10-04-2001 | Entries in the collection of museum-gallery "New Hermitage-1"
This issue of news museum-gallery "New Hermitage-1" devotes to creations produced in the early 20th century, basically in the pre-revolutionary time, displayed succefully in many cities and at various exhibitions.These works are of great interest, of enormous art importance and are a link between the last century and the present century!
Mikhail Petrovich Klodt (1835-1914). Genre painter, a son of famous sculpturer P.K.Klodt, a cousin of landscapist M.K.Klodt. Studied at the Academy of Fine Arts in St.Petersburg (1852-1856). In 1855 was awarded a Small silver medal for his work "The Finnish Fishermen". In 1857-60 in accordance with his parents` wish M.P.Klodt travelled in France and lived in Paris. In 1860 returned from abroad and for two picture ("The Life of the Norman Fishermen" and "The interior of the Norman Hut" painted in France received a Small gold medal. In 1861 he produced his most known picture "The Last Spring" for which he was awarded a Big gold medal. In 1876 he became an academician, lived in St.Petersburg. He devoted his life to genre painting, but in the 1900s took a great interest in historical and religious themes. In 1913 he created "The Dreams" ("The Boy Named Jesus Christ", oil on canvas, 71 x 138 cm), an exclusively lyrical work painted in a warm colour range. Nowadays, the picture is housed in museum-gallery "New-Hermitage-1" and delights admirers of this great talent with its poetry and spirituality.
Maria Alexandrovna Dubenskaya was a member of the Union of workers of applied art and art industry. In 1919 at the 11th exhibition of this association she displayed three linocuts named "Pierrot" (Pierrot is a sad character from old French pantomime). It should be mentioned that engaving on linoleum appeared in Russia in 1907 and gradually began to supplant xylography (wood-engraving). The artist liked linoleum for its softness and pliability. "New Hermitage-1" possesses one of the three linocuts "Pierrot" (linocut, watercolours and whitening on paper, 29 x 23,5 cm).
Fyodor Semyonovich Bogorodsky (1895-1959) is an active participant of the Association of Artists of Revolutionary Russia, later, in 1928, renamed the Association of Artists of Revolution. "The Artists of revolution, struggle to fulfill promfinplan (industrial financial plan)"- that was the slogan of the Association of Artist of Revolution. "Artists of revolution, go to the plants and factories and fulfill the great historical mission of active participation in completing the five-year plan! Design wall newspapers, news-boards of socialist competition, recreation and reading rooms, produce portraits of heroes of struggle for promfinplan, castigate slackers, self-seekers, shirkers in wall newspaper cartoons, stigmatize bureaucratism, unmask sabotage!" - that was the declaration of the Association of the Artists of Revolution. Today we treat such slogans and pragrammes humourously and even sarcastically, but one can imagine what a struggle inflamed in those far 20s and what a stunning and stirring effect the avant-guarde produced.
We shall digress a little from those stormy times, as the picture to be told about, was painted in 1916. Then the artist presented his composition "Samovar" (lead pencil, gouache, tempera on paper, 70,8 x 67 cm) at the 16th periodic exhibition in Nizhni Novgorod. This original work made in a futuristic fashion, has appeared in "New Hermitage-1" quite recently and the fact that it is a rare sample of his early years makes the picture most valuable.
The work of Nickolai Petrovich Bogdanov-Belsky (1868 - 1945), a Russian painter, a master of genre themes, a student of D.Polenov, V.Ye.Makovsky, I.M.Pryanishnikov at the Moscow School of Painting, Sculpture and Architecture in 1884 - 1889 and of I.Ye.Repin in the 90s in the St.Petersburg Academy of Fine Arts, is known to many art-lovers. Suffice it to mention "Arithmetic" (1895, the State Tretyakov Gallery) and "At the School Door" (1897, the State Russian Museum). Here are the scenes from the life of a village school and peasant children shown with keen observancy and great tenderness. But it is doubtful whether anybody knows that in "New Hermitage-1" there is a study (oil on canvas) to "Loneliness" displayed in 1908 at the 36-th exhibition of the Society of Itinerant Exhibitions. There is a magazine article published by the artist in the "Ogonyok" (the "Small Light") (No 9, 1908), where he tells the following: "The study for "Loneliness" was outlined in the Smolensk province. Walking with my paint-box, I saw a sadly sitting old man on whose rags I noticed the George cross. The contrast was striking for me. I sketched the old man immediately and many years later I found time to paint the picture."
