Topic: Russian Art
Ivan the Terrible and His Son Ivan on November 16th, 1581 by Ilya Repin (1885). Tretyakov Gallery, Moscow
A Kremlin-linked dairy magnate and radical Orthodox Christian activist has demanded the removal from one of Russia’s main art galleries of a painting of Ivan the Terrible that he says is a smear on the nation’s reputation.
In a lengthy appeal to the authorities, Vasily Boiko-Veliky describes 19th century Russian painter Ilya Repin’s work “Ivan the Terrible Killing His Son” as “slanderous” and “unpatriotic.”
Mainstream accounts of Russian history have it that the notoriously ruthless 16th century monarch did, in fact, kill his son in a fit of intemperate rage, but Boiko-Veliky insists the tsar was in fact an upstanding and landmark historical figure.
Tretyakov Gallery director Irina Lebedeva told RIA Novosti that the painting would continue to hang, but Boiko-Veliky’s appeal marks a new turn in an ongoing trend at revisionism that has appalled many professional historians.
Culture Minister Vladimir Medinsky, one of the people to whom the appeal was addressed, had not commented as of Thursday, but he may prove a sympathetic ear.
Medinsky, a former public relations manager, has published a series of books aimed at debunking alleged myths about Russia. These, he has written, include the ideas that serfs were ill-treated in tsarist times and that Russians have a penchant for heavy drinking.
Conservative activism is on the rise in Russia, with Christian activists protesting against a number of art projects. Targets have included modern art exhibits by prominent museum curator Marat Guelman, in the cities of Krasnodar and Novosibirsk in early 2012, and a show of works by British artists Jake and Dinos Chapman at the St. Petersburg’s Hermitage Museum in December.
Repin’s painting, which depicts the tsar in a state of appalled terror as he cradles his dying son in his arms, is considered a landmark of Russian realist art and features in most textbooks on Russian history, which have traditionally depicted Ivan the Terrible as a cruel tyrant.
While Ivan the Terrible is commonly acknowledged with strengthening the central government, it is also recognized he did this to a large extent by massacring his foes.
Boiko-Veliky, 54, has gained media exposure by combining his business pursuits with hardline Christian activism. In 2010, he ordered all employees in relationships to conduct church weddings or face dismissal.
He also posted a reward of 50,000 rubles ($1,500) for identities of members of the feminist punk band Pussy Riot, who performed an anti-Kremlin song in a cathedral in Moscow in 2012. Five band members participated in the performance, but only three have been identified so far.
Boiko-Veliky’s fortune was in 2007 estimated by Finans business weekly at 3.5 billion rubles ($110 million).
Ruzskoye Moloko company, part of his Your Own Financial Caretaker holding, supplies dairy goods to the presidential administration. In 2010, then-Prime Minister Vladimir Putin and then-President Dmitry Medvedev - the two have since switched roles - sampled the company’s milk at an agricultural fair.
Still, the tycoon has not always managed to stay on the right side of the law. Boiko-Veliky, who was expelled from the Komsomol communist youth league in Soviet times over his religious beliefs, spent 20 months in custody in 2007-2008, pending investigations over a suspect land deal. He was released on bail and the case is ongoing.
For more information on Tsar Ivan IV, please refer to the following articles at Royal Russia News;
Myth About Tsar Ivan IV - this article also disputes the commonly held myth that the tsar killed his son
© The Moscow News. 04 October, 2013
Masked robbers have stolen several paintings by renowned 19th and 20th century Russian artists from a local museum in central Russia, the Interior Ministry said on Monday.
Three masked men broke into the history and arts museum in the city of Vyazniki, about 300 kilometers (180 miles) east of Moscow Sunday evening, tied up a guard and stole several paintings by Ivan Shishkin, Konstantin Korovin and Stanislav Zhukovsky.
The ministry did not say which paintings were snatched, or how many were stolen.
An investigation has been launched.
In early June, Shishkin’s “Twilight” sold at MacDougall's auction house for £2.1 million (over $3.3 million), the highest recorded price for his work.
According to Interpol, Russia beats out France, Italy and Germany in the number of items stolen from its museums. Over the last 15 years, the Russian Interior Ministry estimates that nearly $1 billion worth of cultural works have been stolen from Russia and taken abroad.
For a more indepth look into how serious art theft has become in modern day Russia, please refer to the following article in Royal Russia News;
© Moscow News, Rossiyskaya Gazaeta. 24 September, 2013
The Assembly Hall, Academy of Arts in St. Petersburg
The Russian Academy of Arts in St. Petersburg, was founded in 1757 by Ivan Shuvalov under the name Academy of the Three Noblest Arts. The Empress Catherine II renamed it the Imperial Academy of Arts and commissioned a new building, completed 25 years later in 1789 by the Neva River.
The Academy of Arts was one of the most ambitious institutions of its time, enrolling students as young as five years old. A rare copy of the academy’s charter is owned by the British Library. Voice of Russia's Vivienne Nunis has been talking to some of the experts who think the academy deserves wider academic respect.
© Voice of Russia. 28 July, 2013
Christ with Martha and Mary by Mikhail Nesterov (1911). Marfo-Mariinsky Convent, Moscow
The Tretyakov Gallery in Moscow has opened its largest exhibition of the year devoted to the outstanding painter Mikhail Nesterov. Nesterov’s creative work reflects the major features of Russian national character and Russian nature, the exhibition organizers note.
“The content and the depth of Nesterov's art in many respects harmonize with the religious searches of Russian literature and philosophy at the turn of the 19th-20th centuries. The best embodiment of his art and moral ideals were expressed in his program picture “Vision of youth Bartholomew” (1889-1890), which opened a cycle of canvases devoted to Venerable Sergey Radonezhsky,” the museum’s website explains.
