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Charcoal, watercolor, gouache on paper.
Mikhail Aleksandrovich Vrubel, born at Omsk in Siberia, in 1856, was the son of an officer of the Russian army - Alexander Vrubel. The family had many different ethnic roots -- Russian, Polish, Tartar and Danish. Mikhail Vrubel had an older sister Anna with whom he kept a friendly relationship until his death. His younger sister Ekaterina and brother Alexander died in childhood. This caused a deep trauma for the artist. Despite his father's rank as a colonel, the family was never prosperous. Moreover, military attitudes were not emphasized in the family; on the contrary, the parents, especially Alexander, taught the children fundamental educational skills, providing them with literature in several languages (Latin, French, German), encouraging and stimulating the children's interest in history, art, theater, music, and literature.
Mikhail Vrubel was interested in drawing from childhood. Alexander Vrubel had a positive attitude towards his son's enthusiasm for painting. Vrubel received formal painting lessons at the Society for the Encouragement of the Arts at St. Petersburg in 1864, and 1868-1869. He studied as a law student at St. Petersburg University from 1874 to 1880, but simultaneously he began to take painting classes during 1878-1879. During his study at St. Petersburg University he learned German philosophy with great enthusiasm, especially the theories of Nietzche, along with the idealist philosophers Kant and Schopenhauer.
After graduation from the Law Department, Vrubel entered the St. Petersburg Academy of Arts (one of the leading schools in Russia at that time) as a full-time student in 1880, where he studied under Pavel Chistyakov until 1884. This teacher, famous for his teaching abilities in painting and drawing, played a significant role in the development of Vrubel's style, developing in him a taste for detail. Such Russian painters as Ilya Repin, Vasilii Polenov, Victor Vasnetsov, Valentin Serov, Vasilii Surikov were also appreciative pupils of Chistyakov. The artist shared with his teacher the idea of the primary importance of drawing, modeling, form over color, and appreciation of the monumentality of classical art. Vrubel had great respect for the Art Academy and never dismissed its influence on his art as many advanced artists of the time did. In his autobiography, written in 1901, Vrubel referred to his Academy years as the happiest in his life as an artist.
The next step in the development of Vrubel's artistic career began in Kiev in April 1884 when he accepted an invitation from professor Adrian Prakhov to take part in the restoration work of old Russian churches in Kiev. Not incidentally during the 1884-1889 period Vrubel painted not only the commissioned religious works, but also images of Christ, the Virgin Mary, and angels for himself. Working in the twelfth century churches, trying to find unity with the style of the old frescoes, Vrubel remained a prominent artist of the late nineteenth century. In the figures of the saints and angels, in the plasticity of their forms and in the psychological importance of drawing, compositions, and color are evidence that Vrubel was closer to the modern ways of painting than to Byzantine and Old-Russian frescoes and mosaics. He was one of the first Russian artists who tried to develop a style that unified old traditions and modern sensibility, a style which became a basis for his future artistic experimentation.
The analysis of Vrubel's work done in Moscow, where he lived during the two decade period (1889-1910), shows the influence of old traditions and contemporary artistic movements -- Neo-Romanticism, Symbolism, Art Nouveau. Some of the artist's work have features similar to Neo-Primitivism, Rayonism, Futurism, Cubism which soon caught on with many painters in the Russian Avant-Garde.
Among the advanced Russian artists of the turn of the century, such as Isaac Levitan, Valentin Serov, Victor Borisov-Musatov, Vrubel stands out because of the originality of his art. Despite the absence of direct followers, the importance of Vrubel's art should not be underestimated. He pointed the way and made possible the experiments of the succeeding decades. This many-sided painter, sculptor, theater designer, draftsman, and illustrator can be considered as a transitional figure between traditional and modern art because of his influence on and inspiration for the artists of a new generation.
Спас на крови
Both the interior and exterior of the church is decorated with incredibly detailed mosaics, designed and created by the most prominent Russian artists of the day (V.M. Vasnetsov, M.V. Nesterov and M.A. Vrubel). Interestingly, despite the church’s very obviously Russian aspect, its principle architect, A. Parland, was not even Russian by birth.
