While in Kiev, Vrubel started painting sketches and watercolours illustrating the Demon, a long Romantic poem by Mikhail Lermontov. The poem described the carnal passion of "an eternal nihilistic spirit" to a Georgian girl Tamara. At that period Vrubel developed a keen interest in Oriental arts, and particularly Persian carpets, and even attempted to imitate their texture in his paintings.
In 1890, Vrubel moved to Moscow where he could best follow innovative trends in art. Like other artists associated with the Art Nouveau, he excelled not only in painting but also in applied arts, such as ceramics, majolics, and stained glass. He also produced architectural masks, stage sets, and costumes.
Nadezhda Zabela-Vrubel – The Artist's Wife (1898)
It is the large painting of Seated Demon (1890) that brought notoriety to Vrubel. Most conservative critics accused him of "wild ugliness", whereas the art patron Savva Mamontov praised the Demon series as "fascinating symphonies of a genius" and commissioned Vrubel to paint decorations for his private opera and mansions of his friends. Unfortunately the Demon, like other Vrubel's works, doesn't look as it did when it was painted, as the artist added bronze powder to his oils in order to achieve particularly luminous, glistening effects.
In 1896, he fell in love with the famous opera singer Nadezhda Zabela. Half a year later they married and settled in Moscow, where Zabela was invited by Mamontov to perform in his private opera theatre. While in Moscow, Vrubel designed stage sets and costumes for his wife, who sang the parts of the Snow Maiden, the Swan Princess, and Princess Volkhova in Rimsky-Korsakov's operas. Falling under the spell of Russian fairy tales, he executed some of his most acclaimed pieces, including Pan (1899), The Swan Princess (1900), and Lilacs (1900).
вторник, 8 сентября 2009 г.
среда, 5 августа 2009 г.
Konstantin Fyodorovich Bogaevsky Biography
Konstantin Bogaevsky was born in the Eastern Crimean city of Theodosia to an old Italian-German family of the Genoese extraction on 24 January 1872. He took first lessons in art from Ivan Aivazovsky.
In 1891-1897 he studied at the Imperial Academy of Arts in the class of Arkhip Kuindzhi. The art of young Konstantin was not popular with the Academy and he was even at some stage temporarily discharged from the Academy for "lack of talent". Despite this, Kuindzhi always had a high respect for his pupil and protected him. In 1898 Konstantin traveled to Italy and France where he became acquainted with works of Claude Lorrain, whom he proclaimed as his true teacher. His first exhibition was in Moscow in 1898.
Ships. Evening Sun 1912
Since 1900 Bogaevsky works in Theodosia. The main theme of his works became the symbolist landscapes of a non-existent land (known to his friends as Bogaevia) that he saw only in his dreams. Konstantin Bogaevsky became a popular painter after Maximilian Voloshin published a series of essays titled Konstantin Bogaevsky. Voloshin highly praised the symbolism of Bogaevsky's paintings. Contemporaries often drew parallel between Bogaevsky and Nicholas Roerich.
Bogaevsky was member of Mir iskusstva, Union of Russian Artists and the Zhar-Tsvet. In 1906 he exhibited his paintings on Exposition de l'Art Russe organized by Sergei Diaghilev. In 1911 he visited Italy and discovered for himself the paintings of Andrea Mantegna, they were to strongly influence Bogaevsky's own later work.
Bogaevsky returned in 1912 to Theodosia where he was to remain for the rest of his life. He maintained a friendship of many years with another famous Theodosian and a bard of a non-existent land Alexander Grin, as well as with the Koktebel group of Russian Intelligentsia including Maximilian Voloshin, Marina Tsvetaeva, Osip Mandelstam.
After the October Revolution Bogaevsky retreated into relative obscurity, although works such as the 1932 Port of an Imaginable City were highly regarded as art in the school of Socialist Realism painting of the DnieproGES.
He died at Theodosia on 17 February 1943. A minor planet 3839 Bogaevskij, discovered by Soviet astronomer Nikolai Stepanovich Chernykh in 1971 is named after him.
In 1891-1897 he studied at the Imperial Academy of Arts in the class of Arkhip Kuindzhi. The art of young Konstantin was not popular with the Academy and he was even at some stage temporarily discharged from the Academy for "lack of talent". Despite this, Kuindzhi always had a high respect for his pupil and protected him. In 1898 Konstantin traveled to Italy and France where he became acquainted with works of Claude Lorrain, whom he proclaimed as his true teacher. His first exhibition was in Moscow in 1898.
