1.
Museum of Modern Art
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The Museum of Modern Art is an art museum located in Midtown Manhattan in New York City, on 53rd Street between Fifth and Sixth Avenues. MoMA has been important in developing and collecting modernist art, and is identified as one of the largest and most influential museums of modern art in the world. The MoMA Library includes approximately 300,000 books and exhibition catalogs, over 1,000 periodical titles, the archives holds primary source material related to the history of modern and contemporary art. The idea for The Museum of Modern Art was developed in 1929 primarily by Abby Aldrich Rockefeller and they became known variously as the Ladies, the daring ladies and the adamantine ladies. They rented modest quarters for the new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, and it opened to the public on November 7,1929, nine days after the Wall Street Crash. Abby had invited A. Conger Goodyear, the president of the board of trustees of the Albright Art Gallery in Buffalo, New York. At the time, it was Americas premier museum devoted exclusively to art. One of Abbys early recruits for the staff was the noted Japanese-American photographer Soichi Sunami. Goodyear enlisted Paul J. Sachs and Frank Crowninshield to join him as founding trustees, Sachs, the associate director and curator of prints and drawings at the Fogg Museum at Harvard University, was referred to in those days as a collector of curators. Goodyear asked him to recommend a director and Sachs suggested Alfred H. Barr, under Barrs guidance, the museums holdings quickly expanded from an initial gift of eight prints and one drawing. Its first successful exhibition was in November 1929, displaying paintings by Van Gogh, Gauguin, Cézanne. Abbys husband was opposed to the museum and refused to release funds for the venture. Nevertheless, he donated the land for the current site of the museum, plus other gifts over time. During that time it initiated many more exhibitions of noted artists, the museum also gained international prominence with the hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago. In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars, Boy Leading a Horse was briefly contested over ownership with the Solomon R. Guggenheim Museum. In 1941, MoMA hosted the exhibition, Indian Art of the United States. His brother, David Rockefeller, also joined the board of trustees in 1948. David subsequently employed the noted architect Philip Johnson to redesign the garden and name it in honor of his mother
Museum of Modern Art
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Museum of Modern Art
Museum of Modern Art
Museum of Modern Art
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The entrance to The Museum of Modern Art
Museum of Modern Art
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Stairs in the Museum of Modern Art
2.
Russian language
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Russian is an East Slavic language and an official language in Russia, Belarus, Kazakhstan, Kyrgyzstan and many minor or unrecognised territories. Russian belongs to the family of Indo-European languages and is one of the four living members of the East Slavic languages, written examples of Old East Slavonic are attested from the 10th century and beyond. It is the most geographically widespread language of Eurasia and the most widely spoken of the Slavic languages and it is also the largest native language in Europe, with 144 million native speakers in Russia, Ukraine and Belarus. Russian is the eighth most spoken language in the world by number of native speakers, the language is one of the six official languages of the United Nations. Russian is also the second most widespread language on the Internet after English, Russian distinguishes between consonant phonemes with palatal secondary articulation and those without, the so-called soft and hard sounds. This distinction is found between pairs of almost all consonants and is one of the most distinguishing features of the language, another important aspect is the reduction of unstressed vowels. Russian is a Slavic language of the Indo-European family and it is a lineal descendant of the language used in Kievan Rus. From the point of view of the language, its closest relatives are Ukrainian, Belarusian, and Rusyn. An East Slavic Old Novgorod dialect, although vanished during the 15th or 16th century, is considered to have played a significant role in the formation of modern Russian. In the 19th century, the language was often called Great Russian to distinguish it from Belarusian, then called White Russian and Ukrainian, however, the East Slavic forms have tended to be used exclusively in the various dialects that are experiencing a rapid decline. In some cases, both the East Slavic and the Church Slavonic forms are in use, with different meanings. For details, see Russian phonology and History of the Russian language and it is also regarded by the United States Intelligence Community as a hard target language, due to both its difficulty to master for English speakers and its critical role in American world policy. The standard form of Russian is generally regarded as the modern Russian literary language, mikhail Lomonosov first compiled a normalizing grammar book in 1755, in 1783 the Russian Academys first explanatory Russian dictionary appeared. By the mid-20th century, such dialects were forced out with the introduction of the education system that was established by the Soviet government. Despite the formalization of Standard Russian, some nonstandard dialectal features are observed in colloquial speech. Thus, the Russian language is the 6th largest in the world by number of speakers, after English, Mandarin, Hindi/Urdu, Spanish, Russian is one of the six official languages of the United Nations. Education in Russian is still a choice for both Russian as a second language and native speakers in Russia as well as many of the former Soviet republics. Russian is still seen as an important language for children to learn in most of the former Soviet republics, samuel P. Huntington wrote in the Clash of Civilizations, During the heyday of the Soviet Union, Russian was the lingua franca from Prague to Hanoi
Russian language
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Russian language street sign in
Russia.
Russian language
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Russian minimarket in
Limassol, Cyprus; translation: "Teremok market. Russian goods. Phone number: 96 74 19 63"
Russian language
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This page from an "ABC" book printed in Moscow in 1694 shows the letter
П.
Russian language
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The
Ostromir Gospels of 1056 is the second oldest
East Slavic book known, one of many medieval
illuminated manuscripts preserved in the
Russian National Library.
3.
Moscow
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Moscow is the capital and most populous city of Russia, with 13.2 million residents within the city limits and 17.8 million within the urban area. Moscow has the status of a Russian federal city, Moscow is a major political, economic, cultural, and scientific center of Russia and Eastern Europe, as well as the largest city entirely on the European continent. Moscow is the northernmost and coldest megacity and metropolis on Earth and it is home to the Ostankino Tower, the tallest free standing structure in Europe, the Federation Tower, the tallest skyscraper in Europe, and the Moscow International Business Center. Moscow is situated on the Moskva River in the Central Federal District of European Russia, the city is well known for its architecture, particularly its historic buildings such as Saint Basils Cathedral with its brightly colored domes. Moscow is the seat of power of the Government of Russia, being the site of the Moscow Kremlin, the Moscow Kremlin and Red Square are also one of several World Heritage Sites in the city. Both chambers of the Russian parliament also sit in the city and it is recognized as one of the citys landmarks due to the rich architecture of its 200 stations. In old Russian the word also meant a church administrative district. The demonym for a Moscow resident is москвич for male or москвичка for female, the name of the city is thought to be derived from the name of the Moskva River. There have been proposed several theories of the origin of the name of the river and its cognates include Russian, музга, muzga pool, puddle, Lithuanian, mazgoti and Latvian, mazgāt to wash, Sanskrit, majjati to drown, Latin, mergō to dip, immerse. There exist as well similar place names in Poland like Mozgawa, the original Old Russian form of the name is reconstructed as *Москы, *Mosky, hence it was one of a few Slavic ū-stem nouns. From the latter forms came the modern Russian name Москва, Moskva, in a similar manner the Latin name Moscovia has been formed, later it became a colloquial name for Russia used in Western Europe in the 16th–17th centuries. From it as well came English Muscovy, various other theories, having little or no scientific ground, are now largely rejected by contemporary linguists. The surface similarity of the name Russia with Rosh, an obscure biblical tribe or country, the oldest evidence of humans on the territory of Moscow dates from the Neolithic. Within the modern bounds of the city other late evidence was discovered, on the territory of the Kremlin, Sparrow Hills, Setun River and Kuntsevskiy forest park, etc. The earliest East Slavic tribes recorded as having expanded to the upper Volga in the 9th to 10th centuries are the Vyatichi and Krivichi, the Moskva River was incorporated as part of Rostov-Suzdal into the Kievan Rus in the 11th century. By AD1100, a settlement had appeared on the mouth of the Neglinnaya River. The first known reference to Moscow dates from 1147 as a place of Yuri Dolgoruky. At the time it was a town on the western border of Vladimir-Suzdal Principality
Moscow
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Left to right, top to bottom:
Moscow State University,
Spasskaya Clocktower,
Cathedral of Christ the Saviour;
Bolshoi Theatre,
Moscow International Business Center;
Red Square
Moscow
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Tatar raid upon Moscow
Moscow
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Map of Moscow, 1784
Moscow
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Red Square, painting by
Fedor Alekseev, 1801
4.
