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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.
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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.
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.
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.
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...
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...
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.
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.
"It was on Holy Saturday in 1880 when the Vorya River flooded and people from nearby villages had no opportunity to cross the river and attend the Easter service in the church, they directed their steps to the estate because they knew that the matins would be held there. The Abramtsevo manor house was full of worshippers and Savva Mamontov got the idea to correct the situation and to build a separate chapel... But the idea did not come true, – recalled Natalya Polenova, the participant of the Abramtsevo Colony. – In 1881 the spring was wonderful, the matins were organized in the Manor House and then the idea was brought up again. But everybody decided that a chapel would be too small and that it would be better to build a church. We chose the appropriate place in the park and were determined to build a church in the name of the Icon of Christ of Edessa, on the model of Old Russian cathedrals".
The basic project for the church was worked out by Vasily Polenov and the prototype for it became the Church of the Saviour at Nereditsa (12th century) located near Novgorod. This project outlined the main proportions and forms of the future building. The dome reposed on the massive drum crowing the high pyramidal roof. The portal of the main façade with the Icon of Christ of Edessa had the look of a belfry. Three apses were at the eastern sanctuary part. For the northern façade the artist designed two windows: the triple one and the small semi-oval window. The walls were strengthened with buttresses. The main difficulty was the southern façade. Well observed through the alley of the park it was as important as the western one. Vasily Polenov left the project unfinished.
Viktor Vasnetsov continued the work at the project. "I was keen on the Kremlin and Moscow churches, later on the Yaroslavl and Rostov ones", – he wrote in his letter to Vladimir Stasov. The artist changed the proportions, made the walls higher and the roof lower. The two windows of the northern façade were shifted to the southern one thus making it impressive and letting more light into the church. The Vasnetsov's church became proportional and harmonious, it better corresponded to its purpose – to be a small estate church, nestled in the Abramtsevo park.
In 1881 Viktor Vasnetsov wrote about the beginning of the construction: "All of us, the artists – Vasily Polenov, Ilya Repin, me – Savva Mamontov and his family set to work together being inspired. Our art assistants – Yelizaveta Mamontova... Yelena Polenova, Natalya Polenova (she was Yakunchikova then), Vera Repina – kept up with us. We were drawing facades and ornaments, painting icons and our ladies were embroidering gonfalons, veils and cloths, they were even carving ornaments in stone standing on the scaffold like real stonemasons. Savva Mamontov was working as a sculptor... There was so much energy and art creativity: everybody was working tirelessly, competing and with interest..."
By the end of July the church was roofed. Decorative work and interior required the detailed studying of the medieval Russian art and participants of the Colony took trips to Rostov, Yaroslavl and other towns. In summer the church was adorned with stone carved ornaments. The ornament of the portal roller had images connected with Christian symbols and Gospel themes: the Lamb personified Christ; the head of a donkey reminded the Christ's entry into Jerusalem; the cock – the denial of the Apostle Peter; the angel, lion, eagle and calf symbolized evangelists and the like. The frieze of coloured tiles made the massive drum more elegant. Later the Icon of Christ of Edessa painted by Vasily Polenov was placed above the portal (1882) and the chimney was covered with tiles (1890s).
The leading role in the interior design was given to Vasily Polenov. His sketches were used to make the iconostasis, icon cases, candleholders, the altarpiece cross, the church chandelier, wedding crowns, gonfalons and other church utensils. The double-level iconostasis dates back to the interiors of the rural churches in the Russian North. Icons of traditional painting collected by the Abramtsevo Colony participants are combined with the authors' icons: "Christ of Edessa" by Ilya Repin (1881–1882), "St. Nicholas" by Nikolay Nevrev (1881), "St. Sergius of Radonezh" and "Virgin and Child" (1881) by Viktor Vasnetsov (1882), "Annunciation" by Vasily Polenov (1882) and other works of the Abramtsevo artists. It was the first time when the icons of the Orthodox Church were painted in realistic manner, anticipating the work of Viktor Vasnetsov in the St. Vladimir's Cathedral of Kiev. The relief "The Head of John the Baptist" on the northern wall was made by Mark Antokolsky (1880s), the icon on the southern wall "St. Prince Fyodor with his Sons Konstantin and David" was painted by Yelena Polenova (1890s). Viktor Vasnetsov painted flowers and butterflies on the choirs. He was also the author of the mosaic floor with a stylized flower and the dates of the construction: 1881–1882 written in Slavonic letters. In 1892 Mikhail Vrubel designed the stove.
