in designing stage scenery. He first started work in the theatre in 1911, when he designed the sets for Alexander Ostrovsky's An Ardent Heart. Such was his success that further orders came pouring in. In 1913, he designed the sets and costumes for The Death of Pazukhin at the Moscow Art Theatre.
His talent in this sphere was especially apparent in his work for Ostrovsky's plays; It's a Family Affair, A Stroke of Luck, Wolves and Sheep, and The Storm. The milieu of Ostrovsky's plays—provincial life and the world of the merchant class—was close to Kustodiev's own genre paintings, and he worked easily and quickly on the stage sets.
In 1923, Kustodiev joined the Association of Artists of Revolutionary Russia. He continued to paint, make engravings, illustrate books, and design for the theater up until his death of tuberculosis on 28 May 1927, in Leningrad.
en.wikipedia.org/wiki/Boris_Kustodiev
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
The State Historical Museum (Russian: Государственный исторический музей, Gosudarstvenny istoricheskiy muzyey) 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 total number of objects in the museum's collection comes to millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow baroque style. Several rooms in that building housed royal collections of antiquities. Other rooms were occupied by the Moscow University, founded by Mikhail Lomonosov in 1755.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over the construction of the museum building. After a prolonged competition the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
The present structure was built based on Sherwood's 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.[2] 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.[3] 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.
Notable items include a longboat excavated from the banks of the Volga River, gold artifacts of the Scythians, birch-bark scrolls of Novgorod, manuscripts going back to the sixth century, Russian folk ceramics, and wooden objects. The library boasts the manuscripts of the Chludov Psalter (860s), Svyatoslav's Miscellanies (1073), Mstislav Gospel (1117), Yuriev Gospel (1119), and Halych Gospel (1144). The museum's coin collection alone includes 1.7 million coins, making it the largest in Russia. In 1996, the number of all articles in the museum's collection achieved 4,373,757.
A branch of the museum is housed in the Romanov Chambers Zaryadye and Saint Basil's Cathedral. In 1934 The Museum of Women's Emancipation at the Novodevichy Convent became part of the State Historical Museum. Some of the churches and other monastic buildings are still affiliated with the State Historical Museum.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
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The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles but ending up costing over 4.6 million. The walls and ceilings inside the church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
en.wikipedia.org/wiki/Church_of_the_Savior_on_Blood
Saint Petersburg (Russian: Санкт-Петербу́рг, tr. Sankt-Peterburg,) is Russia's second-largest city after Moscow, with 5 million inhabitants in 2012, part of the Saint Petersburg agglomeration with a population of 6.2 million (2015). An important Russian port on the Baltic Sea, it has a status of a federal subject (a federal city).
Situated on the Neva River, at the head of the Gulf of Finland on the Baltic Sea, it was founded by Tsar Peter the Great on 27 May [O.S. 16 May] 1703. During the periods 1713–1728 and 1732–1918, Saint Petersburg was the capital of Imperial Russia. In 1918, the central government bodies moved to Moscow, which is about 625 km (388 miles) to the south-east.
Saint Petersburg is often considered Russia's cultural capital. The Historic Centre of Saint Petersburg and Related Groups of Monuments constitute a UNESCO World Heritage Site. Saint Petersburg is home to the Hermitage, one of the largest art museums in the world. Many foreign consulates, international corporations, banks and businesses have offices in Saint Petersburg.
A proponent of westernising Russia, Peter the Great, who established the city, originally named it, Sankt-Peterburg (Russian: Санкт-Петербург; note that the Russian name lacks the letter s between Peter and burg). On 1 September 1914, after the outbreak of World War I, the Imperial government renamed the city Petrograd (Russian: Петрогра́д, meaning "Peter's city", in order to expunge the German name Sankt and Burg. On 26 January 1924, shortly after the death of Vladimir Lenin, it was renamed to Leningrad (Russian: Ленингра́д), meaning "Lenin's City". On 6 September 1991, the original name, Sankt-Peterburg, was returned. Today, in English the city is known as "Saint Petersburg". Local residents often refer to the city by its shortened nickname, Piter (Russian: Пи́тер,).
The city's traditional nicknames among Russians are the Window to the West and the Window to Europe. The northernmost metropolis in the world St. Petersburg is often called the Venice of the North or Russian Venice because of its structure which is built on water and its strongly European-inspired architecture, which is combined with the Russian heritage too. Furthermore, St. Petersburg is called Venice of the North because of an annual natural phenomenon called White Nights which arise due to the closeness to the polar region. Just as Venice is associated with romance, in St. Petersburg the White Nights have a high value for love couples.
en.wikipedia.org/wiki/Saint_Petersburg
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San Petersburgo (en ruso, Санкт-Петербург /sankt pʲɪtʲɪrˈburk/ Sankt-Peterburg) es la segunda ciudad más poblada de Rusia después de la capital nacional Moscú, con 5 351 935 habitantes (2018) y un área metropolitana de 5,85 millones. Está situada en la Región de Leningrado, nombre que compartía con la ciudad durante la época soviética (1924-1991). Los otros nombres de la ciudad fueron Petrogrado (en ruso, Петроград, Petrograd; del 31 de agosto de 1914 hasta el 24 de enero de 1924) y Leningrado (en ruso, Ленинград, Leningrad; después de la muerte de Lenin, el 24 de enero de 1924 hasta el 6 de septiembre de 1991). Conocida también como la “Venecia del Norte”, debido a sus más de 400 puentes que atraviesan a los numerosos canales que por ella pasan.
Fue fundada por el zar Pedro el Grande el 27 de mayo de 1703 con la intención de convertirla en la "ventana de Rusia hacia el mundo occidental". A partir de entonces se convirtió en capital del Imperio ruso durante más de doscientos años. Cuando estalló la Revolución rusa, la ciudad fue el centro de la rebelión. En marzo de 1918 la capital fue trasladada a Moscú. En enero de 1924, tras la victoria bolchevique, la creación de la Unión Soviética (1922) y el fallecimiento de Lenin (1924), San Petersburgo (en ese entonces llamado Petrogrado) cambió su nombre a Leningrado, en honor al dirigente comunista Lenin. Durante la Segunda Guerra Mundial, tuvo lugar el sitio de Leningrado, que duró 29 meses, en los cuales los alemanes bombardearon constantemente la ciudad y la bloquearon para que no pudiera abastecerse. Tras la derrota de Alemania en 1945, la ciudad fue nombrada Ciudad heroica por las autoridades soviéticas. Al desaparecer la URSS con el consiguiente colapso del comunismo, la ciudad fue renombrada San Petersburgo y se ha convertido en un importante centro económico y político de la actual Rusia.
San Petersburgo es hoy en día la segunda ciudad más grande de la Federación Rusa y una de las más grandes de Europa. El centro de la ciudad y otros monumentos de sus alrededores son considerados Patrimonio de la Humanidad por la UNESCO desde 1990. San Petersburgo es, además, sede de la Corte Constitucional de Rusia.
El nombre de San Petersburgo es de origen alemán y significa "ciudad de San Pedro". Pedro el Grande la nombró así en honor a su santo patrono, rechazando el de Petrograd, que quisieron darle, en su honor, sus súbditos alemanes que había contratado para construir y trabajar en los astilleros y la ciudad.
La ciudad cambió de nombre varias veces: Se llamó Petrogrado (Петроград Petrograd, que significa ciudad de Pedro, adaptación al ruso del alemán Petersburg) entre 1914 y 1924, a raíz del conflicto con Alemania durante la Primera Guerra Mundial, y Leningrado (Ленинград Leningrad tras la muerte de Lenin) entre 1924 y 1991; y nuevamente San Petersburgo después de un plebiscito. Coloquialmente los peterburgueses y rusos en general llaman a esta metrópolis Peterburg o de manera aún más familiar Piter (en ruso Питер).
Fue fundada por el zar Pedro el Grande el 16 (27) de mayo de 1703 con el propósito de deslocalizar la capital ubicada en Moscú, y de hecho fue capital de Rusia de 1712 a 1918. Por ello y por su ubicación geográfica le dio el sobrenombre de "La ventana a Europa". Pedro había vivido y estudiado en los Países Bajos por algún tiempo, por eso decidió bautizar su nueva ciudad con un nombre derivado del holandés Sint Pietersburg: Sankt Piterburj; pero pronto se germanizó a Sankt Petersburg.
En la misma desembocadura del río Nevá los suecos tenían anteriormente una fortaleza llamada Nyenschantz (Nevanlinna en finés) y un arrabal llamado Nyen. Todo el entorno geográfico de la desembocadura del Nevá estaba ocupado por marismas antes de que se construyese la ciudad.
A fines del siglo XVII, Rusia veía estancado su crecimiento económico por no tener salida al mar. El sueño del joven zar, Pedro el Grande, era corregir la situación abriendo una “ventana a Europa”. Dado que no podía hacerlo por el sur, pues el Imperio otomano impedía el acceso al mar Negro, apuntó en dirección contraria, a un territorio de Suecia cercano al Báltico. A fin de materializar sus aspiraciones, en agosto de 1700 declaró la guerra a los suecos, Guerra del Norte, quienes al principio lograron repeler sus ataques. Pero él no se dio por vencido, y en octubre de 1702 los hizo retirarse del Ládoga, el mayor lago de Europa, que está unido por el Nevá al Báltico, del cual dista unos 60 kilómetros. Aunque los suecos se atrincheraron en la fortaleza insular de Nóteburg, cerca del punto donde el río sale del lago, Pedro logró tomar aquella plaza militar y le cambió el nombre a Shlissel’burg (ciudad clave).
Posteriormente, una guarnición sueca defendió el fortín de Nienshants, cerca de la desembocadura del Nevá. Rusia la derrotó el 26 de abril de 1703 y asumió el dominio de todo el delta. Sin demora, Pedro comenzó a construir una ciudadela en la cercana isla Záyachi (de las liebres) para controlar la boca del río. Así, el 16 de mayo de 1703, hace poco más de tres siglos, puso la primera piedra de lo que hoy se conoce como la Fortaleza de San Pedro y San Pablo. Esta es la fecha aceptada de la fundación de San Petersburgo, llamada así en honor del apóstol Pedro, santo patrón del zar.
La construcción de la ciudad bajo condiciones climáticas adversas produjo una intensa mortalidad entre los trabajadores y requirió un continuo aporte de nuevos obreros. Dado que aquella zona estaba muy poco poblada, Pedro el Grande utilizó su prerrogativa de zar para atraer forzosamente a siervos trabajadores de todas las partes del país. Una cuota anual de 40.000 siervos llegaba a la ciudad equipados con sus herramientas y sus propios suministros de comida. Habitualmente recorrían cientos de kilómetros a pie en filas, escoltados por guardas que, para evitar las deserciones, no dudaban en usar la violencia física. Como consecuencia de su exposición al clima, las deficientes condiciones higiénicas y las enfermedades, la mortalidad durante estos primeros años fue muy elevada, llegando a perecer año tras año hasta el 50% de los trabajadores que llegaban.
Dado que la construcción de la ciudad se inició en tiempos de guerra, el primer edificio nuevo de la ciudad fue un fuerte militar que se llamaría fortaleza de San Pedro y San Pablo y que se levanta aún sobre la isla Záyachi en la ribera derecha del río Nevá. Los diseñadores de la nueva fortaleza eran ingenieros alemanes invitados por el propio Zar, pero la mayor parte de la mano de obra la pusieron los siervos rusos también para las labores de drenaje de los alrededores del río y los palacios y otros edificios de piedra de las afueras. Era la ciudad más artificial del mundo, diseñada para convertirse en la capital de Rusia. Una ciudad con relativo paralelismo es Venecia, en la cual se inspiró asimismo el zar Pedro, que prohibió los puentes permanentes sobre el Nevá para que se asemejase al Gran Canal y fomentó la construcción de canales en las calles siguiendo el patrón de Ámsterdam.