Russian avant-garde
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The term covers many separate, but inextricably related, art movements that flourished at the time, namely Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum and Neo-primitivism. Given that many artists involved were born or grew up in what is present day Belarus and Ukraine. In 2007, the Modern Museum of Art MoMA in New York, devoted an exhibition entirely to the *Lost Vanguard, Soviet Architecture, beyond Symbolism and Surrealism, Alexei Remizovs Synthetic Art, Northwestern University Press,2010. ISBN 0-8101-2617-6 Russian avant-garde on YouTube - video Kovalenko, G. F, the Russian Avant-Garde of 1910-1920 and Issues of Expressionism. Vitebsk Museum of Modern Art, a history of creation and a collection, -144 p. “Encyclopedia of Russian Avangard. Architecture Vol.1 A-K, Vol.2 L-Z Biography”, sarab’yanov A. D. Mosсow,2013 Surviving Suprematism, Lazar Khidekel. Judah L. Magnes Museum, Berkeley CA,2004 Lazar Khidekel, prestel,2014 Why did Soviet Photographic Avant-garde decline. T
Russian avant-garde
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Kazimir Malevich, Black Square, 1915, oil on linen, 79.5 x 79.5 cm,
Tretyakov Gallery,
Moscow
Russian avant-garde
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Alexander Rodchenko, Dance. An Objectless Composition, 1915
Russian avant-garde
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El Lissitzky, Beat the Whites With the Red Wedge, 1919, lithograph
Russian avant-garde
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Shukhov Tower, 1922
5.
Suprematism
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Suprematism is an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. The term suprematism refers to an art based upon the supremacy of pure artistic feeling rather than on visual depiction of objects. In Suprematism, Malevich clearly stated the concept of Suprematism. He created a suprematist grammar based on geometric forms, in particular, the square. In the 0.10 Exhibition in 1915, Malevich exhibited his early experiments in suprematist painting, the centerpiece of his show was the Black Square, placed in what is called the red/beautiful corner in Russian Orthodox tradition, the place of the main icon in a house. Black Square was painted in 1915 and was presented as a breakthrough in his career, Malevich also painted White on White which was also heralded as a milestone. White on White marked a shift from polychrome to monochrome Suprematism, Malevichs Suprematism is fundamentally opposed to the postrevolutionary positions of Constructivism and materialism. Constructivism, with its cult of the object, is concerned with utilitarian strategies of adapting art to the principles of functional organization, under Constructivism, the traditional easel painter is transformed into the artist-as-engineer in charge of organizing life in all of its aspects. Suprematism, in sharp contrast to Constructivism, embodies a profoundly anti-materialist, Suprematism does not embrace a humanist philosophy which places man at the center of the universe. Malevich also credited the birth of suprematism to Victory Over the Sun, Kruchenykhs Futurist opera production for which he designed the sets, the aim of the artists involved was to break with the usual theater of the past and to use a clear, pure, logical Russian language. Malevich put this to practice by creating costumes from simple materials, flashing headlights illuminated the figures in such a way that alternating hands, legs or heads disappeared into the darkness. The stage curtain was a black square, one of the drawings for the backcloth shows a black square divided diagonally into a black and a white triangle. Because of the simplicity of basic forms they were able to signify a new beginning. These give some indications towards an understanding of the Suprematic compositions produced between 1915 and 1918, Malevich conceived of the journal as the contextual foundation in which he could base his art, and originally planned to call the journal Nul. In a letter to a colleague, he explained, We are planning to put out a journal and have begun to discuss the how, since in it we intend to reduce everything to zero, we have decided to call it Nul. Afterward we ourselves will go beyond zero, Malevich conceived of the journal as a space for experimentation that would test his theory of nonobjective art. However, despite a year spent planning and writing articles for the journal, the most important artist who took the art form and ideas developed by Malevich and popularized them abroad was the painter El Lissitzky. Lissitzky worked intensively with Suprematism particularly in the years 1919 to 1923 and he was deeply impressed by Malevichs Suprematist works as he saw it as the theoretical and visual equivalent of the social upheavals taking place in Russia at the time
Suprematism
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Kazimir Malevich,
Black Square, 1915, oil on linen, 79.5 x 79.5 cm,
Tretyakov Gallery, Moscow
Suprematism
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Kazimir Malevich,
Black Circle, 1915, oil on canvas, 106.4 × 106.4 cm,
State Russian Museum, St. Petersburg
Suprematism
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Kazimir Malevich, Suprematist Composition- White on White, 1918,
Museum of Modern Art, New York
Suprematism
–
Kazimir Malevich, Suprematism, 1916-17,
Krasnodar Museum of Art
6.
Primitivism (art)
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Primitivism is a Western art movement that borrows visual forms from non-Western or prehistoric peoples, such as Paul Gauguins inclusion of Tahitian motifs in paintings and ceramics. Borrowings from primitive art has been important to the development of modern art, the term primitivism is often applied to other professional painters working in the style of naïve or folk art like Henri Rousseau, Mikhail Larionov, Paul Klee and others. Whether and to what extent we should simplify our lives and get back to basics is a debate that has been going on since the invention of writing. In antiquity the superiority of the life was expressed in the Myth of the Golden Age, depicted in the genre of European poetry. During the Enlightenment, arguments about the superiority of indigenous peoples were chiefly used as a rhetorical device to criticize aspects of European society. In the 18th century, the German scholar Friedrich August Wolf identified the character of oral literature and located Homer. Vico and Wolfs ideas were developed further in the beginning of the 19th century by Herder, nevertheless, although influential in literature, such arguments were known to a relatively small number of educated people and their impact was limited or non-existent in the sphere of visual arts. The 19th century saw for the first time the emergence of historicism, or the ability to judge different eras by their own context, a result of this new historicism, new schools of visual art arose that aspired to hitherto unprecedented levels of historical fidelity in setting and costumes. Neoclassicism in visual art and architecture was one result, another such historicist movement in art was the Nazarene movement in Germany, which took inspiration from the so-called Italian primitive school of devotional paintings. Two phenomena shook the world of art in the mid-19th century. The first was the invention of the camera, which arguably spurred the development of Realism in art. The discovery of new dimensions had the opposite effect of photography. Beaux Arts academies held than non-Western and tribal peoples had had no art or only inferior art and they looked to Japanese and Chinese art, which was learned and sophisticated and did not employ Renaissance one-point perspective. Non-euclidean perspective and tribal art fascinated Western European artists who saw them as portraying the reality of the spirit world, tribal and other non-European art also appealed to those who were unhappy with the repressive aspects of European culture, as pastoral art had done for millennia. Imitations of tribal or archaic art also fall into the category of nineteenth-century historicism, actual examples of tribal, archaic, and folk art were prized by both creative artists and collectors. Paul Gauguins paintings, Pablo Picassos paintings and Igor Stravinskys music are sometimes cited as examples of primitivism in art, Stravinskys The Rite of Spring, is primitivist in that its programmatic subject is a pagan rite, a human sacrifice in pre-Christian Russia. It uses dissonance and loud, repetitive rhythms to depict Dionysian modernism, nevertheless, Stravinsky was a master of learned classical tradition and worked within its bounds. In his later work he adopted a more Apollonian neoclassicism, to use Nietzsches terminology and they began questioning the nature of humanity and its origins through a discussion of the natural man, which had intrigued theologians since the European encounter with the New World
Primitivism (art)
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Henri Rousseau, In a Tropical Forest Combat of a Tiger and a Buffalo, 1908-1909,
Hermitage Museum,
St. Petersburg
Primitivism (art)
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African
Fang mask similar in style to those Picasso saw in Paris just prior to painting Les Demoiselles d'Avignon
Primitivism (art)
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Paul Gauguin. Spirit of the Dead Watching, 1892. Oil on canvas.
Albright Knox Art Gallery.
Primitivism (art)
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Les Demoiselles d'Avignon. The two figures on the right are the beginnings of
Picasso's African period.
7.
Cubo-Futurism
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Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. Kazimir Malevich developed the style, which can be seen in his The Knife Grinder, though he later abandoned it for Suprematism
Cubo-Futurism
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Kazimir Malevich, The Knife Grinder (Principle of Glittering), 1913, oil on canvas, 79.5 x 79.5 cm,
Yale University Art Gallery
8.
