Valentin Aleksandrovich Serov (1865-1911)
Valentin Alexandrovich Serov (1865-1911) was a Russian painter, and one of the premier portrait artists of his era.
Serov was born in Saint Petersburg, son of the Russian composer and music critic Alexander Serov and his wife and former student Valentina Serova, also a composer in her own right. Raised in a highly artistic milieu he was encouraged to pursue his talents by his parents and in his childhood, he studied in Paris and Moscow under Ilya Repin and in the St. Petersburg Academy of Arts (1880–1885) under Pavel Chistyakov. Serov's early creativity was sparked by the realistic art of Repin and strict pedagogical system of Chistyakov. Further influences on Serov were the old master paintings he viewed in the museums of Russia and Western Europe, friendships with Mikhail Vrubel and (later) Konstantin Korovin, and the creative atmosphere of the Abramtsevo Colony, to which he was closely connected.
The greatest works of Serov's early period were portraits: The Girl with Peaches (1887), and The Girl Covered by the Sun (1888), both in the Tretyakov Gallery. In these paintings, Serov concentrated on spontaneity of perception of the model and nature. In the development of light and colour, the complex harmony of reflections, the sense of atmospheric saturation, and the fresh picturesque perception of the world, there appeared the features of early Russian impressionism (though Serov was not yet aware of works of French impressionists at the time of making those paintings).
Portraiture and success
From 1890 on, the portrait became the basic genre in Serov's art. It was in this field that his early style would become apparent, the paintings notable for the psychologically pointed characteristics of his subjects. Serov's favourite models were actors, artists, and writers (Konstantin Korovin, 1891, Isaac Levitan, 1893, Nikolai Leskov, 1894, Nikolai Rimsky-Korsakov, 1898, - all in the Tretyakov gallery).
Initially abstaining from the polychromatic, brightly coloured painting style of the 1880s, Serov often preferred a dominant scale of black-grey or brown tones. Impressionistic features appeared sometimes in composite construction of a portrait, or to capture a sense of spontaneous movement. As in the work of his contemporaries John Singer Sargent and Anders Zorn, the impressionism is not doctrinaire but derives as much from the study of Hals and Velázquez as from modern theory. Receiving wide popularity, in 1894 Serov joined with the Peredvizhniki (The Itinerants), and took on important commissions, among them portraits of grand duke Pavel Alexandrovich, (1897, Tretyakov Gallery), S.M. Botkin, 1899, and Felix Yusupov, 1903 as well as Princess Olga Orlova (these in the Russian Museum in St. Petersburg). In these truthful, compositionally skilful, and picturesque executions in the grand manner, Serov consistently used linear-rhythmic drawing coupled with decorative colour combinations.
At the same time, he developed a contrasting direction: he frequently produced intimate, heartfelt, chamber portraits, mainly of children and women. In portraits of children, Serov aspired to capture pose and gesture, to reveal and emphasize a spontaneity of internal movement, sincere cleanliness and clearness of attitude of the child (Children, 1899, Russian Museum; Mika Morozov, 1901, Tretyakov gallery). Serov frequently called upon various graphic techniques - watercolours, pastels, lithographs and so forth. Figures in Serov's portraits gradually became more and more graphically refined and economical, particularly during the late period (Vasily Kachalov, 1908, Tamara Karsavina, 1909; numerous figures from Ivan Krylov's fables, 1895–1911). From 1890 to 1900 Serov produced many landscape compositions on country themes, in which the artistic direction took a romantic turn.
Valentin Serov died in Moscow on 5 December 1911, from stenocardia (an acute form of angina) that eventually led to cardiac arrest, ending in heart failure due to severe complications. He was buried at the Donskoye Cemetery. The Soviets had his remains exhumed and reburied at the Novodevichy Cemetery.
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Страна Советов. Забытые Вожди (Иван Серов). Документально - исторический фильм Star Media
Все фильмы проекта Страна Советов. Забытые Вожди
Проект расскажет о ключевых фигурах в руководстве Советского Союза - военачальниках, государственных и партийных деятелях. Именно они построили самую мощную державу в мире и были главными идеологами огромной страны. Они поднимали из руин экономику и промышленность, но закрывали монастыри и взрывали храмы. Они победили фашизм, но участвовали в масштабных репрессиях в собственной стране.
