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By Victor Vasnetsov while he was working in Paris with Repin. It was at this time that Savva Mamontov invited the two artists to go back to Moscow with him and work and live at the Abramtsevo settlement. I suspect Mamontov had an idea developing in his mind at that time.
I have always admired this painting and I suspect that Savva Mamontov saw great potential for what he developed when they got settled back in Moscow.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Iliá Yefímovich Repin, (ruso: Илья́ Ефи́мович Ре́пин; Chugúyev, Ucrania, Imperio ruso, 24 de juliojuliano/ 5 de agosto de 1844gregoriano. - Kuokkala, Finlandia (ahora Répino en el distrito de Kurortny de San Petersburgo), 29 de septiembre de 1930) fue un destacado pintor y escultor ruso del movimiento artístico de los Itinerantes. Sus obras, enmarcadas en el realismo, contienen a menudo una gran profundidad psicológica y exhiben las tensiones del orden social existente. A finales de los años 20 comenzaron a publicarse en la URSS detallados trabajos sobre su obra y alrededor de diez años después fue puesto como ejemplo para ser imitado por los artistas del realismo socialista.
Su padre, Yefim, era un militar y también un colono que se dedicaba al cultivo de la tierra. A los 13 años, Repin entró de aprendiz en el taller de un artista local dedicado a los iconos llamado Iván Bunakov. Igualmente comienza a estudiar la técnica del retrato. En 1866 se trasladó a San Petersburgo e ingresó en la Academia Imperial de las Artes.
Con su primera obra maestra, La resurrección de la hija de Jairo, ganó la medalla de oro de un concurso de la Academia, y con ella una beca para estudiar en Francia e Italia. Así es como Repin vivió en París, donde recibió la influencia de los impresionistas, lo que influyó decisivamente en su forma de usar la luz y el color. Sin embargo, su estilo continuó siendo más afín al de los maestros de la vieja escuela, especialmente Rembrandt, y nunca llegó a convertirse en un impresionista. A lo largo de su carrera retrató a la gente común, tanto ucraniana como rusa, aunque en sus últimos años también representó en sus obras a miembros de la élite del Imperio Ruso, la intelligentsia, la aristocracia y al propio zar Nicolás II.
es.wikipedia.org/wiki/Iliá_Repin
Ilya Yefimovich Repin (Russian: Илья́ Ефи́мович Ре́пин, tr. Il'ya Yefimovich Repin, IPA: [ˈrʲepʲɪn]; Finnish: Ilja Jefimovitš Repin; Ukrainian: Ілля́ Юхи́мович Рє́пін;5 August [O.S. 24 July] 1844 – 29 September 1930) was a Russian realist painter. He was the most renowned Russian artist of the 19th century, when his position in the world of art was comparable to that of Leo Tolstoy in literature. He played a major role in bringing Russian art into the mainstream of European culture. His major works include Barge Haulers on the Volga (1873), Religious Procession in Kursk Province (1883) and Reply of the Zaporozhian Cossacks (1880–91).
Repin was born in Chuguyev, in Kharkov Governorate, Russian Empire (now Chuhuiv in Ukraine, Kharkiv Region) into a family of "military settlers". His father traded horses and his grandmother ran an inn. He entered military school to study surveying. Soon after the surveying course was cancelled, his father helped Repin to become an apprentice with Ivan Bunakov, a local icon painter, where he restored old icons and painted portraits of local notables through commissions. In 1863 he went to St. Petersburg Art Academy to study painting but had to enter Ivan Kramskoi preparatory school first. He met fellow artist Ivan Kramskoi and the critic Vladimir Stasov during the 1860s, and his wife, Vera Shevtsova in 1872 (they remained married for ten years). In 1874–1876 he showed at the Salon in Paris and at the exhibitions of the Itinerants' Society in Saint Petersburg. He was awarded the title of academician in 1876.