Pese a los inconvenientes de su ubicación en el lejano norte, el zar siguió adelante con su empresa. Trajo la madera de la región del Ládoga y de Nóvgorod. Las piedras para las edificaciones las obtuvo de diversos modos. Uno de ellos fue estipular que todo ruso que introdujera productos comerciales en la localidad aportara unas cuantas a modo de cuota. Además, prohibió hacer viviendas de este material, primero en Moscú y luego en el resto de su imperio, lo que indujo a los albañiles desempleados a mudarse a la nueva población.
Según la Bol’shaya Sovyetskaya Entsiklopedia (la gran enciclopedia soviética), los trabajos marcharon “a un ritmo vertiginoso para la época”. No tardaron en aparecer canales de drenaje, pilotes, calles, casas, iglesias, hospitales y oficinas del gobierno. El mismo año de la fundación se iniciaron las obras de un astillero, conocido como el Almirantazgo, que llegaría a ser el cuartel general de la armada rusa.
En 1710 se comenzó el Palacio de verano, residencia estival de los zares. En 1712, la capitalidad pasó de Moscú a San Petersburgo, y con ella muchas dependencias oficiales. Como fue el caso del traslado de la Casa de la Moneda de Moscú a San Petersburgo en 1724. El primer palacio de piedra, construido en 1714 y aún en pie, tenía por ocupante a Aleksandr Ménshikov, primer gobernador de la zona. Aquel mismo año se colocaron en la Fortaleza de Pedro y Pablo los cimientos de la catedral de igual nombre, cuya imponente aguja dorada se distingue en la silueta urbana. También se erigió a orillas del Nevá el Palacio de Invierno, que fue reedificado en diversas ocasiones. Más tarde se levantó en su lugar el actual, que cuenta con unas mil cien habitaciones y que hoy forma parte de un céntrico museo estatal, el famosísimo Ermitage.
En su primer decenio de existencia, San Petersburgo registró un asombroso crecimiento, hasta el punto de estimarse en 34.500 el número de edificios existentes en 1714. Siguieron añadiéndose palacios e inmensas construcciones, muchas de las cuales demuestran el gran influjo de la religión en la historia de Rusia.
Entre ellas figura la catedral de Kazán, con su columnata frontal en semicírculo. Su imponente presencia contribuye a que la arteria más famosa de la ciudad, la avenida Nevski, sea considerada una de las más grandiosas avenidas del mundo. De fecha posterior es la catedral de San Isaac, edificada sobre 24.000 pilotes hundidos en suelo pantanoso y que ostenta una enorme cúpula revestida de 100 kilos de oro puro.
La arquitectura avanzó igualmente a pasos agigantados en el extrarradio. Así, en 1714 se empezó a edificar una residencia para el zar, el palacio Peterhof, en Peterhof (hoy Petrodvoréts). Al mismo tiempo, en la cercana localidad de Tsárskoye Seló (hoy Pushkin) se construía el suntuoso palacio de Catalina, la esposa de Pedro el Grande. En la segunda mitad del siglo XVIII se concluyeron otras dos lujosas mansiones en las afueras: Pávlovsk y Gátchina.
Realzaban la belleza de la nueva capital los centenares de puentes que cruzaban los brazos fluviales y los múltiples canales, por los que se ha ganado el apelativo de “Venecia del norte”. Arquitectos franceses, alemanes e italianos colaboraron con colegas rusos de gran talento para producir “uno de los núcleos urbanos más espléndidos y armoniosos de Europa”
La abolición de la servidumbre en 1861 por el zar Alejandro II de Rusia provocó una fuerte corriente de inmigrantes pobres provenientes de todas las regiones del país. La mano de obra barata permitió un intenso incremento de la industria en la segunda mitad del siglo XIX y San Petersburgo llegó a ser uno de los ejes industriales más grandes de Europa. En consecuencia, surgieron a su vez los movimientos obreros radicales.
La revolución de 1905 tras la derrota en la guerra ruso-japonesa comenzó en San Petersburgo y se extendió rápidamente por otras provincias. Como consecuencia el zar Nicolás II autorizó la creación del primer parlamento ruso o Duma.
Durante la Primera Guerra Mundial, se decidió que San Petersburgo era un nombre demasiado germánico para la ciudad y se le cambió por el de Petrogrado el 31 de agosto de 1914.
En 1917 San Petersburgo vio los primeros movimientos de la Revolución rusa. En primer lugar se destituyó al zar Nicolás II de su trono y se instaló en la ciudad el Gobierno provisional. En octubre una segunda fase de la revolución hizo que el poder pasase a los Sóviets y se formó el primer gobierno soviético de bolcheviques y socialistas revolucionarios (SR) de izquierda, el Sovnarkom. El líder bolchevique Lenin decidió trasladar la sede del gobierno de San Petersburgo a Moscú, por estar más alejada de los frentes de la Guerra Mundial y de los núcleos antirrevolucionarios. Moscú se convirtió en capital desde entonces hasta el día de hoy. Al morir Lenin en 1924, San Petersburgo tomó el nombre de Leningrado en su honor.
La pérdida de la capitalidad trajo un descenso poblacional a la ciudad, que se redujo a un tercio de lo que era en 1915.
Durante la Segunda Guerra Mundial, Leningrado fue sitiada por las fuerzas armadas de la Alemania nazi (Wehrmacht) desde el 8 de septiembre de 1941 hasta el 27 de enero de 1944, un total de 29 meses. Por orden de Adolf Hitler, la ciudad era constantemente bombardeada y sistemáticamente privada de sus suministros. Se calcula que este asedio produjo la muerte de más de 1.500.000 personas, de las cuales cerca de 1.000.000 eran civiles. El 1 de mayo de 1945 (oficialmente el 8 de mayo de 1965) le fue otorgado a la ciudad el título de Ciudad Heroica.
Antes de la disolución de la Unión Soviética el 12 de junio de 1991, el 54 % de la población decidió restaurar el antiguo nombre de la ciudad, los de 39 calles emblemáticas y los de seis puentes. Tres meses después también se recuperó el escudo concedido a la ciudad por la emperatriz Catalina la Grande en 1780.
es.wikipedia.org/wiki/San_Petersburgo
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Konstantín Alekséyevich Korovin (En ruso: Константин Алексеевич Коровин, a veces escrito el nombre como Constantin) (Moscú, 23 de noviembre de 1861 (fechas antiguas, en el calendario juliano, 5 de diciembre) - París, 11 de septiembre de 1939, París) fue un destacado pintor impresionista ruso.
Konstantín nació en Moscú en una familia de comerciantes oficialmente registrados como campesinos de la gubernia de Vladímir. Su padre, Alekséi Mijaílovich Korovin, consiguió un título universitario y estaba más interesado en las artes y en la música que en el negocio familiar establecido por el abuelo de Konstantín. El hermano mayor de Konstantín, Serguéi Korovin fue un destacado pintor realista. Ilarión Pryánishnikov, pariente de Konstantín, fue también un destacado pintor de la época y un maestro en la Escuela de Moscú de Pintura, Escultura y Arquitectura.
En 1875 Konstantín entró en la Escuela de Moscú, donde aprendió con Vasili Perov y Alekséi Savrásov. Su hermano Serguei ya era estudiante de la Escuela. Durante sus años académicos los Korovin se hicieron amigos de sus compañeros estudiantes Valentín Serov e Isaak Levitán, Kontantín mantuvo esta amistad durante el resto de su vida.
En 1881-1882, Korovin pasó un año en la Academia Imperial de las Artes en San Petersburgo, pero regresó disgustado a la Escuela de Moscú. Estudió en la escuela con el nuevo maestro Vasili Polénov hasta 1886.
En 1885, Korovin viajó a París y a España. París fue una sorpresa para mí… Los impresionistas… en ellos encontré todo por lo que a mi me regañaban en casa, en Moscú, escribió más tarde.
Polenov presentó a Korovin al círculo de Abrámtsevo de Savva Mámontov: Víktor Vasnetsov, Apollinari Vasnetsov, Iliá Repin, Mark Antokolski y otros. El amor del círculo de Abrámtsevo por los temas rusos estilizados se reflejan en la obra de Korovin Un idilio nórdico. En 1885 Korovin trabajó para la ópera de Mámontov. Diseñó los decorados de Aida, de Verdi, Lakmé de Delibes y Carmen de Bizet.
En 1888, Korovin viajó con Mámontov a Italia y España, iniciando en Valencia la pintura de En el balcón, mujeres españolas Leonor y Amparo. El cuadro obtuvo la medalla de oro en la Exposición Universal de París de 1900. Konstantín viajó por Rusia, el Cáucaso y Asia Central, expuso con los Peredvízhniki. En la exposición de los Peredvizhniki, debutó en 1889 precisamente con el cuadro En el balcón. Pintó primero con estilo impresionista, y después, art nouveau.
En la década de los noventa, Korovin se convirtió en miembro del grupo artístico Mir iskusstva (Mundo del Arte).
Las obras posteriores de Korovin estuvieron muy influidas por su viaje al Norte. En 1888 quedó cautivado por los severos paisajes nórdicos, como puede verse en La costa de Noruega y el mar del Norte.
Su segundo viaje al Norte, con Valentín Serov en 1894, coincidió con la construcción del Ferrocarril del Norte. Korovin pintó un gran número de paisajes: Puerto noruego, Arroyo de San Trifón en Pechenega, Hammerfest: Aurora Borealis, La costa de Múrmansk y otros. Los cuadros están construidos por una delicada red de tonos grisáceos. El estilo de estudio de estas obras era típico del arte de Korovin de los noventa.
Usando materiales de este viaje al Norte, Korovin diseñó el pabellón del Ferrocarril del Norte en la Exposición Panrusa de 1896 en Nizhni Nóvgorod.
En 1900, Korovin diseñó la sección de Asia Central del pabellón del Imperio Ruso en la Exposición Universal de París (1900); fue premiado con la Legión de Honor por el gobierno francés.
A comienzos del siglo XX, siguiendo una fuerte atracción por el teatro que había comenzado con Savva Mámontov, Korovin se trasladó al Teatro Mariinski en San Petersburgo. Apartándose de la tradición del decorado escénico, que sólo indicaba el lugar de la acción, Korovin produjo un decorado anímico, que transmitía las emociones generales de la representación. Korovin diseñó ambientaciones para las producciones dramáticas de Konstantín Stanislavski, así como óperas y ballets del Mariinsky. Hizo el diseño escénico para producciones del Mariinski como Faust (1899), El caballito jorobado (1901) y Sadkó (1906) que se hicieron famosos por su expresividad.
Uno de los temas favoritos del artista fue París. Pintó Un café de París (años noventa), Cafe de la Paix (1905), La Plaza de la Bastilla (1906), París de noche; Le Boulevard Italien (1908), Carnaval nocturno (1901), París por la tarde (1907) y otros.
Durante la Primera Guerra Mundial Korovin trabajó como asesor de camuflaje en los cuarteles de uno de los ejércitos rusos y a menudo se le vio en la línea del frente. Después de la Revolución de octubre Korovin siguió trabajando en el teatro, diseñando el escenario de óperas de Richard Wagner como La valquiria y Sigfrido así como el Cascanueces de Chaikovski (1918-1920).
En 1923 Korovin se trasladó a París por consejo del Comisario del Pueblo de Instrucción pública, Lunacharski, para curar su condición cardíac. Se suponía que iba a celebrarse una gran exposición de obras de Korovin, pero las obras fueron robadas y Korovin quedó arruinado. Durante años produjo numerosos Inviernos rusos y Bulevares de París para sobrevivir.
En los últimos años de vida, produjo decorados para los principales teatros de Europa, Estados Unidos, Asia y Australia, siendo el más famoso de ellos el que diseñó para una producción de la Ópera de Turín de El gallo de oro, obra de Rimski-Kórsakov. Korovin murió en París el 11 de septiembre de 1939.
es.wikipedia.org/wiki/Konstantín_Korovin
Konstantin Alekseyevich Korovin (Russian: Константи́н Алексе́евич Коро́вин, first name often spelled Constantin; 5 December [O.S. 23 November] 1861 – 11 September 1939) was a leading Russian Impressionist painter.