Nickolai Alexandrovich Bruni (1856-1935) is a history, portrait and genre painter. He was born, lived and worked in St. Petersburg, the son of A.K.Bruni, an architect, and a great-grandson of F.A.Bruni, studied at the Academy of Fine Arts (1875-1885). Graduated from the class of history painting. In 1878-1879 received two Second silver medals, in 1884 - a Second gold medal for "The Parable about the Rich Man and Lazarus". In 1885 he received the title of Class 1 artist for "The Font ". In 1906 - was elected an academician. Made mosaics and in 1912 - 1917 headed the mosaic department of the Academy of Fine Arts. Produced a number of mosaic icons for the Resurrection Cathedral in St. Petersburg, the Russian church in Vienna, St. Alexandre Nevsky`s Cathedral in Sofia. In his art he followed the principles of late academism.
"New Hermitage-1" has recently obtained an etude (oil on canvas, 26 x 20 cm) for "The Old Coachman", a portrait from the series produced in the 1890s, which is one of the finest samples of the 19th-century portrait painting.
03-04-2001 | New exhibits in the collection of "New Hermitage-1"
Rather recently the collection of "New Hermitage-1" has been filled up with several prominent paintings and graphic works. They are basically pictures by little-known and forgot artists. Our museum tries to return to these artists if not their former fame, at least recognition.
Lyudmila Fyodorovna Schmidt-Ryzhova is a member of group "The Garland - Stephanos" (1907-1910), and also "The Triangle", association organized by N.Kulbin. In 1909 "The Triangle"`s works were shown at exhibition "Impressionists". In April-May, 1917, the former members of this association organized society "Impressionists", L.F.Schmidt-Ryzhova being the secretary of it. In the 1920s Lyudmila Fyodorovna lived in Krasnodar, and in the 30s worked as a theatre designer. Today in "New-Hermitage-1" there is her small work "The Oriental Scene" (44 x 35,5 cm, oil on cardboard) produced in 1909.
One of N.K.Roerich`s early products "The Warrior" (oil on canvas, 105 x 74,5 cm) is obviously a valuable acquisition of "New Hermitage-1". This picture was painted in 1894 and constituted series "The Beginning of Rus. The Slavs".
Stepan Fyodorovich Kolesnikov (1879-1955) is graduate of the St. Petersburg Academy of Fine Arts (1903-1909), A.A.Kiselyov`s disciple. Upon graduating from the Academy in 1909 received the title of artist and a pension to work abroad. Participant of spring exhibitions at the Academy of Fine Arts, exhibitions of the Association of South-Russian Artists, the Society of Itinerant Art Exhibitions. In 1912 S.F.Kolesnikov`s personal exhibition took place. From1920 the artist settled in Serbia and became a professor of the Belgrade Academy of Fine Arts. In the museum-gallery there is his picture "The Landscape with the Graveyard" (oil on canvas and cardboard, pencil scratching, 41,4 x 41,5 cm) created in 1904.
"The Mountain Gorge" (oil on canvas, 38,5 x 32 cm, 1862) by Anton Ivanovich Ivanov-Goluboi (1818-1864) is a landscape painted in a manner characteristic to academic landscapists of the middle 19th century. A.I.Ivanov-Goluboi descended from serves. A disciple of the brothers Chernetsov, with whom he travelled down the Volga-river. In 1840 - was redeemed. Studied at the Academy of Fine Arts as an external student. In 1846 left for Rome together with the Chernetsovs.
The name of Boris Vasilievich Zvorykin (1872-?) is known only to true connoisseurs of book illustrations. The artist studied at the Moscow University of Painting, Sculpture and Architecture (1892-93) and till 1921 worked mostly in Moscow. From1898 illustrated and designed books for publishing houses of I.D.Sytin and I.N.Knobel and others in Moscow, A.F.Marx in St. Petersburg, using motives of ancient Russian ornament. They were "The Fairy Tale about the Gold Cockerel" by A.S.Pushkin (1903), "The Album in memory of the 100th anniversary of the Patriotic War, 1812 - 1912" (1912), "Moscow and Village in engravings and monographies" by G.K.Lukomsky. Produced wall paintings of the Cathedral in Simferopol and icons for Fyodor Cathedral in Tsarskoye Selo (1910). In 1921 settled in Paris. Some B.V.Zvorykin`s sketches to fairy-tales illustrations are kept in "New Hermitage-1": "To Gather Mushrooms" (13,2 x 8,7 cm), "The Woman in the Russian Costume and Kokoshnik" (13,6 x 9,2 cm)", "The Psaltery Player on the Pier" (14,4 x 9,6 cm) in gold frames.