Vladimir, Russia
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Vladimir is a city and the administrative center of Vladimir Oblast, Russia, located on the Klyazma River,200 kilometers to the east of Moscow. It is served by a railway and the M7 motorway, Vladimir was one of the medieval capitals of Russia, with significant buildings surviving from the 12th century. Two of its Russian Orthodox cathedrals, a monastery, and associated buildings have been designated as among the White Monuments of Vladimir and Suzdal, in the past, the city was also known as Vladimir-on-Klyazma and Vladimir-Zalessky, to distinguish it from another Vladimir in Volhynia. Traditionally, the date of Vladimir has been acknowledged as 1108. This view attributes the founding of the city, and its name, to Vladimir Monomakh and it is named there as Volodymyr. On the 17th centuries maps, it was identified as Wolodimer, being established long after the city of Volodymyr in Volhynia, initially it was named Vladimir-on-Klyazma. In 1958, the 850th anniversary of the city foundation was celebrated, in the 1990s, a new opinion developed that the city is older than this. The neighboring town of Suzdal, for instance, was mentioned in 1024 and its 12th-century inhabitants alluded to Vladimir as a young town and treated its rulers with arrogance. In the words of a chronicle, they said that the people of Vladimir were their kholops. In the seniority conflicts of the 12th and early 13th centuries, Vladimir was repeatedly described as a young town compared to Suzdal, nevertheless, the Charter of Vladimir, the basic law of the city passed in 2005, explicitly mentions 990 as the date of the citys foundation. The citys most historically significant events occurred after the turn of the 12th century, under Dolgorukys son, Andrey Bogolyubsky, the city became the center of the Vladimir-Suzdal Principality. It had a Golden Age, which lasted until the Mongol invasion of Rus in 1237, during this time, Vladimir enjoyed immense growth and prosperity. Andrey oversaw the building of the citys Golden Gates and the Dormition Cathedral, in 1164, Andrey attempted to establish a new metropolitanate in Vladimir, separate from that of Kiev. He was rebuffed by the Patriarch of Constantinople, scores of Russian, German, and Georgian masons worked on Vladimirs white stone cathedrals, monastery, towers, and palaces. Unlike any other buildings, their exterior was elaborately carved with high relief stone sculptures. Only three of these edifices stand today, the Dormition Cathedral, the Cathedral of Saint Demetrius, and they are included among the White Monuments of Vladimir and Suzdal, designated as a UNESCO World Heritage Site. During Andreys reign, a palace in Bogolyubovo was built, as well as the world-famous Church of the Intercession on the Nerl. Andrey was assassinated at his palace at Bogolyubovo in 1175, Vladimir was besieged by the Mongol-Tatars of the Golden Horde under Batu Khan
Vladimir, Russia
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Views of Vladimir
Vladimir, Russia
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Dormition Cathedral was a venerated model for cathedrals all over Russia
Vladimir, Russia
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St. Demetrius' Cathedral, shown on this 1912 photo, is famous for its masterfully carved exterior, representing the
Biblical story of
King David.
Vladimir, Russia
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Drawing of Mongols of the
Golden Horde outside Vladimir presumably demanding submission before sacking the city
9.
Nikolai Ulyanov
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Nikolai Ulyanov can also refer to Vladimir Lenin Nikolai Pavlovich Ulyanov was a Russian painter, scenic designer, and graphic artist. Biography Global Performing Arts Database entry Soi͡uz pisateleĭ SSSR
Nikolai Ulyanov
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Pushkin with wife at a ball (1937) on a 1975 Soviet stamp
Nikolai Ulyanov
–
Konstantin Balmont (1909)
10.
Stroganov School of Applied Art
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Moscow State Stroganov Academy of Industrial and Applied Arts informally named Stroganovka is one of the oldest Russian schools for the industrial, monumental and decorative art and design. The University is named after its founder, baron Sergei Grigoriyevich Stroganov, the school was founded in 1825 by Baron Sergey Stroganov. It specialised on the applied and decorative art, in 1843 the school became state-owned. In 1860 it was renamed Stroganov School for Technical Drawing, after the October Revolution the school was reorganized and became a part of the State Free Art Shops, Vkhutemas and Vkhutein. Since 1930 it is Moscow Institute for the Decorative and Applied Arts, in 1945, after the end of the World War II the school was restored as an applied art educational establishment. Since 1996 the school was named Moscow State Stroganov University of Industrial, in 2009 the school got its present name Moscow State Stroganov Academy of Industrial and Applied Arts. Currently it is one of the most diverse schools in Russia. It has three departments and thirteen chairs preparing students of six major and sixteen minor specializations
Stroganov School of Applied Art
–
Baron
Sergei Grigoriyevich Stroganov, the founder of the school
11.
Konstantin Yuon
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Konstantin Fyodorovich Yuon or Juon was a noted Russian painter and theatre designer associated with the Mir Iskusstva. Later, he co-founded the Union of Russian Artists and the Association of Artists of Revolutionary Russia, Yuon was born in Moscow to the family of a banking clerk of Swiss-Russian origin. His brother Paul Juon was a notable composer, from 1892 to 1898 he studied at the Moscow School of Painting, Sculpture and Architecture where Konstantin Savitsky and Konstantin Korovin were among his distinguished teachers. After graduating from the Moscow Art School he took lessons from Valentin Serov. During several trips to Western Europe, particularly in Paris, he acquainted with the cityscapes of Camille Pissarro and other Impressionists. In 1900 he opened the first private painting and drawing school in Moscow, some noted Russian painters received art education in the school. Later he taught in Leningrad Academy of Arts and the Surikov Art Institute in Moscow and his studio in Moscow was widely used by other painters. He designed sets for plays at the Moscow Art Theatre and the Maly Theater and he also contributed sets for operas. In the Soviet era, Yuon was the director of the Research Institute of the Academy of Arts and he won a Stalin Prize, received the Order of Lenin and other orders and medals. He died in Moscow on April 11,1958, Konstantin Yuon started as an Impressionist landscape and genre painter with a Symbolist note. Among the impressionist landscapes are The Tverskoy Boulevard and To the Trinity, later he toyed with the ideas of lyrical landscape mixed with the imitations of Palekh miniature and Icon arts. To the end of his life he became a social realism artist. List of Russian artists Biography and art samples Ivanov, Sergei
Konstantin Yuon
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March Sun, 1915
Konstantin Yuon
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View of the
Troitse-Sergiyeva Lavra from Vokzalnaya Street, 1911
Konstantin Yuon
–
New Planet 1921
Konstantin Yuon
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Parade on the
Red Square on November 7, 1941, painted in 1949
12.
Lyubov Popova
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Lyubov Sergeyevna Popova was a Russian avant-garde artist, painter and designer. Lyubov Sergeyevna had two brothers and a sister, Sergei was the eldest, then Lyubov, Pavel and Olga, Pavel became a philosopher and the guardian of his sisters artistic legacy. She grew up with a strong interest in art, especially Italian Renaissance painting, at eleven years old she began formal art lessons at home, she was first enrolled in Yaltinskaias Womens Gymnasium, then in Arsenevas Gymnasium in Moscow. By the age of 18 she was studying with Stanislav Zhukovsky, in 1912 to 1913, she began attending the studios of the Cubist painters Henri Le Fauconnier and Jean Metzinger. In 1909 she traveled to Kiev, then in 1910 to Pskov, the following year she visited other ancient Russian cities, including St. Petersburg, to study icons. In 1912 she worked in a Moscow studio known as The Tower with Ivan Aksenov and Vladimir Tatlin, in 1912–1913 she studied art with Nadezhda Udaltsova in Paris, where she met Alexander Archipenko and Ossip Zadkine in 1913. After returning to Russia that same year, she worked with Tatlin, Udaltsova, in 1914 she traveled in France and Italy at the development of Cubism and Futurism. Popova was one of the first female pioneers in Cubo-Futurism, through a synthesis of styles she worked towards what she termed painterly architectonics. From 1914–1915 her Moscow home became the meeting-place for artists and writers, in 1914–1916 Popova together with other avant-garde artists contributed to the two Knave of Diamonds exhibitions, in Petrograd Tramway V and the 0.10, The Store in Moscow. Her painting The Violin of 1914 suggests the development from Cubism towards the painterly architectonics series of 1916–1918 and this series defined her distinct artistic trajectory in abstract form. The canvas surface is a field of overlapping and intersecting angular planes in a constant state of potential release of energy. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future, color is used as the iconic focus, the strong primary color at the center drawing the outer shapes together. The creation of a new kind of painting was part of the urge of the Russian avant-garde to remake the world. The term supreme refers to a non-objective or abstract world beyond that of everyday reality. However, there was a tension between those who, like Malevich, saw art as a spiritual quest, and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the aims of the Revolution working in poster, book design, fabric and theatre design, at 0.10 she had exhibited a number of figurative painted cardboard reliefs in a cubist derived style. Popovas superimposed planes and strong color have the presence of actual space. In 1918 Popova married the art historian Boris Eding, and gave birth to a son, von Eding died the following year of typhoid fever
Lyubov Popova
–
Air+Man+Space, 1912
Lyubov Popova
–
Portrait of a Philosopher (Artist's brother, Pavel Sergeyevich Popov), 1915
Lyubov Popova
–
The Model, 1913
Lyubov Popova
–
The Pianist, 106.5 x 88.7 cm, The National Gallery of Canada
13.