Repin persistently searched for new techniques and content to give his work more fullness and depth. Repin had a set of favorite subjects, and a limited circle of people whose portraits he painted. But he had a deep sense of purpose in his aesthetics, and had the great artistic gift to sense the spirit of the age and its reflection in the lives and characters of individuals. Repin's search for truth and for an ideal led him in various directions artistically, influenced by hidden aspects of social and spiritual experiences as well as national culture. Like most Russian realists of his times, Repin often based his works on dramatic conflicts, drawn from contemporary life or history. He also used mythological images with a strong sense of purpose; some of his religious paintings are among his greatest.
His method was the reverse of the general approach of impressionism. He produced works slowly and carefully. They were the result of close and detailed study. With some of his paintings, he made one hundred or more preliminary sketches. He was never satisfied with his works, and often painted multiple versions, years apart. He also changed and adjusted his methods constantly in order to obtain more effective arrangement, grouping and coloristic power. Repin's style of portraiture was unique, but owed something to the influence of Eduard Manet and Diego Velázquez.
en.wikipedia.org/wiki/Ilya_Repin
es.wikipedia.org/wiki/Modest_Músorgski
en.wikipedia.org/wiki/Modest_Mussorgsky
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.
Over 40 years on, “the girl from the chocolate wrapper” tried to sue the confectionery for millions, but was unsuccessful in proving that she indeed was the little blue-eyed child in the headscarf.
“We need a widely available, affordable milk chocolate!” Such was the task set by the Soviet government’s food program in the 1960s. Out of the companies competing for the government tender, ‘Krasny Oktyabr’ (“Red October”) was chosen. The confectionery’s ‘Alenka’ line then became the “national” chocolate of the day.
The bar took its name from the daughter of the first woman in space, Valentina Tereshkova. However, the honor of becoming the face of the chocolate went to a different girl. In 1966, the first chocolate bars came out with eight month-old Elena Gernias’s face gracing the packaging.
A long search preceded the final decision. The designers tested different options - there was a girl with carnations, a girl with pigtails, a little ‘Snegurochka’ (“Snow maiden”) - but nothing was being approved. Since the designers had reached a dead end, someone suggested using the girl from Viktor Vasnetsov’s painting, ‘Alenushka’. However, the idea was criticized: Vasnetsov’s girl sits with bare feet - and “Soviet children are not in any need of shoes!”, the Communist Party deemed. The impasse resulted in the submission of a new request for tenders.
In 1965, the newspaper ‘Vechernyaya Moskva’ (“Evening Moscow”) received more than 1,500 shots of the would-be packaging, but the one that ended up winning was a picture already known to the nation from state-produced magazines, including the cover of ‘Zdorovye’ (“Health”). Its author was the photojournalist Aleksandr Gerinas. The wide-eyed cover girl was his daughter, Elena.
For the chocolate bar to really become “national”, the girl’s eyes were redone in blue, her face lengthened and the upper lip enlarged.
The chocolate with her face on the cover would accompany Elena her entire childhood. But neither she nor her family would ever see a ruble for the photograph.
They had kept this to themselves until 2000.
Interrupted silence
As the Alenka marketing campaign kicked off, Krasny Oktyabr invited Elena Gerinas to the official presentation. She was given a ‘sweet’ prize as the little “model”, but that didn’t stop Elena wishing for something different: that, decades later, she would be given some sort of a contract, or at least a reward. This never happened, and Gerinas, then 36, decided to take the confectionary maker to court.
“Everyone in our family knows that my portrait is on that chocolate,” she said. “When dad died - he’d divorced mom earlier, they were living separately - they gave us his entire photographic archive. That’s where I found the tape.”
Gerinas lodged a claim against the brand with a request to acknowledge her legal rights to the photograph, as well as for financial compensation and a percentage for any future use of her image. Gerinas valued the damage at five million rubles (ca. $66,100).
The legal battle lasted two and a half years, and ended with Gerinas losing. The investigation concluded that the cover was, indeed, most likely redrawn from the photo in question - it even found 18 similarities to support its case. However, changes made to the original photograph legally rendered its use fair, putting it squarely in the original work category.