Preparation of documents took all summer in 1881. In autumn, when the church was already built, the official laying was held, and the next summer the church was consecrated in the name of the Icon of Christ of Edessa.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Nicolás Tarkhov (Ruso: Тархов, Николай Александрович) fue un pintor ruso nacido en Moscú el 20 de enero de 1871, y fallecido en Orsay, Francia el 5 de junio de 1930. Finalmente se instaló en Francia, primero en París, en 1898.
Tarkhoff es tarde para pintar. Él es el hijo de una familia de comerciantes ricos. Realizó su servicio militar y luego trató en vano de volver a la escuela de pintura, escultura y arquitectura en Moscú, donde falló el examen de entrada. Se formó en sus viajes en Rusia, especialmente en el Cáucaso y Crimea. Hará una reunión que determine su vida artística, la de Constantino Korovin, uno de los pocos representantes del impresionismo en Rusia.
Tarkhoff también se hizo amigo de los Pintores simbolistas rusos: Nicolas Millioti, Pavel Kuznetsov y Piotr Savvitch Utkin. Participó en la primera exposición de Mir Iskusstva en 1899.
Viajó a París en 1898 y vivió allí definitivamente desde 1899, asistiendo a la Académie Julian durante algún tiempo, y permaneciendo durante el verano en Bretaña en Doëlan. Regresa con sus lienzos punteados, la naturaleza de Bretaña ofreciéndole la oportunidad de hacer muchas pinturas. Se instaló en Orsay desde 1911.
En Francia, expone en la Feria de Independents en 1901 y en el salón de otoño en 1904. Participó de nuevo en 1911 en exposiciones de Mir Iskusstva en Rusia.
Sus temas favoritos son la naturaleza, París, su hogar, sus seres queridos. Fue descrito como "cervatillo impresionista" por Gérard Weaver. En 1911, se instaló en Orsay, se unió a la revolución bolchevique y vivió aislado del mundo parisino. Murió en Orsay en 1930.
fr.wikipedia.org/wiki/Nicolas_Tarkhoff
Nicolas Tarkhov (Russian: Тархов, Николай Александрович) was a Russian painter born in Moscow on January 20, 1871, and died in Orsay, France on June 5, 1930. He finally settled in France, first Paris, in 1898.
Tarkhoff is late for painting. He is the son of a family of wealthy traders. He performed his military service and then tried in vain to return to the school of Painting, sculpture and architecture in Moscow where he failed the entrance examination. He is formed in his travels in Russia, especially in the Caucasus and Crimea. He will make a meeting that determines his artistic life, that of Constantine Korovin, one of the few representatives of Impressionism in Russia.
Tarkhoff also became friends with Russian Symbolist painters: Nicolas Millioti, Pavel Kuznetsov and Piotr Savvitch Utkin. He participated in the first exhibition of Mir Iskusstva in 1899.
He travelled to Paris in 1898 and lived there definitively from 1899, attending the Académie Julian for some time, and staying during the summer in Brittany in Doëlan. He returns with his dotted canvases, the nature of Brittany offering him the opportunity to make many paintings. He settled in Orsay from 1911.
In France, he exhibits at the Independents ' fair in 1901 and at the autumn salon in 1904. He took part again in 1911 at exhibitions of Mir Iskusstva in Russia.