Nadezhda Udaltsova
–
Nadezhda Andreevna Udaltsova was a Russian avant-garde artist, painter and teacher. Nadezhda Udaltsova was born in the village of Orel, Russia, when she was six, her family moved to Moscow, where she graduated from high school and began her artistic career. In the spring of 1908 she traveled to Berlin and Dresden, and upon her return to Russia, she applied for admission to the Moscow Institute of Painting, Sculpture. In 1910–11, Goncharova studied at several studios, among them Tatlins Tower. In 1912–13 she and Popova traveled to Paris to continue their studies under the tutelage of Henri Le Fauconnier, Jean Metzinger, Udaltsova returned to Moscow in 1913 and worked in Vladimir Tatlins studio together with Popova, Vesnin, and others. Udaltsovas professional debut was as a participant in a Jack of Diamonds exhibition in Moscow in the winter of 1914.10 and her paintings were subsequently collected and exhibited in the 1920s by the Tretiakov Gallery, the Russian Museum, and other venues as examples of Russian Cubism. Under the influence of Tatlin, Udaltsova experimented with Constructivism, in 1916, she participated with other Suprematist artists in a Jack of Diamonds exhibition, and during that same time period she joined Kazimir Malevichs Supremus group. In 1915–1916, together with other suprematist artists worked at the Verbovka Village Folk Centre and she also collaborated with Aleksei Gan, Aleksei Morgunov, Aleksandr Rodchenko and Malevich on a newspaper entitled Anarkhiia. In 1919, Udaltsova contributed eleven works from the time she was working in Tatlins studio to the Fifth State Exhibition and she also married her second husband, the painter Alexander Drevin. When Vkhutemas, the Russian state art and technical school, was established in 1920, she was appointed professor and senior lecturer, in 1920 she also became a member of the Institute for Artistic Culture and actively participated in discussions there on the fate of easel art. However, when the Institute endorsed Constructivism and declared the end of easel painting and she also continued to teach, including instruction in textile design at Vhkutemas and the Textile Institute in Moscow from 1920 until 1930. Under the influence of Drevin, Udaltsova returned to nature and began painting landscapes, between 1926 and 1934 they traveled widely, painting the Ural and Altai Mountains, as well as landscapes in Armenia and Central Asia. From 1927 to 1935, she contributed to national and international exhibitions and participated with Drevin in joint exhibitions at the Russian Museum and in Erevan, Armenia. In 1932–33, Udaltsovas contributions to the exhibition of Artists of the RSFSR Over the Last Fifteen Years were publicly criticized for so-called formalist tendencies, in 1938 Alexander Drevin was arrested and executed by the NKVD, and Udaltsova became a persona non grata in the world of Soviet art. She was allowed an exhibition at the Moscow Union of Soviet Artists in 1945. Udaltsova died in 1961 in Moscow, the Udaltsova crater on Venus is named after her. Her son was the prominent Russian sculptor Andrei Drevin, biography and works of Nadezhda Udaltsova
Nadezhda Udaltsova
–
Udaltsova and her works
14.
Soyuz Molodyozhi
–
Soyuz Molodyozhi was an artistic group and an art magazine of Russian avant-garde organized in 1910. There were more than 30 members of the group and most of other Russian avant-garde participated in their exhibitions, the Chairman of the society was a patron of the arts Levky Zheverzheyev. The Manifesto of the group was written by Olga Rozanova, in 1913 the group Soyuz Molodyozhi merged with group Giley that included Vladimir Mayakovsky, Velimir Khlebnikov and Elena Guro. Besides organizing artistic exhibition, the group also organized theatrical performances, the most famous of which was the Victory over the Sun. The classical period of the group was 1910–1914 years ended with the World War I, in 1917 the group resumed its work organizing the great First Free Exhibit of Artists of All Trends at the Hermitage. In 1921 the group became the Union of the Newest Trends chaired by Vladimir Tatlin, the Union of Youth, an artists society of the Russian avant-garde
Soyuz Molodyozhi
–
David Burlyuk, Portrait of
Vasily Kamensky, 1917
15.
Saint Petersburg
–
Saint Petersburg is Russias second-largest city after Moscow, with five million inhabitants in 2012, and an important Russian port on the Baltic Sea. It is politically incorporated as a federal subject, situated on the Neva River, at the head of the Gulf of Finland on the Baltic Sea, it was founded by Tsar Peter the Great on May 271703. In 1914, the name was changed from Saint Petersburg to Petrograd, in 1924 to Leningrad, between 1713 and 1728 and 1732–1918, Saint Petersburg was the capital of imperial Russia. In 1918, the government bodies moved to Moscow. Saint Petersburg is one of the cities of Russia, as well as its cultural capital. The Historic Centre of Saint Petersburg and Related Groups of Monuments constitute a UNESCO World Heritage Site, Saint Petersburg is home to The Hermitage, one of the largest art museums in the world. A large number of consulates, international corporations, banks. Swedish colonists built Nyenskans, a fortress, at the mouth of the Neva River in 1611, in a then called Ingermanland. A small town called Nyen grew up around it, Peter the Great was interested in seafaring and maritime affairs, and he intended to have Russia gain a seaport in order to be able to trade with other maritime nations. He needed a better seaport than Arkhangelsk, which was on the White Sea to the north, on May 1703121703, during the Great Northern War, Peter the Great captured Nyenskans, and soon replaced the fortress. On May 271703, closer to the estuary 5 km inland from the gulf), on Zayachy Island, he laid down the Peter and Paul Fortress, which became the first brick and stone building of the new city. The city was built by conscripted peasants from all over Russia, tens of thousands of serfs died building the city. Later, the city became the centre of the Saint Petersburg Governorate, Peter moved the capital from Moscow to Saint Petersburg in 1712,9 years before the Treaty of Nystad of 1721 ended the war, he referred to Saint Petersburg as the capital as early as 1704. During its first few years, the city developed around Trinity Square on the bank of the Neva, near the Peter. However, Saint Petersburg soon started to be built out according to a plan, by 1716 the Swiss Italian Domenico Trezzini had elaborated a project whereby the city centre would be located on Vasilyevsky Island and shaped by a rectangular grid of canals. The project was not completed, but is evident in the layout of the streets, in 1716, Peter the Great appointed French Jean-Baptiste Alexandre Le Blond as the chief architect of Saint Petersburg. In 1724 the Academy of Sciences, University and Academic Gymnasium were established in Saint Petersburg by Peter the Great, in 1725, Peter died at the age of fifty-two. His endeavours to modernize Russia had met opposition from the Russian nobility—resulting in several attempts on his life
Saint Petersburg
–
Top left to bottom right:
Peter and Paul Fortress on
Zayachy Island,
Smolny Cathedral,
Moyka river with the
General Staff Building,
Trinity Cathedral,
Bronze Horseman on
Senate Square, and the
Winter Palace.
Saint Petersburg
–
The
Bronze Horseman, monument to Peter the Great
Saint Petersburg
–
Palace Square backed by the General Staff arch and building, as the main square of the Russian Empire it was the setting of many events of historic significance
Saint Petersburg
–
Map of Saint Petersburg, 1903
16.