Konstantin was born in Moscow to a merchant family officially registered as "peasants of Vladimir Gubernia". His father, Aleksey Mikhailovich Korovin, earned a university degree and was more interested in arts and music than in the family business established by Konstantin's grandfather. Konstantin's older brother Sergei Korovin was a notable realist painter. Konstantin's relative Illarion Pryanishnikov was also a prominent painter of the time and a teacher at the Moscow School of Painting, Sculpture and Architecture.
In 1875 Korovin entered the Moscow School of Painting, Sculpture and Architecture, where he studied with Vasily Perov and Alexei Savrasov. His brother Sergei was already a student at the school. During their student years, the Korovins became friends with fellow students Valentin Serov and Isaac Levitan; Konstantin maintained these friendships throughout his life.
In 1881–1882, Korovin spent a year at the Imperial Academy of Arts in St. Petersburg, but returned disappointed to the Moscow School of Painting, Sculpture and Architecture. He studied at the school under his new teacher Vasily Polenov until 1886.
In 1885 Korovin traveled to Paris and Spain. "Paris was a shock for me … Impressionists… in them I found everything I was scolded for back home in Moscow", he later wrote.
Polenov introduced Korovin to Savva Mamontov's Abramtsevo Circle: Viktor Vasnetsov, Apollinary Vasnetsov, Ilya Repin, Mark Antokolsky and others. The group's love for stylized Russian themes is reflected in Korovin's picture A Northern Idyll. In 1885 Korovin worked for Mamontov's opera house, designing the stage decor for Giuseppe Verdi's Aida, Léo Delibes' Lakmé and Georges Bizet's Carmen.
In 1888 Korovin traveled with Mamontov to Italy and Spain, where he produced the painting On the Balcony, Spanish Women Leonora and Ampara. Konstantin traveled within Russia, the Caucasus and Central Asia and exhibited with the Peredvizhniki. He painted in the Impressionist, and later in the Art Nouveau, styles.
In the 1890s Korovin became a member of the Mir iskusstva art group.
Korovin's subsequent works were strongly influenced by his travels to the north. In 1888 he was captivated by the stern northern landscapes seen in The Coast of Norway and the Northern Sea.
His second trip to the north, with Valentin Serov in 1894, coincided with the construction of the Northern Railway. Korovin painted a large number of landscapes: Norwegian Port, St. Triphon's Brook in Pechenga, Hammerfest: Aurora Borealis, The Coast at Murmansk and others. The paintings are built on a delicate web of shades of grey. The etude style of these works was typical for Korovin's art of the 1890s.
Using material from his trip, Korovin designed the Far North pavilion at the 1896 All Russia Exhibition in Nizhny Novgorod. He painted ten big canvasses for the pavilion as well, depicting various aspects of life in the northern and Arctic regions. After the closure of the Exhibition, the canvasses were eventually placed in the Yaroslavsky Rail Terminal in Moscow. In the 1960s, they were restored and transferred to the Tretyakov Gallery.[1]
In 1900 Korovin designed the Central Asia section of the Russian Empire pavilion at the Paris World Fair and was awarded the Legion of Honour by the French government.
In the beginning of the 20th century, Korovin focused his attention on the theater. He moved from Mamontov's opera to the Mariinsky Theatre in St. Petersburg. Departing from traditional stage decor, which only indicated the place of action, Korovin produced a mood decor conveying the general emotions of the performance. Korovin designed sets for Konstantin Stanislavsky's dramatic productions, as well as Mariinsky's operas and ballets. He did the stage design for such Mariinsky productions as Faust (1899), The Little Humpbacked Horse (1901), and Sadko (1906) that became famous for their expressiveness.
One of the artist's favourite themes was Paris. He painted A Paris Cafe (1890s), Cafe de la Paix (1905), La Place de la Bastille (1906), Paris at Night, Le Boulevard Italien (1908), Night Carnival (1901), Paris in the Evening (1907), and others.
During World War I Korovin worked as a camouflage consultant at the headquarters of one of the Russian armies and was often seen on the front lines. After the October Revolution Korovin continued to work in the theater, designing stages for Richard Wagner's Die Walküre and Siegfried, as well as Pyotr Ilyich Tchaikovsky's The Nutcracker (1918–1920).
In 1923 Korovin moved to Paris on the advice of Commissar of Education Anatoly Lunacharsky to cure his heart condition. There was supposed to be a large exhibition of Korovin's works, but the works were stolen and Korovin was left penniless. For years, he produced the numerous Russian Winters and Paris Boulevards just to make ends meet.
In the last years of his life he produced stage designs for many of the major theatres of Europe, America, Asia and Australia, the most famous of which is his scenery for the Turin Opera House's production of Nikolai Rimsky-Korsakov's The Golden Cockerel. Korovin died in Paris on 11 September 1939.
en.wikipedia.org/wiki/Konstantin_Korovin
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
Inside 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.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles but ending up costing over 4.6 million. The walls and ceilings inside the church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
The State Historical Museum (Russian: Государственный исторический музей, ГИМ, romanized: Gosudarstvennyy istoricheskiy muzey, GIM) of Russia is a museum of Russian history located between Red Square and Manege Square in Moscow. The museum's exhibitions range from relics of prehistoric tribes that lived in the territory of present-day Russia, to priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection numbers in the millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow Baroque style.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov, and other leading historians, presided over the construction of the museum building. After a prolonged competition, the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
The present structure was built based on Sherwood's 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, Henryk Siemiradzki, and Ivan Aivazovsky. During the Soviet period, the murals were proclaimed gaudy and were plastered over.
The State Historical Museum (Russian: Государственный исторический музей, Gosudarstvenny istoricheskiy muzyey) 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 total number of objects in the museum's collection comes to millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow baroque style. Several rooms in that building housed royal collections of antiquities. Other rooms were occupied by the Moscow University, founded by Mikhail Lomonosov in 1755.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over the construction of the museum building. After a prolonged competition the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
The present structure was built based on Sherwood's 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.[2] 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.[3] 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.
Notable items include a longboat excavated from the banks of the Volga River, gold artifacts of the Scythians, birch-bark scrolls of Novgorod, manuscripts going back to the sixth century, Russian folk ceramics, and wooden objects. The library boasts the manuscripts of the Chludov Psalter (860s), Svyatoslav's Miscellanies (1073), Mstislav Gospel (1117), Yuriev Gospel (1119), and Halych Gospel (1144). The museum's coin collection alone includes 1.7 million coins, making it the largest in Russia. In 1996, the number of all articles in the museum's collection achieved 4,373,757.
A branch of the museum is housed in the Romanov Chambers Zaryadye and Saint Basil's Cathedral. In 1934 The Museum of Women's Emancipation at the Novodevichy Convent became part of the State Historical Museum. Some of the churches and other monastic buildings are still affiliated with the State Historical Museum.
АЛЕКСАНДР БЕНУА - Каштаны
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Location: The Vasnetsov Brothers Vyatka Art Museum, Kirov, Russia.
Source: goskatalog.ru/portal/#/collections?id=580400
For the first time Alexander Benois saw Versailles in the form of a theatrical scenery in 1890 in Saint Petersburg, at the Mariinsky Theater at the ballet The Sleeping Beauty. Benois recalled that he was shocked by the extraordinary scenery that reproduced Versailles. The artist’s direct acquaintance with the park and palace took place in 1896. He later returned to France and lived here in 1905-1907, admiring Versailles every day. The Versailles Series by Alexandre Benois is an opportunity to remind you of how many generations have seen the Versailles Park in their lifetime, and thus to speak of the immortality of art and the transience of human life.
In the works of the Versailles series, nature and history appear in an inseparable unity. The architectural structures, sculptures and alleys of the famous residence of the French kings are like silent witnesses of an irrevocably gone great era, keeping the memory of the creators and owners of the Versailles ensemble. The landscape is distinguished by its simplicity of composition – symmetry and harmonious integrity of the color scheme. One gets the feeling that the painter wanders lonely along the long-depopulated alleys that have fallen asleep, listening with sadness to the silence.
High mastery allowed the artist to present the image of Versailles Park as the image of an entire era, which developed its own etiquette, fashion and majestic style. Benois’s ‘Versailles’ legacy includes over six hundred drawings, watercolors, pastels, gouaches, prints and canvases, testifying that Versailles remained a constant source of his inspiration, at least until 1926.
Rus: Впервые Бенуа увидел Версаль в виде театральной декорации в 1890 году в Санкт-Петербурге, в Мариинском театре на балете «Спящая красавица». Бенуа вспоминал, что был потрясен необыкновенными декорациями, воспроизводящими Версаль. Непосредственное знакомство художника с парком и дворцом состоялось в 1896 году. Позже он вернулся во Францию и жил здесь в 1905–1907 годах, каждый день любуясь Версалем. «Версальская серия» Александра Бенуа — возможность напомнить о том, как много поколений уже видел на своем веку Версальский парк, и тем самым сказать о бессмертии искусства и быстротечности человеческой жизни.
В произведениях «версальской серии» природа и история предстают в неразрывном единстве. Архитектурные сооружения, скульптуры и аллеи знаменитой резиденции французских королей выглядят как безмолвные свидетели безвозвратно ушедшей великой эпохи, хранящие память о создателях и владельцах ансамбля Версаля. Пейзаж отличается простотой композиции — симметрией, гармонической цельностью цветового решения. Создается ощущение, будто живописец одиноко скитается по давно обезлюдевшим, заснувшим мертвым сном аллеям, с грустью вслушиваясь в тишину.
Высокое мастерство исполнения позволило Бенуа представить образ Версальского парка как образ целой эпохи, выработавшей свой этикет, моду и величественный стиль. «Версальское» наследие Бенуа насчитывает более шестисот рисунков, акварелей, пастелей, гуашей, гравюр и полотен, свидетельствуя, что Версаль, по крайней мере до 1926 года, оставался постоянным источником его вдохновения.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
The Vision to the Youth Bartholomew (Russian: Видение отроку Варфоломею) is a painting by the Russian artist Mikhail Nesterov, the first and best known work in his series on Sergius of Radonezh, a medieval Russian saint. It is considered "the inaugural work of the Russian Symbolist movement".
The image of St. Sergius of Radonezh, near and dear to the artist since childhood, was embodiment of the moral ideal for Nesterov. Particularly important role Nesterov gave St. Sergius in rallying the Russian people. The painting illustrates an episode from "The Life of St. Sergius" by Epiphanius the Wise:
en.wikipedia.org/wiki/The_Vision_to_the_Youth_Bartholomew
Mijaíl Vasílievich Nésterov (en cirílico: Михаил Васильевич Нестеров; Ufá, Imperio ruso; 31 de mayo1 de 1862-Moscú, 18 de octubre de 1942) fue un pintor ruso, el más destacado representante del simbolismo religioso en su país.
Recibió clases de Pável Chistiakov en la Academia Imperial de las Artes de San Petersburgo y más tarde se unió al grupo de pintores realistas rusos autodenominados los Peredvízhniki. Su lienzo La visión del joven Bartolomé (1890-91), donde plasma la conversión de Sergio de Rádonezh, está considerado como el inicio del Simbolismo ruso y su primera obra maestra. De 1890 a 1910, Nésterov residió en Kiev y en San Petersburgo, ciudades en las que pintó frescos en la Catedral de San Vladímir (Kiev) y en la Iglesia del Salvador de la Sangre Derramada (San Petersburgo). En 1910 se instaló en Moscú, donde pasará el resto de su vida trabajando para el Convento de Marta y María (Marfo-Mariinski). Fiel devoto de la Iglesia Ortodoxa rusa, no apoyó ni simpatizó con la Revolución de Octubre (1917), pero permaneció en la Unión Soviética hasta su muerte.