Сценарии фильмов разработаны на основе исторических документов, рассекреченных материалов и личных дел героев цикла. Проведена огромная работа по поиску и проверке информации. К созданию проекта были привлечены лучшие российские историки, учёные и консультанты с мировым именем.
В основе визуального решения фильма - игровая историческая реконструкция (то есть сцены, снятые с участием актёров, и воссоздающие дух эпохи); 3D графика, а также кадры кинохроники. Специально для цикла разработано уникальное графическое оформление, которое позволит интересно преподнести справочный материал.
«Страна Советов. Забытые вожди» - это попытка беспристрастно и трезво взглянуть на историю нашей страны, рассказать о человеческих судьбах и эпохе, воспитавшей неординарных людей.
Иван Серов был одним из крупнейших сотрудников советских спецслужб, первым председателем КГБ.
Он выполнял самые сложные и секретные задания, однако в середине 60-х был лишен всех званий и с позором отправлен в отставку. Только спустя 25 лет после его смерти наследники Серова обнаружили дневники, проливающие свет на события, в которых ему довелось участвовать.
Производство: компания Star Media, студия Babich Design
Продюсеры: Валерий Бабич, Влад Ряшин
Год выпуска: 2019
Жанр: документально-исторический фильм
Авторы сценария: Александр Колпакиди, Василий Шевцов
Режиссер-постановщик: Павел Сергацков
Оператор-постановщик: Александр Кипер
Художник-постановщик: Александр Гиляревский
Художник по костюмам: Наталия Белякова
Художник по гриму: Кристина Битюцкая
В ролях: Сергей Потапов (II), Сергей Рубашкин, Игорь Неведров, Искандер Павлов, Сергей Кудряшов (II), Андрей Щеткин, Дмитрий Сапронов, Константин Юрченко, Михаил Борисов (III), Вадим Утенков, Олег Требелев, Сергей Загребнев, Виталий Филипповых, Сергей Тишин, Артём Борзовский, Лисавета Сахнова
Исторические консультанты: Юрий Рубцов, Алексей Волынец, Аркадий Борисёнок, Армен Гаспарян, Александр Зданович, Алексей Филитов, Анатолий Чурилин
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Valentin Serov: A collection of 150 paintings (HD)
Valentin Serov: A collection of 150 paintings (HD)
Description: One of the last great Russian exponents of portrait art before the Bolshevik revolution, Valentin Serov ranks among the great modern artists of the late 19th century. Born into a privileged, though enlightened family, and schooled by some of Russia's best portrait artists, his contribution to Russian art - in particular his pioneer exploration of Impressionism - was immense. Among the best known masterpieces of his relatively short life are: Girl with Peaches (1887), Portrait of Isaac Levitan (1893), and Portrait of Maria Yermolova (1905), all in the Tretyakov Gallery, Moscow; In Summer (1895, Russian Museum, St Petersburg), and his chilly landscape Colts at a Watering Place, Domotkanovo (1904, Tretyakov). He remains one of the great Russian artists of the pre-Revolutionary period.
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Прославление преподобного Серафима / Glorification of St. Seraphim of Sarov: 1903
Россия на дореволюционных фотографиях
День обретения мощей и прославления преподобного Серафима, Саровского чудотворца
1903
Russia in pre-revolutionary photographs
The Day of finding the relics and the glorification of St. Seraphim,
miracle worker of Sarov
1903
Music:
0:00
Troparion to the Rev. Seraphim of Sarov
01:54
Glorification of St. Seraphim of Sarov
Choir of the Sisters of the Holy Trinity St. Seraphim of Serov Monastery
03:43
Troparion to the re. Seraphim of Sarov
On July 19 (August 1, according to the new art.) 1903, official church glorification took place in the face of saints and the acquisition of honest relics of Father Seraphim of Sarov , beloved and long respected by the people. The celebrations held in Sarov and Diveevo became a special landmark in the spiritual history of the country, as Sarov and Diveevo have always been and remain a special place of spiritual geography of Russia .
The celebrations were attended by the Emperor Nicholas II, Empress Alexandra Feodorovna, Dowager Empress Maria Feodorovna and members of the Imperial family. Together with pilgrims from across Russia, local dignitaries and members of the nobility.