Catedrla de San Sanvador de la sangre derramada.
Catedrla Ortodoxa de San Petersburgo.
El Salvador sobre la sangre derramada o La iglesia de la Resurrección de Cristo fue erigida en 1883-1907 (arquitectos I. Makárov Alfred Parland) como templo - monumento en el lugar donde el 1 de marzo de 1881 fue herido mortalmente el emperador Alejandro II.
El edificio está estilizado en el espíritu de la arquitectura rusa de los siglos XVI-XVII, en particular se utilizaron con profusión los procedimientos de la catedral moscovita del Manto de la Virgen (tempo de San Basilio Beato). Su silueta es complicada y muy pintoresca. La ornamentación multicolor, viva. se refleja maravillosamente en las aguas del canal Griboédov. Las fachadas están revestidas con ladrillos esmaltados, baldosas y azulejos. En el ornato interior se usaron mármoles italianos y diversos tipos de piedras semipreciosas rusas. Las fachadas y los interiores presentan un imponente conjunto de mosaicos, elaborados a partir de 1895 en el taller de los hermanos Frolov en base a obras originales de los pintores V. Vasnetsov, M. Nésterov. M. Vrúbel, A. Riábushkin y otros.
En la década de 1930 en el templo había una exposición dedicada a la organización «Naródnaia Volia> en los 70 el edificio fue cedido al «Monumento-museo» catedral de San Isaac. Ya se han quitado los andamios de la iglesia y se celebran los oficios religiosos, pero las labores de restauración continúan. El emperador Alejandro 11, hijo de Nicolás I, empezó su reinado con una amnistía a los decembristas y otros desidentes. Su gobierno realizó una serie de reformas (campesinas y burguesas) que fomentaron la economía y el desarrollo del capitalismo. Desde principios de los años 60 en el país empezó a crecer el descontento, al cual el gobierno respondió con represiones. Entre 1866 y 1881 los revolucionarios perpetraron varios atentados contra el emperador. En 1881 Alejandro 11 fue mortalmente herido por una bomba lanzada por I. Grinevitski, miembro de « Naródnaia Volía>>. El emperador fue trasladado al palacio de Invierno, donde murió. Fue sepultado en la catedral de San Pedro y San Pablo.
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«Bogatyrs» - the picture of Victor Vasnetsov. Another common name of the painting - «Three heroes». The original author's name was longer - «Bogatyrs Ilya Muromets, Dobrynya N. Alyosha Popovich and take notice ... in the field, the enemy is not there, do not offend anyone there ?» Vasnetsov worked on the picture is almost twenty years. In April 1898 it was finished, and bought M. Tretyakov for his gallery.The bogatyr (from baghatur, an old Altaic term for a warrior, a military commander, or an epic hero) or vityaz (Russian: витязь, a valiant warrior) was a medieval heroic warrior of Kievan Rus', akin to Western European knight errant.
An early usage of the word bogatyr was recorded in Sernitskiy's book "Descriptio veteris et novae Poloniae cum divisione ejusdem veteri et nova," printed in 1585 in an unknown location, in which he says, "Rossi… de heroibus suis, quos Bohatiros id est semideos vocant, aliis persuadere conantur."
Bylinas prominently feature stories about these heroes, as do several chronicles. Some of bogatyrs are presumed to be historical figures, while others, like giant Sviatogor, are purely fictional and possibly descend from Slavic pagan mythology.
The most famous vityazs' were the trio of Alyosha Popovich, Dobrynya Nikitich and Ilya Muromets, who served prince Vladimir I of Kiev. Each of them tend to be known for a certain character trait: Alyosha Popovich for his wits, Dobrynya Nikitich for his courage, and Ilya Muromets for his physical and spiritual power and integrity, and for his dedication to the protection of his homeland and people.