Aparte de sus cuadros de asunto religioso, fue un excelente retratista, aunque no abordó este género hasta 1906, ya en plena madurez.2 Entre otras personalidades, pintó a Iván Ilyín, Iván Pávlov, Otto Schmidt, Vera Mújina o a Pável Florenski.
es.wikipedia.org/wiki/Mijaíl_Nésterov
Mikhail Vasilyevich Nesterov (Russian: Михаи́л Васи́льевич Не́стеров; 31 May [O.S. 19 May] 1862, Ufa – 18 October 1942, Moscow) was a Russian and Soviet painter; associated with the Peredvizhniki and Mir Iskusstva. He was one of the first exponents of Symbolist art in Russia.
He was born to a strongly patriarchal merchant family. His father was a draper and haberdasher, but always had a strong interest in history and literature. As a result, he was sympathetic to his son's desire to be an artist, but insisted that he acquire practical skills first and, in 1874, he was sent to Moscow where he enrolled at the Voskresensky Realschule.
In 1877, his counselors suggested that he transfer to the Moscow School of Painting, Sculpture and Architecture, where he studied with Pavel Sorokin, Illarion Pryanishnikov and Vasily Perov,[1] who was his favorite teacher. In 1879, he began to participate in the school's exhibitions. Two years later, he entered the Imperial Academy of Fine Arts, where he worked with Pavel Chistyakov. He was disappointed at the teaching there and returned to Moscow, only to find Perov on his deathbed, so he took lessons from Alexei Savrasov
His first major success came with his painting, "The Hermit" which was shown at the seventeenth exhibition of the Peredvizhniki in 1889. It was purchased by Pavel Tretyakov and the money enabled Nesterov to take an extended trip to Austria, Germany, France and Italy. Upon returning, his painting, "The Vision to the Youth Bartholomew", the first in a series of works on the life of Saint Sergius, was shown at the eighteenth Peredvizhniki exhibition and also purchased by Tretyakov. This series would eventually include fifteen large canvases and occupy him for fifty years.
His first major success came with his painting, "The Hermit" which was shown at the seventeenth exhibition of the Peredvizhniki in 1889. It was purchased by Pavel Tretyakov and the money enabled Nesterov to take an extended trip to Austria, Germany, France and Italy. Upon returning, his painting, "The Vision to the Youth Bartholomew", the first in a series of works on the life of Saint Sergius, was shown at the eighteenth Peredvizhniki exhibition and also purchased by Tretyakov. This series would eventually include fifteen large canvases and occupy him for fifty years.
In 1905, after the Revolution began, he joined the Union of the Russian People, an extreme right-wing nationalist party that supported the Tsar.[citation needed] As a result, he was in some danger after the October Revolution. In 1918, he moved to Armavir, where he became ill and was unable to work. He returned to Moscow in 1920 and was forced to give up religious painting, although he continued to work on his Saint Sergius series in private. From then until his death, he painted mostly portraits; notably Ivan Ilyin, Ivan Pavlov, Otto Schmidt, Sergei Yudin, Alexey Shchusev and Vera Mukhina.[1]
In 1938, toward the end of the Great Purge, his son-in-law, Vladimir Schroeter, a prominent lawyer, was accused of being a spy and shot. His daughter was sent to a prison camp in Zhambyl, where she was brutally interrogated before being released. He was also arrested and held for two weeks at Butyrka Prison.[2]
In 1941, he was awarded the Stalin Prize for his portrait of Pavlov (created in 1935). It was one of the first given to an artist. Shortly after, he received the Order of the Red Banner of Labour. As the war progressed, his health and financial situation deteriorated rapidly. He had a stroke while working on his painting "Autumn in the Village" and died at Botkin Hospital [ru].
His unfinished memoirs, which he had begun in 1926, were published later that year under the title "Bygone Days". In 1962, he was honored with a postage stamp. In 1996, his likeness appeared on the 50 Ural franc banknote and, in 2015, a monument to him was unveiled at the Bashkir State Art Museum [ru] in Ufa.
en.wikipedia.org/wiki/Mikhail_Nesterov
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
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The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles but ending up costing over 4.6 million. The walls and ceilings inside the church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Konstantín Alekséyevich Korovin (En ruso: Константин Алексеевич Коровин, a veces escrito el nombre como Constantin) (Moscú, 23 de noviembre de 1861 (fechas antiguas, en el calendario juliano, 5 de diciembre) - París, 11 de septiembre de 1939, París) fue un destacado pintor impresionista ruso.
Konstantín nació en Moscú en una familia de comerciantes oficialmente registrados como campesinos de la gubernia de Vladímir. Su padre, Alekséi Mijaílovich Korovin, consiguió un título universitario y estaba más interesado en las artes y en la música que en el negocio familiar establecido por el abuelo de Konstantín. El hermano mayor de Konstantín, Serguéi Korovin fue un destacado pintor realista. Ilarión Pryánishnikov, pariente de Konstantín, fue también un destacado pintor de la época y un maestro en la Escuela de Moscú de Pintura, Escultura y Arquitectura.
En 1875 Konstantín entró en la Escuela de Moscú, donde aprendió con Vasili Perov y Alekséi Savrásov. Su hermano Serguei ya era estudiante de la Escuela. Durante sus años académicos los Korovin se hicieron amigos de sus compañeros estudiantes Valentín Serov e Isaak Levitán, Kontantín mantuvo esta amistad durante el resto de su vida.
En 1881-1882, Korovin pasó un año en la Academia Imperial de las Artes en San Petersburgo, pero regresó disgustado a la Escuela de Moscú. Estudió en la escuela con el nuevo maestro Vasili Polénov hasta 1886.
En 1885, Korovin viajó a París y a España. París fue una sorpresa para mí… Los impresionistas… en ellos encontré todo por lo que a mi me regañaban en casa, en Moscú, escribió más tarde.
Polenov presentó a Korovin al círculo de Abrámtsevo de Savva Mámontov: Víktor Vasnetsov, Apollinari Vasnetsov, Iliá Repin, Mark Antokolski y otros. El amor del círculo de Abrámtsevo por los temas rusos estilizados se reflejan en la obra de Korovin Un idilio nórdico. En 1885 Korovin trabajó para la ópera de Mámontov. Diseñó los decorados de Aida, de Verdi, Lakmé de Delibes y Carmen de Bizet.
En 1888, Korovin viajó con Mámontov a Italia y España, iniciando en Valencia la pintura de En el balcón, mujeres españolas Leonor y Amparo. El cuadro obtuvo la medalla de oro en la Exposición Universal de París de 1900. Konstantín viajó por Rusia, el Cáucaso y Asia Central, expuso con los Peredvízhniki. En la exposición de los Peredvizhniki, debutó en 1889 precisamente con el cuadro En el balcón. Pintó primero con estilo impresionista, y después, art nouveau.
En la década de los noventa, Korovin se convirtió en miembro del grupo artístico Mir iskusstva (Mundo del Arte).
Las obras posteriores de Korovin estuvieron muy influidas por su viaje al Norte. En 1888 quedó cautivado por los severos paisajes nórdicos, como puede verse en La costa de Noruega y el mar del Norte.
Su segundo viaje al Norte, con Valentín Serov en 1894, coincidió con la construcción del Ferrocarril del Norte. Korovin pintó un gran número de paisajes: Puerto noruego, Arroyo de San Trifón en Pechenega, Hammerfest: Aurora Borealis, La costa de Múrmansk y otros. Los cuadros están construidos por una delicada red de tonos grisáceos. El estilo de estudio de estas obras era típico del arte de Korovin de los noventa.
Usando materiales de este viaje al Norte, Korovin diseñó el pabellón del Ferrocarril del Norte en la Exposición Panrusa de 1896 en Nizhni Nóvgorod.
En 1900, Korovin diseñó la sección de Asia Central del pabellón del Imperio Ruso en la Exposición Universal de París (1900); fue premiado con la Legión de Honor por el gobierno francés.
A comienzos del siglo XX, siguiendo una fuerte atracción por el teatro que había comenzado con Savva Mámontov, Korovin se trasladó al Teatro Mariinski en San Petersburgo. Apartándose de la tradición del decorado escénico, que sólo indicaba el lugar de la acción, Korovin produjo un decorado anímico, que transmitía las emociones generales de la representación. Korovin diseñó ambientaciones para las producciones dramáticas de Konstantín Stanislavski, así como óperas y ballets del Mariinsky. Hizo el diseño escénico para producciones del Mariinski como Faust (1899), El caballito jorobado (1901) y Sadkó (1906) que se hicieron famosos por su expresividad.
Uno de los temas favoritos del artista fue París. Pintó Un café de París (años noventa), Cafe de la Paix (1905), La Plaza de la Bastilla (1906), París de noche; Le Boulevard Italien (1908), Carnaval nocturno (1901), París por la tarde (1907) y otros.
Durante la Primera Guerra Mundial Korovin trabajó como asesor de camuflaje en los cuarteles de uno de los ejércitos rusos y a menudo se le vio en la línea del frente. Después de la Revolución de octubre Korovin siguió trabajando en el teatro, diseñando el escenario de óperas de Richard Wagner como La valquiria y Sigfrido así como el Cascanueces de Chaikovski (1918-1920).
En 1923 Korovin se trasladó a París por consejo del Comisario del Pueblo de Instrucción pública, Lunacharski, para curar su condición cardíac. Se suponía que iba a celebrarse una gran exposición de obras de Korovin, pero las obras fueron robadas y Korovin quedó arruinado. Durante años produjo numerosos Inviernos rusos y Bulevares de París para sobrevivir.
En los últimos años de vida, produjo decorados para los principales teatros de Europa, Estados Unidos, Asia y Australia, siendo el más famoso de ellos el que diseñó para una producción de la Ópera de Turín de El gallo de oro, obra de Rimski-Kórsakov. Korovin murió en París el 11 de septiembre de 1939.
es.wikipedia.org/wiki/Konstantín_Korovin
Konstantin Alekseyevich Korovin (Russian: Константи́н Алексе́евич Коро́вин, first name often spelled Constantin; 5 December [O.S. 23 November] 1861 – 11 September 1939) was a leading Russian Impressionist painter.
Konstantin was born in Moscow to a merchant family officially registered as "peasants of Vladimir Gubernia". His father, Aleksey Mikhailovich Korovin, earned a university degree and was more interested in arts and music than in the family business established by Konstantin's grandfather. Konstantin's older brother Sergei Korovin was a notable realist painter. Konstantin's relative Illarion Pryanishnikov was also a prominent painter of the time and a teacher at the Moscow School of Painting, Sculpture and Architecture.
In 1875 Korovin entered the Moscow School of Painting, Sculpture and Architecture, where he studied with Vasily Perov and Alexei Savrasov. His brother Sergei was already a student at the school. During their student years, the Korovins became friends with fellow students Valentin Serov and Isaac Levitan; Konstantin maintained these friendships throughout his life.
In 1881–1882, Korovin spent a year at the Imperial Academy of Arts in St. Petersburg, but returned disappointed to the Moscow School of Painting, Sculpture and Architecture. He studied at the school under his new teacher Vasily Polenov until 1886.
In 1885 Korovin traveled to Paris and Spain. "Paris was a shock for me … Impressionists… in them I found everything I was scolded for back home in Moscow", he later wrote.
Polenov introduced Korovin to Savva Mamontov's Abramtsevo Circle: Viktor Vasnetsov, Apollinary Vasnetsov, Ilya Repin, Mark Antokolsky and others. The group's love for stylized Russian themes is reflected in Korovin's picture A Northern Idyll. In 1885 Korovin worked for Mamontov's opera house, designing the stage decor for Giuseppe Verdi's Aida, Léo Delibes' Lakmé and Georges Bizet's Carmen.
In 1888 Korovin traveled with Mamontov to Italy and Spain, where he produced the painting On the Balcony, Spanish Women Leonora and Ampara. Konstantin traveled within Russia, the Caucasus and Central Asia and exhibited with the Peredvizhniki. He painted in the Impressionist, and later in the Art Nouveau, styles.
In the 1890s Korovin became a member of the Mir iskusstva art group.
Korovin's subsequent works were strongly influenced by his travels to the north. In 1888 he was captivated by the stern northern landscapes seen in The Coast of Norway and the Northern Sea.