Following the Bolshevik Revolution, Soviet authorities severely persecuted religious groups. As part of their persecution of Christians, they confiscated many relics of saints, including St. Seraphim. Furthermore, his biographer Seraphim Chichagov, who came to become a Metropolitan, was arrested, sentenced to death and executed by firing squad in 1937 (and is also celebrated as a Russian Orthodox saint).
In 1991, St. Seraphim's relics were rediscovered after being hidden in a Soviet anti-religious museum for seventy years. This caused a sensation in post-Soviet Russia and throughout the Orthodox world. A crucession (religious procession) escorted the relics, on foot, all the way from Moscow to Diveyevo Convent, where they remain to this day.
Russian top advanced secret military aircraft
Russian top advanced secret military aircraft
Russian artists capture spirit of revolution in radical new styles
(11 Dec 2017) LEADIN:
An exhibition in Italy is bringing together artworks that capture the spirit of revolutionary Russia.
The show marking the centenary of Russia's 1917 revolution celebrates an explosion of new styles seeking to depict the political and social upheaval of the times.
STORYLINE:
The winds of change are blowing.
In this 1903 painting entitled What Freedom by Russian realist painter Ilya Repin, a couple feels the exhilaration of the vast expanse of wind and waves.
It's part of an exhibition at the Museum of Modern Art of Bologna (MAMBO) that tells the story of the Russian revolution through the eyes of the nation's artists in the early decades of the 20th century.
As political and social unrest grew in Russia, a revolution was also underway in the art world.
Repin supported social change and took part in protests against the repressive Tsarist regime, but his 19th century realist style was itself about to be blown away by an explosion of radically modern artworks.
The 70 artworks on display here show how Russian painters were striving to capture the excitement and upheaval of the times in new artistic styles.
As the centenary of the revolution approached, and knowing that New York and London planned to put on great exhibitions marking the centenary of the Russian Revolution, I asked (the curator) Evgenia Petrovna if she had a partner in Italy. So our collaboration started, and here we are today, opening Revolutija: from Chagal to Malevich, from Repin to Kandinsky, a wide view of Russian art of the 20th century, which leads to the revolution and beyond, up to the beginning of the 1930s. An overview of art, history, literature and poetry, says exhibition promoter Giulia Fortunato.
The tumult that Russia endured in 1917 sent shockwaves around the world as its last czar, Nicholas II, abdicated, and power was later seized by Vladimir Lenin's Bolsheviks.
World War One revealed the enormous ineffectiveness of the czar's government and food shortages hit major cities in the winter of 1916-1917.
A series of huge strikes and protests as well as mutinies in the armed forces broke out in St Petersburg in early March, leading to the abdication of the czar.
The largest selection of paintings at the exhibition are those created by Kazimir Malevich, considered to be one of the most radical innovators of his time.
On display alongside his artworks are a selection of replica costumes from the futurist opera Victory Over the Sun, which Malevich designed.
The production premiered in 1913 to a very negative reception. The original costumes were destroyed in a fire.
Malevich's most recognised work is his Black Square painting, which he first painted a version of in 1915.
But he also painted a Red Square, which is subtitled Painterly Realism of a Peasant Woman in Two Dimensions.
I believe the most symbolic artwork of the avant-garde is Malevich's 'Red Square'. It has a second title: 'Peasant Woman in Two Dimensions'. This means that, according to Malevich, what previously had to be expressed in a figurative style, now could be expressed just by colour and shape. The emotions felt in front of the figurative, could now equally be felt in relation to a different (visual) language, says exhibition curator Evgenia Petrova, who is also vice-director of the Russian State Museum in St Petersburg.
The exhibition sets Malevich's radical abstract art alongside the impressionist portraits of Valentin Serov, the 19th century realism of Repin, the modernism of Marc Chagall, and the very different abstract style of Wassily Kandinsky, all of whom were striving to capture the spirit of the times.
The exhibition also features works by female artists, such as Zinaida Serebriakova and Natalia Goncarova.
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The passion of the Serov. / Страсти по Серову.