His favorite themes are nature, Paris, her home, his loved ones. He was described as "impressionistic fawn" by Gérard Tisserand. In 1911, he settled in Orsay, he joined the Bolshevik Revolution and lived isolated from the Parisian world. He died in Orsay in 1930.
fr.wikipedia.org/wiki/Nicolas_Tarkhoff
Nicolas Tarkhoff (en russe : Тархов, Николай Александрович) est un peintre russe né à Moscou le 20 janvier 1871, et mort à Orsay en France, le 5 juin 1930. Il s'établit définitivement en France, d'abord Paris, en 1898.
Tarkhoff se met tard à la peinture. Il est fils d'une famille de commerçants aisés. Il accomplit son service militaire puis tente en vain de rentrer à l'École de peinture, de sculpture et d'architecture de Moscou où il échoue à l'examen d'entrée. Il se forme dans ses voyages en Russie, notamment dans le Caucase et la Crimée. Il y fera une rencontre qui détermine sa vie artistique, celle de Constantin Korovine, un des rares représentants de l'Impressionnisme en Russie.
Tarkhoff se lie aussi d'amitié avec les peintres symbolistes russes : Nicolas Millioti, Pavel Kouznetsov et Piotr Savvitch Outkine. Il participe à la première exposition de Mir Iskousstva en 1899.
Il se rend à Paris en 1898 et y vit définitivement à partir de 1899, fréquentant quelque temps l'académie Julian, et séjournant pendant l'été en Bretagne à Doëlan. Il en revient avec ses toiles pointillistes, la nature de la Bretagne lui offrant l'occasion de réaliser de nombreuses toiles. Il s'installe à Orsay à partir de 1911.
En France, il expose au Salon des indépendants en 1901 et au Salon d'automne, en 1904. Il participe à nouveau en 1911 à des expositions de Mir Iskousstva en Russie.
Ses thèmes favoris sont la nature, Paris, sa maison, ses proches. Il a été qualifié de « fauve impressionniste » par Gérard Tisserand. En 1911, il s'installe à Orsay , il adhère à la révolution bolchévique et vit isolé du monde parisien. Il décède à Orsay en 1930.
fr.wikipedia.org/wiki/Nicolas_Tarkhoff
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
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.
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)
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.
The Church of the Savior on Spilled Blood is one of the main sights of Saint Petersburg, Russia.
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.
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.
Lately I have been too busy to find any time for working on puzzles, so I thought instead I would share a recent discovery.
I stumbled upon a new Russian puzzle brand called Stella. Stella, an importer and distributor of jigsaw puzzles throughout Russia, has developed the Tretyakov Series under its own imprint.
If you live outside of Russia, the puzzles can be purchased through Russia's largest puzzle store, 1001puzzle.com.
Some searching around on the Russian puzzle site forum.puzzler.su revealed that Stella's inaugural series is comprised of 39 different art works exclusively licensed from the Tretyakov Gallery, the largest museum in Russia. So far, 22 titles have been released, with 1000 - 3000 pieces, and I'm told that the rest are expected to be available before the end of this year.
According to the person responsible for establishing the series, who goes by the name "Uncle Vova" on the puzzler.su forum, Stella is something of an experiment to see how successful this product line will be. Art puzzle fans on the Russian puzzle forum miss the Russian Museum Collection released by Step some 10+ years ago. I miss that series too, and hope this new brand succeeds.
Initially I was unsure about the quality of the puzzles, as an unknown, small start-up press may have inferior quality issues, i.e., Planet Puzzles' Grafika brand. But, after seeing reviews and photos of completed Stella puzzles - especially the contributions from a forum member called "ashk," who must have an amazing camera - I was convinced that these puzzles are the real deal.
Now, holding them in my hands, I can confirm the quality: dense, blue-backed cardboard, a bit thinner than Ravensburger but nowhere near as thin as Step; a nice soft feel to the pieces that reminds me of Castorland; and most importantly, exceptional print quality that really highlights the canvas and the brushstrokes.
