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Posted on 26 July 2014 11:17
"The State Hermitage Museum in St. Petersburg was selected by the Manifesta Foundation to host Manifesta 10 in 2014 because of its critical intellectual and historical relationship with Eastern and Western Europe: a uniting principal that is also central to Manifesta, as the single roving European biennial of contemporary art. Manifesta 10 considers the historical perspective of St. Petersburg's view to the West, and its extensive relationship with Europe at large. Over 50 artists were invited by curator Kasper König to illustrate their own sections in the catalogue. |
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Inge Wierda: Posted on 03 July 2014 00:25
Everything was enchanting. Geen passender entourage voor de opening van de tentoonstelling "Franciscus en de natuur" was denkbaar. De jonge kunstenaar Pavel van Houten sprak het toegestroomde publiek in de prachtige kloostertuin van het Museum voor religieuze kunst op 28 juni jl toe. Een begaafd gitarist bracht muziek uit Franciscus' tijd, Albeniz en Messiaen ten gehore, terwijl een dolgelukkige dichter luidkeels zijn pasgemaakte gedichten declameerde. De wethouder (zie op foto hierboven in gesprek met de kunstenaar Rinke Nijburg) deed daar nog een schepje bovenop door het museumpersoneel een hart onder de riem te steken. |
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Posted on 22 February 2014 17:15
Tijdens de eerste helft van
de negentiende eeuw is in Noord-Europa een nieuw ‘Romantisch’ sentiment te
bespeuren in muziek, literatuur en beeldende kunst. In fraaie ‘pittoreske’ en
‘sublieme’ voorstellingen brachten kunstenaars de wereld in beeld. Het verre
en het exotische vormde daarbij een belangrijke inspiratiebron, terwijl een
nieuwe nadruk op het persoonlijke tot uiting komt in het intieme karakter van
de voorstellingen. Tijdens de Romantiek werd in Rusland de basis gelegd voor
een geheel nieuwe verbeelding van eigen land en identiteit. |
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Inge Wierda ©: Posted on 03 February 2014 18:10
The Blue Rose Exhibition in 1907 was one of the first Russian avant-garde events. A departure from a naturalist style, a symbolist tendency and an interest in the spiritual characterised the exposition. Although Kazimir Malevich did not participate in the show, he clearly took an interest in symbolist aesthetics and the exhibited works. This can be seen in several studies for a fresco also known as the Yellow Series, shown at the exhibition "The Great Change" in the Bonnefantemuseum in Maastricht (Spring 2013) and the exhibition "Kazimir Malevich and the Russian Avant-Garde’’ in the Stedelijk Museum in Amsterdam (19. |
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Inge Wierda ©: Posted on 25 January 2014 16:31
 In December 1909, a group
of artists around Goncharova launched neo-primitivist art at the third
exhibition of the ‘Golden Fleece’, in which they affirmed a national identity
in a similar vein to the artists of Abramtsevo. They explored Russian roots as
found in the country’s ‘primitive’ pagan, as well as medieval, Orthodox past
and continued to propagate the rural myth of ‘obshchina’, as well as the
spiritual notion of ‘sobornost’. In line with the Slavophiles and Abramtsevo
artists’ circle, the neo-primitivists cherished their peasants and saints,
their land and their religion as symbols of a national identity. |
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Inge Wierda © : Posted on 23 January 2014 00:01
Breaking with the past Russia
certainly was not the only country with a feudal system in 19th century Europe.
It is not a coincidence that a critical realist current in art emerged in mid
19th century in France also. Like Russian realists after the abolishment of
serfdom in 1861, French artists sympathised with the so-called 'lower' classes
after their 1848 revolution and the abolishment of slavery in French
colonies a year later. This can be demonstrated in Gustave Courbet's famous
painting of the 'Stone Breakers' (1849) and Francois Miller's 'Sower' (1950). |
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Inge Wierda ©: Posted on 20 January 2014 23:53
Various group and solo exhibitions of
early twentieth-century Russian avant-gardist art shown in the late 1980s and
1990s in Western Europe, following
Mikhail Gorbachev’s policy of ‘glasnost’, aroused my professional interest in Russian art history. The renewed
acquaintance first led to research in preparation for the design of courses
about Russian art, secondly to a PhD-research project on the late
nineteenth-century Russian art practices of Abramtsevo artists’ circle, and the
hypothesis that this circle holds a key to a more profound understanding of
‘the Russian avant-garde’, and to Russian culture as a whole. |
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Inge Wierda: Posted on 20 January 2014 16:29
Symposium "Aftermath and Afterlife of the Russian Avant-Garde", Stedelijk Museum Amsterdam, 16-17 January 2014
 Malevich, 1915: "The artist of colour, the artist of sound and the artist of volume - these are the people who open the hidden world and reincarnate it into the real".
Malevich, 1927: "..the suprematist square appeared at the time, naked: the shell fell away".
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Inge Wierda: Posted on 05 November 2013 16:34
 De Nabis, twee lezingen op 't Plein van Siena, Amsterdam (25 okt en 8 nov) & rondleiding
Deze herfst kunt u in deHermitagenader kennismaken met het werk van Paul Gauguin, Maurice Denis en Pierre Bonnard. Dit waren moderne kunstenaars, die christelijke thema’s en decoratieve kunst niet schuwden. Hun werk was zeer geliefd in zowel Parijs als Moskou. In twee lezingen nemen we hun werk onder de loep en daarna bekijken we de schilderijen in onze eigen Hermitage aan de Amstel.
2e Lezing: 8 november, 10. |
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Posted on 04 November 2013 20:36
For more information, see the following sites:
Extended due to success to 29/03/2014!
Bij de tentoonstelling is een boekje verschenen, verkrijgbaar bij Boekhandel Kirchner en natuurlijk in het Ikonenmuseum in Kampen. |
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