Valentin Alexandrovich Serov (7 [19] January 1865, St Petersburg-November 22 [5 December] 1911, Moscow) - famous Russian portraitist and one of the greatest masters of European painting of the 19th century. Although, and in addition to the portrait, it seemed, could do everything. Perpetuate his name as a consummate master of portraiture, Serov left no less significant works in the genre of Russian landscape, graphics, book illustration, animal imagery, historical and antique painting. Quiet and unassuming by nature, Serov had unquestioned authority among the artists of his time. And it is even difficult to name any other artist of his era (except perhaps, Levitan), whose legacy and creative achievement would be of such great importance and influence on all subsequent Russian art. Serov has collected a rare quality and a large number of a gallery of images of his contemporaries at the turn of 19 - 20th centuries. Many creative people, business people, aristocratic and Royal personages posed for him. Talent Serov - sensitive to capture and display a person's character. Serov has combined elements of Russian realism with elements of Western European neo-classicism, marking the beginning of the art Nouveau in Russia. Dynamics of the evolution of style Serov reflected in the exposition, which begins with a plein-air paintings of the second half of the 1880s, written in his own way, but in a manner close to the Impressionists, continues with portraits of art Nouveau and decorative portraits 1900-ies, and concludes with works of 1911, in which the master approaches the expression expressionism.
Валентин Александрович Серов (7 [19] января 1865, Санкт-Петербург — 22 ноября [5 декабря] 1911, Москва) - прославленный русский портретист и один из крупнейших мастеров европейской живописи 19 века. Хотя, и кроме портрета, ему, казалось, было подвластно все. Увековечив свое имя как непревзойденный мастер именно портретной живописи, Серов оставил не менее значимые работы в жанрах русского пейзажа, графики, книжной иллюстрации, анималистики, исторической и античной живописи. Тихий и скромный по натуре, Серов обладал непререкаемым авторитетом среди мастеров своего времени. И сложно даже назвать другого художника его эпохи (за исключением, разве, Левитана), чье наследие и творческие достижения имели бы такое большое значение и влияние на все последующее русское искусство. Серов собрал редкую по качеству и большую по количеству галерею образов современников на рубеже 19 - 20 веков. Многие творческие личности, деловые люди, аристократические и царственные особы позировали ему. Талант Серова - чутко улавливать и отображать характер человека. Серов объединил элементы русского реализма с элементами западного, вропейского нео-классицизма, положив начало стилю Модерн в России. Динамика эволюции стиля Серова отражена в самой экспозиции, которая начинается с пленэрных полотен второй половины 1880-х годов, написанных по-своему, но в манере близкой импрессионистам, продолжается в портретах модерна и декоративных портретах 1900-х годов, а завершается произведениями 1911 года, в которых мастер приближается к выразительности экспрессионизма.
Russia - Treaty of union with Belarus
T/I 10:28:29
The Russian parliament on Friday (6/6) approved a treaty of
union between Russia and Belarus that was signed by Presidents
Yeltsin and Lukashenko last month.
363 deputies in the Duma voted in favour of the treaty, with
only 2 voting against ratification and 19 abstensions.
SHOWS:
MOSCOW, RUSSIA 06/6
WS exterior Duma;
WS deputies inside building;
WS podium;
SOT Valery Serov, First Deputy Prime Minister (in Russian)
praising the accord as an historic opportunity to bring the two
countries closer together;
MS Duma deputies arguing;
CU electronic screen with results of vote;
CU deputy clapping;
WS deputies applauding after vote.
Runs 0.47
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Valentin Serov 瓦倫丁·謝羅夫 (1865-1911) Realism Art Nouveau Impressionism Russian
tonykwk39@gmail.com
Valentin Aleksandrovich Serov, born January 7, 1865 (old style, January 19 new style) in St. Petersburg, is best known as one of the premiere portrait artists of his time. Working between the nineteenth and twentieth centuries, his work represents a drifting away from realism and toward the Impressionist movement in Russian art. The works for which he is best known show a strong Impressionist influence.