Reviews can be seen here and here and here, and more on this thread.
I had never made a purchase from Russia before, and was not quite sure what to expect, but I am really pleased with every aspect of my order from 1001puzzle. They speak English, accept Paypal, ship worldwide, and the shipping was via EMS and tracked. Alex, my contact at the store, was helpful in answering my questions about both the puzzles and the ordering process.
I might add that Stella pricing is very good - about in line with Castorland or Dtoys. You'll also find very cheap Step puzzles, and if you're into Pintoo, 1001 has the lowest prices of this plastic puzzle brand that I've seen.
As I usually do when ordering from afar, I made a large order and tried to fit as many puzzles as I could into one large box. This helps decrease the shipping cost per unit. In this case, I bought 18 Stellas and 3 Steps, and the shipping was about $140 - not much more to send this 22 kg. package than a similar sized box from the Western U.S. (domestic shipping in the States has become ridiculous, but that's a topic for another post). It took them a few days to pack the order, and then 2 weeks for it to arrive.
I'll definitely be working on a few of these beauties once I have some free time, and I imagine that the "usual suspects" will be adding some of these to their wish lists! A great opportunity to add some unusual, high-quality fine art puzzles to your collection.
Featured above, clockwise from top left: "In the Garden" (1914) by Konstantin Korozin, 1500 pcs.; "The Demon" (1890) by Mikhail Vrubel, 1500 pcs.; "Autumn" (1912) By I.I. Brodsky, 3000 pcs.; "Sirin and Alkonost: A Song of Joy and Sorrow" (1896) by Viktor Vasnetsov, 2000 pcs.
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 of Our Savior on the Spilled Blood.
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.
The Church of the Savior on Spilled Blood (Russian: Храм Спаса на Крови) Khram Spasa na Krovi is one of the main sights of St. Petersburg, Russia. It is also variously called the Church on Spilt Blood and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова), its official name.
"The preferred Russian name for this great church is [Храм Спаса на Kрови] Khram Spasa na Krovi, 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." [1]
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 and features
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. Another conspirator took the chance to explode 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.
Detail of the richly decorated façade and onion domes
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 took place was to be enclosed within the walls of a church. That section of 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 (and Russian, despite his name). 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.
Russian Revolution of 1917
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 hostile Nazi German military forces, the church was used as a temporary storage site for the corpses of those who died both in combat and of starvation and illness. It suffered significant damage. After the war, it was used as a warehouse for vegetables, leading to the sardonic name of Savior on Potatoes.
Modern times
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 Mosaic. 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 served in it were panikhidas (memorial services). The Church is now one of the main tourist attractions in St. Petersburg.
Oil on canvas; 261 x 447 cm.
Mikhail Aleksandrovich Vrubel, born at Omsk in Siberia, in 1856, was the son of an officer of the Russian army - Alexander Vrubel. The family had many different ethnic roots -- Russian, Polish, Tartar and Danish. Mikhail Vrubel had an older sister Anna with whom he kept a friendly relationship until his death. His younger sister Ekaterina and brother Alexander died in childhood. This caused a deep trauma for the artist. Despite his father's rank as a colonel, the family was never prosperous. Moreover, military attitudes were not emphasized in the family; on the contrary, the parents, especially Alexander, taught the children fundamental educational skills, providing them with literature in several languages (Latin, French, German), encouraging and stimulating the children's interest in history, art, theater, music, and literature.
Mikhail Vrubel was interested in drawing from childhood. Alexander Vrubel had a positive attitude towards his son's enthusiasm for painting. Vrubel received formal painting lessons at the Society for the Encouragement of the Arts at St. Petersburg in 1864, and 1868-1869. He studied as a law student at St. Petersburg University from 1874 to 1880, but simultaneously he began to take painting classes during 1878-1879. During his study at St. Petersburg University he learned German philosophy with great enthusiasm, especially the theories of Nietzche, along with the idealist philosophers Kant and Schopenhauer.