His second trip to the north, with Valentin Serov in 1894, coincided with the construction of the Northern Railway. Korovin painted a large number of landscapes: Norwegian Port, St. Triphon's Brook in Pechenga, Hammerfest: Aurora Borealis, The Coast at Murmansk and others. The paintings are built on a delicate web of shades of grey. The etude style of these works was typical for Korovin's art of the 1890s.
Using material from his trip, Korovin designed the Far North pavilion at the 1896 All Russia Exhibition in Nizhny Novgorod. He painted ten big canvasses for the pavilion as well, depicting various aspects of life in the northern and Arctic regions. After the closure of the Exhibition, the canvasses were eventually placed in the Yaroslavsky Rail Terminal in Moscow. In the 1960s, they were restored and transferred to the Tretyakov Gallery.[1]
In 1900 Korovin designed the Central Asia section of the Russian Empire pavilion at the Paris World Fair and was awarded the Legion of Honour by the French government.
In the beginning of the 20th century, Korovin focused his attention on the theater. He moved from Mamontov's opera to the Mariinsky Theatre in St. Petersburg. Departing from traditional stage decor, which only indicated the place of action, Korovin produced a mood decor conveying the general emotions of the performance. Korovin designed sets for Konstantin Stanislavsky's dramatic productions, as well as Mariinsky's operas and ballets. He did the stage design for such Mariinsky productions as Faust (1899), The Little Humpbacked Horse (1901), and Sadko (1906) that became famous for their expressiveness.
One of the artist's favourite themes was Paris. He painted A Paris Cafe (1890s), Cafe de la Paix (1905), La Place de la Bastille (1906), Paris at Night, Le Boulevard Italien (1908), Night Carnival (1901), Paris in the Evening (1907), and others.
During World War I Korovin worked as a camouflage consultant at the headquarters of one of the Russian armies and was often seen on the front lines. After the October Revolution Korovin continued to work in the theater, designing stages for Richard Wagner's Die Walküre and Siegfried, as well as Pyotr Ilyich Tchaikovsky's The Nutcracker (1918–1920).
In 1923 Korovin moved to Paris on the advice of Commissar of Education Anatoly Lunacharsky to cure his heart condition. There was supposed to be a large exhibition of Korovin's works, but the works were stolen and Korovin was left penniless. For years, he produced the numerous Russian Winters and Paris Boulevards just to make ends meet.
In the last years of his life he produced stage designs for many of the major theatres of Europe, America, Asia and Australia, the most famous of which is his scenery for the Turin Opera House's production of Nikolai Rimsky-Korsakov's The Golden Cockerel. Korovin died in Paris on 11 September 1939.
en.wikipedia.org/wiki/Konstantin_Korovin
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
In 1852, Metropolitan Philaret of Moscow suggested a large cathedral should be built in Kiev to commemorate the 900th anniversary of the baptism of Kievan Rus' by prince Vladimir I of Kiev (St. Volodymyr). People from all over the Russian Empire started donating to this cause, so that by 1859 the cathedral fund had amassed a huge sum of 100,000 rubles. The Kiev Pechersk Lavra (Monastery of the Caves) produced one million bricks and presented them to the cathedral as well. The design was executed in neo-Byzantine style initially by the architects I. Schtrom, P. Sparro, R. Bemhardt, K. Mayevsky, V. Nikolayev. The final version of the design belongs to Alexander Vikentievich Beretti. It is a traditional six-piered, three-apsed temple crowned by seven cupolas. The height to the cross of the main dome is 49 m (161 ft).
Interior view of the cathedral
The colourful interior of the cathedral is particularly striking. Its mosaics were executed by masters from Venice. The frescoes were created under the guidance of Professor Adrian Prakhov by a group of famous painters: Wilhelm Kotarbiński, Mikhail Nesterov, Mykola Pymonenko, Pavel Svedomsky, Viktor Vasnetsov, Mikhail Vrubel, Viktor Zamyraylo (1868-1939), and others. The painting of the Holy Mother of God by Vasnetsov in the altar apse of the cathedral impresses by its austere beauty.[citation needed]
The entrance door is adorned with relief bronze sculptures of St. Olga (Princess Olga of Kiev) by sculptor Robert Bakh and St. Vladimir (sculptor H. Zaieman) against a blue background. The iconostasis is carved from the white marble brought from Carrara. The cathedral was completed in 1882, however, the paintings were fully completed only in 1896.[1]
St Volodymyr's Cathedral converted to an anti-religious museum in the early 1920s
The cathedral risked damage during the Polish-Soviet War in 1920.[2] During the Soviet period, the cathedral narrowly escaped demolition, but not closure. Until the Second World War it served as a museum of religion and atheism. The relics of St Barbara, a martyr of the 3rd century AD, were transferred to St Volodymyr's from the St. Michael's Golden-Domed Monastery before it was destroyed by the Bolsheviks,[3] and have remained there since.
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.
Du point de vue architectural, la cathédrale est différente des autres structures de Saint-Pétersbourg. L’architecture de la ville est dominée par les styles baroque et néoclassique mais Saint-Sauveur-sur-le-Sang-Versé renvoie plutôt à l’architecture russe médiévale. En effet, elle fut bâtie à l’époque du nationalisme romantique. Elle ressemble à dessein aux églises de Iaroslavl du XVIIe siècle ainsi qu’à la célèbre cathédrale Saint-Basile de Moscou. L’église contient plus de 7 500 m2 de mosaïques, plus que toutes les autres églises du monde, à en croire les restaurateurs. Ce record pourrait être surpassé par la basilique-cathédrale de Saint-Louis qui abrite 7 700 m2 de mosaïques.
L’intérieur fut conçu par les artistes russes les plus reconnus de l’époque, parmi lesuqels Viktor Vasnetsov, Mikhail Nesterov et Mikhail Vroubel. Cependant, l’architecte en chef Alfred Alexandrovitch Parland était relativement peu connu, d'origine allemande de la Baltique et sujet russe, natif de la capitale. Il n’est pas surprenant que la construction ait coûté bien plus que le budget initialement prévu. En effet, celle-ci fut estimée à 3,6 millions de roubles tandis que le coût final s’éleva à pas moins de 4,6 millions de roubles. Les murs et plafonds à l’intérieur de la cathédrale sont intégralement recouverts de mosaïques enchevêtrées avec des bordures minutieusement dessinées. La majorité des représentations figurent des scènes bibliques.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles but ending up costing over 4.6 million. The walls and ceilings inside the church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Konstantín Alekséyevich Korovin (En ruso: Константин Алексеевич Коровин, a veces escrito el nombre como Constantin) (Moscú, 23 de noviembre de 1861 (fechas antiguas, en el calendario juliano, 5 de diciembre) - París, 11 de septiembre de 1939, París) fue un destacado pintor impresionista ruso.
Konstantín nació en Moscú en una familia de comerciantes oficialmente registrados como campesinos de la gubernia de Vladímir. Su padre, Alekséi Mijaílovich Korovin, consiguió un título universitario y estaba más interesado en las artes y en la música que en el negocio familiar establecido por el abuelo de Konstantín. El hermano mayor de Konstantín, Serguéi Korovin fue un destacado pintor realista. Ilarión Pryánishnikov, pariente de Konstantín, fue también un destacado pintor de la época y un maestro en la Escuela de Moscú de Pintura, Escultura y Arquitectura.
En 1875 Konstantín entró en la Escuela de Moscú, donde aprendió con Vasili Perov y Alekséi Savrásov. Su hermano Serguei ya era estudiante de la Escuela. Durante sus años académicos los Korovin se hicieron amigos de sus compañeros estudiantes Valentín Serov e Isaak Levitán, Kontantín mantuvo esta amistad durante el resto de su vida.
En 1881-1882, Korovin pasó un año en la Academia Imperial de las Artes en San Petersburgo, pero regresó disgustado a la Escuela de Moscú. Estudió en la escuela con el nuevo maestro Vasili Polénov hasta 1886.
En 1885, Korovin viajó a París y a España. París fue una sorpresa para mí… Los impresionistas… en ellos encontré todo por lo que a mi me regañaban en casa, en Moscú, escribió más tarde.
Polenov presentó a Korovin al círculo de Abrámtsevo de Savva Mámontov: Víktor Vasnetsov, Apollinari Vasnetsov, Iliá Repin, Mark Antokolski y otros. El amor del círculo de Abrámtsevo por los temas rusos estilizados se reflejan en la obra de Korovin Un idilio nórdico. En 1885 Korovin trabajó para la ópera de Mámontov. Diseñó los decorados de Aida, de Verdi, Lakmé de Delibes y Carmen de Bizet.
En 1888, Korovin viajó con Mámontov a Italia y España, iniciando en Valencia la pintura de En el balcón, mujeres españolas Leonor y Amparo. El cuadro obtuvo la medalla de oro en la Exposición Universal de París de 1900. Konstantín viajó por Rusia, el Cáucaso y Asia Central, expuso con los Peredvízhniki. En la exposición de los Peredvizhniki, debutó en 1889 precisamente con el cuadro En el balcón. Pintó primero con estilo impresionista, y después, art nouveau.
En la década de los noventa, Korovin se convirtió en miembro del grupo artístico Mir iskusstva (Mundo del Arte).
Las obras posteriores de Korovin estuvieron muy influidas por su viaje al Norte. En 1888 quedó cautivado por los severos paisajes nórdicos, como puede verse en La costa de Noruega y el mar del Norte.
Su segundo viaje al Norte, con Valentín Serov en 1894, coincidió con la construcción del Ferrocarril del Norte. Korovin pintó un gran número de paisajes: Puerto noruego, Arroyo de San Trifón en Pechenega, Hammerfest: Aurora Borealis, La costa de Múrmansk y otros. Los cuadros están construidos por una delicada red de tonos grisáceos. El estilo de estudio de estas obras era típico del arte de Korovin de los noventa.
Usando materiales de este viaje al Norte, Korovin diseñó el pabellón del Ferrocarril del Norte en la Exposición Panrusa de 1896 en Nizhni Nóvgorod.
En 1900, Korovin diseñó la sección de Asia Central del pabellón del Imperio Ruso en la Exposición Universal de París (1900); fue premiado con la Legión de Honor por el gobierno francés.
A comienzos del siglo XX, siguiendo una fuerte atracción por el teatro que había comenzado con Savva Mámontov, Korovin se trasladó al Teatro Mariinski en San Petersburgo. Apartándose de la tradición del decorado escénico, que sólo indicaba el lugar de la acción, Korovin produjo un decorado anímico, que transmitía las emociones generales de la representación. Korovin diseñó ambientaciones para las producciones dramáticas de Konstantín Stanislavski, así como óperas y ballets del Mariinsky. Hizo el diseño escénico para producciones del Mariinski como Faust (1899), El caballito jorobado (1901) y Sadkó (1906) que se hicieron famosos por su expresividad.
Uno de los temas favoritos del artista fue París. Pintó Un café de París (años noventa), Cafe de la Paix (1905), La Plaza de la Bastilla (1906), París de noche; Le Boulevard Italien (1908), Carnaval nocturno (1901), París por la tarde (1907) y otros.
Durante la Primera Guerra Mundial Korovin trabajó como asesor de camuflaje en los cuarteles de uno de los ejércitos rusos y a menudo se le vio en la línea del frente. Después de la Revolución de octubre Korovin siguió trabajando en el teatro, diseñando el escenario de óperas de Richard Wagner como La valquiria y Sigfrido así como el Cascanueces de Chaikovski (1918-1920).
En 1923 Korovin se trasladó a París por consejo del Comisario del Pueblo de Instrucción pública, Lunacharski, para curar su condición cardíac. Se suponía que iba a celebrarse una gran exposición de obras de Korovin, pero las obras fueron robadas y Korovin quedó arruinado. Durante años produjo numerosos Inviernos rusos y Bulevares de París para sobrevivir.