“I still have that tiny headscarf, it’s faded a bit though,” Gerinas said. “Look closely at Alenka, her knot is tied in a peculiar way, because my mom is a lefty. This detail didn’t escape the court, but was never officially acknowledged.”
The cover girl continues to carefully store all the evidence in the case, including the cover of “Health” with her face on it.
Today, the 56-year-old lives in Khimki, just outside Moscow, with her husband and two children. She works as a liberarian, but is also an expert in pharmacology. Elena can be found on Facebook, where she posts various things, including dacha photos with her family and the occasional petition.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
Saint Petersburg Russian Federation
This is a special place,the Church of the Savior on Spilled Blood contains over 7500 square metres of mosaics according to its restorers, more than any other church in the world.
Story of the image:
I was at the same place in July 2011 and tried to photograph this magnificent ceiling. I wasn’t all too happy with the result then but was now better prepared for the challenge ahead and trying again. So what were the obstacles to overcome? First of all equipment: Tripods not allowed so I took a gorillapod with a ball head on top. When you spread the three legs out to the maximum, you can position the camera on the floor, with a small ball-head (Manfrotto 492 mini) helping to point the camera upward. Then the lens: you need a wide angle lens and the Samyang 14mm was ready for the task. Also I am now full frame with the canon 5DIII which helps a bit to keep it wide.
The next thing I learned from my previous visit was that if it was sunny, you really had problems with harsh shadows and beams of light (blown out areas) even using HDR with taking bracketed exposures. So I waited (luckily I was in St. Petersburg for a few days) for the right moment when the sky was overcast but with bright light, the clouds making a big soft-box over the church.
So all prepared, position the camera as best as possible, put the manual focus on infinity, used ‘live view’ so the mirror was up, set bracketed exposure, -2,0,+2 aperture priority (5.6) for a reasonable safe focus plane and used the infrared remote (RC-6) to keep the camera still.
In post processing I had to remove a piece of rope barrier that unfortunately couldn’t be avoided, but as the image is quite symmetric I selected an area on the right, put it on it’s own layer, flipped horizontal and then placed over the problem area using free transform. Used a mask to paint out a nice soft edge and take out the unneeded bits. Further used ‘spicify’ filter from Topaz but turn down opacity of that layer down to 30% so it stays natural. Further used Nik Color Efex Pro, Film Efex, modern, Kodak, Ektachrome 64 pro to give a saturated and warm effect. Back in Lightroom for sharpening, Vignette and the final Crop.
Photo details: (HDR +2,0,-2) Exposure 1/8 sec at f/ (ISO 125), Camera Canon EOS 5D Mark III with a Samyang 14mm f2.8 ED AS IF UMClens.
Photo by: Jerold Paterson, copyright ©2013 all rights reserved.
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.
The stone cathedral, on the whole, repeats in terms of the reception used in the construction of the church of St. Sophia in Constantinople. In this case, the ratio of the parts of the temple is different and the temple is somewhat smaller than the prototype. The diameter of the dome of St. Sophia is 31 meters, and the diameter of the dome of the Naval Cathedral is 26.7 m; The height is referred to as 56 and 52 meters. The length is 81 and 83 meters. Width as 72 and 64 meters. But the general idea of a planning solution with the support of the central dome for the apses, as well as the layout of the side colonnades in the traditional for the Byzantine basilica style, as well as the murals are certainly within the framework of one Byzantine concept.
In addition, we note that the side of the inner central hall is 24 meters; the spans of the main arches are 23 meters. The height to the base of the main dome is 52 meters; the external height with a cross is 70.5 meters. This is the tallest building in Kronstadt.
The facade of the cathedral is faced with brick and terracotta and is decorated with granite socle and columns of portals, as well as, in a small number, with majolica and mosaic. Icons on the facades were performed in the mosaic workshop of VA Frolov:
The western central portal is decorated with mosaic images of the Savior Not Made by Hands, two plots from the life of St. Nicholas the Miracle-Worker, symbols of evangelists and ornaments.