About 300 works from 24 museums of Russia, Ukraine, Belarus and 9 private collections are on display at the exhibition. They demonstrate a wide range of creative interests of the master: pictures on religious themes, portraits, landscapes. Besides easel works, the exposition includes sketches for the paintings in the St. Vladimir's Cathedral in Kiev, in the church of the Protection of Our Lady in the Marfo-Mariinskaya Cloister of Sisters of Charity in Moscow and in the church of the Savior on Spilled Blood in St Petersburg. In his monumental canvases Nesterov combined the traditions of West European masters (in particular, English pre-Raphaelites, who followed the masters of the Early Renaissance epoch) with the national style of Russian neo-romanticism, appeared at the turn of the 19th and 20th centuries.
Many works are exhibited for the first time after they have been subjected to the most complicated restoration work. A number of valuable canvases and drawings have recently arrived to the collection of the Tretyakov Gallery and will become the true revelation for the public and experts.
© Russkiy Mir. 25 April, 2013
Photo: A portrait of Pavel Tretyakov. Artist: Ilya Repin (1883)
Pavel Tretyakov, the renowned art collector and founder of the Tretyakov Gallery in Moscow, was born 180 years ago. Together with his brother Sergei Mikhailovich, he collected paintings by Russian artists for over a quarter century, creating the most extensive private art gallery in Russia, which he then offered as a gift, along with the building housing it, to the city of Moscow.
Pavel Tretyakov was the son of a merchant and he received a good education at home. Having inherited his father’s business the young Pavel and his brother Sergei constructed a cotton mill that employed about 5,000 workers.
Pavel Tretyakov began to collect Russian art in the 1850s with the intention of donating it to the city. It is believed that he acquired his first Russian paintings in 1856: Nikolai Shilder’s “The Temptation” (1853) and Vasily Khudyakov’s “Skirmish with Finnish Smugglers” (1853). Later he added paintings by Savrasov, Trutovsky, Bruni, and other masters to the collection.
Tretyakov supported talented artists all over Russia and was a personal friend of many of them. He especially admired a number of young realist painters known as “Peredvizhniki” (the Itinerants or Wanderers). The Peredvizhniki artists tried to show the “true Russia” and acquaint common people with art. They protested against academic restrictions and resisted the belief that all art was centered in St. Petersburg.
Photo: The Tretyakov Gallery in Moscow is the foremost depository of Russian fine art in the world.
Although the Russian painting tradition had not been formed yet and resembled the great art tradition of Europe, Tretyakov truly believed in Russian art. Medieval Russian art was nearly forgotten and works of the Russian painters of that time were scattered across private collections abroad. Tretyakov’s goal was to represent the Russian painting school in its entirety.
In 1893 the collections of both brothers opened as “The Pavel and Sergey Tretyakov Municipal Gallery.” Shortly afterwards, Pavel Tretyakov presented both collections to the city of Moscow. “For me, as one who truly and fervently loves painting, there can be no greater desire than to lay the foundation of a publically accessible repository of fine arts that would bring benefit and pleasure to many,” he wrote. At that time, the Tretyakov brothers’ gift numbered 1287 Russian paintings, 518 drawings, 9 sculptures, 75 paintings and 9 drawings by foreign artists, valued at 1.43 million rubles.
Towards the end of his life, Tretyakov was given the title of commerce adviser, became a member of the Moscow branch of the Council of Trade and Manufactures, and also (from 1893) became a full member of the Petersburg Academy of Arts. He died in Moscow on December 4, 1898. The Tretyakov Gallery became the first publically accessible museum in Russia in which Russian painting was presented not as disparate works of art, but as a unified whole. Through his nearly half century of art collecting and support of the most talented and brilliant artists, Tretyakov had a tremendous influence on the formation and flourishing of Russian artistic culture in the second half of the nineteenth century.
© Russkiy Mir Foundation. 29 December, 2012
View of the onion dome mosaic by Nesterov in the Church of the Saviour on Blood in St. Petersburg
The Russian Museum has opened an exhibit coinciding with the 150th anniversary of the birth of painter Mikhail Nesterov. The creative oeuvre of the painter that was connected with religious and philosophic searches of the so-called Silver Age of the Russian culture revealed to a viewer the wonderful poetical world of the Orthodox monasteries and Old-believing cells, fascination of the nature of Middle Russia and the inspired beauty of the national character. The best characteristics of a creative person had found their embodiment in the images of the artist’s famous contemporaries. These works are regarded as the classics of the portrait genre in Russian art.
Nesterov created frescoes and mosaics for the Holy Protection Cathedral at the Martha and Mary Convent in Moscow
The exhibition includes about 200 paintings and graphic works from the collections of the Russian Museum, the State Tretyakov Gallery, the State Art Museum of the Republic of Bashkiria, the State Picture Gallery of Astrahan, the State Museum of the History of Religion, the Scientific-Research Museum of the Russian Academy of Arts, the State Historical, ï¿½rt and Literary Museum Reserve Abramtsevo, the Tver Regional Picture Gallery, the Church and Archeology Cabinet of the Moscow Orthodox Ecclesiastical Academy, the State Museum Reverse Pavlovsk, the State Museum Reverse Peterhof, and from the private collections.
From 1890 to 1910, Nesterov lived in Kiev and St. Petersburg where he worked on frescoes and mosaics in St. Vladimir's Cathedral and the Church of the Saviour on Blood. After 1910, he spent the remainder of his life in Moscow, working in the Martha and Mary Convent.
As a devout Orthodox Christian, Nesterov could never accept the Bolshevik Revolution but remained in Russia until his death in 1942.
© Russkiy Mir Foundation & Paul Gilbert. 08 April, 2012
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