En los últimos años de vida, produjo decorados para los principales teatros de Europa, Estados Unidos, Asia y Australia, siendo el más famoso de ellos el que diseñó para una producción de la Ópera de Turín de El gallo de oro, obra de Rimski-Kórsakov. Korovin murió en París el 11 de septiembre de 1939.
es.wikipedia.org/wiki/Konstantín_Korovin
Konstantin Alekseyevich Korovin (Russian: Константи́н Алексе́евич Коро́вин, first name often spelled Constantin; 5 December [O.S. 23 November] 1861 – 11 September 1939) was a leading Russian Impressionist painter.
Konstantin was born in Moscow to a merchant family officially registered as "peasants of Vladimir Gubernia". His father, Aleksey Mikhailovich Korovin, earned a university degree and was more interested in arts and music than in the family business established by Konstantin's grandfather. Konstantin's older brother Sergei Korovin was a notable realist painter. Konstantin's relative Illarion Pryanishnikov was also a prominent painter of the time and a teacher at the Moscow School of Painting, Sculpture and Architecture.
In 1875 Korovin entered the Moscow School of Painting, Sculpture and Architecture, where he studied with Vasily Perov and Alexei Savrasov. His brother Sergei was already a student at the school. During their student years, the Korovins became friends with fellow students Valentin Serov and Isaac Levitan; Konstantin maintained these friendships throughout his life.
In 1881–1882, Korovin spent a year at the Imperial Academy of Arts in St. Petersburg, but returned disappointed to the Moscow School of Painting, Sculpture and Architecture. He studied at the school under his new teacher Vasily Polenov until 1886.
In 1885 Korovin traveled to Paris and Spain. "Paris was a shock for me … Impressionists… in them I found everything I was scolded for back home in Moscow", he later wrote.
Polenov introduced Korovin to Savva Mamontov's Abramtsevo Circle: Viktor Vasnetsov, Apollinary Vasnetsov, Ilya Repin, Mark Antokolsky and others. The group's love for stylized Russian themes is reflected in Korovin's picture A Northern Idyll. In 1885 Korovin worked for Mamontov's opera house, designing the stage decor for Giuseppe Verdi's Aida, Léo Delibes' Lakmé and Georges Bizet's Carmen.
In 1888 Korovin traveled with Mamontov to Italy and Spain, where he produced the painting On the Balcony, Spanish Women Leonora and Ampara. Konstantin traveled within Russia, the Caucasus and Central Asia and exhibited with the Peredvizhniki. He painted in the Impressionist, and later in the Art Nouveau, styles.
In the 1890s Korovin became a member of the Mir iskusstva art group.
Korovin's subsequent works were strongly influenced by his travels to the north. In 1888 he was captivated by the stern northern landscapes seen in The Coast of Norway and the Northern Sea.
His second trip to the north, with Valentin Serov in 1894, coincided with the construction of the Northern Railway. Korovin painted a large number of landscapes: Norwegian Port, St. Triphon's Brook in Pechenga, Hammerfest: Aurora Borealis, The Coast at Murmansk and others. The paintings are built on a delicate web of shades of grey. The etude style of these works was typical for Korovin's art of the 1890s.
Using material from his trip, Korovin designed the Far North pavilion at the 1896 All Russia Exhibition in Nizhny Novgorod. He painted ten big canvasses for the pavilion as well, depicting various aspects of life in the northern and Arctic regions. After the closure of the Exhibition, the canvasses were eventually placed in the Yaroslavsky Rail Terminal in Moscow. In the 1960s, they were restored and transferred to the Tretyakov Gallery.[1]
In 1900 Korovin designed the Central Asia section of the Russian Empire pavilion at the Paris World Fair and was awarded the Legion of Honour by the French government.
In the beginning of the 20th century, Korovin focused his attention on the theater. He moved from Mamontov's opera to the Mariinsky Theatre in St. Petersburg. Departing from traditional stage decor, which only indicated the place of action, Korovin produced a mood decor conveying the general emotions of the performance. Korovin designed sets for Konstantin Stanislavsky's dramatic productions, as well as Mariinsky's operas and ballets. He did the stage design for such Mariinsky productions as Faust (1899), The Little Humpbacked Horse (1901), and Sadko (1906) that became famous for their expressiveness.
One of the artist's favourite themes was Paris. He painted A Paris Cafe (1890s), Cafe de la Paix (1905), La Place de la Bastille (1906), Paris at Night, Le Boulevard Italien (1908), Night Carnival (1901), Paris in the Evening (1907), and others.
During World War I Korovin worked as a camouflage consultant at the headquarters of one of the Russian armies and was often seen on the front lines. After the October Revolution Korovin continued to work in the theater, designing stages for Richard Wagner's Die Walküre and Siegfried, as well as Pyotr Ilyich Tchaikovsky's The Nutcracker (1918–1920).
In 1923 Korovin moved to Paris on the advice of Commissar of Education Anatoly Lunacharsky to cure his heart condition. There was supposed to be a large exhibition of Korovin's works, but the works were stolen and Korovin was left penniless. For years, he produced the numerous Russian Winters and Paris Boulevards just to make ends meet.
In the last years of his life he produced stage designs for many of the major theatres of Europe, America, Asia and Australia, the most famous of which is his scenery for the Turin Opera House's production of Nikolai Rimsky-Korsakov's The Golden Cockerel. Korovin died in Paris on 11 September 1939.
en.wikipedia.org/wiki/Konstantin_Korovin
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Konstantín Alekséyevich Korovin (En ruso: Константин Алексеевич Коровин, a veces escrito el nombre como Constantin) (Moscú, 23 de noviembre de 1861 (fechas antiguas, en el calendario juliano, 5 de diciembre) - París, 11 de septiembre de 1939, París) fue un destacado pintor impresionista ruso.
Konstantín nació en Moscú en una familia de comerciantes oficialmente registrados como campesinos de la gubernia de Vladímir. Su padre, Alekséi Mijaílovich Korovin, consiguió un título universitario y estaba más interesado en las artes y en la música que en el negocio familiar establecido por el abuelo de Konstantín. El hermano mayor de Konstantín, Serguéi Korovin fue un destacado pintor realista. Ilarión Pryánishnikov, pariente de Konstantín, fue también un destacado pintor de la época y un maestro en la Escuela de Moscú de Pintura, Escultura y Arquitectura.
En 1875 Konstantín entró en la Escuela de Moscú, donde aprendió con Vasili Perov y Alekséi Savrásov. Su hermano Serguei ya era estudiante de la Escuela. Durante sus años académicos los Korovin se hicieron amigos de sus compañeros estudiantes Valentín Serov e Isaak Levitán, Kontantín mantuvo esta amistad durante el resto de su vida.
En 1881-1882, Korovin pasó un año en la Academia Imperial de las Artes en San Petersburgo, pero regresó disgustado a la Escuela de Moscú. Estudió en la escuela con el nuevo maestro Vasili Polénov hasta 1886.
En 1885, Korovin viajó a París y a España. París fue una sorpresa para mí… Los impresionistas… en ellos encontré todo por lo que a mi me regañaban en casa, en Moscú, escribió más tarde.
Polenov presentó a Korovin al círculo de Abrámtsevo de Savva Mámontov: Víktor Vasnetsov, Apollinari Vasnetsov, Iliá Repin, Mark Antokolski y otros. El amor del círculo de Abrámtsevo por los temas rusos estilizados se reflejan en la obra de Korovin Un idilio nórdico. En 1885 Korovin trabajó para la ópera de Mámontov. Diseñó los decorados de Aida, de Verdi, Lakmé de Delibes y Carmen de Bizet.
En 1888, Korovin viajó con Mámontov a Italia y España, iniciando en Valencia la pintura de En el balcón, mujeres españolas Leonor y Amparo. El cuadro obtuvo la medalla de oro en la Exposición Universal de París de 1900. Konstantín viajó por Rusia, el Cáucaso y Asia Central, expuso con los Peredvízhniki. En la exposición de los Peredvizhniki, debutó en 1889 precisamente con el cuadro En el balcón. Pintó primero con estilo impresionista, y después, art nouveau.
En la década de los noventa, Korovin se convirtió en miembro del grupo artístico Mir iskusstva (Mundo del Arte).
Las obras posteriores de Korovin estuvieron muy influidas por su viaje al Norte. En 1888 quedó cautivado por los severos paisajes nórdicos, como puede verse en La costa de Noruega y el mar del Norte.
Su segundo viaje al Norte, con Valentín Serov en 1894, coincidió con la construcción del Ferrocarril del Norte. Korovin pintó un gran número de paisajes: Puerto noruego, Arroyo de San Trifón en Pechenega, Hammerfest: Aurora Borealis, La costa de Múrmansk y otros. Los cuadros están construidos por una delicada red de tonos grisáceos. El estilo de estudio de estas obras era típico del arte de Korovin de los noventa.
Usando materiales de este viaje al Norte, Korovin diseñó el pabellón del Ferrocarril del Norte en la Exposición Panrusa de 1896 en Nizhni Nóvgorod.
En 1900, Korovin diseñó la sección de Asia Central del pabellón del Imperio Ruso en la Exposición Universal de París (1900); fue premiado con la Legión de Honor por el gobierno francés.
A comienzos del siglo XX, siguiendo una fuerte atracción por el teatro que había comenzado con Savva Mámontov, Korovin se trasladó al Teatro Mariinski en San Petersburgo. Apartándose de la tradición del decorado escénico, que sólo indicaba el lugar de la acción, Korovin produjo un decorado anímico, que transmitía las emociones generales de la representación. Korovin diseñó ambientaciones para las producciones dramáticas de Konstantín Stanislavski, así como óperas y ballets del Mariinsky. Hizo el diseño escénico para producciones del Mariinski como Faust (1899), El caballito jorobado (1901) y Sadkó (1906) que se hicieron famosos por su expresividad.
Uno de los temas favoritos del artista fue París. Pintó Un café de París (años noventa), Cafe de la Paix (1905), La Plaza de la Bastilla (1906), París de noche; Le Boulevard Italien (1908), Carnaval nocturno (1901), París por la tarde (1907) y otros.
Durante la Primera Guerra Mundial Korovin trabajó como asesor de camuflaje en los cuarteles de uno de los ejércitos rusos y a menudo se le vio en la línea del frente. Después de la Revolución de octubre Korovin siguió trabajando en el teatro, diseñando el escenario de óperas de Richard Wagner como La valquiria y Sigfrido así como el Cascanueces de Chaikovski (1918-1920).
En 1923 Korovin se trasladó a París por consejo del Comisario del Pueblo de Instrucción pública, Lunacharski, para curar su condición cardíac. Se suponía que iba a celebrarse una gran exposición de obras de Korovin, pero las obras fueron robadas y Korovin quedó arruinado. Durante años produjo numerosos Inviernos rusos y Bulevares de París para sobrevivir.
En los últimos años de vida, produjo decorados para los principales teatros de Europa, Estados Unidos, Asia y Australia, siendo el más famoso de ellos el que diseñó para una producción de la Ópera de Turín de El gallo de oro, obra de Rimski-Kórsakov. Korovin murió en París el 11 de septiembre de 1939.
es.wikipedia.org/wiki/Konstantín_Korovin
Konstantin Alekseyevich Korovin (Russian: Константи́н Алексе́евич Коро́вин, first name often spelled Constantin; 5 December [O.S. 23 November] 1861 – 11 September 1939) was a leading Russian Impressionist painter.
Konstantin was born in Moscow to a merchant family officially registered as "peasants of Vladimir Gubernia". His father, Aleksey Mikhailovich Korovin, earned a university degree and was more interested in arts and music than in the family business established by Konstantin's grandfather. Konstantin's older brother Sergei Korovin was a notable realist painter. Konstantin's relative Illarion Pryanishnikov was also a prominent painter of the time and a teacher at the Moscow School of Painting, Sculpture and Architecture.
In 1875 Korovin entered the Moscow School of Painting, Sculpture and Architecture, where he studied with Vasily Perov and Alexei Savrasov. His brother Sergei was already a student at the school. During their student years, the Korovins became friends with fellow students Valentin Serov and Isaac Levitan; Konstantin maintained these friendships throughout his life.