Serov was born to an artistic family. His father was A.N. Serov, an opera composer, and his mother was Valentina Bergman, also a composer and a musician. Though he didn’t follow in his family’s musical footsteps, his talents as an artist did not go unnoticed, even at a very young age. After the death of her husband, Serov’s mother took the boy to Paris to encourage and facilitate his artistic training in painting. In Paris, he tutored under the famed Ilya Repin, and Repin’s influence is very visible particularly in Serov’s early work. Repin advised his student to study at the Academy of Fine Arts in Petersburg, where Serov received much of his formative education. Although the Serov family was struggling financially, they were aided by a wealthy entrepreneur and patron of the arts, Savva Mamontov. Mamontov allowed the Serovs to live with him at his estate while Valentin remained a student.
At the Academy, Serov studied for five years from 1880 to 1885 but left school before graduating. As a student and in his early career, he dabbled in graphic artistry, stage designing, and book illustrations. His portrait work, however, is what he remains best known for. Perhaps his most recognizable work is his 1887 “Girl with Peaches.” This is a portrait of Vera Mamontova, the eldest daughter of Savva, who had opened his home to Valentin and his mother. The 91 in x in 85 oil on canvas painting is now in the State Tretyakov Gallery in Moscow. Vera is seated at a dining table at the Mamontov estate, Abramstsevo. The Abramstsevo estate was an important figure in the late 1880s, as it was also the site of a burgeoning colony of artists especially interested in ridding Western influence from Russian art.
The portrait of Mamontova, according to the Tretyakov Gallery description that accompanies it, provided the “roadmap” for the development of Russian Impressionism. The piece is a mix of cool, white, and grey tones broken up by the bright figure of the young girl at the composition’s center. Her dress is a pastel pink, the bow across her chest a smattering of black but broken up by a flower placed in the bow’s middle, and her dark hair is in harmony with piece’s the dark, wooden accents. The natural light captured as it comes in the window matches the subdued orange color of the fruit she holds in her hand. Serov masterfully captured the girl’s expression and body language, depicting an impatient but tolerant youth, sitting for a portrait while the world outside awaits her. “The artist achieves here a balance between the girl’s state of mind and the world around her,” reads the Tretyakov description of this piece.
Even in 1888’s “Sunlit Girl, Portrait of M.Y. Simonovich,” Serov’s colors are shady and subdued, while the most luminous parts of the painting are on the subject’s face. “Thus is produced the image of interpenetration of sunlight and of the light of the human soul,” reads the Tretyakov description. The subject’s belt, her hair, and a row of trees behind her unify this composition in dark tones, made light again by her warm face and light eyes. These early works are representative of Serov’s preferred color scheme. While he includes color, his chosen shades were usually soft pastels and not like the rich, bright hues that were characteristic before his emergence around the mid-1880s.
瓦倫丁·亞歷山德羅謝羅夫，在聖生於1865年1月7日（舊樣式，1月19日的新樣式）聖彼得堡是最有名的他那個時代的肖像首演藝術家之一。十九世紀和二十世紀之間的工作，他的工作表示從現實主義和對俄羅斯藝術的印象派運動的漸行漸遠。這些作品為他最出名的是表現出強烈的印象派的影響。
謝羅夫出生於一個藝術家庭。他的父親是A.N.謝羅夫，歌劇作曲家，他的母親是瓦倫蒂娜·褒曼，也作曲家和音樂家。雖然他沒有在他家的音樂腳步，他的才華的藝術家並沒有被忽視，即使在一個非常年輕的年齡。她的丈夫去世後，謝羅夫的母親帶著孩子到巴黎，鼓勵和促進他的繪畫藝術培訓。在巴黎，他輔導下著名的伊利亞列賓和列賓的影響是非常明顯的特別是在謝羅夫的早期作品。列賓勸告他的學生在美術學院在聖彼得堡，在那裡接受謝羅夫了他啟蒙教育的學習。雖然謝羅夫家庭掙扎在經濟上，他們被藝術，薩瓦Mamontov的一個富有的企業家和贊助人的幫助。 Mamontov允許Serovs以他的遺產和他生活在一起，而瓦倫丁仍然是一個學生。
在學院，謝羅夫研究了五年1880年至1885年，但在畢業之前離開學校。作為一名學生，在他的早期職業生涯中，他在圖形藝術，舞台設計和插圖的書涉獵。他的肖像作品，然而，是什麼，他仍然是最有名的。也許是他最知名的作品是1887年他的“女孩與桃子。”這是維拉Mamontova，薩瓦的長女，誰開了他家瓦倫丁和他的母親的肖像。在85布面油畫繪畫X上的91現在在國家美術館在莫斯科舉行。維拉在一張餐桌的Mamontov地產，Abramstsevo就位。該Abramstsevo莊園是19世紀80年代後期的重要人物，因為這也是藝術家們擺脫從俄羅斯藝術西方的影響特別感興趣的一個新興群體的網站。
At The Artist Serov's Studio (1959)
Unissued / unused material.