After graduation from the Law Department, Vrubel entered the St. Petersburg Academy of Arts (one of the leading schools in Russia at that time) as a full-time student in 1880, where he studied under Pavel Chistyakov until 1884. This teacher, famous for his teaching abilities in painting and drawing, played a significant role in the development of Vrubel's style, developing in him a taste for detail. Such Russian painters as Ilya Repin, Vasilii Polenov, Victor Vasnetsov, Valentin Serov, Vasilii Surikov were also appreciative pupils of Chistyakov. The artist shared with his teacher the idea of the primary importance of drawing, modeling, form over color, and appreciation of the monumentality of classical art. Vrubel had great respect for the Art Academy and never dismissed its influence on his art as many advanced artists of the time did. In his autobiography, written in 1901, Vrubel referred to his Academy years as the happiest in his life as an artist.
The next step in the development of Vrubel's artistic career began in Kiev in April 1884 when he accepted an invitation from professor Adrian Prakhov to take part in the restoration work of old Russian churches in Kiev. Not incidentally during the 1884-1889 period Vrubel painted not only the commissioned religious works, but also images of Christ, the Virgin Mary, and angels for himself. Working in the twelfth century churches, trying to find unity with the style of the old frescoes, Vrubel remained a prominent artist of the late nineteenth century. In the figures of the saints and angels, in the plasticity of their forms and in the psychological importance of drawing, compositions, and color are evidence that Vrubel was closer to the modern ways of painting than to Byzantine and Old-Russian frescoes and mosaics. He was one of the first Russian artists who tried to develop a style that unified old traditions and modern sensibility, a style which became a basis for his future artistic experimentation.
The analysis of Vrubel's work done in Moscow, where he lived during the two decade period (1889-1910), shows the influence of old traditions and contemporary artistic movements -- Neo-Romanticism, Symbolism, Art Nouveau. Some of the artist's work have features similar to Neo-Primitivism, Rayonism, Futurism, Cubism which soon caught on with many painters in the Russian Avant-Garde.
Among the advanced Russian artists of the turn of the century, such as Isaac Levitan, Valentin Serov, Victor Borisov-Musatov, Vrubel stands out because of the originality of his art. Despite the absence of direct followers, the importance of Vrubel's art should not be underestimated. He pointed the way and made possible the experiments of the succeeding decades. This many-sided painter, sculptor, theater designer, draftsman, and illustrator can be considered as a transitional figure between traditional and modern art because of his influence on and inspiration for the artists of a new generation.
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.
The Church of Our Savior on the Spilled Blood.
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.
This uniform was part of the first standardized Red Army kit, authorized in 1918–1919 amid the Russian Civil War (1917–1922), when Bolshevik forces fought White Army counter-revolutionaries, foreign interventions, and internal chaos. Soldiers often wore a patchwork of old Tsarist uniforms, civilian clothes, and new issues due to shortages—hence the rugged, unadorned look. The budenovka, in particular, symbolized the "worker-peasant" army's break from imperial pomp, though it drew ironic criticism for its theatrical flair (tall points earned wearers the nickname "rod-brains").By the mid-1920s, reforms introduced more practical gear like the pilotski cap, but this style lingered into the 1930s and even the Winter War (1939–1940). Today, it's romanticized in Soviet art, films (e.g., White Sun of the Desert), and reenactments as an emblem of revolutionary fervor. The soldier's serious expression and youthful features (likely a conscript in his late teens or early 20s) capture the era's idealism mixed with hardship.
Key Uniform Components:
Headgear
Pointed woolen hat (budenovka) with a red star emblem on the front. The hat has protective ear/neck flaps (likely folded up in this pose) and a stiffened peak to maintain shape.