Art nouveau
–
Art Nouveau is an international style of art, architecture and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants. English uses the French name Art Nouveau, according to the philosophy of the style, art should be a way of life. For many well-off Europeans, it was possible to live in an art nouveau-inspired house with art nouveau furniture, silverware, fabrics, ceramics including tableware, jewellery, cigarette cases, artists desired to combine the fine arts and applied arts, even for utilitarian objects. By 1910, Art Nouveau was already out of style and it was replaced as the dominant European architectural and decorative style first by Art Deco and then by Modernism. Art Nouveau took its name from the Maison de lArt Nouveau, in France, Art Nouveau was also sometimes called by the British term Modern Style due to its roots in the Arts and Crafts Movement, Style moderne, or Style 1900. It was also sometimes called Style Jules Verne, Le Style Métro, Art Belle Époque, in Belgium, where the architectural movement began, it was sometimes termed Style nouille or Style coup de fouet. In Britain, it was known as the Modern Style, or, because of the arts and crafts movement led by Charles Rennie Mackintosh in Glasgow, as the Glasgow style. In Italy, because of the popularity in Italy of designs from Londons Liberty & Co department store, in the United States, due to its association with Louis Comfort Tiffany, it was often called the Tiffany style. In Germany and Scandinavia, a style emerged at about the same time, it was called Jugendstil. In Catalonia the related style was known as Modernisme, in Spain as Modernismo, Arte joven, in Russia, it was called Modern, and Jugendstil, and Nieuwe Kunst in the Netherlands. Some names refer specifically to the forms that were popular with the Art Nouveau artists, Stile Floreal in France, Paling Stijl in the Netherlands. The new art movement had its roots in Britain, in the designs of William Morris. Early prototypes of the include the Red House of Morris. In France, the style combined several different tendencies, in architecture, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc, a declared enemy of the historical Beaux-Arts architectural style. For each function its material, for each material its form and this book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, and Antoni Gaudí. The French painters Maurice Denis, Pierre Bonnard and Édouard Vuillard played an important part in integrating fine arts painting with decoration, I believe that before everything a painting must decorate, Denis wrote in 1891. The choice of subjects or scenes is nothing and it is by the value of tones, the colored surface and the harmony of lines that I can reach the spirit and wake up the emotions
Art nouveau
–
Table Lamp by
François-Raoul Larche in
gilt bronze, with the dancer
Loïe Fuller as model
Art nouveau
–
Louis Majorelle, wall cabinet
Art nouveau
–
Art Nouveau interior at the 1900 Paris Universal Exhibition by Bruno Möhring, German pavilion.
Art nouveau
–
Art Nouveau sculpture, detail of facade in
Metz, France
17.
Mikhail Larionov
–
Mikhail Fyodorovich Larionov was an avant-garde Russian painter. Larionov was born at Tiraspol, in the Kherson Governorate of the Russian Empire, in 1898 he entered the Moscow School of Painting, Sculpture and Architecture under Isaac Levitan and Valentin Serov. He was suspended three times for his radical outlook, in 1900 he met Natalia Goncharova and formed a lifelong relationship with her. From 1902 his style was Impressionism, after a visit to Paris in 1906 he moved into Post-Impressionism and then a Neo-primitive style which derived partly from Russian sign painting. In 1908 he staged the Golden Fleece exhibition in Moscow, which included paintings by international artists such as Matisse, Derain, Braque, Gauguin. Other group shows promoted by him included Tatlin, Chagall and Malevich, Larionov was a founding member of two important Russian artistic groups Jack of Diamonds and the more radical Donkeys Tail. He gave names to both groups and his first solo show was for one day in Moscow in 1911. Larionov was influenced by the Georgian artist Niko Pirosmani, in 1913 he created Rayonism, which was the first creation of near-abstract art in Russia. He had a show at the Omega Workshops. In 1915 he left Russia and worked with the ballet owner Sergei Diaghilev in Paris on the productions of the Ballets Russes and he spent the rest of his life in France and obtained the French citizenship. He died, aged 82, in the Paris suburb of Fontenay-aux-Roses, in 2001, the Central Bank of Transnistria minted a silver coin honoring this native of todays Transnistria, as part of a series of memorable coins called The Outstanding People of Pridnestrovie. The highest price paid for a Larionov painting at auction is 2,200,000 British pounds and he is in the highest category 1A – a world famous artist in United Artists Rating. Mikhail Larionov at the McNay Art Museum
Mikhail Larionov
–
Mikhail Fyodorovich Larionov
Mikhail Larionov
–
Acacias in Spring (1904)
Mikhail Larionov
–
Self-Portrait (1910)
Mikhail Larionov
–
Red
Rayonism (1913)
18.
Futurism
–
Futurism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium and elsewhere. It glorified modernity and aimed to liberate Italy from the weight of its past, Cubism contributed to the formation of Italian Futurisms artistic style. Important Futurist works included Marinettis Manifesto of Futurism, Boccionis sculpture Unique Forms of Continuity in Space, to some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism. Futurism is a movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini, Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. We want no part of it, the past, he wrote, publishing manifestos was a feature of Futurism, and the Futurists wrote them on many topics, including painting, architecture, religion, clothing and cooking. The founding manifesto did not contain an artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting. This committed them to a universal dynamism, which was to be represented in painting. The motor bus rushes into the houses which it passes, the Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant-garde art. Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists, Cubism offered them a means of analysing energy in paintings and expressing dynamism. They often painted modern urban scenes, carràs Funeral of the Anarchist Galli is a large canvas representing events that the artist had himself been involved in, in 1904. The action of an attack and riot is rendered energetically with diagonals. His Leaving the Theatre uses a Divisionist technique to render isolated, Boccionis The City Rises represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted, Boccioni developed these ideas at length in his book, Pittura scultura Futuriste, Dinamismo plastico. Ballas Dynamism of a Dog on a Leash exemplifies the Futurists insistence that the world is in constant movement
Futurism
–
Gino Severini, 1912, Dynamic Hieroglyphic of the Bal Tabarin, oil on canvas with sequins, 161.6 x 156.2 cm (63.6 x 61.5 in.),
Museum of Modern Art, New York
Futurism
–
Futurists
Luigi Russolo,
Carlo Carrà,
Filippo Tommaso Marinetti,
Umberto Boccioni and
Gino Severini in front of Le Figaro, Paris, February 9, 1912
Futurism
–
Giacomo Balla, Abstract Speed + Sound, 1913–1914
Futurism
–
Umberto Boccioni, sketch of
The City Rises (1910)
19.
Filippo Tommaso Marinetti
–
Filippo Tommaso Emilio Marinetti was an Italian poet, editor, art theorist, and founder of the Futurist movement. He was associated with the utopian and Symbolists artistic and literary community Abbaye de Créteil between 1907 and 1908, Marinetti is best known as the author of the first Futurist Manifesto, which was written and published in 1909. Emilio Angelo Carlo Marinetti spent the first years of his life in Alexandria, Egypt, enrico was a lawyer from Piedmont, and his mother was the daughter of a literary professor from Milan. They had come to Egypt in 1865, at the invitation of Khedive Ismail Pasha and his love for literature developed during the school years. His mother was a reader of poetry, and introduced the young Marinetti to the Italian and European classics. At age seventeen he started his first school magazine, Papyrus and he first studied in Egypt then in Paris, obtaining a baccalauréat degree in 1894 at the Sorbonne, and in Italy, graduating in law at the University of Pavia in 1899. He decided not to be a lawyer but to develop a literary career and he experimented with every type of literature, signing everything Filippo Tommaso Marinetti. The Abbaye de Créteil was a community founded in the autumn of 1906 by the painter Albert Gleizes. The movement drew its inspiration from the Abbaye de Thélème, a creation by Rabelais in his novel Gargantua. It was closed down by its members early in 1908, Marinetti is known best as the author of the Futurist Manifesto, which he wrote in 1909. It was published in French on the front page of the most prestigious French daily newspaper, Le Figaro, in The Founding and Manifesto of Futurism, Marinetti declared that Art, in fact, can be nothing but violence, cruelty, and injustice. Georges Sorel, who influenced the political spectrum from anarchism to Fascism. Futurism had both anarchist and Fascist elements, Marinetti later became a supporter of Benito Mussolini. Marinetti, who admired speed, had a car accident outside Milan in 1908 when he veered into a ditch to avoid two cyclists. He referred to the accident in the Futurist Manifesto, the Marinetti who was helped out of the ditch was a new man, determined to end the pretense and decadence of the prevailing Liberty style. Together, he wrote, We will glorify war—the worlds only hygiene—militarism, patriotism, the gesture of freedom-bringers, beautiful ideas worth dying for. The Futurist Manifesto was read and debated all across Europe, in April, the opening night of his drama Le Roi bombance, written in 1905, was interrupted by loud, derisive whistling by the audience. And by Marinetti himself, who thus introduced another element of Futurism, Marinetti did, however, fight a duel with a critic he considered too harsh
Filippo Tommaso Marinetti
–
Filippo Tommaso Marinetti
Filippo Tommaso Marinetti
–
Poem of Marinetti on a
wall in Leiden
20.