At the artist Vladimir Serov's studio, Moscow, Soviet Union (USSR, Russia).
Various shots of artist Serov painting in his studio. Various CUs of paintings (subjects appear to celebrate Soviet people and achievements). CU Vladimir Serov. CU oil painting he is putting finishing touches to - it is of Lenin speaking to wounded man. CU paint palette. CU Serov. CU man who is modelling for Serov - he wears costume of wounded man. MS Serov, painting and model.
FILM ID:2718.16
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Record Moscow Crowds Spend Hours in -20 Freeze for Patriotic Painter Exhibit
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Exhibition of famous Russian painter Serov in Moscow generates huge public attention
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Russian President Vladimir Putin is due to attend a midnight mass in the church of the Intercession of the Mother of God in Turginovo, as Russia celebrates Orthodox Christmas on Wednesday, January 6.
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Arsen Kurbanov (1969) Russian Portrait-painter ✽ Chriss Spheeris / Juliette
✽ Thank you everyone for watching and for comments! ✽
Арсен Курбанов was born in Mahachkala, Dagestan. In 1988 he completed coursework at the Jamal Dagestan Art College, receiving a red diploma - a symbol of scholastic excellence. Kurbanov was immediately accepted into the Repin Institute in St. Petersburg, where he studied with the late Neprintsov, graduating in 1994.
Kurbanov strives to combine the techniques of the old masters - Pieter de Hooch and Vermeer are two of his favorites - with a contemporary, personal sense of imagery. Biblical and historical references appear alongside modern elements in his paintings, often producing an atmosphere of mystery. Portraiture commands a prominent position in his work. His portraits are intended to be compositions in their own right, in addition to presenting precise, almost photographic likenesses of the sitters. ince 2008, in addition to creating his own work, Arsen has been teaching in the easel painting department at the I.E. Repin Institute in St. Petersburg, Russia.
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Russia: Head of Academy of Sciences discusses scientific investment with Putin
President Vladimir Putin held a meeting with the Head of the Russian Academy of Science Vladimir Fotov, in Moscow on Friday, to discuss the work of the academy over the last year.
SOT, President Vladimir Putin (Russian): Vladimir Yevgenyevich [Fotov], let's speak about the outcome, how is the Academy's work going? What are the priorities?
SOT, Vladimir Fortov, the President of Russian Academy of Sciences, (Russian): As for the work during the year, I will not conceal that it was not easy because we are now finding ourselves working in something of a ‘turbulence mode’ which is due to reforms. Nevertheless, some things we were able to resolve with the Federal Agency for Scientific Organisations.
SOT, Vladimir Fortov, the President of Russian Academy of Sciences, (Russian): When speaking about technical things, as you know, we are strengthening interdisciplinary work, because two more Academies joined us. The annual ‘transient regime’ [for the merging of the Academies] has passed, and during the year which we are now discussing, we aimed at starting joint work with physicians.
SOT, Vladimir Fortov, the President of Russian Academy of Sciences, (Russian): We conduct our research this way: there is funding and there is a need to select breakthrough developments. We had more or less this process established in the Academy even before merging.
SOT, Vladimir Fortov, the President of Russian Academy of Sciences, (Russian): It's called the Program of the Presidium when, say, biologists, physicists, humanitarians choose the most important issues among a wide range of tasks that exist in nature.
SOT, Vladimir Fortov, the President of Russian Academy of Sciences, (Russian): This program is not expensive. It started at four billion roubles, then was reduced, and last year with great effort we agreed on 1.6 billion.
SOT, Vladimir Fortov, the President of Russian Academy of Sciences, (Russian): This slowed down the actual scientific research, I mean not just the existence of institutions themselves, but the actual work. We had a number of difficulties within the team, because scientists want to work, and in fact this is the only way is to pay them money.