Iconic symbol of the Red Army, introduced in January 1919 as winter headwear. Designed by painter Viktor Vasnetsov, inspired by medieval bogatyr (hero) helmets to evoke Russian folklore and boost morale. Named after cavalry commander Semyon Budyonny; it became a propaganda staple but was phased out by 1935 for being impractical in cold weather and under helmets.
Tunic
Long-sleeved shirt-like blouse (gymnastyorka) with a standing collar, buttoned front, and patch pockets. Dark green or protective olive fabric, with a small red star badge pinned to the left breast pocket.
Standard field tunic for enlisted men, adapted from Tsarist designs but simplified for mass production. The badge signifies Red Army affiliation; early versions often lacked insignia to promote equality among ranks.
Trousers & Breeches
High-waisted riding breeches (sharovary) with reinforced knees and wide legs, tucked into boots. Paired with a leather belt.
Designed for mounted troops or mobility; common in cavalry or infantry units. The wide cut allowed for horseback riding without restriction.
Footwear
Tall leather riding boots (sapogi), polished for the photo.
Practical for Russian terrain; standard issue for all branches, emphasizing durability over comfort.
Accessories
Leather cartridge pouch or bandolier box on a chest strap (with visible brass fittings); hand resting on a studio prop column, but the pose suggests a field-ready stance.
Utility item for holding rifle cartridges (e.g., for Mosin-Nagant); the metal fittings and strap indicate combat readiness.
Early Red Army gear often mixed captured Imperial items with new production.
Good photographic material for historians.
The Gamayun, like the Alkonost, is illustrated as a large bird figure with a woman’s head. Her iconic image represents happiness, prosperity and harmony. She is essentially a messenger for peace and sings beautiful melodies. She is considered to be prophetic in Russia as she is aware of everything that occurs within the world including man and animal, and she knows all amongst the gods and heroes. She lives on an island in the East near the Euphrates River or Eden. The Pythoness is not usually depicted with the Alkonost nor Siren, she is permanently alone knowing the secret fate of humans and the world.
Gamayun cooperated with pagan Russian gods, notably Kryshen, Kolyada and Dazhbog, and Veles. She is seen as a personification of Veles—a renowned deity of wisdom, who keeps secrets regarding the world and man’s creation. She is aware of the true nature of all the gods and humans, and sang in the Book of the Vedas. The being’s hymns are believed to be divine and to have magical properties, her voice is difficult to understand and decipher, but the few humans who can comprehend her words can have their future prophesied and opulence as a gift. In contrast to the Alkonost, the bird does not derive from ancient Greece but from Iranian mythology, ultimately gaining recognition in Russia.
www.ancient-origins.net/myths-legends/alkonost-and-gamayu...
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.
Es una de las catedrales más hermosas en San Petersburgo. Fue construida en el lugar donde los narodovólets (miembros del partido “Naródnaya Volia”) habían asesinado al emperador Alejandro II. El atentado contra la vida del emperador tuvo lugar el 1 de marzo en 1881 en el malecón del Canal de Griboyedov (entonces se llamaba el Canal de Catalina). Al día siguiente la Duma Estatal reunió urgentemente y decidió pedir al nuevo emperador Alejandro III el permiso de fundar una capilla en este lugar al honor del zar caído.
Pronto fue anunciado el concurso y era Alfredo Parland quien logró ganarlo. Trabajaba junto con el archimandrita de Ermita Troitse-Sérguieva (de Santísima Trinidad de San Sergio) Ignacio, llamado en el siglo Malishev. Después de la muerta trágica del emperador padre Ignacio, según sus palabras, tuvo un sueńo divino y profético y la Virgen le mostró el aspecto del templo futuro.
El templo fue construido en estilo de arquitectura rusa del siglo 16-17 y se parecía mucho a la Catedral de San Basil en la Plaza Roja de Moscú. Con sus contornos complicados y adorno multicolor se destaca de la mayor parte de obras arquitectónicas en San Petersburgo que son más rigurosas y de colores tranquilos y atenuados.