In 1881–1882, Korovin spent a year at the Imperial Academy of Arts in St. Petersburg, but returned disappointed to the Moscow School of Painting, Sculpture and Architecture. He studied at the school under his new teacher Vasily Polenov until 1886.
In 1885 Korovin traveled to Paris and Spain. "Paris was a shock for me … Impressionists… in them I found everything I was scolded for back home in Moscow", he later wrote.
Polenov introduced Korovin to Savva Mamontov's Abramtsevo Circle: Viktor Vasnetsov, Apollinary Vasnetsov, Ilya Repin, Mark Antokolsky and others. The group's love for stylized Russian themes is reflected in Korovin's picture A Northern Idyll. In 1885 Korovin worked for Mamontov's opera house, designing the stage decor for Giuseppe Verdi's Aida, Léo Delibes' Lakmé and Georges Bizet's Carmen.
In 1888 Korovin traveled with Mamontov to Italy and Spain, where he produced the painting On the Balcony, Spanish Women Leonora and Ampara. Konstantin traveled within Russia, the Caucasus and Central Asia and exhibited with the Peredvizhniki. He painted in the Impressionist, and later in the Art Nouveau, styles.
In the 1890s Korovin became a member of the Mir iskusstva art group.
Korovin's subsequent works were strongly influenced by his travels to the north. In 1888 he was captivated by the stern northern landscapes seen in The Coast of Norway and the Northern Sea.
His second trip to the north, with Valentin Serov in 1894, coincided with the construction of the Northern Railway. Korovin painted a large number of landscapes: Norwegian Port, St. Triphon's Brook in Pechenga, Hammerfest: Aurora Borealis, The Coast at Murmansk and others. The paintings are built on a delicate web of shades of grey. The etude style of these works was typical for Korovin's art of the 1890s.
Using material from his trip, Korovin designed the Far North pavilion at the 1896 All Russia Exhibition in Nizhny Novgorod. He painted ten big canvasses for the pavilion as well, depicting various aspects of life in the northern and Arctic regions. After the closure of the Exhibition, the canvasses were eventually placed in the Yaroslavsky Rail Terminal in Moscow. In the 1960s, they were restored and transferred to the Tretyakov Gallery.[1]
In 1900 Korovin designed the Central Asia section of the Russian Empire pavilion at the Paris World Fair and was awarded the Legion of Honour by the French government.
In the beginning of the 20th century, Korovin focused his attention on the theater. He moved from Mamontov's opera to the Mariinsky Theatre in St. Petersburg. Departing from traditional stage decor, which only indicated the place of action, Korovin produced a mood decor conveying the general emotions of the performance. Korovin designed sets for Konstantin Stanislavsky's dramatic productions, as well as Mariinsky's operas and ballets. He did the stage design for such Mariinsky productions as Faust (1899), The Little Humpbacked Horse (1901), and Sadko (1906) that became famous for their expressiveness.
One of the artist's favourite themes was Paris. He painted A Paris Cafe (1890s), Cafe de la Paix (1905), La Place de la Bastille (1906), Paris at Night, Le Boulevard Italien (1908), Night Carnival (1901), Paris in the Evening (1907), and others.
During World War I Korovin worked as a camouflage consultant at the headquarters of one of the Russian armies and was often seen on the front lines. After the October Revolution Korovin continued to work in the theater, designing stages for Richard Wagner's Die Walküre and Siegfried, as well as Pyotr Ilyich Tchaikovsky's The Nutcracker (1918–1920).
In 1923 Korovin moved to Paris on the advice of Commissar of Education Anatoly Lunacharsky to cure his heart condition. There was supposed to be a large exhibition of Korovin's works, but the works were stolen and Korovin was left penniless. For years, he produced the numerous Russian Winters and Paris Boulevards just to make ends meet.
In the last years of his life he produced stage designs for many of the major theatres of Europe, America, Asia and Australia, the most famous of which is his scenery for the Turin Opera House's production of Nikolai Rimsky-Korsakov's The Golden Cockerel. Korovin died in Paris on 11 September 1939.
en.wikipedia.org/wiki/Konstantin_Korovin
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
La Iglesia del Salvador sobre la Sangre Derramada o Iglesia de la Resurrección de Cristo (en ruso:Храм Спаса на Крови) es una iglesia de San Petersburgo, situada en la orilla del canal Griboyédova (nombrado en honor de Aleksandr Griboyédov) cerca del parque del Museo Ruso y de la Avenida Nevski. El nombre oficial en ruso es Собор Воскресения Христова, que significa catedral de la Resurrección de Cristo, y fue construida sobre el lugar donde el zar Alejandro II de Rusia fue asesinado, víctima de un atentado el 13 de marzo de 1881 (1 de marzo para el calendario juliano, en vigor en Rusia en esa época). Durante la Segunda Guerra Mundial y el bloqueo de la ciudad, una bomba cayó encima de la cúpula más alta de la iglesia. La bomba no explotó y estuvo dentro de la cúpula de la iglesia durante 19 años. Sólo cuando los obreros subieron a la cúpula para remendar las goteras, la bomba fue encontrada y retirada. Entonces se decidió comenzar la restauración de la Iglesia de la sangre derramada. Tras 27 años de restauración, la Iglesia del Salvador sobre la Sangre Derramada fue inaugurada como museo estatal donde los visitantes pueden conocer la historia del asesinato de Alejandro II.
La iglesia fue diseñada en estilo ecléctico conjuntamente por el arquitecto Alfred Parland y el archimandrita Ignati (nombre secular Mályshev), rector del monasterio Tróitse-Sérguievski. La construcción de la iglesia se inició en 1883 durante el reinado de Alejandro III, como conmemoración a su padre asesinado en ese mismo lugar dos años antes. Los trabajos se prolongaron y fue finalizada en 1907, bajo el reinado de Nicolás II: los fondos necesarios procedieron de las arcas de la familia imperial y de numerosas donaciones privadas.
A finales de marzo de 1883, el Zar aprobó la composición de la Comisión de Consolidación con el Gran Duque Vladímir Aleksándrovich como su director. La primera sesión de la Comisión decidió el nombre del templo, como la Iglesia de la Resurrección de Cristo, como lo sugirió el archimandrita Ignati.
Un fragmento de la barandilla de hierro fundido, pedazos de granito y algunas piedras manchadas de sangre de Alejandro II fueron retirados del lugar para mantenerse como reliquias en la capilla en la Plaza de Konyúshennaya. Posteriormente, volvieron a donde pertenecían y fue erigido sobre el lugar un pabellón, como solía hacerse en las tradiciones de la arquitectura rusa. El 6 de octubre de 1883, se celebró la ceremonia de colocación de la primera piedra, con asistencia del metropolitano Isidoro de San Petersburgo y Nóvgorod y miembros de la familia imperial.
La Iglesia de la Resurrección tardó 24 años en construirse. Este lapso relativamente largo puede ser atribuido a la decoración abundante y variada y al uso en la construcción de técnicas de ingeniería innovadoras en la época. Los cimientos de estacas fueron abandonados por primera vez en la historia de San Petersburgo, a favor de unos de cemento. Un sofisticado aislamiento hidráulico fue desarrollado para proteger a la iglesia de las aguas del canal. Calefacción de vapor y sistemas eléctricos se instalaron después.
El 19 de agosto de 1907, el Metropolitano Antonio de San Petersburgo y Ládoga consagró la iglesia. El nuevo templo surgió junto al canal Griboyédova (anteriormente llamado Canal de Catalina), para perpetuar la memoria del emperador asesinado, Alejandro II.
La Iglesia de la Resurrección (Iglesia del Salvador sobre la Sangre Derramada) es una de las iglesias más significativas en San Petersburgo. Su composición vibrante, pictórica y la decoración multicolor lo convierten en un punto destacado y distintivo en la arquitectura del entorno del centro de la ciudad. La Iglesia de San Salvador puede ser correctamente llamada un monumento de "estilo ruso" en San Petersburgo. Conforme a lo solicitado por Alejandro III, Alfred Parland diseñó la iglesia en el estilo del siglo XVIII y la arquitectura de Moscú y Yaroslavl. Él imaginariamente reelaboró las ideas de la arquitectura eclesiástica de la época anterior a Pedro el Grande para crear una iglesia que personificara el templo ortodoxo ruso.
El plan de la iglesia es una estructura compacta de cinco cúpulas, se completa con tres ábsides semicirculares en la parte este y un enorme pilar como la torre de campana en el extremo oeste. El techo de carpa octogonal de la torre ocupa la posición central. Este elemento tiene una estrecha afinidad con una serie de iglesias monumentales conmemorativas que datan de los siglos XVI al XVII.
La Iglesia es de ladrillo rojo y marrón, toda la superficie de sus paredes está cubierta de adornos elaborados y detallados, similares a los producidos por maestros del siglo XVII en Moscú y Yaroslavl. Bandas y cruces de ladrillo de color, azulejos policromados establecido en los huecos de la pared, "shirinka", azulejos en los tejados de las torres y coberturas piramidales, ábside, pequeños arcos de calado, las columnas en miniatura y kokoshniki (arcos de ménsula) de mármol blanco. Los mosaicos desempeñan un papel importante en la creación de aspecto festivo de la Iglesia acentuando los elementos arquitectónicos principales: kokoshniki, puertas de dique, y frontones.
Las cinco cúpulas centrales de la Iglesia son únicas, chapadas en cobre y esmalte de diferentes colores, que recuerdan a las cúpulas policromadas de la Catedral de San Basilio en Moscú, que a menudo es comparada a la Iglesia de la Resurrección, a pesar de su diferencia total en la ordenación en planta. Las cúpulas más pequeñas en forma de cebolla sobre los ábsides y la cúpula del campanario son, como es habitual, doradas.
El nivel inferior de la torre del campanario está decorada con 134 mosaicos de escudos de armas de las provincias y pueblos rusos que hicieron donaciones para la construcción de la iglesia. Estos escudos de armas componen una colección heráldica única.
La Iglesia de la Resurrección de Cristo fue concebida como una de las principales iglesias de la capital, diseñada para servir como un recordatorio de las grandes hazañas realizadas por el zar Alejandro II, el Libertador.
es.wikipedia.org/wiki/Iglesia_del_Salvador_sobre_la_sangr...
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of Saint Petersburg, Russia. Other names include the Church on Spilled Blood (Russian: Церковь на Крови, Tserkov’ na Krovi), the Temple of the Savior on Spilled Blood (Russian: Храм Спаса на Крови, Khram Spasa na Krovi), and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova).
This church was built on the site where Emperor Alexander II was fatally wounded by political nihilists in March 1881. The church was built between 1883 and 1907. The construction was funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, 2 years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father, Alexander II. Estimates suggest that the construction cost 4.5 million rubles. The construction was completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The church is prominently situated along the Griboedov Canal; paved roads run along both sides of the canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander II's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later.
A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in Saint Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the church's construction ran well over budget, having been estimated at 3.6 million rubles but ending up costing over 4.6 million. The walls and ceilings inside the church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in 1932. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the church passed to Saint Isaac's Cathedral and it was used as a museum. The proceeds from the Cathedral funded the restoration of the church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship. The Church of the Saviour on Blood is a museum of mosaics. In the pre-Revolution period it was not used as a public place of worship. The church was dedicated to the memory of the assassinated tsar and only panikhidas (memorial services) took place. The church is now one of the main tourist attractions in Saint Petersburg.
In 2005, the State Museum of St. Isaac's Cathedral began the recreation of the Holy Gates (permanently lost in the 1920s during the Soviet period). Entirely produced with enamels and based on the pictures and lithographies of the time, the new Holy Gates were designed by V. J. Nikolsky and S. G. Kochetova and reified by the famous enamel artist L. Solomnikova and her atelier. Orthodox bishop Amvrosij of Gatchina celebrated the consecration of these new Holy Gates on 14 March 2012, the 129th anniversary of Alexander II's assassination.
Biserica Rusă, Biserica studenţilor, Bucuresti
St. Nicholas Russian Church [finished in 1909], Bucharest, Romania
Architect: V. A. Prevbrajenski
Murals: Viktor Vasnetsov
en.wikipedia.org/wiki/Bucharest_Russian_Church
www.monumenteromania.ro/index.php/monumente/detalii/en/Ru...