SOT, Vladimir Fortov, the President of Russian Academy of Sciences, (Russian): We would like to get your support for the Program of the Presidium as it is the only program that allows us to create new businesses, and that would be great if it was supported by you. If it is possible.
Video ID: 20160122-077
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Ivan Shishkin (1832-1898) A collection of paintings 4K
Ivan Ivanovich Shishkin (1832-1898) was a Russian landscape painter closely associated with the Peredvizhniki movement.
Shishkin was born in Yelabuga of Vyatka Governorate (today Republic of Tatarstan) and graduated from the Kazan gymnasium. Then he studied at the Moscow School of Painting, Sculpture and Architecture for four years. After that, he attended the Saint Petersburg Imperial Academy of Arts from 1856 to 1860 and graduated with the highest honours and a gold medal. He received the imperial scholarship for his further studies in Europe.
Five years later Shishkin became a member of the Imperial Academy in St. Petersburg and was a professor of painting from 1873 to 1898. At the same time, Shishkin headed the landscape painting class at the Highest Art School in St. Petersburg.
For some time, Shishkin lived and worked in Switzerland and Germany on a scholarship from the St. Petersburg Imperial Academy of Arts. On his return to Saint Petersburg, he became a member of the Circle of the Itinerants and of the Society of Russian Watercolorists. He also took part in exhibitions at the Academy of Arts, the All-Russian Exhibition in Moscow (1882), the Nizhniy Novgorod (1896), and the World Fairs (Paris, 1867 and 1878, and Vienna, 1873). Shishkin's painting method was based on analytical studies of nature. He became famous for his forest landscapes and was also an outstanding draftsman and a printmaker.
Ivan Shishkin owned a dacha in Vyra, south from St. Petersburg. There he painted some of his finest landscapes. His works are notable for a poetic depiction of seasons in the woods, wild nature, animals and birds. In 1891, he was appointed professor-director of the landscape class in the Academy's Advanced Art School. In 1898, he completed his painting The Pine Grove and died on 20 March in St. Petersburg, while working on his new painting.
A minor planet 3558 Shishkin, discovered by Soviet astronomer Lyudmila Zhuravlyova in 1978, is named after him.
Peredvizhniki
Often called The Wanderers or The Itinerants in English, were a group of Russian realist artists who formed an artists' cooperative in protest of academic restrictions; it evolved into the Society for Travelling Art Exhibitions in 1870.
In 1863 a group of fourteen students decided to leave the Imperial Academy of Arts. The students found the rules of the Academy constraining; the teachers were conservative and there was a strict separation between high and low art. In an effort to bring art to the people, the students formed an independent artistic society; The Petersburg Cooperative of Artists (Artel). In 1870, this organization was largely succeeded by the Association of Travelling Art Exhibits (Peredvizhniki) to give people from the provinces a chance to follow the achievements of Russian Art and to teach people to appreciate art. The society maintained independence from state support and brought the art, which illustrated the contemporary life of the people from Moscow and Saint Petersburg, to the provinces.
Peredvizhniki portrayed the many-sided aspects of social life, often critical of inequities and injustices. But their art showed not only poverty but also the beauty of the folk way of life; not only suffering but also fortitude and strength of characters. Peredvizhniki condemned the Russian aristocratic orders and autocratic government in their humanistic art. They portrayed the emancipation movement of Russian people with empathy. They portrayed social-urban life and later used historic art to depict the common people.
During their blossoming (1870–1890), the Peredvizhniki society developed an increasingly wider scope, with more natural and free images. In contrast to the traditional dark palette of the time, they chose a lighter palette, with a freer manner in their technique. They worked for naturalness in their images and the depiction of people's relationship with their surroundings. The society united most of the highly talented artists of the country. Among Peredvizhniki there were artists of Ukraine, Latvia, and Armenia.