Alexander Archipenko
–
Alexander Porfyrovych Archipenko was a Ukrainian-born American avant-garde artist, sculptor, and graphic artist. Alexander Archipenko was born in Kiev, in 1887, to Porfiry Antonowych Archipenko and Poroskowia Vassylivna Machowa Archipenko, he was the younger brother of Eugene Archipenko. From 1902 to 1905 he attended the Kiev Art School, after which he continued his education in the arts as the student of S. Svyatoslavsky in 1906, in the same year he had an exhibition, together with Alexander Bogomazov, in Kiev. Later that same year he moved to Moscow where he had a chance to exhibit his work in group shows. Archipenko moved to Paris in 1908 and was a resident in the artists colony La Ruche, among émigré Russian artists, Wladimir Baranoff-Rossine, Sonia Delaunay-Terk and Nathan Altman. In 1912 Archipenko had his first personal exhibition at the Museum Folkwang at Hagen in Germany, four of Archipenkos Cubist sculptures, including Family Life and five of his drawings, appeared in the controversial Armory Show in 1913 in New York City. These works were caricatured in the New York World, Archipenko moved to Nice in 1914. In 1920 he participated in Twelfth Biennale Internazionale dellArte di Venezia in Italy, in 1922 Archipenko participated in the First Russian Art Exhibition in the Gallery van Diemen in Berlin together with Aleksandra Ekster, Kazimir Malevich, Solomon Nikritin, El Lissitzky and others. In 1923 he emigrated to the United States, and participated in an exhibition of Russian Paintings and he became a US citizen in 1929. In 1933 he exhibited at the Ukrainian pavilion in Chicago as part of the Century of Progress Worlds Fair, Alexander Archipenko contributed the most to the success of the Ukrainian pavilion. His works occupied one room and were valued at $25,000 dollars, in 1936 Archipenko participated in an exhibition Cubism and Abstract Art in New York as well as numerous exhibitions in Europe and other places in the U. S. He was elected to the American Academy of Arts and Letters in 1962, Alexander Archipenko died on February 25,1964, in New York City. He is interred at Woodlawn Cemetery in The Bronx, New York City, the sculptor Ann Weaver Norton apprenticed with Archipenko for a number of years. O. P. Museum de Fundatie, Zwolle, Netherlands Archipenkos statue of King Solomon, at the University of Pennsylvania campus, dominates the walk from 36th and its creation began in 1964 when, shortly before he died, the artist completed a four–foot sculpture designed for enlargement. His wife oversaw its first casting, in 1968, the 14. 5-foot 1. 5-ton statue was produced. In 1985, it was given to the University by Mr, Cubist in form, it has been described as evoking the feeling of smallness in the face of power that one must have felt standing before King Solomon himself. National Gallery of Art, The Tel Aviv Museum, karshan, Donald H. Archipenko, International Visionary. Alexander Archipenko, A Memorial Exhibition 1967–1969, Александр Архипенко //Прогресс-Традиция,2011,624 стр
Alexander Archipenko
–
Archipenko around 1920 (photograph by Atelier Riess)
Alexander Archipenko
–
La Vie Familiale (Family Life), 1912. Exhibited at the 1912 Salon d'Automne,
Paris and the 1913
Armory Show in
New York,
Chicago and
Boston. Photograph in La Comedie Artistique (1912) of the original sculpture (approx 6 feet (1.8 m) tall), later accidentally destroyed)
Alexander Archipenko
–
Untitled, 1912, published in Action, Cahiers individualistes de philosophie et d’art, October 1920
Alexander Archipenko
–
Recherche de plastique, 1913. Exhibited at Erster Deutscher Herbstsalon,
Berlin, 1913, an exhibition organized by
Herwarth Walden (Galerie
Der Sturm), including
Metzinger,
Delaunay,
Gleizes,
Léger,
Marcoussis and
Picabia
21.
Aleksandra Ekster
–
She was born Aleksandra Aleksandrovna Grigorovich in Białystok, in the Grodno Governorate of the Russian Empire to a wealthy Belarusian family. Her father, Aleksandr Grigorovich, was a wealthy Belarusian businessman, young Aleksandra received an excellent private education, studying languages, music, art, and taking private drawing lessons. Soon her parents moved to Kyiv, and Asya, as called by her friends, attended Kiev gymnasium St. Olga and Kiev Art School, Aleksandra graduated in painting from Kiev Art School in 1906. In 1908, Aleksandra Grigorovich married a successful Kiev lawyer, Nikolai Evgenyevich Ekster, the Eksters belonged to cultural and intellectual elite of Kiev. She spent several months with her husband in Paris, and there she attended Académie de la Grande Chaumière in Montparnasse, from 1908 to 1924 she intermittently lived in Kiev, St. Petersburg, Odessa, Paris, Rome and Moscow. In 1908 she participated in an exhibition together with members of the group Zveno organized by David Burliuk, Wladimir Burliuk, in Paris, Aleksandra Ekster was a personal friend of Pablo Picasso and Georges Braque, who introduced her to Gertrude Stein. She exhibited six works at the Salon de la Section dOr, Galerie La Boétie, Paris, October 1912, with Jean Metzinger, Albert Gleizes, Marcel Duchamp and others. In that same year she participated with the “Russians” Archipenko, Koulbine, in 1915 she joined the group of avant-garde artists Supremus. Her friend introduced her to the poet Apollinaire, who took her to Picassos workshop, according to Moscow Chamber Theatre actress Alice Coonen, In Parisian household there was a conspicuous peculiar combination of European culture with Ukrainian life. On the walls between Picasso and Braque paintings there was Ukrainian embroidery, on the floor was a Ukrainian carpet, at the table they served clay pots, colorful majolica plates of dumplings. Under the avant-guard umbrella, Ekster has been noted to be a suprematist and constructivist painter as well as an influencer of the Art Deco movement. While not confined within a movement, Exter was one of the most experimental women of the avant-garde. Ekster absorbed from many sources and cultures in order to develop her own original style, Ekster later founded a teaching and production workshop in Kiev. Vadym Meller, Anatol Petrytsky, Kliment Redko, Tchelitchew, Shifrin, Nikritin worked there, also during this period she was one of the leading stage designers of Alexander Tairovs Chamber Theatre. In 1919 together with other avant-garde artists Kliment Redko and Nina Genke-Meller she decorated the streets and squares of Kiev and she worked with Vadym Meller as a costume designer in a ballet studio of the dancer Bronislava Nijinska. In 1921 she became a director of the elementary course Color at the Higher Artistic-Technical Workshop in Moscow and her work was displayed alongside that of other Constructivist artists at the 5x5=25 exhibition held in Moscow in 1921. In line with her eclectic avant-guard-like style, Ekster’s early paintings strongly influenced her design as well as her book illustrations. All of Ekster’s works, no matter the medium, stick to her distinct style and her works are vibrant, playful, dramatic, and theatrical in composition, subject matter, and color
Aleksandra Ekster
–
Aleksandra Aleksandrovna Ekster
Aleksandra Ekster
–
Theatre curtain designed by Ekster.
Aleksandra Ekster
–
Costumes designed by Ekster.
Aleksandra Ekster
–
Costume design for Romeo and Juliette. 1921.
M.T. Abraham Foundation.
22.
Kazimir Malevich
–
Kazimir Severinovich Malevich was a Russian painter and art theoretician. He was a pioneer of abstract art and the originator of the avant-garde Suprematist movement. He was a devout Christian mystic who believed the central task of an artist was that of rendering spiritual feeling, Kazimir Malevich was born Kazimierz Malewicz to a Polish family, who settled near Kiev in Kiev Governorate of the Russian Empire during the partitions of Poland. His parents, Ludwika and Seweryn Malewicz, were Roman Catholic like most ethnic Poles and they both had fled from the former eastern territories of the Commonwealth to Kiev in the aftermath of the failed Polish January Uprising of 1863 against the tsarist army. His native language was Polish though he spoke Ukrainian in public, subsequently, Malevich even wrote a series of articles about art in Ukrainian. Kazimirs father managed a sugar factory, Kazimir was the first of fourteen children, only nine of whom survived into adulthood. His family moved often and he spent most of his childhood in the villages of Ukraine, amidst sugar-beet plantations, until age twelve he knew nothing of professional artists, although art had surrounded him in childhood. He delighted in peasant embroidery, and in decorated walls and stoves and he was able to paint in the peasant style. He studied drawing in Kiev from 1895 to 1896, from 1896 to 1904 Kazimir Malevich lived in Kursk. In 1904, after the death of his father, he moved to Moscow and he studied at the Moscow School of Painting, Sculpture, and Architecture from 1904 to 1910 and in the studio of Fedor Rerberg in Moscow. In the same year he participated in an exhibition by the collective, by that time his works were influenced by Natalia Goncharova and Mikhail Larionov, Russian avant-garde painters, who were particularly interested in Russian folk art called lubok. Malevich described himself as painting in a Cubo-Futuristic style in 1912, in March 1913 a major exhibition of Aristarkh Lentulovs paintings opened in Moscow. Already in the year the Cubo-Futurist opera, Victory Over the Sun, with Malevichs stage-set. In 1914 Malevich exhibited his works in the Salon des Indépendants in Paris together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster, Malevich also co-illustrated, with Pavel Filonov, Selected Poems with Postscript, 1907–1914 by Velimir Khlebnikov and another work by Khlebnikov in 1914 titled Roar. In 1915, Malevich laid down the foundations of Suprematism when he published his manifesto, in 1915–1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916–1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk, Aleksandra Ekster, famous examples of his Suprematist works include Black Square and White On White. Malevich exhibited his first Black Square, now at the Tretyakov Gallery in Moscow, a black square placed against the sun appeared for the first time in the 1913 scenery designs for the Futurist opera Victory over the Sun. The second Black Square was painted around 1923, some believe that the third Black Square was painted in 1929 for Malevichs solo exhibition, because of the poor condition of the 1915 square
Kazimir Malevich
–
Self-portrait, 1912
Kazimir Malevich
–
Black Square, 1915, oil on linen, 79.5 x 79.5 cm,
Tretyakov Gallery,
Moscow
Kazimir Malevich
–
Suprematist Composition:
White on White, 1918,
Museum of Modern Art, New York
Kazimir Malevich
–
A section of Suprematist works by Kazimir Malevich exhibited at the
0.10 Exhibition, Petrograd, 1915
23.