Above the side portals of the main entrance, there are icons of saints dedicated to the chapels:
to the left - the holy apostles Peter and Paul;
right - St. Nicholas the Wonderworker and St. John Rylsky.
Above the northern portal is the image of the Mother of God;
Over the southern portal - St. Mitrofaniy.
The main dome and the dome of the belfry are decorated with copper relief patterns, gilt on the muzzle.
In the eastern part there are two more entrances, intended for the clergy, with doors decorated with bronze ornaments richly decorated.
Over the main interior space dominates the central dome with a diameter of about 27 meters. The dome space is surrounded by two-tier gallery-choirs
The painting was only in the altar, sails and on the vaults of the northern and southern choruses of the artist M. M. Vasiliev. The picture was partially made for mosaic, partly for murals. When the restoration of the temple was decided to finish painting.
The rest of the temple was painted with an even color. The choirs are supported by columns, which are crowned with capitals and, like the casings of the inner doorways, are covered with artificial marble. The cornices are covered with molded ornaments. The walls in the lower part were surrounded by a high panel of colored marble, where on black boards it was supposed to carve the names of the dead officers of the fleet.
The altar is raised 4 meters high. The iconostasis of the sculptor NA Popov's work on the project of VA and GA Kosyakov was made of white marble with mosaic insets. Above the main throne rose a marble canopy. The side altars of St. Peter and Paul and St. John Rylsky were not separated from the main one. In the left part of the salt hall there was a marble pulpit for sermons. It was decorated with columns and marble panels, as well as the image of the Holy Spirit in the form of a dove. The iconostasis was destroyed in 1929 and was completely recreated according to sketches, archival photographs and materials.
The floor was covered with fine marble in a thin copper frame and decorated with mosaic figures of fish and jellyfish, images of marine plants and ships.
In the eastern part of the choir there was a ceremonial vestry and a place for the choir. In the same place, icons were kept from abolished ships. On the first floor there was a sacristy and a library.
The huge round windows of the temple, resembling portholes, were decorated with stained glass windows. All the glasswork in the temple was performed by the Northern Glass-Industrial Society, which means that the stained-glass windows were created by the famous workshop owned by the Frank brothers. It is not yet established who, then, a hundred years ago designed and assembled giant glass canvases. Total stained glass in the cathedral was five, two had incredible dimensions - an area of 52 square meters each, and were co-scale the entire grand interior. These round windows at the time of their installation in 1913 were undoubtedly the largest stained-glass windows in pre-revolutionary Russia.
The western window with the image of "Deesis" was recreated by the preserved black and white photograph. Three figures in the canonical composition - Jesus Christ, the Mother of God and John the Baptist - are solved in the spirit of the works of VM Vasnetsov, the most popular and in demand by the church artist at the beginning of the 20th century. Two other windows of the first tier: "Crucifixion with the coming" on the north side and "Wonderful catch" from the south - were created anew in accordance with the spirit of the era and the stylistics of church wall paintings of the early XX century.
Luitpold Adam Adrià Pina Fedor Antonov Tatiana Badanina Octav Băncilă Lyndall Bass Marcus Beilby Kent Bellows Bikash Bhattacharjee Columbano Bordalo Pinheiro Hippolyte Boulenger Fidelia Bridges Derek Buckner
David Campbell (painter)
Ernesto de la Cárcova
Jean Carolus
Mikhail Clodt
Jack Coggins
Alex Colville
D
Josef Dande
Rackstraw Downes
E
Thomas Eakins
Franz Eisenhut
Otto Erdmann
F
Giovanni Fattori
Neil Faulkner (painter)
Tully Filmus
G
William Glackens
Gavriil Gorelov
Antonio Guzmán Capel
H
Mauritz de Haas
Jacques Hnizdovsky
Simon Hollósy
Winslow Homer
H cont.