Sergei Konstantinovich Zaryanko (1818-1870) is a bright representative of realism school. "New Hermitage-1" has his "Portrait of Great Prince Nikolai Alexandrovich" (1843-1865) (oil on canvas, 37 x 32 cm). This is one of the master`s six works. It is known from literature that S.K.Zaryanko painted portraits of Great Prince Nikolai Alexandrovich several times. He produced his 6 portraits, including 4 ones made posthumously from Dennier`s photograph. One portrait was intended for Emperor Alaxandre, two - for the Romanovs` gallery in the Winter Palace and one - by order of the Cesarevna (the Crown Princess) as a gift to the Moscow charitable institution named after the deceased Cesarevitch. According to literary sources, Great Prince Nikolai Alexandrovich was the successor to the throne, cesarevitch, the eldest son of Emperor Alexandre II. He was born on September 8, 1843. In 1864 was engaged to Danish princess Dogmara, subsequently Empress Maria Fyodorovna, the wife of Alexandre III. He died on April 12, 1865 in Nice after a lingering illness. Nikolai Alexandrovich was the ataman of all Cossack troops, major-general of Emperor`s retinue and chancellor of the Helsingfors University.
In museum-gallery "New Hermitage-1" on display is one of the known products by maestro of the academic school Valentin Serov "The Sirens" (oil on cardboard, 52 x 41 cm). In general, the artist was very much attracted by the image of mythological birds. Here are his known drawings of chimaera: "The Naiad Blowing the Concha", "Bird Gamayun". As a rule, he did not succeed in depicting invented romantic images. His fantastic birdlike girls resembled concrete models, and Serov`s mermaid was painted from a specially moulded by him coloured plaster mask lowered into water. The sirens` images were created by the artist on the basis of what was known about these birdlike women.
21-03-2001 | Response
On March 12 at the State Museum of Orient in Nikitsky boulevard exhibition "The Shinig Shambala ..." opened. Nikolai Roerich. The painting and the word. Two pictures from "New Hermitage-1" are on display at this exhibition: "The Old Men Gathering Together" and "Russian Easter".
A month ago we announced this happening in our website and decided to revert to it, as the exhibition is very popular among N.K.Roerich`s admirers.
The exhibition opens with N.K.Roerich`s appeal where he says wonderful words about careful attitude towards sacred things: "... I know how wise tactfulness and prudence are needed not to profane things most valuable for you". Shambala is one of the most attractable secrets of the Orient. For some people it is a wonderful country of Great Wise Men on the Earth, for others it is the Heaven, for the third - Shambala means ascending to the greatest spirituality. To Russia the message about Shambala was brought by Nikolai Roerich. He told about this country brilliantly and carefully. The glare of the fine Shambala is reflected in the shining canvases attracting by a secret of cognition of the world hidden in them.
"The wonderful country of great wise men " - this musical phrase is undoubtfully about N.K.Roerich`s "The Old Men Gathering Together". Of special interest are the comments to this product written by the author himself.
"The old men, the governing council, were gathering together."
The picture was accompanied with a bylina (a Russian epic). It ended in the following way:
"Behind the far Perun lake
This picture constitutes series "The Beginning of Rus. The Slavs". The first work on this subject was a known picture "The Messenger. One Kin Struggles against the Other Kin", bought by P.M.Tretyakov for his gallery at the students` exhibition . Now we see the same messenger at the old men`s vetche (assembly) under the oak by the Perun lake, where Svarozhich, a terrible idol, lives. "The ground under the oak is trampled down. The Sacred fire is burning under the oak". Everything painted by Roerich, a historian, is as usual genuine, as though he himself was present there. In deep thoughtfulness the old men are sitting and "brooding", they are deciding their people`s fate. The canvas has darkened very much with time, but only even better allows to experience the mysterious morning of the mankind...
"The Russian Easter" is a strive to spiritual ascension, without which a human-being cannot exist in harmony with the world and with himself. N.K.Roerich`s son, S.N.Roerich, said, that Shambala is "the world in itself, and we should aim to make it fine. It is a very hard work, nevertheless we should do it every day".
"The Old Men Gathering Together" and "The Russian Easter" were called a priceless gift of Gods by the organizers of exhibition "The Shining Shambala..." headed by Tatiana Khristoforovna Metaxa, deputy general director of the Museum of Orient. They thanked the management of museum-gallery "New Hermitage" and the pictures` owners. (Based on the materials of the exhibition).