Liubov Popova
–
Lyubov Sergeyevna Popova was a Russian avant-garde artist, painter and designer. Lyubov Sergeyevna had two brothers and a sister, Sergei was the eldest, then Lyubov, Pavel and Olga, Pavel became a philosopher and the guardian of his sisters artistic legacy. She grew up with a strong interest in art, especially Italian Renaissance painting, at eleven years old she began formal art lessons at home, she was first enrolled in Yaltinskaias Womens Gymnasium, then in Arsenevas Gymnasium in Moscow. By the age of 18 she was studying with Stanislav Zhukovsky, in 1912 to 1913, she began attending the studios of the Cubist painters Henri Le Fauconnier and Jean Metzinger. In 1909 she traveled to Kiev, then in 1910 to Pskov, the following year she visited other ancient Russian cities, including St. Petersburg, to study icons. In 1912 she worked in a Moscow studio known as The Tower with Ivan Aksenov and Vladimir Tatlin, in 1912–1913 she studied art with Nadezhda Udaltsova in Paris, where she met Alexander Archipenko and Ossip Zadkine in 1913. After returning to Russia that same year, she worked with Tatlin, Udaltsova, in 1914 she traveled in France and Italy at the development of Cubism and Futurism. Popova was one of the first female pioneers in Cubo-Futurism, through a synthesis of styles she worked towards what she termed painterly architectonics. From 1914–1915 her Moscow home became the meeting-place for artists and writers, in 1914–1916 Popova together with other avant-garde artists contributed to the two Knave of Diamonds exhibitions, in Petrograd Tramway V and the 0.10, The Store in Moscow. Her painting The Violin of 1914 suggests the development from Cubism towards the painterly architectonics series of 1916–1918 and this series defined her distinct artistic trajectory in abstract form. The canvas surface is a field of overlapping and intersecting angular planes in a constant state of potential release of energy. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future, color is used as the iconic focus, the strong primary color at the center drawing the outer shapes together. The creation of a new kind of painting was part of the urge of the Russian avant-garde to remake the world. The term supreme refers to a non-objective or abstract world beyond that of everyday reality. However, there was a tension between those who, like Malevich, saw art as a spiritual quest, and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the aims of the Revolution working in poster, book design, fabric and theatre design, at 0.10 she had exhibited a number of figurative painted cardboard reliefs in a cubist derived style. Popovas superimposed planes and strong color have the presence of actual space. In 1918 Popova married the art historian Boris Eding, and gave birth to a son, von Eding died the following year of typhoid fever
Liubov Popova
–
Air+Man+Space, 1912
Liubov Popova
–
Portrait of a Philosopher (Artist's brother, Pavel Sergeyevich Popov), 1915
Liubov Popova
–
The Model, 1913
Liubov Popova
–
The Pianist, 106.5 x 88.7 cm, The National Gallery of Canada
24.
Ksenia Boguslavskaya
–
Kseniya Boguslavskaya was a Russian avant-garde artist, poet and interior decorator. Her husband Ivan Puni was also a painter and she seems to be the originator of the Mavva featured in poems written by Velimir Khlebnikov. Born in St. Petersburg, she studied art in Paris from 1911 to 1913 and she returned to St. Petersburg in 1913 and married Ivan Puni. Their apartment in St Petersburg became a place for avant-garde artists and poets. With Puni she published the cubo-futurist booklet Roaring Parnassus in 1914, during the year 1915, Boguslavskaya joined the Supremus, a group of avant-garde artists. Some group members included (Liubov Popova, Nadezhda Udaltsova, Varvara Stepanova, Aleksandra Ekster, Ivan Kliun, Nina Genke-Meller, Ivan Puni, the group was led by the founder of Suprematism, Kazimir Malevich. In 1915-1916 with other Suprematist artists, she worked in the Verbovka Village Folk Centre in the Ukrainian province near Kiev and she exhibited at the first Futurist exhibition in 1915, and helped organise the Suprematist 0.10 Exhibition in late 1915. She was also a member of Jack of Diamonds and Mir iskusstva, in 1919 she and Puni escaped from the Soviet Union across the ice of the Gulf of Finland. She lived in Berlin from 1919 to 1923, working as a designer for the cabaret Blue Bird. In Berlin, she established ties with the International Futurists, including poet Ruggero Vasari, after 1923 she lived with her husband in Paris. She exhibited at the Salon des Indépendants in 1966, and helped organise an exhibition of Punis works at the Musée de lOrangerie the same years
Ksenia Boguslavskaya
–
Kseniya Boguslavskaya on the
0.10 Exhibition
Ksenia Boguslavskaya
–
Ivan Puni Velemir Khlebnikov reads poetry to Kseniya Boguslavskaya, 1915
25.
Ivan Kliun
–
Ivan Vasilyevich Klyun was a Russian painter, avant-garde artist, graphic artist and sculptor. Ivan Klyun was born Ivan Vasilyevich Klyunkov on 1873 in Bolshie Gorki village, in 1881 together with the whole family moved to Ukraine. In 1890 he moved to Poland, which at the time was part of the Russian Empire, original art education in Kiev and Warsaw in 1890. Ivan Klyun has studied at the Art School in Penza, in 1889-1890 he studied at the school of the Society of the Encouragement of the Arts in Warsaw. From 1890 to 1905 he studied art at the studios of F. Rerberg, mashkov and V. Fisher in Moscow. From 1907 to 1914 he studied at the Academy of Arts in St. Petersburg, in 1915 Klyun participated in exhibitions of the group Tramway V. In the same year he joined the group of artists Supremus that was led by Malevich, in 1916 he together with artists-suprematists Kazimir Malevich, Aleksandra Ekster, Nina Genke, Liubov Popova, Nadezhda Udaltsova and others worked at Verbovka Village Folk Centre. From 1917 to 1921 Klyun was Head of the Central Exhibition Bureau of the Fine Arts Department of Narkompros, from 1918 to 1921 he taught at the VKhUTEMAS in Moscow. Ivan Klyun died in 1943, Moscow, kliunkova-Soloveichik, Svetlana, Ohotin, edited by Nicholas A. Ivan Vasilievich Kliun
Ivan Kliun
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Ivan Klyun.
26.
Ivan Puni
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Ivan Puni or Puny was a Russian avant-garde artist. Ivan Puni was born in Kuokkala to a family of Italian origins and he is the grandson of an eminent Italian composer of ballet music, Cesare Pugni. Puni received his training in Paris in 1910-11 at the Académie Julien and other schools. Upon his return to Russia in 1912, he met, and exhibited with, members of the St Petersburg avant-garde, including Kazimir Malevich and he made a second trip to Paris in 1914, returning to St. Petersburg in 1915. At this point, he began painting in a Cubist style reminiscent of Juan Gris, in 1915, Puni, formed Supremus, a group of artists dedicated to the promulgation of Suprematism, the abstract art movement founded by Malevich. Malevich and Puni co-authored the Suprematist Manifesto, published in 1916, in 1915-1916 Puni, together with other Suprematist artists, worked at Verbovka Village Folk Centre. In 1919, he taught at the Vitebsk Art School under Marc Chagall, while in Berlin, Puni also designed costumes and sets for theatrical productions. Puni and Boguslavskaya relocated to Paris in 1924, where his style changed again to a variant of Impressionism. In France, he signed his work Jean Pougny in an effort to distance his new art practice from his previous one in Russia, in 1946, Puni/Pougny became a French citizen. He died in Paris in 1956, ivan Puni in American public collections, on the French Sculpture Census website
Ivan Puni
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Ivan Puni, 1914, Portrait of Artist's Wife (Портрет жены художника), oil on canvas, 89 x 62.5 cm, The
Russian Museum, St. Petersburg
27.