Conrad Hommel
Clark Hulings
J
Valery Jacobi
Mathurin Janssaud
Carl Ludwig Jessen
Paja Jovanović
K
Kitty Lange Kielland
Ruslan Korostenskij
Simon Kozhin
Ivan Kramskoi
Arkhip Kuindzhi
L
Henry Herbert La Thangue
Wilhelm Leibl
Dana Levin (artist)
Isaac Levitan
Nestor Leynes
Antonio López García
M
Aleksandr Makovsky
Dragan Malešević Tapi
Ans Markus
Theodor Martens
Stan Masters
Anton Mauve
Vassily Maximov
Paul Meltsner
Apollon Mokritsky
Heinrich Mücke
Archibald Herman Muller
Grigoriy Myasoyedov
N
Stephen Namara
O
Volodymyr Orlovsky
Alexander Osmerkin
P
Vasily Perov
Arkady Plastov
P cont.
Vasily Polenov
Alexander Evgenievich Ponomarev
Uroš Predić
Illarion Pryanishnikov
R
Josip Račić
Manuel Lopes Rodrigues
Joram Rozov
S
Konstantin Savitsky
Alexei Savrasov
August Schneider
Valentin Serov
Ivan Shishkin
Alan Shuptrine
Dmitri Sinodi-Popov
Isaac Soyer
Raphael Soyer
R. B. Sprague
Johann Gottfried Steffan
Harijadi Sumodidjojo
Vasily Surikov
T
Henry Jones Thaddeus
Mór Than
Alton Tobey
William B. T. Trego
Konstiantyn Trutovsky
V
Fyodor Vasilyev
Viktor Vasnetsov
Vasily Vereshchagin
Nicolae Vermont
Vladimir Nasedkin
W
Pedro Weingärtner
Harold Weston
Geoff Williams (painter)
Y
Nikolai Yaroshenk
Masterpiece of the State Russian Museum of St. Petersburg (Russia).
Rivaling the Tretyakov Gallery in Moscow as the world's finest collection of Russian art, the State Russian Museum has an illustrious history that began when the fiercely nationalist Tsar Alexander III became the first Russian ruler to make a significant collection of art by Russian artists. His son, Nicholas II, decided to open a museum in his father's honour and, in 1895, bought the Mikhailovskiy Palace to house the collection. Originally called the Alexandrovskiy Museum, it was opened to the public in 1898. After the Revolution, the museum benefited massively from state confiscations of privately owned artworks, and the permanent exhibition was slowly expanded to include the palace's Rossi and Benois Wings. The museum's collection includes over 400,000 artworks covering the complete history of Russian art, from 11th century icons to work by contemporary video artists. Unlike the Tretyakov Gallery, the Russian Museum continues to exhibit art from all periods in one space.
Masterpiece of Vrubel.
Mikhail Aleksandrovich Vrubel (Russian: Михаил Александрович Врубель) (Omsk, 5/March 17 1856 -- 1/April 14 1910) was a Russian painter and sculptor. He also made ceramics and he designed for theater. Vrubel was the son of a lawyer and officer of the Russian army and graduated from the Law Faculty of the University of Saint Petersburg in 1880. The following year he entered the Imperial Academy of Fine Arts. In 1884 he was commissioned to Saint Cyril Cathedral Kiev to provide frescoes in place of the
12th century frescoes. This went to Vrubel Venice to study medieval religious art.
In 1886 Vrubel went back to Kiev, where he meets the St. Volodymyr Cathedral worked together with Viktor Vasnetsov. This period began Vrubel also working on a series of sketches and watercolors illustrating the epic poem Demon of Mikhail Lermontov.
In 1890 moved to Vrubel Moscow. He also worked as ceramics, majolica, And glass.
Moreover, he also designs scenery and costumes. The painting of the Demon seated
in a garden (1890) was received with mixed feelings. Some critics found it anything but, there were others rave about. This painting Vrubel finally drew his name.
