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Old February 25th, 2016 #1
Alex Him
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Smile Russian painters

I have long wanted to open this topic but did not dare to do it.
However, today Mr. Jimmy Marr sent me the link and I realized that the topic should be open.

Many thanks to Jimmy Marr






"For several years now, Izhevsk (Ижевск) school janitor Semyon Bukharin (Семён бухарин) has been creating paintings in the snow, delighting pupils – who have now created an Instagram account for him.

At six o’clock in the morning, while children across the country are still sleeping or getting ready to go to school, janitor Semyon Bukharin cleans the new-fallen snow from the grounds of Lyceum No. 25 in the city of Izhevsk, 800 miles east of Moscow.

But as the first lesson begins, the janitor takes a broom and goes to draw his morning painting – a portrait of the Russian poet Alexander Pushkin. For two hours, his effort adorns the ground under the school windows until it disappears under the soles of students and parents.

Bukharin's characters are Russian authors, composers, and fairy-tale animals. As the janitor told, his works look best on the dark asphalt immediately after a snowfall, when the snow is soft and pliable."

Text by Nikolai Litovkin, RBTH

















A fox and a crane

















This is Russian poet Mikhail Lermontov.
He was born 1814.





Сoat of arms of Izhevsk








May 9 (Victory Day)


 
Old February 27th, 2016 #2
Alex Him
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Mikhail Nesterov




Автопортрет (1915) / Self-portrait (1915)








Автопортрет (1928) / Self-portrait (1928)








"Mikhail Vasilyevich Nesterov (1862-1942) - (Russian: Михаи́л Васи́льевич Не́стеров) was a major representative of religious Symbolism in Russian art.

Mikhail Nesterov was a pupil of Pavel Chistyakov at the Imperial Academy of Arts, but later allied himself with the group of artists known as the Peredvizhniki. His canvas The Vision of the Youth Bartholomew (1890–91), depicting the conversion of medieval Russian Saint Sergei Radonezhsky, is often considered to be the earliest example of the Russian Symbolist style.

From 1890 to 1910, Nesterov lived in Kiev and Saint Petersburg, working on frescoes in St. Vladimir's Cathedral and the Church on Spilt Blood, respectively. After 1910, he spent the remainder of his life in Moscow, working in the Marfo-Mariinsky Convent. As a devout Orthodox Christian, he did not accept the Bolshevik Revolution but remained in Russia until his death, painting the portraits of Ivan Ilyin, Ivan Pavlov, Ksenia Derzhinskaya, Otto Schmidt, and Vera Mukhina, among others."

Text by Wikipedia.



"Mikhail Nesterov was a Russian artist known for his religious paintings.

The schoolmaster noticed Nesterov’s gift for painting, and talked him into entering the Moscow School of Painting, Sculpture and Architecture. Nesterov’s favorite teacher there was the master painter Vasily Perov. Perov’s canvasses depicted Russian everyday life in a satirical and tragic manner.

Nesterov’s early works were also dedicated to everyday life. Later, he began to paint Russian history, especially pre-Petrine times, becoming a rather well-known, though not affluent historical painter. The famous artist Ivan Kramskoy criticized Nesterov’s paintings during this period, saying that history was not really Nesterov’s thing and that Nesterov should keep looking for his real vocation.

In 1885, Nesterov married Maria Martynovskaya, and a year later his beloved wife died in child birth. This tragedy made Nesterov rethink his life, his art, and experience a spiritual transformation. “My love for Maria and the loss of her turned me into an artist and put the sense, emotion, and soul I was missing before into my art; in other words, everything that people valued and value in my paintings”.

The first significant piece created by Nesterov after Maria’s death was The Hermit, painted in 1888 – 1889. It depicted an elderly monk, cautiously walking along the lakeside. He is surrounded by the late northern autumn. The lake is calm and clear; the first snow lies upon the ground, and on the withered yellowish grass, only a bright-red cluster of rowan-berries challenges the upcoming winter.

Upon seeing The Hermit, critics acknowledged Nesterov as one of the best artists of his time. The painting was bought by the art patron Pavel Tretyakov, the owner of the Tretyakov Gallery. With the money he earned, Nesterov went to Europe, visited Italy and was deeply inspired by the inner spiritual forces of Renaissance art. After his return, Nesterov started to work on his most famous picture, Vision of the Young Bartholomew.