Ships. Evening Sun 1912
Since 1900 Bogaevsky works in Theodosia. The main theme of his works became the symbolist landscapes of a non-existent land (known to his friends as Bogaevia) that he saw only in his dreams. Konstantin Bogaevsky became a popular painter after Maximilian Voloshin published a series of essays titled Konstantin Bogaevsky. Voloshin highly praised the symbolism of Bogaevsky's paintings. Contemporaries often drew parallel between Bogaevsky and Nicholas Roerich.
Bogaevsky was member of Mir iskusstva, Union of Russian Artists and the Zhar-Tsvet. In 1906 he exhibited his paintings on Exposition de l'Art Russe organized by Sergei Diaghilev. In 1911 he visited Italy and discovered for himself the paintings of Andrea Mantegna, they were to strongly influence Bogaevsky's own later work.
Bogaevsky returned in 1912 to Theodosia where he was to remain for the rest of his life. He maintained a friendship of many years with another famous Theodosian and a bard of a non-existent land Alexander Grin, as well as with the Koktebel group of Russian Intelligentsia including Maximilian Voloshin, Marina Tsvetaeva, Osip Mandelstam.
After the October Revolution Bogaevsky retreated into relative obscurity, although works such as the 1932 Port of an Imaginable City were highly regarded as art in the school of Socialist Realism painting of the DnieproGES.
He died at Theodosia on 17 February 1943. A minor planet 3839 Bogaevskij, discovered by Soviet astronomer Nikolai Stepanovich Chernykh in 1971 is named after him.
Movement
In the visual arts
Symbolism in literature is distinct from Symbolism in art although the two overlapped on a number of points. In painting, Symbolism was a continuation of some mystical tendencies in the Romantic tradition, which included such artists as Caspar David Friedrich, Fernand Khnopff and John Henry Fuseli and it was even more closely aligned with the self-consciously dark and private Decadent Movement.
There were several, rather dissimilar, groups of Symbolist painters and visual artists, among whom Gustave Moreau, Gustav Klimt, Mikalojus Konstantinas Čiurlionis, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, Edvard Munch, Félicien Rops, and Jan Toorop were numbered. Symbolism in painting had an even larger geographical reach than Symbolism in poetry, reaching Mikhail Vrubel, Nicholas Roerich, Victor Borisov-Musatov, Martiros Saryan, Mikhail Nesterov, Leon Bakst in Russia, as well as Frida Kahlo in Mexico, Elihu Vedder, Remedios Varo, Morris Graves, David Chetlahe Paladin, and Elle Nicolai in the United States. Auguste Rodin is sometimes considered a Symbolist in sculpture.
The Symbolist painters mined mythology and dream imagery for a visual language of the soul, seeking evocative paintings that brought to mind a static world of silence. The symbols used in Symbolism are not the familiar emblems of mainstream iconography but intensely personal, private, obscure and ambiguous references. More a philosophy than an actual style of art, the Symbolist painters influenced the contemporary Art Nouveau movement and Les Nabis. In their exploration of dreamlike subjects, symbolist painters are found across centuries and cultures, as they are still today; Bernard Delvaille has described René Magritte's surrealism as "Symbolism plus Freud".
Symbolism in literature is distinct from Symbolism in art although the two overlapped on a number of points. In painting, Symbolism was a continuation of some mystical tendencies in the Romantic tradition, which included such artists as Caspar David Friedrich, Fernand Khnopff and John Henry Fuseli and it was even more closely aligned with the self-consciously dark and private Decadent Movement.
There were several, rather dissimilar, groups of Symbolist painters and visual artists, among whom Gustave Moreau, Gustav Klimt, Mikalojus Konstantinas Čiurlionis, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, Edvard Munch, Félicien Rops, and Jan Toorop were numbered. Symbolism in painting had an even larger geographical reach than Symbolism in poetry, reaching Mikhail Vrubel, Nicholas Roerich, Victor Borisov-Musatov, Martiros Saryan, Mikhail Nesterov, Leon Bakst in Russia, as well as Frida Kahlo in Mexico, Elihu Vedder, Remedios Varo, Morris Graves, David Chetlahe Paladin, and Elle Nicolai in the United States. Auguste Rodin is sometimes considered a Symbolist in sculpture.
The Symbolist painters mined mythology and dream imagery for a visual language of the soul, seeking evocative paintings that brought to mind a static world of silence. The symbols used in Symbolism are not the familiar emblems of mainstream iconography but intensely personal, private, obscure and ambiguous references. More a philosophy than an actual style of art, the Symbolist painters influenced the contemporary Art Nouveau movement and Les Nabis. In their exploration of dreamlike subjects, symbolist painters are found across centuries and cultures, as they are still today; Bernard Delvaille has described René Magritte's surrealism as "Symbolism plus Freud".
Подписаться на:
Сообщения (Atom)