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.
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.
Breaking with the past
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).
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.
De expositie "Moskouse School. Traditie en Heden" is op zaterdag
19 oktober 2013 geopend in het Ikonenmuseum in Kampen!
Er zijn 60 hedendaagse ikonen uit Moskou te zien die ter gelegenheid van het Nederland-Ruslandjaar 2013 door Russische professionals geschilderd zijn.
Ikonenmuseum, Buiten Nieuwstraat 2, Kampen
Geopend tot en met 4 januari 2014
The Ignatius Gallery in
Amsterdam organised a Preis retrospective as part of the Netherlands-Russia
Year 2013 earlier this year. It was a premiere of her oeuvre in the
Netherlands, in which the artist made a clear statement. In September 2013
another major exhibition opened in the Otten Kunst Raum, where recent paper
reliefs -and sculptures by Preis will be shown along works of her
sculptor-friend Vasily Pavlovksy. The exhibition can be seen until 5 December
in Hohenems (A).
Elena Preis was born in Stalinist Russia in 1937.
Andrei Rublev (1360-ca.1420) was one of the nine persons and the first icon painter sanctified by the Russian Orthodox Church in 1988. He was canonised during a solemn ceremony in the Trinity-H. Sergius Monastery in Sergiev Posad, where Rublev lived and worked for several years.[i]
In 1982, Irina Vasilevna Vatiginoi was commissioned to create the first icon of the saint for the occasion by the Holy Synod. Although there is no way to verify if the image she crafted looked like him, the inscription confirms that the saint depicted in the icon is Andrei Rublev.
Het Nederland-Ruslandjaar is niet alleen bedoeld om de economische betrekkingen te onderstrepen. Er is ook
oog voor de mens achter de handel, al vinden de staten elkaar minder in hun
opvattingen over mensenrechten dan in de culturele dimensie. En is het
niet juist de beeldende kunst die aan verbroedering een belangrijke en
positieve bijdrage kan leveren? Het Ignatiushuis haakt bij deze gedachte aan,
met een interessante expositie van het werk van Elena Preis, die op 28 april
jl. werd geopend.
Ook de kunstenares zelf was