The plot of the painting is based on a Christian legend about a young boy who had problems reading. One day his father sends him to search for some runaway horses, and on his way the youth meets an ascetic. Bartholomew greets him, asks for his blessing and receives one. After that encounter, not only did Bartholomew learn how to read, but he also became a poet. He went down in history known as St. Sergius of Radonezh.

In the picture one can see Bartholomew looking at the monk with hope on his face. The monk’s head is surrounded by a transparent halo. The characters stand against an early autumn landscape with hills and brightly colored trees in the distance. It almost seems the viewer can feel the touch of the cool fresh air and hear the solemn silence which surrounds the boy and the saint.

This work became a sensation, and was also bought by Tretyakov immediately after being exhibited. Nesterov said about his painting, “If ‘The Young Bartholomew’ is to say anything to people thirty, fifty years after my death, then this picture will be alive, and therefore, I will be alive”. His hopes came true: the painting still makes people think about God’s miracles and the closeness of supernatural, apart from merely exhibiting Nesterov’s talent.

In 1890, Nesterov moved to Kiev, and spent twenty years painting the walls of Kiev churches. In 1901, he visited the Solovki Monastery on the White Sea and painted many pictures dedicated to monastery life. None of them depicted the luxurious church interiors of bishops in gilded vestments, however: Nesterov’s preferred subjects were common monastic dwellers and the severe northern nature.

On the banks of the cold sea, Nesterov found the inspiration for his next well-known work: Saint Russia. It was exhibited in 1902 in Kiev. This painting depicts Jesus Christ surrounded by pilgrims, standing against a winter landscape. Interestingly enough, a woman who came to see this painting soon became Nesterov’s second wife.

The last canvas Nesterov painted before the October Revolution of 1917 was named The Soul of the People. A procession of peasants and nobles, men and women, walks along the banks of Volga River, following a young boy with resoluteness reflected on his face.

The Bolshevik regime banned religious art. After the revolution Nesterov painted mostly portraits and self-portraits. He loved this genre too, but his last picture was a landscape painting named Autumn in a Village. In his last years, Nesterov also worked on a book of memoirs, which was published several months before his death.

Nesterov died in 1942, and was buried at the Novodevichy Cemetery in Moscow."

Written by Olga Pigareva, RT - http://russiapedia.rt.com/prominent-...hail-nesterov/






Портрет М. И. Нестеровой, первой жены художника (1886) / Portrait of M. Nesterova, the first wife of the artist (1886)








Портрет Ольги Михайловны Нестеровой (Амазонка) - (1906) / Portrait of Olga Nesterova [the artist's daughter] (woman in a riding habit) - (1906)








За приворотным зельем (1888) / For the love potion (1888)








Видение отроку Варфоломею (1889-1890) / The Vision of the Young Bartholomew (1889-1890)








Пустынник (1888-1889) / The Hermit (1888-1889)








Святая Русь / Saint Russia








На Руси (Душа народа) - (1915-1916) / Rus: The Soul of the People (1915-1916)








Осень в деревне (1942) / Autumn in a Village (1942)



Last edited by Alex Him; February 27th, 2016 at 02:48 AM.
 
Old February 27th, 2016 #3
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Mikhail Nesterov (II)





Под благовест (1897) / To Blagovest (1897)


"The blagovest is a type of peal in Russian Orthodox bell ringing. Its name means Annunciation or Good News, and is the call to prayer rung before the beginning of divine services, as well as during the services. The rules of ringing and the bell used are specified by the rules of the Orthodox divine liturgy.

The blagovest consists of the ringing of a single bell.

A blagovest is rung with a large bell, therefore the category of large bells are called blagovestniks."

Text by Wikipedia.








Портрет И. П. Павлова (1935) / Portrait of I. Pavlov (1935)

"Ivan Petrovich Pavlov (1849-1936) - (Russian: Ива́н Петро́вич Па́влов) was a Russian physiologist known primarily for his work in classical conditioning. From his childhood days Pavlov demonstrated intellectual brilliance along with an unusual energy which he named "the instinct for research". Inspired by the progressive ideas which D. I. Pisarev, the most eminent of the Russian literary critics of the 1860s, and I. M. Sechenov, the father of Russian physiology, were spreading, Pavlov abandoned his religious career and devoted his life to science. In 1870 he enrolled in the physics and mathematics faculty at the University of Saint Petersburg to take the course in natural science. Pavlov won the Nobel Prize for Physiology or Medicine in 1904, becoming the first Russian Nobel laureate. A Review of General Psychology survey, published in 2002, ranked Pavlov as the 24th most cited psychologist of the 20th century. Pavlov's principles of classical conditioning have been found to operate across a variety of experimental and clinical settings, including educational classrooms."