In 1896 he was in love with the opera singer Nadjezjda Zabela, with whom he later married half years. Vrubel designed costumes for his wife, who played roles in Snow Girl and The tale of Tsar Saltan (if the swans princess). He also made paintings that were inspired by these works. Vrubel returned in 1901 returned to the theme of the demon. After a time the face of a demon had been working at the underlying spiritual message across to the audience, fell in Vrubel. He had entered into a clinic. There he made some work. In 1906 he was nearly blind and had become overwhelmed by his mental illness to give up painting.
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is a Russian Orthodox church in Saint Petersburg, Russia which currently functions as a secular museum and church at the same time. The structure was constructed between 1883 and 1907. It is one of Saint Petersburg's major attractions.
The church was erected on the site where political nihilists assassinated Emperor Alexander II in March 1881. The church was funded by the Romanov imperial family in honor of Alexander II, and the suffix "on [Spilled] Blood" refers to his assassination.
Construction began in 1883 during the reign of Alexander III, two years after the assassination of his father Alexander II. The church was consecrated as a memorial to his father. 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 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.[citation needed] 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.
Gamayun, one of three prophetic birds of Russian folklore, alongside Alkonost and Sirin (painting by Viktor Vasnetsov, 1897).
Slavic mythology
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.
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 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.)
Erected on the site where political nihilists fatally wounded Emperor Alexander II in March 1881, the church was constructed between 1883 and 1907, funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, two years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father. 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 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[citation needed] 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.
Mosaic of Christ Pantocrator under the central dome
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world.[citation needed] 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.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
The 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.)
Erected on the site where political nihilists fatally wounded Emperor Alexander II in March 1881, the church was constructed between 1883 and 1907, funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, two years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father. 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 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[citation needed] 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.
Mosaic of Christ Pantocrator under the central dome
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world.[citation needed] 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.
Copyright © 2009 - All rights reserved - Interior capture of the main dome and alter apse showing the overwhelming masterpiece artworks that adorn all the walls, vaulted ceilings, archways and columns within St. Vladimir's Cathedral.
Volodymyrsky Cathedral, (Vladimirsky Cathedral, or St. Vladimir's Cathedral) is a remarkable old Byzantine style cathedral in the center of Kyiv. It is one of the city's major landmarks and the mother cathedral of the Ukrainian Orthodox Church - Kyiv Patriarchy, one of two major Ukrainian Orthodox Churches.
In 1852, metropolitan Philaret of Moscow suggested a large cathedral should be built in Kyiv to commemorate the 900th anniversary of the baptism of Kyivan Rus by prince Vladimir (Volodymyr) the Great of Kiev (St. Vladimir). It was completed in total in 1889.
It is the interior artwork in this capture that truly is the splendor of this ancient cathedral. Mosaics were executed by masters from Venice. Frescoes were created under the guidance of Professor A. Prakhov by a group of famous painters: S. Kostenko, V. Kotarbinsky, M. Nesterov, M. Pymonenko, P. Swedomsky, V. Vasnetsov, M. Vrubel, V. Zamyraylo, and others. The painting of the Holy Mother of God by Vasnetsov in the altar apse of the cathedral impresses by its austere beauty, being one of the world masterpieces of fine art. (Historical data courtesy of Wikipedia) Kyiv, Ukraine 2009
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.
Over 40 years on, “the girl from the chocolate wrapper” tried to sue the confectionery for millions, but was unsuccessful in proving that she indeed was the little blue-eyed child in the headscarf.
“We need a widely available, affordable milk chocolate!” Such was the task set by the Soviet government’s food program in the 1960s. Out of the companies competing for the government tender, ‘Krasny Oktyabr’ (“Red October”) was chosen. The confectionery’s ‘Alenka’ line then became the “national” chocolate of the day.
The bar took its name from the daughter of the first woman in space, Valentina Tereshkova. However, the honor of becoming the face of the chocolate went to a different girl. In 1966, the first chocolate bars came out with eight month-old Elena Gernias’s face gracing the packaging.