Baba Yaga, 1917
A witchlike character in Slavic Folklore. She flies around on a giant pestle, kidnaps (and presumably eats) small children, and lives in a hut that stands on chicken legs.
The Church of the Resurrection, also known as the "Savior on Spilled Blood", was built in memory of Alexander II who was assassinated in 1881. The church stands in the very place where a bomb was thrown into his carriage by a young man who opposed the Tsar's reforms.
The Cathedral is decorated with Italian limestone and various semiprecious stones like jasper, mountain crystal, topaz, and others. On the outside, there are twenty granite plates which tell the most important events of Alexander II's reign.
The highlight of both the interior and exterior of the Cathedral are its mosaic collection based on the paintings of Vasnetsov, Nesterol, and Vrubel. With a total area of 23130 square feet, it is one of the largest mosaic collections in Europe.
"It was on Holy Saturday in 1880 when the Vorya River flooded and people from nearby villages had no opportunity to cross the river and attend the Easter service in the church, they directed their steps to the estate because they knew that the matins would be held there. The Abramtsevo manor house was full of worshippers and Savva Mamontov got the idea to correct the situation and to build a separate chapel... But the idea did not come true, – recalled Natalya Polenova, the participant of the Abramtsevo Colony. – In 1881 the spring was wonderful, the matins were organized in the Manor House and then the idea was brought up again. But everybody decided that a chapel would be too small and that it would be better to build a church. We chose the appropriate place in the park and were determined to build a church in the name of the Icon of Christ of Edessa, on the model of Old Russian cathedrals".
The basic project for the church was worked out by Vasily Polenov and the prototype for it became the Church of the Saviour at Nereditsa (12th century) located near Novgorod. This project outlined the main proportions and forms of the future building. The dome reposed on the massive drum crowing the high pyramidal roof. The portal of the main façade with the Icon of Christ of Edessa had the look of a belfry. Three apses were at the eastern sanctuary part. For the northern façade the artist designed two windows: the triple one and the small semi-oval window. The walls were strengthened with buttresses. The main difficulty was the southern façade. Well observed through the alley of the park it was as important as the western one. Vasily Polenov left the project unfinished.
Viktor Vasnetsov continued the work at the project. "I was keen on the Kremlin and Moscow churches, later on the Yaroslavl and Rostov ones", – he wrote in his letter to Vladimir Stasov. The artist changed the proportions, made the walls higher and the roof lower. The two windows of the northern façade were shifted to the southern one thus making it impressive and letting more light into the church. The Vasnetsov's church became proportional and harmonious, it better corresponded to its purpose – to be a small estate church, nestled in the Abramtsevo park.
In 1881 Viktor Vasnetsov wrote about the beginning of the construction: "All of us, the artists – Vasily Polenov, Ilya Repin, me – Savva Mamontov and his family set to work together being inspired. Our art assistants – Yelizaveta Mamontova... Yelena Polenova, Natalya Polenova (she was Yakunchikova then), Vera Repina – kept up with us. We were drawing facades and ornaments, painting icons and our ladies were embroidering gonfalons, veils and cloths, they were even carving ornaments in stone standing on the scaffold like real stonemasons. Savva Mamontov was working as a sculptor... There was so much energy and art creativity: everybody was working tirelessly, competing and with interest..."
By the end of July the church was roofed. Decorative work and interior required the detailed studying of the medieval Russian art and participants of the Colony took trips to Rostov, Yaroslavl and other towns. In summer the church was adorned with stone carved ornaments. The ornament of the portal roller had images connected with Christian symbols and Gospel themes: the Lamb personified Christ; the head of a donkey reminded the Christ's entry into Jerusalem; the cock – the denial of the Apostle Peter; the angel, lion, eagle and calf symbolized evangelists and the like. The frieze of coloured tiles made the massive drum more elegant. Later the Icon of Christ of Edessa painted by Vasily Polenov was placed above the portal (1882) and the chimney was covered with tiles (1890s).
The leading role in the interior design was given to Vasily Polenov. His sketches were used to make the iconostasis, icon cases, candleholders, the altarpiece cross, the church chandelier, wedding crowns, gonfalons and other church utensils. The double-level iconostasis dates back to the interiors of the rural churches in the Russian North. Icons of traditional painting collected by the Abramtsevo Colony participants are combined with the authors' icons: "Christ of Edessa" by Ilya Repin (1881–1882), "St. Nicholas" by Nikolay Nevrev (1881), "St. Sergius of Radonezh" and "Virgin and Child" (1881) by Viktor Vasnetsov (1882), "Annunciation" by Vasily Polenov (1882) and other works of the Abramtsevo artists. It was the first time when the icons of the Orthodox Church were painted in realistic manner, anticipating the work of Viktor Vasnetsov in the St. Vladimir's Cathedral of Kiev. The relief "The Head of John the Baptist" on the northern wall was made by Mark Antokolsky (1880s), the icon on the southern wall "St. Prince Fyodor with his Sons Konstantin and David" was painted by Yelena Polenova (1890s). Viktor Vasnetsov painted flowers and butterflies on the choirs. He was also the author of the mosaic floor with a stylized flower and the dates of the construction: 1881–1882 written in Slavonic letters. In 1892 Mikhail Vrubel designed the stove.
Preparation of documents took all summer in 1881. In autumn, when the church was already built, the official laying was held, and the next summer the church was consecrated in the name of the Icon of Christ of Edessa.
The Church of the Savior on Spilled Blood (Церковь Спаса на Крови) is one of the main sights of St. Petersburg, Russia. It is also variously called the Church on Spilt Blood (Церковь на Крови) and the Cathedral of the Resurrection of Christ (Собор Воскресения Христова), its official name.
The preferred Russian name for this great church is Храм Спаса на Крови, but each English-language tourist publication seems to list it under a different name. The moniker of "Spilled Blood" is most popular in preference to the likes of the Church of the Resurrection, Church of our Savior on the Blood, Cathedral of the Ascension, Resurrection of the Christ, or Assumption, Church of the Redeemer, or any permutation of the above.
This Church was built on the site where Tsar Alexander II was assassinated and was dedicated in his memory. It should not to be confused with the Church on Blood in Honour of All Saints Resplendent in the Russian Land, located in the city of Yekaterinburg where the former Emperor Nicholas II (1868–1918) and several members of his family and household were executed following the Bolshevik Revolution.
Construction began in 1883 under Alexander III, as a memorial to his father, Alexander II. Work progressed slowly and was finally completed during the reign of Nicholas II in 1907. Funding was provided by the Imperial family with the support of many private donors.
The Church is prominently situated along the Griboedov Canal. The embankment at that point runs along either side of a canal. On March 13, 1881 (Julian date: March 1), as Tsar Alexander's carriage passed along the embankment, a grenade thrown by an anarchist conspirator exploded. The tsar, shaken but unhurt, got out of the carriage and started to remonstrate with the presumed culprit. A second conspirator took the chance to throw another bomb, killing himself and mortally wounding the tsar. The tsar, bleeding heavily, was taken back to the Winter Palace where he died a few hours later.
A temporary shrine was erected on the site of the attack while the project for a more permanent memorial was undertaken. It was decided that the section of the street where the assassination had taken place was to be enclosed within the walls of a church. The embankment was therefore extended out into the canal to allow the shrine to fit comfortably within the building and to provide space on the exterior wall for a memorial marking the spot where the assassination took place. Inside, an elaborate shrine was constructed on the exact place of Alexander's death, garnished with topaz, lazurite and other semi-precious stones. Amid such rich decoration, the simple cobblestones on which the tsar's blood was spilled and which are exposed in the floor of the shrine provide a striking contrast.
Architecturally, the Cathedral differs from St. Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The Church contains over 7500 square metres of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in St. Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the Church's construction ran well over budget, having been estimated at 3.6 million roubles but ending up costing over 4.6 million. The walls and ceilings inside the Church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In the aftermath of the Russian Revolution, the church was ransacked and looted, badly damaging its interior. The Soviet government closed the church in the early 1930s. During the Second World War when many people were starving due to the Siege of Leningrad by Nazi German military forces, the church was used as a temporary morgue for those who died in combat and from starvation and illness. The church suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Saviour on Potatoes.
In July 1970, management of the Church passed to Saint Isaac's Cathedral (then used as a highly profitable museum) and proceeds from the Cathedral were funneled back into restoring the Church. It was reopened in August 1997, after 27 years of restoration, but has not been reconsecrated and does not function as a full-time place of worship; it is a Museum of Mosaics. Even before the Revolution it never functioned as a public place of worship; having been dedicated exclusively to the memory of the assassinated tsar, the only services were panikhidas (memorial services). The Church is now one of the main tourist attractions in St. Petersburg.
Viktor Mikhaylovich Vasnetsov (Vyatka, May 15, 1848 — Moscow, July 23, 1926) was a Russian artist who specialised in mythological and historical subjects. He was described as co-founder of folklorist/romantic modernism in the Russian painting and a key figure of the revivalist movement in Russian art.
[Oil on canvas, 167 x 299 cm]
gandalfsgallery.blogspot.com/2011/12/unknown-russian-arti...
The Church of the Savior on Spilled Blood Interior (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi), in St. Petersburg, Russia
Architecturally, the Cathedral differs from St. Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The Church contains over 7500 square metres of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in St. Petersburg in 1842 in a Baltic-German Lutheran family). Perhaps not surprisingly, the Church's construction ran well over budget, having been estimated at 3.6 million roubles but ending up costing over 4.6 million. The walls and ceilings inside the Church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
In Christian iconography, Christ Pantocrator refers to a specific depiction of Christ. Pantocrator or Pantokrator (from the Greek Παντοκράτωρ) is a translation of one of many Names of God in Judaism. When the Hebrew Bible was translated into Greek as the Septuagint, Pantokrator was used both for YHWH Tzevaot "Lord of Hosts" and for El Shaddai "God Almighty".
The icon of Christ Pantokrator is one of the most widely used religious images of Orthodox Christianity. Generally speaking, in Byzantine church art and architecture, an iconic mosaic or fresco of Christ Pantokrator occupies the space in the central dome of the church, in the half-dome of the apse or on the nave vault. Some scholars (Latourette 1975: 572) consider the Pantocrator a Christian adaptation of images of Zeus, such as the great statue of Zeus enthroned at Olympia. The development of the earliest stages of the icon from Roman Imperial imagery is easier to trace.
The icon, traditionally half-length when in a semi-dome, which became adopted for panel icons also, depicts Christ fully frontal with a somewhat melancholy and stern aspect, with the right hand raised in blessing or, in the early encaustic panel at St. Catherine's, the conventional rhetorical gesture that represents teaching. The left hand holds a closed book with a richly decorated cover featuring the Cross, representing the Gospels. An icon where Christ has an open book is called "Christ the Teacher", a variant of the Pantocrator. Christ is bearded, his brown hair centrally parted, and his head is surrounded by a halo. The icon is usually shown against a gold background comparable to the gilded grounds of mosaic depictions of the Christian emperors.
Biserica Rusă, Biserica studenţilor, Bucuresti
St. Nicholas Russian Church [finished in 1909], Bucharest, Romania
Architect: V. A. Prevbrajenski
Murals: Viktor Vasnetsov
en.wikipedia.org/wiki/Bucharest_Russian_Church
www.monumenteromania.ro/index.php/monumente/detalii/en/Ru...
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.
The church was closed for services in the 1930s, when the Bolsheviks went on an offensive against religion and destroyed churches all over the country. It remained closed and under restoration for over 30 years and was finally re-opened in 1997 in all its dazzling former glory. The view of the church from Nevsky Prospekt is absolutely breathtaking.
NOTE: Translations of the church’s name vary between guidebooks and include The Church of the Savior on Blood, The Resurrection Church and The Church of the Resurrection of Christ.
Location: Naberezhnaia Kanala Griboedova. Reopened in late August 1997 after almost 30 years of restoration. (saint-petersburg.com)