The exhibition is open to April 20.
16-03-2001 | The Results of Antiquarian Salon
In the Central House of Artists on March 8 the julbilee10th Russian Antiquarian Salon closed. It could have been called a standard event (as the galleries and the exhibits taking part in it were well-known), if it were not for the DEBUT of museum-gallery "New Hermitage-1".
Of course, the Salon showed a lot of "beautiful" but not the best things which would surely work, while true "brilliants" if small ones, were exhibited by "New Hermitage-1". That was noted by the Ministry of Culture of Russian Federation, and the State Tretyakov Gallery, and the Russian Scientific Art Restoration Centre named after I.E.Grabar, and art critics.
Let's not create a myth (lest it should be shattered) that debutants are allegedly always in luck - in our humble opinion, the main thing is our participation.
The action of presenting ancient things to Russian cultural institutions is a good tradition of Salons. For a long time "New Hermitage" has been cooperating with the State historical and literary museum-reservation of A.S.Pushkin (in Zakharovo-Vyazyomy). "New Hermitage-1" had not broken with its traditions and presented the museum-reservation with a water colour "Portrait of an Officer" by I.A.Nechayev (? -?). Unfortunately, the data about this remarkable painter are rather scanty: it is known that Nechayev, a portraitist, worked in the 1830-40s, in 1833 was an external student of the Academy of Fine Arts in St. Petersburg, twice he was awarded silver medals ( in 1834 and 1841) and in 1835 received the title of free artist.
Alexandre Mikhailovich Ryazanov, the director of the museum-reservation of A.S.Pushkin regards the management of "New Hermitage-1" with large piety and is very thankful for the exhibits given to the museum gratis.
01-03-2001 | Museum-gallery "The New Hermitage" celebrates the 8th of March
To celebrate the 8th of March museum-gallery "The New Hermitage" has prepared and has executed a project named tenderly and poetically "Just in tunic of golden hair clothed". The project chiefs after long and heated discussions of how they would like to see the main character of the exhibition, without more ado, have agreed mutually to submit to spectators judgment an eternal object - a naked model created in works of artists.
"Look at the profile of Nefertiti and at the same moment you will see Ancient Egypt - the country of temples, pyramids, sphynxes and slaves.
The Venus de Milo. The incomparable plasticity of her forms is Hellene itself, inaccessible, eternal.
Charming, a little bit sad goddesses by Botticelli, the mysteriously smiling madonnas by Leonardo, the beauties by Tizian - is it not the Italian Renaissance itself? The earthly full-blooded Bacchantes by Rubens, the refined marquises putting on airs and graces by Watteau - are they not the symbols of baroque and rococo? The woman's image is the image of time, country, people...
Gavriil Nikitich Gorelov (1880-1966) is presented at the exhibition most fully. His little-known picture "The Orgy in the Apartments of Alenxandre VI Borgia", "The Female Figures under the Sun" and some studies of imposing sizes are a summarized image of female beauty and unfadingness. Why is his style so enchanting? His works are exceptionally emotional and at the same time timid.
After graduating from the Academy, crowned with glory and gold medal, G.N.Gorelov in 1915 departed Russia to practise in Italy, which impressed and dumbfounded him. It was necessary for the artist to present a report about his trip and Gavriil Nikitich, impressed by topics from the late Italian Middle Ages, started "The Orgy... ". Gorelov was attracted by the image of Alexandre VI (his font name was Rodrigo Borgia), the Pope, who had won a scandalous fame by his way of life, unseemly even for a common christian, to say nothing of the Pope. Gorelov was so engrossed in his work, that he stayed in Italy for one more year. However, he had lost interest in the picture, so "The Orgy... " remained unfinished. He resumed this work again and again and after the October revolution, and later, and finished it only... in 1956.. It took him 40 years to realise his great intention - and 40 years more for the picture to found, finally, its spectators, in "The New Hermitage".
Aside from the marvelous canvases by Gorelov, you can see works by Brodsky, Yurkin, Kravchenko, Bukovetsky and other artists.
The longer we admire the canvases of the artists glorifying the eternal woman's image, the more we feel joy of life, clearness and delight in the beatiful, because "the main nerve of a society is determined by a mood of the gentle sex. When they are bored or in the blues, everything in the world becomes petty, shrunk and grey. But when revived by excitement, they shake off drowsiness - and immediately life quickens its pulsation, blossoms, becomes filled with sounds and colours... " (In the article are used fragments from books by I.Dolgopolov and B. Akunin.)
The exhibition will be open from March 1 to April 25.