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April 21, 2021 10:01 am

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A. Bogomazov. Tram. 1914 year. Fragment. Collection of V.A. Dudakov (now in the collection of V.A. Dudakov and M.K. Kashuro)

The curator of the new exhibition of the Museum of Russian Impressionism, Anastasia Vinokurova, is about her favorite paintings and their authors.

The Museum of Russian Impressionism has opened the Art Hunters exhibition dedicated to Soviet collectors who secretly and under the threat of confiscation collected masterpieces. The exposition includes more than 70 works of Russian and Soviet modernism of the first third of the 20th century, which are rarely shown to the general public. Some of the most interesting exhibits can be found in the mos.ru article.

“Meeting” Boris Kustodiev

The author of this work can be guessed without looking at the museum label: the style of the master of portrait and genre painting Boris Kustodiev is very recognizable. The heyday of the artist’s work fell on the pre-revolutionary period, however, even after 1917, he continued to depict a festive, vibrant Russia, sometimes strikingly different from reality. “Meeting” is included in this gallery of images: on the basis that no longer exists in reality, Kustodiev creates a poetic dream, a fairy tale about life in a district town, imbued with a festive mood.

“Three figures in the field” by Kazimir Malevich

On the way to Suprematism, Malevich experimented a lot, trying himself in different directions – from impressionism, fauvism and cézanne to cubism and realism. In the late period of his work, Malevich was forced to create new versions of early works that remained abroad, where the artist traveled in 1927.

This happened with the works of the so-called peasant cycle. Three Figures in the Field is an excellent example of the post-suprematist period of the late 1920s and early 1930s. Malevich presents his own interpretation of the theme of the peasantry in a primitive way. The figures receding beyond the horizon symbolize the gradually disappearing peasant life.

“Tram” by Alexander Bogomazov

Alexander Bogomazov has often been compared to Pablo Picasso. The city landscapes and genre scenes he created are distinguished by original plastic solutions, in which the rhythm of the lines is combined with the volumes of the colored planes. The author’s method is called spectralism, and the use of pure colors is similar to the approach of Kazimir Malevich, with which Bogomazov studied at the Moscow school-studio of Fyodor Rerberg.

During his lifetime, Bogomazov’s works were rarely exhibited. He died early, the widow, artist Wanda Monastyrskaya-Bogomazova, was engaged in the preservation of his heritage. She only sold her late husband’s paintings to serious gatherings. The tram was bought by collector Valery Dudakov in the early 1980s for an unprecedentedly high amount at that time – nine thousand rubles.

“Portrait of a Woman” by Konstantin Korovin

The portrait supposedly depicts Natalia Vysheslavtseva, the wife of Boris Vysheslavtsev, a Russian philosopher and religious thinker close to artistic circles. The portrait Korovin wrote, probably in 1912 at the dacha of the Vysheslavtsev family in the town of Saltykovka (Kursk direction of the Moscow railway), where he repeatedly visited.

The style of Korovin’s works has often been compared with the style of the French impressionists. However, in this portrait, the author departs from such a color, using dark brown tones in the interior and figure, expressively contrasting with the cold bluish-green shades of the landscape outside the window.

The exhibition will run until August 29.

EDITOR’S NOTE: This article is a translation. Apologies should the grammar and or sentence structure not be perfect.

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