By Peter Leek
ISBN-10: 1859959393
ISBN-13: 9781859959398
Russia is usually seen because the outsider of the artwork international, with artistic genius often being hidden in the back of the illustration of icons comparable to Rublov. even though, with the succession of Pierre Le Grand, it was once Europe which introduced gentle to this in a different way ostensibly uncivilized empire. Saint-Petersburg without warning rose out of the darkness due to the brilliance of an Italian artist, and for greater than a century afterwards, turned a hugely very important cultural concentration.
The all strong Tsar, and later Catherine the good allowed exchanges among Russian and ecu artists which finally gave delivery to a brand new Russian kind of portray. even though this used to be significantly encouraged via Italy and its brilliant colors, it stayed actual to its foundations in Russian tradition. even though, it was once now not until eventually the twentieth century actual nationwide variety got here into its personal with the emergence of the Ambulants and the Blue Roses. This used to be then by way of the innovative interval which resulted in the Russian Avant Garde after which modernism.
In this ebook, we come to appreciate the author's point of view on Russian tradition as a mix of western tradition in addition to jap. those impacts are confirmed within the works and canopy an enormous pictorial scope. Artists similar to Borovikovsky, Serov, Vrubel, Briullov, Fedotov, Repin, Shishkin and Levitan, between many others, convey their very own basic contribution to the historical past of paintings. Peter Leek places the evolution of the historical past of Russian paintings after the autumn of communism into standpoint.
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Additional info for Russian Painting (Temporis Collection)
Sample text
Instead, their static poses and facial 22. Ivan Nikitin, Portrait of a Leader, 1720. expressions have an air of seriousness, focusing attention on the subject’s face. Oil on canvas, 76 x 60 cm, Vishnyakov was at his most sensitive when portraying children; their elaborate clothes Russian Museum, St. Petersburg. qxp 07/25/05 7/28/2005 2:54 PM 4:47 Page PM 39 Page 39 Portraiture 23. Fyodor Rokotov, Portrait of Alexei Bobrinsky in Childhood, c. 1763. 5 x 47 cm, Russian Museum, St. Petersburg. 24. Alexeï Antropov, Portrait of Maria Rurnyantseva, 1764.
In 1790, after Catherine the Great expressed her delight at the allegorical decorations which he had been commissioned to paint in honour of her triumphal tour of the Crimea, Borovikovsky moved to Saint Petersburg, where he studied with Levitsky and the Austrian portrait painter Johann-Baptist Lampi. That same year he painted a portrait of Catherine the Great, looking more grandmotherly than regal, walking her favourite dog in the park at Tsarskoe Selo. Borovikovsky’s portraits of women — often attired in Grecian gowns and backed by a sylvan setting — have been likened to those by Gainsborough and Angelica Kauffmann.
5 cm, Tretyakov Gallery, Moscow. qxp 07/25/05 7/28/2005 2:55 PM 4:47 Page PM 42 Page 42 Portraiture and frozen poses underline the innocence and vulnerability of these diminutive lords and ladies. Despite the formality of his portraits, relatively few of them were commissioned by the Imperial court. This adoration of portraiture continued during the reign of Elizabeth Petrovna, when Russia enjoyed a blossoming of the arts and sciences and an expansion of education — thanks largely to the influence of Mikhaïl Lomonosov (1711-65), a man of immense learning and wide cultural interests who became a professor of chemistry at the Academy of Sciences in Saint Petersburg in 1745.
Russian Painting (Temporis Collection) by Peter Leek
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