The painting depicts three heroes - Ilya Muromets, Dobrynya N., Alyosha Popovich (main heroes of Russian bylinas). Middle to вороном horse Il'ya Muromets, looking away from the palm of one hand bogatyr spear in the other club bulatnaya. On the left side on a white horse Dobrynya N., remove the sword from the sheath. right on horseback color golden Alyosha Popovich, holds a bow with arrows. In comparison with his mighty heroes, and he was thin built, look archly, there will not be able to take power, will take place with acumen. Alyosha Popovich is not only a warrior - he harps on the side. He plays in a short minute to them, pleasing heroes carol. The three heroes are on the broad plain of rolling low hills, in the midst of the yellow grass and small trees of rare. The sky is overcast and disturbing.
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.
Copyright © 2009 - All rights reserved - 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 cathedral's colorful interior that particularly strikes the eye. 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
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 the prehistoric tribes inhabiting present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection numbers in the millions.
The spot where the museum now stands was formerly occupied by the Principal Medicine Store, built on the 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 promotion of Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over construction of the museum building. After a prolonged competition the project was awarded to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
The present structure was built to Sherwood's neo-Russian design between 1875 and 1881. The first eleven exhibit halls officially opened in 1883 during a visit from the Tsar and his wife. Then in 1894 Tsar Alexander III became the honorary president of the museum and the following year, 1895, the museum was renamed the Tsar Alexander III Imperial Russian History Museum. Its interiors were intricately decorated in the Russian Revival style by such artists as Viktor Vasnetsov, Henrik Semiradsky, and Ivan Aivazovsky. During the Soviet period the murals were proclaimed gaudy and were plastered over. The museum went through a painstaking restoration of its original appearance between 1986 and 1997.
(Wikipedia)
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Moscow's Red Square with its surroundings truly is a monumental sight; here, just a few hundreds meter from the Red Square, a statue of Zhukov impresses both visitors of the State historical museum and those that are just passing by...
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.
Viktor Mikhailovich Vasnetsov was a Russian artist who specialized in mythological and historical subjects. He is considered a key figure of the revivalist movement in Russian art.
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.
www.wga.hu/frames-e.html?/html/s/signorel/brizio/1/
www.youtube.com/watch?v=AdLjE0oMuDk
video.mail.ru/mail/richev42/3962/7279.html
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docs.google.com/file/d/0B5WZMlc4xl-8c3FTc1Qwc3pReWc/edit
en.wikipedia.org/wiki/Spiritual_materialism
en.wikipedia.org/wiki/German_idealism
en.wikipedia.org/wiki/World_view
en.wikipedia.org/wiki/Aleksey_Khomyakov
en.wikipedia.org/wiki/Vladimir_Solovyov_%28philosopher%29
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en.wikipedia.org/wiki/The_Mysterious_Stranger
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en.wikipedia.org/wiki/Oedipus_Rex_%28film%29
www.youtube.com/watch?v=INpmVDj8uic
Oedipus, the King of Thebes: “Tiresias, I have sent for you. You are here! From you I’ll know all!”
Tiresias, the blind prophet: “How terrible is knowledge when knowing is useless to him who knows. I knew … but I preferred to forget. Otherwise I would not have let myself be brought here.”
Oedipus, the King of Thebes: “What frightens you?”
Tiresias, the blind prophet: “Let me go home. I beg you, hear me. The burden will be lighter for us both.”
Oedipus, the King of Thebes: “No. To speak to the city is your duty.”
Tiresias, the blind prophet: “Your words are of no use even to yourself.”
Oedipus, the King of Thebes: “Stay! You know. We all beseech you, my citizens and I.”
Tiresias, the blind prophet: “You’re mad. I won’t speak. I won’t reveal your ills.”
Oedipus, the King of Thebes: “You know and are silent? You want to ruin the city? You’re stone!”
Tiresias, the blind prophet: “You reproach me … you blame my nature … and you would not know the nature that is in you.”
Oedipus, the King of Thebes: “Those words are an offense … to King and city.”
Tiresias, the blind prophet: “Facts will speak even if I say nothing.”
Oedipus, the King of Thebes: “Therefore you must speak.”
Tiresias, the blind prophet: “I’ve said even too much … and be angry as you like.”
