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Russian avant-garde

Francfort en français-russkiy

Francfort en français-russkiy. Frankfurt auf Französisch-Russisch
Von Dr. Inge Wierda (Kunsthistorikerin)

Im Herbst des Jahres 2017 wurde Frankfurt am Main französisch, da Frankreich Ehrengast der Buchmesse 2017 war. Ähnliches hatte sich bereits in dem für die Frankfurter Kulturpolitik bemerkenswerten Jahr 1958 ereignet, als über Frankreich deutsch-russische Beziehungen etabliert wurden. Damals bedachten die beiden Kulturstadträte Heinz Vogel und Karl vom Rath den Frankfurter Künstler Eberhard Steneberg sowie einige in Frankreich lebende russische Künstler mit zwei besonderen Aufträgen.

Malevich' feestje in het Drents Museum Assen!

Het boerenleven in de kunst van Malevich
Veel mensen bezochten vorig jaar de grote expositie Kazimir Malevich en de Russische avant-garde in het Stedelijk Museum in Amsterdam, waar Malevich' werk tot en met 1927 te zien was. In het Drents Museum in Assen is nog t/m 15 maart een glasheldere presentatie van zijn laatste meer figuratieve fase (1928-1935) te zien, waarin hij het motief van de boer weer oppakte. 
Malevich, die in zijn jonge jaren een opleiding aan een landbouwschool in de Oekraïne had gevolgd voordat hij kunstenaar werd, gaf de boeren een eigentijds gezicht in deze voor hen zo zware periode van gedwongen landbouwcollectivisatie (1927-32).

Modern Russian Pioneers IV: Kazimir Malevich (see 15/3/13)

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.

Modern Russian Pioneers III: Natalya Goncharova (see 15/3/13)

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.

Modern Russian Pioneers II: Breaking with the Past

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).

Modern Russian Pioneers I: Introduction (see blogpost 15/03/13)

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.

Symposium Stedelijk Museum Amsterdam

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".


   
                                            

The Big Change. Revolutions in Russian painting 1895-1917

 
    
 
 
 
 
 
 
Bonnefantenmuseum, Maastricht, 12 March - 11 August 2013
     
 
Modern European-Russian Pioneers
The modernist age can be characterized by the uncontrollable desire for freedom, equality and brotherhood. It stirred a revolutionary spirit within Europe and liberation movements in all spheres of life. Artists initiated a paradigm shift in art and articulated a respectively feudal, national and absolute identity in their art.
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