Abstract Expressionism
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Abstract Expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the art world. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky, technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic, or subconscious creation. Jackson Pollocks dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. His long essay Totem Art had considerable influence on artists as Martha Graham, Isamu Noguchi, Jackson Pollock, Mark Rothko. Around 1944 Barnett Newman tried to explain Americas newest art movement, paalen is mentioned twice, other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Motherwell is mentioned with a question mark, additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. In practice, the term is applied to any number of working in New York who had quite different styles. Yet all four artists are classified as abstract expressionists, Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Why this style gained mainstream acceptance in the 1950s is a matter of debate, American social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression, but also by the muralists of Mexico such as David Alfaro Siqueiros, the political climate after World War II did not long tolerate the social protests of these painters. Abstract expressionism arose during World War II and began to be showcased during the early forties at galleries in New York such as The Art of This Century Gallery. The McCarthy era after World War II was a time of censorship in the United States, but if the subject matter were totally abstract then it would be seen as apolitical. Or if the art was political, the message was largely for the insiders, many of the sculptors listed participated in the Ninth Street Show, a famous exhibition curated by Leo Castelli on East Ninth Street in New York City in 1951. Although the abstract expressionist school spread throughout the United States, the major centers of this style were New York City. At a certain moment the canvas began to appear to one American painter after another as an arena in which to act, what was to go on the canvas was not a picture but an event. In the 1940s there were not only few galleries but also few critics who were willing to follow the work of the New York Vanguard, there were also a few artists with a literary background, among them Robert Motherwell and Barnett Newman, who functioned as critics as well. Hess, the editor of ARTnews, championed Willem de Kooning
Abstract Expressionism
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Jackson Pollock,
No. 5, 1948, oil on
fiberboard, 244 × 122 cm. (96 × 48 in.), private collection
Abstract Expressionism
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David Smith,
Cubi VI (1963),
Israel Museum,
Jerusalem. David Smith was one of the most influential American sculptors of the 20th century.
Abstract Expressionism
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Mark Tobey, Canticle, 1954. Tobey, like Pollock, was known for his calligraphic style of allover compositions.
Abstract Expressionism
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Willem de Kooning, Woman V, 1952–1953. De Kooning's series of Woman paintings in the early 1950s caused a stir in the
New York City avant-garde circle.
28.
Philadelphia Museum of Art
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The Philadelphia Museum of Art is an art museum originally chartered in 1876 for the Centennial Exposition in Philadelphia. The main museum building was completed in 1928 on Fairmount, a located at the northwest end of the Benjamin Franklin Parkway at Eakins Oval. The museum administers collections containing over 240,000 objects including major holdings of European, American and Asian origin, the various classes of artwork include sculpture, paintings, prints, drawings, photographs, armor and decorative arts. The attendance figure for the museum was 751,797 in 2015, the museum is also one of the largest art museums in the world based on gallery space. The museum also administers the historic houses of Mount Pleasant and Cedar Grove. The museum and its annexes are owned by the City of Philadelphia, as of 2017, the standard adult admission price is $20 which allows entrance to the main building and all annexes for two consecutive days. The museum is closed on Mondays except on some holidays, several special exhibitions are held in the museum every year, including touring exhibitions arranged with other museums in the United States and abroad. Special exhibitions may have a charge for entrance. Philadelphia celebrated the 100th anniversary of the Declaration of Independence with the 1876 Centennial Exposition and its art building, Memorial Hall, was intended to outlast the Exhibition and house a permanent museum. The Pennsylvania Museum and School of Industrial Art opened on May 10,1877 and its permanent collection began with objects from the Exhibition and gifts from the public impressed with the Exhibitions ideals of good design and craftsmanship. European and Japanese fine and decorative art objects and books for the Museums library were among the first donations, the location outside of Center City, however, was fairly distant from many of the citys inhabitants. Admission was charged until 1881, then was dropped until 1962, starting in 1882, Clara Jessup Moore donated a remarkable collection of antique furniture, enamels, carved ivory, jewelry, metalwork, glass, ceramics, books, textiles and paintings. The Countess de Brazzas lace collection was acquired in 1894 forming the nucleus of the lace collection, in 1893 Anna H. Wilstach bequeathed a large painting collection, including many American paintings, and an endowment of half a million dollars for additional purchases. Works by James Abbott McNeill Whistler and George Inness were purchased within a few years, in the early 1900s, the Museum started an education program for the general public, as well as a membership program. Fiske Kimball was the director during the rapid growth of the 1920s. After World War II the collections grew with gifts, such as the John D. McIlhenny, early modern art dominated the growth of the collections in the 1950s, with acquisitions of the Louise and Walter Arensberg and the A. E. Gallatin collections. The gift of Philadelphian Grace Kellys wedding dress is perhaps the best known gift of the 1950s, extensive renovation of the building lasted from the 1960s through 1976. Major acquisitions included the Carroll S. Tyson, Jr. and Samuel S. White III and Vera White collections,71 objects from designer Elsa Schiaparelli, in 1976 there were celebrations and special exhibitions for the centennial of the Museum and the bicentennial of the nation
Philadelphia Museum of Art
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East entrance
Philadelphia Museum of Art
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"Plan for the Fairmount Parkway" (1917), by
Jacques Gréber.
Philadelphia Museum of Art
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The western pediment features polychrome sculpture by Jennewein
Philadelphia Museum of Art
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Henry Ossawa Tanner 's Annunciation, acquired in 1899
29.
Carnegie Museum of Art
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The Carnegie Museum of Art, located in the Oakland neighborhood of Pittsburgh, Pennsylvania, is an art museum founded in 1895 by the Pittsburgh-based industrialist Andrew Carnegie. The museum holds a collection of contemporary art, including film. Dedicated on November 5,1895, the art gallery was housed in the Carnegie Libraries of Pittsburgh Main Branch in Oakland. Carnegie envisioned a museum consisting of the Old Masters of tomorrow and the Carnegie Museum of Art became, arguably. The museum received an expansion in 1907 with the addition of the Hall of Architecture, Hall of Sculpture. Under the directorship of Leon Arkus, the Sarah Mellon Scaife Gallery was built as an addition to the existing Carnegie Institute. Designed by architect Edward Larrabee Barnes, it first opened in 1974 and more than doubled the exhibition space, plus added a childrens studio, theater, offices, café. The New York Times art critic John Russell described the gallery as an unflawed paradise, the gallery has been renovated several times since its original creation, most recently in 2004. Today the museum continues Carnegies love of art by staging the Carnegie International every few years. The museums curatorial departments include, Fine Arts, Decorative Arts, Architecture, the museum presents as many as 15 changing exhibitions annually. The museum has notably strong collections of both artifacts and chairs. Approximately 1,800 works are on view at any given time, in 2001, the museum acquired the archive of African-American photographer Charles Teenie Harris, consisting of approximately 80,000 photographic negatives spanning from the 1930s to the 1970s. The museum is working with a Teenie Harris Advisory Committee identify the photographs, many of these images have been catalogued and digitized and are available online via the Carnegie Museum of Art Collections Search. Heinz Architectural Center, Established in 1990 with a gift from Mrs. Henry J and its collection of nearly 6,000 objects includes drawings, models, photographs, artifacts, games, ephemera, and the world’s third-largest collection of plaster architectural casts. Areas of strength are residential architecture and leading contemporary British architects, the Hillman Photography Initiative is an incubator for innovative thinking on the photographic image. The inaugural year of the centered on four projects that, taken together. Ailsa Mellon Bruce Galleries – originally constructed display reproduction bronze casts from Pompeii, Hall of Architecture – In the late Victorian era, plaster casts of outstanding classical, ancient, and medieval works were mass-produced by various vendors. Just a few museums, like Carnegie Museum of Art, went to lengths to develop their own large
Carnegie Museum of Art
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Exterior view of the Sarah Mellon Scaife Gallery.
Carnegie Museum of Art
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Neapolitan
Presepio seasonally displayed at the Carnegie Museum of Art
Carnegie Museum of Art
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Cast of the north transept portal of the
Bordeaux Cathedral in the Hall of Architecture
Carnegie Museum of Art
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Tunnels
MoMA Celebrates 1913: Olga Rozanova’s Little Duck’s Nest…of Bad Words, Museum of Modern Art.jpg)