Oedipus, the King of Thebes: “Then I think this: you plotted the crime! Were you not … blind, you would have done it, with your hands! ”
Tiresias, the blind prophet: “This is what you think? Then I say: Obey your own ban, and beware … of remaining here in our midst. You’re the guilty one who infects … our land. You are the murderer you are seeking. And you do not know of your wicked bond … with the persons most dear. And you refuse to see the evil in yourself.”
Oedipus, the King of Thebes: “You will not escape your words unharmed.”
Tiresias, the blind prophet: “I am already safe. I have the truth on my side.”
Oedipus, the King of Thebes: “The truth for everyone but you with blind eyes, and mind!”
Tiresias, the blind prophet: “Unhappy man … You insult me … as everybody, in a short time, will insult you.”
Oedipus, the King of Thebes to a messenger/news-bringer who brought Tiresias: “Who’s responsible for these inventions, you or Creon? Oh, riches … Oh, power … what envy you arouse in this life! Thanks to the power I received as a gift … unasked for even the faithful Creon … wants to overthrow me. Creon, Yes, to take my place … sending this charlatan. This beggar, who sees if something is to be gained but is blind artfully.”
Tiresias, the blind prophet: “Even if you are the King … I can reply with your same frankness … if I wish. I am subject only to God. And since … before all, and in God’s presence you have mocked blindness and my old age here I say to you: You look … and do not see the shame and evil in which you are. Do you know … who gave you life? … that your kin, living and dead, curse you? One day you will see only darkness. How you’ll cry out then! … the day when you finally understand … how, and with whom, you were married, Son of Fortune!”
Oedipus, the King of Thebes: “So you address me? Go away. What are you waiting for? I won’t see you anymore! Or hear you!”
Tiresias, the blind prophet: “I’m here as you called me.”
Oedipus, the King of Thebes: “I’d never had done it! … if I had thought to hear such madness.”
Tiresias, the blind prophet: “This, you see, is our lot. We are mad, for you. We are wise, for those who begot you.”
Oedipus, the King of Thebes: “What do you mean? Who begot me?”
Tiresias, the blind prophet to a messenger/news-bringer who brought him: “Let us go … lead me.”
Oedipus, the King of Thebes: “Yes, get out and disappear …with my torment.”
Tiresias, the blind prophet: “I shall leave but when I have finished saying to you everything I have to say to you. Listen, listen … That man you are seeking with threats and orders is here, a foreigner as all believe … yet he is from Thebes. But he will not rejoice in this discovery because, having become a blind beggar he will go among foreign lands like me, wretched flute-player. It will be known … that he is at once brother and father of his children, son and husband of his mother. That he has lain … with the women who was his father’s. And that he … he alone, is his father’s murderer.
docs.google.com/file/d/0B5WZMlc4xl-8bXp4aXZyRjJCVVk/edit
Jesus Christ: I tell you the truth, it is hard for a rich man to enter the kingdom of heaven. Again I tell you, it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of heaven.
en.wikipedia.org/wiki/Rockefeller_Chapel
en.wikipedia.org/wiki/Steven_Clark_Rockefeller
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en.wikipedia.org/wiki/David_Mayer_de_Rothschild
www.youtube.com/watch?v=BPwgOiNOSZs
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en.wikipedia.org/wiki/Leszek_Ko%C5%82akowski
www.unz.org/Pub/Encounter-1981jan-00009
books.google.rs/books/about/Religion_if_there_is_no_God.h...
www.economist.com/node/14120114
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en.wikipedia.org/wiki/Deal_with_the_Devil
en.wikipedia.org/wiki/Sycophancy
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en.wikipedia.org/wiki/Ba%C5%A1_%C4%8Celik
en.wikipedia.org/wiki/The_Scarlet_Letter
en.wikipedia.org/wiki/Moby-Dick
en.wikipedia.org/wiki/Kali_%28demon%29
en.wikipedia.org/wiki/Mara_%28demon%29
en.wikipedia.org/wiki/Temptation_of_Christ
en.wikipedia.org/wiki/Frankenstein
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en.wikipedia.org/wiki/The_Picture_of_Dorian_Gray
en.wikipedia.org/wiki/Strange_Case_of_Dr_Jekyll_and_Mr_Hyde
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en.wikipedia.org/wiki/Sam_Vaknin#Background
topdocumentaryfilms.com/i-psychopath/
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biblehub.com/john/7-7.htm: "The world cannot hate you, but it hates me because I testify that its works are evil."