Members:
Ivan Shishkin
Abram Arkhipov
Ilya Repin
Pavel Brullov
Nikolai Ge
Kārlis Hūns
Nikolay Kasatkin
Alexander Kiselyov
Ivan Kramskoi
Arkhip Kuindzhi
Nikolai Kuznetsov
Isaac Levitan
Rafail Levitsky
Alexander Litovchenko
Vladimir Makovsky
Vassily Maximov
Grigoriy Myasoyedov
Leonid Pasternak
Vasily Perov
Konstantin Pervukhin
Vasily Polenov
Illarion Pryanishnikov
Andrei Ryabushkin
Konstantin Savitsky
Alexei Savrasov
Valentin Serov
Emily Shanks
Alexei Stepanov
Vasily Surikov
Vitaly Tikhov
Apollinary Vasnetsov
Viktor Vasnetsov
Yefim Volkov
Nikolai Yaroshenko
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Russia: Putin calls on European Jews to move to Russia
Russian President Vladimir Putin invited Jews to come to Russia after listening to the President of the European Jewish Congress Vyacheslav Kantor complain about attacks against Jews in Europe, during a meeting with the European Jewish Congress in Moscow, Tuesday.
SOT, Vladimir Putin, Russian President (Russian): We see your organisation, which is one of the most representative European non-governmental organisations, as a natural ally of Russia in the fight against xenophobia, anti-Semitism and the various manifestations of extreme views.
SOT, Vladimir Putin, Russian President (Russian): And, of course, as our straight allies in the preservation of the memory about the Second World War, the consequences of this catastrophe of planetary scale and about the Holocaust.
SOT, Vyacheslav Kantor, President of the European Jewish Congress (Russian): Of course, we know that you are a true friend of the Russian community and help the community not only morally, but also in all possible dimensions and meanings.
SOT, Vyacheslav Kantor, President of the European Jewish Congress (Russian): The position of Jews in Europe today is the worst since the end of world war II. Jews gripped by fear and the very real new Exodus of Jews from Europe.
SOT, Vyacheslav Kantor, President of the European Jewish Congress (Russian): For example, the emigration flow from France, which only yesterday seemed so safe, is bigger than from Ukraine, engulfed in civil conflict. Why the Jews are fleeing from Europe? They run, as you said, not only because of terrorist acts against our communities in Toulouse, Brussels, Paris, Copenhagen, now in Marseilles, but because of the fear to just appear in the streets of European cities.
Video ID: 20160119-065
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Russian Portrait Painters (1940)
Moscow, Russia, Soviet Union (USSR). 1942?
Russian title reads 'Master of Russian Art'. Various shots of the acclaimed Russian artist, the winner of the highest arts award, Alexander Mihailovich Gerasimov, at work. Artist's friends, all acclaimed artists, arrive at his studio. They pose for his latest painting. Various shots of the artist at work and men posing. Good close up shots of the men and their portraits on large painting.
FILM ID:1623.16
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Russia's Future Plans To Nuke Asteroid
Russia gives EU suggestion of how they would deal with an incoming Asteroid. Nuclear war head in their estimates would move the asteroid off course. Could such a threat pose the possibilities of an EMP strike on the US indirectly.
Nikita Mikhalkov-A Sentimental Trip Home-Music of Russian Painting-Venetsianov-Serov Greek Subs
Μέσα από μια σειρά ντοκιμαντέρ του Νικίτα Μιχάλκοφ για τους σημαντικότερους Ρώσους ζωγράφους του 19ου αιώνα, παρακολουθείται η ιστορική εξέλιξη της ρωσικής κοινωνίας.
Through a series of documentary Nikita Michalkof for major Russian painters of the 19th century, followed by the historical development of Russian society.
*Disclaimer: All audio & visual parts in my videos are the sole property of their respective owners.
The videos are purely for entertainment and recreational purposes.
No Copyright infringement intended!
Эдуард Артемьев-Прощание С Отцом (Из к/ф Несколько Дней Из Жизни Обломова), sound recording administered by: 21:51
The Orchard Music
The Bekkerman Collection: Masterpieces of Russian Art
Learn more about the Bekkerman Collection, featuring 35 Russian works by diverse artists such as Mikhail Larionov, Natalia Goncharova, Ivan Pougny, Vladimir Burliuk, Konstantin Korovin and more. On view from 21 October to 16 November, these masterpieces of Russian art reveal important moments from Russian art history and speak to a larger worldwide interest in Russian works of art.