Un interés indudable suscitan los numerosos mosaicos y paneles que adornan el templo adentro y en el exterior. Fueron creados según los dibujos de Vasnetsov, Nesterov y otros artistas rusos. Particularmente impresiona la superficie de mosaicos que es en alrededor de 7050 m2.
En la decoración del templo usaban diversas cualidades de mármol italiano y piedras semipreciosas – jaspe, cuarzo hialino, topacio, etc. En el zócalo del templo están colocadas veinte tablas de granito que cuentan de los hechos más significantes del emperador Alejandro II y sus reformas. En el campanario están pintados los escudos de provincias rusas. La altura de cúpula más grande – 81 m. Las cúpulas son doradas y cubiertas con esmalte de diversos colores, la cúpula de altar – con esmalte de oro.<
El templo contiene el mismo lugar de asesinato. Están bien conservados los fragmentos de verja del malecón, baldosas de acera y aún los guijos de pavimento, donde cayó el emperador desangrándose.
La catedral sufrió mucho en la época de Unión Soviética. Como otras iglesias de San Petersburgo (o sea Leningrado, como se llamaba entonces) servía de almacén después de la revolución. A los finales de 1960 este monumento único de arquitectura rusa dejaba mucho que desear y en 1970 empezaron las obras de restauración que duraron 30 ańos. Era muy difícil explicar los plazos tan largos de restauración y corrían rumores que no terminara antes la caída del poder soviético. Es significante, que quitaron el andamiaje en 1991 – casi en vísperas de los acontecimientos de agosto en Moscú. La profecía se cumplió.
La catedral está separada de Jardín Mikhailovsky por una verja semicircular en estilo de modernismo, construida según el proyecto de Parland en 1903-1907. El dibujo de verja se parece a los moldes de modernismo alto.
The State Historical Museum of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The 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).
View from the northwest
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.[4] 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.
Konstantin Apollonovich Savitsky was a Russian realist painter born in the city of Taganrog in the village Frankovka or Baronovka, named after former governor Otto Pfeilizer-Frank. Savitsky's father worked as a doctor. In Frankovka the family rented a summer house. Savitsky spent his childhood and youth in Taganrog. He showed an interest for painting in the early childhood. Being on the shore of Azov Sea with his parents, he loved to make sketches, and drawing lessons at Gymnasium were his favorite subject.
When Konstantin was fifth-grader at Taganrog Gymnasium, his teenager's life changed unexpectedly. Both of his parents died suddenly. Kostya was taken by his uncle who lived in present-day Latvia and became his guardian. There Savitsky entered a private boarding-school and in 1862 he graduated and left for Saint Petersburg, where entered The Imperial Academy of Arts. Personal contacts with outstanding representatives of Russian culture - Ilya Repin, Ivan Shishkin, Viktor Vasnetsov, Mark Antokolski, Stasov, Nikolai Mikhailovich Karamzin - made a great influence on development of the young artist. Soon Savitsky became one of the best students of the Imperial Academy of Arts. His student paintings were awarded with silver medals and for his painting "Cain and Abel"1871 he received a gold medal.
After graduation from Imperial Academy of Arts and two years abroad, the artist becomes co-partner of mobile art exhibitions (Peredvizhniki, a group of Russian realist artists who in protest to academic restrictions formed an artists' cooperative, which evolved into the Society for Traveling Art Exhibitions in 1870. The artwork "Repairing Railway" was one of the first paintings of that time dedicated to life of the working class.
Konstantin Savitsky is a co-author of the famous painting Morning in the Pine Forest. On the original Peredvizhniki exhibition the painting was shown by two authors Ivan Shishkin and Konstantin Savitsky. It was assumed that Savitsky had painted the bears and Shishkin the forest but later the scholars found that preparational drawing of the pine forest were made by both Savitsky and Shishkin. Later Savitsky withdrew his signature from the painting and it is currently attributed solely to Shishkin.