A long search preceded the final decision. The designers tested different options - there was a girl with carnations, a girl with pigtails, a little ‘Snegurochka’ (“Snow maiden”) - but nothing was being approved. Since the designers had reached a dead end, someone suggested using the girl from Viktor Vasnetsov’s painting, ‘Alenushka’. However, the idea was criticized: Vasnetsov’s girl sits with bare feet - and “Soviet children are not in any need of shoes!”, the Communist Party deemed. The impasse resulted in the submission of a new request for tenders.
In 1965, the newspaper ‘Vechernyaya Moskva’ (“Evening Moscow”) received more than 1,500 shots of the would-be packaging, but the one that ended up winning was a picture already known to the nation from state-produced magazines, including the cover of ‘Zdorovye’ (“Health”). Its author was the photojournalist Aleksandr Gerinas. The wide-eyed cover girl was his daughter, Elena.
For the chocolate bar to really become “national”, the girl’s eyes were redone in blue, her face lengthened and the upper lip enlarged.
The chocolate with her face on the cover would accompany Elena her entire childhood. But neither she nor her family would ever see a ruble for the photograph.
They had kept this to themselves until 2000.
Interrupted silence
As the Alenka marketing campaign kicked off, Krasny Oktyabr invited Elena Gerinas to the official presentation. She was given a ‘sweet’ prize as the little “model”, but that didn’t stop Elena wishing for something different: that, decades later, she would be given some sort of a contract, or at least a reward. This never happened, and Gerinas, then 36, decided to take the confectionary maker to court.
“Everyone in our family knows that my portrait is on that chocolate,” she said. “When dad died - he’d divorced mom earlier, they were living separately - they gave us his entire photographic archive. That’s where I found the tape.”
Gerinas lodged a claim against the brand with a request to acknowledge her legal rights to the photograph, as well as for financial compensation and a percentage for any future use of her image. Gerinas valued the damage at five million rubles (ca. $66,100).
The legal battle lasted two and a half years, and ended with Gerinas losing. The investigation concluded that the cover was, indeed, most likely redrawn from the photo in question - it even found 18 similarities to support its case. However, changes made to the original photograph legally rendered its use fair, putting it squarely in the original work category.
“I still have that tiny headscarf, it’s faded a bit though,” Gerinas said. “Look closely at Alenka, her knot is tied in a peculiar way, because my mom is a lefty. This detail didn’t escape the court, but was never officially acknowledged.”
The cover girl continues to carefully store all the evidence in the case, including the cover of “Health” with her face on it.
Today, the 56-year-old lives in Khimki, just outside Moscow, with her husband and two children. She works as a liberarian, but is also an expert in pharmacology. Elena can be found on Facebook, where she posts various things, including dacha photos with her family and the occasional petition.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
The 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: 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.)
Erected on the site where political nihilists fatally wounded Emperor Alexander II in March 1881, the church was constructed between 1883 and 1907, funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, two years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father. 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 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[citation needed] 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.
Mosaic of Christ Pantocrator under the central dome
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world.[citation needed] 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.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
The 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.)
Erected on the site where political nihilists fatally wounded Emperor Alexander II in March 1881, the church was constructed between 1883 and 1907, funded by the imperial family.
Construction began in 1883 during the reign of Alexander III, two years after the assassination of his father Alexander II. The church was dedicated to be a memorial to his father. 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 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[citation needed] 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.
Mosaic of Christ Pantocrator under the central dome
The church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world.[citation needed] 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.
Rusland, Abramstevo, februari 2000. Deze kerk is ontworpen door Vasily Polenov en Viktor Vasnetsov.
Russia, Abramstevo, February 2000. This church was designed by Vasily Polenov and Viktor Vasnetsov.
Россия, Абрамцево, февраль 2000г. Церковь Спаса Нерукотворного, проект Василия Поленова и Викторая Васнецова.
Information about the Abramstevo Estate can be found here:
en.wikipedia.org/wiki/Abramtsevo_Colony (English)
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.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.