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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.)
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.
Het Nationaal Historisch Museum van Rusland (Russisch: Государственный Исторический музей) is een aan de Russische geschiedenis gewijd museum aan het Rode Plein in Moskou. De collectie van het museum bestaat uit miljoenen objecten, variërend van voorwerpen gemaakt door prehistorische stammen die ooit het huidige Rusland bewoonden tot waardevolle kunstwerken uit het bezit van de tsarenfamilie Romanov.
Het museum werd gesticht in 1872 door Ivan Zabelin, Aleksej Oevarov en enkele andere slavofielen die het nationale bewustzijn van de Russen wilden vergroten door middel van kennis van hun geschiedenis. Er werd een prijsvraag voor het ontwerp van het museumgebouw uitgeschreven, die werd gewonnen door Vladimir Osipovitsj Sjervoed (Sherwood). De architect schiep een gebouw in neorussische stijl, dat verrees tussen 1875 en 1881. De officiële opening van het museum, verricht door tsaar Alexander III, volgde in 1894. Het interieur van het gebouw werd weelderig gedecoreerd door kunstenaars als Viktor Vasnetsov, Henryk Siemiradzki en Ivan Ajvazovski. In de Sovjetperiode verdween een groot deel van de muurschilderingen achter een laag pleister, maar tijdens een restauratie die tussen 1986 en 1997 plaatsvond herstelde men het museum in zijn oude glorie.
Bron: nl.wikipedia.org/wiki/Nationaal_Historisch_Museum_(Moskou)
Можайский район, Исток Москвы-реки
Исток Москвы реки на Минском шоссе 148км (в районе деревни Поповка) от Москвы у урочища Старьково.
Часовня Божией Матери "Живоносный источник" 2003 год. Архитектор Николай Васнецов.
The Source of the Moscow river on the Minsk highway 148км from Moscow in the natural boundary Starkovo.
Chapel of the Mother of God "the life-giving source" of the year 2003. Architect Nikolai Vasnetsov.
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 State Historical Museum of Russia[1] is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of the prehistoric tribes inhabiting present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection numbers in the millions.
The spot where the museum now stands was formerly occupied by the Principal Medicine Store, built on the 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 promotion of Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov and other leading historians, presided over construction of the museum building. After a prolonged competition the project was awarded to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
The present structure was built to Sherwood's neo-Russian design between 1875 and 1881. The first eleven exhibit halls officially opened in 1883 during a visit from the Tsar and his wife.[2] Then in 1894 Tsar Alexander III became the honorary president of the museum and the following year, 1895, the museum was renamed the Tsar Alexander III Imperial Russian History Museum.[3] Its interiors were intricately decorated in the Russian Revival style by such artists as Viktor Vasnetsov, Henrik Semiradsky, and Ivan Aivazovsky. During the Soviet period the murals were proclaimed gaudy and were plastered over. The museum went through a painstaking restoration of its original appearance between 1986 and 1997.
Notable items include a longboat excavated from the banks of the Volga River, gold artifacts of the Scythians, birch-bark scrolls of Novgorod, manuscripts going back to the 6th century, Russian folk ceramics, and wooden objects. The library boasts the manuscripts of the Chludov Psalter (860s), Svyatoslav's Miscellanies (1073), Mstislav Gospel (1117), Yuriev Gospel (1119), and Halych Gospel (1144). The museum's coin collection alone includes 1.7 million coins, making it the largest in Russia. In 1996, the number of all articles in the museum's collection achieved 4,373,757.
A branch of the museum is housed in the Romanov Chambers is Zaryadye and Saint Basil's Cathedral. In 1934 The Museum of Women's Emancipation at the Novodevichy Convent became part of the State Historical Museum. Some of the churches and other monastic buildings are still affiliated with the State Historical Museum.