The titles of his artworks as "Lost all their possessions in the fire", "To war", "Herdsmen", "Krutchnik", "Argument at the Bound" speak about the direction of his art.
After graduation from Imperial Academy of Arts the artist dedicated more than 20 years to teaching arts in the art schools of Moscow, Saint Petersburg and Penza. In 1897 Konstantin Savitsky became member of the Imperial Academy of Arts.
Church of the Savior on Blood in St Petersburg. 7500 sqm of mosaics. The interior was much influenced by Vladimirsky Cathedral in Kiev with its images created by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov. The church's chief architect is Alfred Parland. || Собор Воскресения Христова, или Храм Спаса на Крови в Санкт-Петербурге. 7500 квм мозаики. Большое влияние на замысел храма оказал Владимирский собор в Киеве с его знаменитыми росписями, выполненными Виктором Васнецовым, Михаилом Нестеровым. Главный архитектор Храма Спаса на Крови - Альфред Парланд.
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ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
venezia2015.llull.cat
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
wroclaw2016.pl/biennale/
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
tnaf.ca
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
This puzzle took longer than expected - I don't know if I was just hungover after the mega-marathon, but I felt like I was getting nowhere due to the tricky composition. The end result was well worth the effort - to me this is a perfect winter scene showing the bluish reflections and shadows that occur during the snowy months. It reminds me of snowshoeing through the forest and approaching a frozen lake. The work also reminds me of the paintings from the Canadian Group of Seven with the same lush forest landscapes. I would have loved a 3000 piece version of this one, as the original painting is quite large, 178 x 124 cm.
From wikipedia:
Apollinary Mikhaylovich Vasnetsov (Russian: Аполлина́рий Миха́йлович Васнецо́в; August 6, 1856 – January 23, 1933) was a Russian painter and graphic artist whose elder brother was the more famous Viktor Vasnetsov. He specialized in scenes from the medieval history of Moscow.
Vasnetsov did not receive a formal artistic education, he studied under his older brother, Viktor Vasnetsov, the famous Russian painter. From 1883, he along with his brother lived and worked in Abramtsevo where he fell under the influence of Vasily Polenov. In 1898–1899, he travelled across Europe. In addition to epic landscapes of Russian nature, Apollinary Vasnetsov created his own genre of historical landscape reconstruction on the basis of historical and archaeological data. His paintings present a visual picture of medieval Moscow. He was a member of the Association of Travelling Art Exhibitions (Peredvizhniki) from 1899, and an academician from 1900. He became one of the founders and supervisors of the Union of Russian Artists.
Completed in 8 hr., 19 mins. with no box reference. 1,000 total pieces: 29.9 secs./piece; 120.2 pcs./hr. Difficulty rating: 3.0/10.
Built in 1883-1907 to the design of Alfred Parland, on the site of the tragic attempt upon the life of Emperor Alexander II by terrorist I. Grinevitskij on 1 March 1881.
The masterpiece of art is the carpet-like mosaic decoration of the walls and vault executed to the design of Victor Vasnetsov, Mikhail Nesterov, Andrei Riabushkin and other.
in Russian-style, this church was built on the spot where, in 1881, Emperor Alexander II, was assassinated
The Church of the Savior on Spilled Blood (Церковь Спаса на Крови) is one of the main sights of St. Petersburg, Russia. Other names include the Church on Spilt Blood (Церковь на Крови, Tserkov’ na Krovi) and the Cathedral of the Resurrection of Christ (Собор Воскресения Христова).
This Church was built on the site where Emperor Alexander II was fatally wounded in March 1881.The church was built from 1883 till 1907. The construction was funded by the imperial family. The name of the church should not be confused with the Church on Blood in Honour of All Saints Resplendent in the Russian Land, located in the city of Yekaterinburg.
ARCHITECTURE
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 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 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 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 [Wikipedia.org]