Viktor Mikhaylovich Vasnetsov was a Russian artist who specialized in mythological and historical subjects. He is considered the co-founder of Russian folklorist and romantic nationalistic painting, a key figure in the Russian revivalist movement. Viktor Vasnetsov was born in the remote village of Lopyal in Vyatka Governorate in 1848, the second of the six children, his father Mikhail Vasilievich Vasnetsov, known to be philosophically inclined, was a member of priesthood, of scholarly dictation in the natural sciences and astronomy. His grandfather was an icon painter. Two of Mikhail Vasnetsov's three sons and Apollinary, became remarkable painters, the third one becoming a schoolteacher, it was in Lopyal that Viktor started to paint landscapes and scenes of village life. Recalling his childhood in a letter to Vladimir Stasov, Vasnetsov remarked that he "had lived with peasant children and liked them not as a narodnik but as a friend". From the age of ten, Viktor studied in a seminary in Vyatka, each summer moving with his family to a rich merchant village of Ryabovo.
During his seminary years, he worked for a local icon shopkeeper. He helped an exiled Polish artist, Michał Elwiro Andriolli, to execute frescoes for Vyatka's Alexander Nevsky cathedral. Having graduated from the seminary, Viktor decided to move to Saint Petersburg to study art, he auctioned his paintings of Woman Harvester and Milk-maid in order to raise money required for the trip to the Russian capital. In August 1867 Viktor entered the Imperial Academy of Arts. Three years the Peredvizhniki movement of realist painters rebelled against the Academism. Vasnetsov befriended their leader Ivan Kramskoi, referring to him as his teacher, he became close to his fellow student Ilya Yefimovich Repin. It is ironic, but Viktor, whose name is associated with historical and mythological paintings avoided these subjects at all costs. For his graphic composition of Christ and Pontius Pilate Before the People, the Academy awarded a small silver medal to him. In the early 1870s he executed a lot of engravings depicting contemporary life.
Two of them won him a bronze medal at the World Fair in London. At that period he started producing genre paintings in oil; such pieces as Peasant Singers and Moving House were warmly welcomed by democratic circles of Russian society. In 1876 Repin invited Vasnetsov to join the Peredvizhniki colony in Paris. While living in France, Viktor studied classical and contemporary paintings and Impressionist alike. At that period, he painted Acrobats, produced prints, exhibited some of his works at the Salon, it was in Paris that he became fascinated with fairy-tale subjects, starting to work on Ivan Tsarevich Riding a Grey Wolf and The Firebird. Vasnetsov was a model for Sadko in Repin's celebrated painting Sadko in the Underwater Kingdom. In 1877 he returned to Moscow. In the late 1870s Vasnetsov concentrated on illustrating Russian fairy tales and the epic narrative poem Bylinas, executing some of his best known pieces: The Knight at the Crossroads, Prince Igor's Battlefield, Three princesses of the Underground Kingdom, The Flying Carpet, Alionushka.
These works were not appreciated at the time. Many radical critics dismissed them as undermining the realist principles of the Peredvizhniki; such prominent connoisseurs as Pavel Mikhailovich Tretyakov refused to buy them. The vogue for Vasnetsov's paintings would spread in the 1880s, when he turned to religious subjects and executed a series of icons for Abramtsevo estate of his patron Savva Mamontov. In 1884-1889 Vasnetsov was commissioned to paint frescos in the St Vladimir's Cathedral of Kiev; this was a challenging work which ran contrary to both Russian and Western traditions of religious paintings. The influential art critic Vladimir Stasov labelled them a sacrilegious play with religious feelings of the Russian people. Another popular critic, Dmitry Filosofov, referred to these frescoes as "the first bridge over 200 years-old gulf separating different classes of Russian society". While living in Kiev, Vasnetsov made friends with Mikhail Vrubel, involved in the cathedral's decoration. While they worked together, Vasnetsov taught the younger artist a great deal.
It was in Kiev that Vasnetsov finished Ivan Tsarevich Riding a Grey Wolf and started his most famous painting, the Bogatyrs. In 1885 the painter travelled to Italy; the same year he worked on stage designs and costumes for Nikolai Rimsky-Korsakov's opera The Snow Maiden. The following two decades were productive for Vasnetsov, he turned to other media during this period. In 1897 he collaborated with his brother Apollinary on the theatrical design of another Rimsky-Korsakov premiere, Sadko. At the turn of the century, Vasnetsov elaborated his hallmark "fairy-tale" style of Russian Revivalist architecture, his first acclaimed design was a church in Abramtsevo, executed jointly with Vasily Polenov. In 1894, he designed his own mansion in Moscow; the Russian pavilion of the World Fair in Paris followed in 1898. In 1904, Vasnetsov designed the best known of his "fairy-tale" buildings — the façade of the Tretyakov Gallery. Between 1906 and 1911, Vasnetsov worked on the design of the mosaics for Alexander Nevsky Cathedral, Warsaw.
Abeno Harukas Art Museum opened in Abeno-ku, Ōsaka, Japan, in 2014. Specializing in temporary exhibitions, it is located on the 16th floor of Abeno Harukas, Japan's tallest building, named after the ward of Abeno and the expression harukasu, meaning'brightening up'; the Museum's inaugural director is art historian Asano Shūgō, director of Kintetsu Railway Company's other cultural initiative, the Yamato Bunkakan. Exhibitions have had as their subject:2014: Tōdai-ji. Escher from the Israel Museum, Jerusalem 2019: Works by M. C. Escher from the Israel Museum, Jerusalem.
Navatrasierra is a village, part of the Villar del Pedroso municipality in the province of Cáceres, Spain. According to the 2014 census, the village has a population of 198 inhabitants. Navatrasierra is located in a mountainous area between the Sierra de Altamira in the northeast and the Sierra del Hospital del Obispo; these ranges are part of the Montes de Toledo system. The Navatrasierra Shale Formation from the Ordovician period, is named after this town. Santo Tomás Apóstol, on 21 December List of fossiliferous stratigraphic units in Spain Media related to Navatrasierra at Wikimedia Commons Ayuntamiento de Navatrasierra - Government Organization