Text by Wikipedia.








Портрет В. И. Мухиной (1940) / Portrait of Vera Mukhina (1940)

"Vera Ignatyevna Mukhina (1889-1953) - (Russian: Ве́ра Игна́тьевна Му́хина) was a prominent Soviet sculptor.

Mukhina's most celebrated work by far is the giant monument Worker and Kolkhoz Woman which was the centerpiece of the Soviet pavilion at the 1937 International Exhibition in Paris. It was the world's first welded sculpture. The 24-meter-tall, 75-ton monument was made of plate of stainless steel on a wooden frame, the plates connected by an innovative method of spot welding. One hand of each figure holds respectively a hammer and a sickle, the two implements joining to form the hammer and sickle symbol of the Soviet Union. In 1947 the sculpture, now on permanent display at the All-Russia Exhibition Centre, became the logo of the Russian Mosfilm studio. It was renovated and re-installed on a higher pedestal in 2009.

Muhkina's other work includes:

Peasant Woman (1927), freestanding bronze, now in the Tretyakov Gallery in Moscow
Fertility (1934), and Bread (1939), both now in Friendship Park, Moscow
three cornice figures on the pediment of the Winter Theater in Sochi, 1937
the mourning mother figure in the monumental group We Demand Peace (1950-1951). Mukhina served as coordinator of other sculptors for this project.
Maxim Gorky Monument (1952) in Nizhny Novgorod
the statue of Tchaikovsky in front of the Moscow Conservatory
the finial figure of Mir ("Peace"), with armillary sphere and dove (1954), for the Volgograd Planetarium"

Text by Wikipedia.








Великий постриг (1898) / The Taking of the Veil (1898)








На Волге реке (1905) / By Volga (1905)








Соловки (1917) / Solovki (1917)








Святая равноапостольная княгиня Ольга (1892) / St. Olga (1892)








Жертва приятелей (1881) / The victim of his buddies (1881)

On the wall is written "for sale" (Alex Him)








Старый художник (1884) / Old painter (1884)








Наташа Нестерова на садовой скамейке (1914) / Portrait of Natasha Nesterova [the artist's daughter] (on a garden bench) - (1914)



Last edited by Alex Him; February 27th, 2016 at 02:47 AM.
 
Old February 27th, 2016 #4
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Mikhail Nesterov (III)



Философы (П. А. Флоренский и С. Н. Булгаков) - (1917) / The philosophers: Portrait of Pavel Florenskiy [left] and Sergei Bulgakov [right] (1917)

"Pavel Alexandrovich Florensky (1882-1937) - (also P. A. Florenskiĭ, Florenskii, Florenskij, Russian: Па́вел Алекса́ндрович Флоре́нский) was a Russian Orthodox theologian, priest, philosopher, mathematician, physicist, electrical engineer, inventor and Neomartyr.

During his studies at the Ecclesiastical Academy, Florensky's interests included philosophy, religion, art and folklore. He became a prominent member of the Russian Symbolism movement, together with his friend Andrei Bely and published works in the magazines New Way (Новый Путь) and Libra (Весы). He also started his main philosophical work, The Pillar and Ground of the Truth: an Essay in Orthodox Theodicy in Twelve Letters. The complete book was published only in 1914 but most of it was finished at the time of his graduation from the academy in 1908.

In 1914 he wrote his dissertation, About Spiritual Truth. He published works on philosophy, theology, art theory, mathematics and electrodynamics. Between 1911 and 1917 he was the chief editor of the most authoritative Orthodox theological publication of that time, Bogoslovskiy Vestnik. He was also a spiritual teacher of the controversial Russian writer Vasily Rozanov, urging him to reconcile with the Orthodox Church.

After the October Revolution he formulated his position as: "I have developed my own philosophical and scientific worldview, which, though it contradicts the vulgar interpretation of communism... does not prevent me from honestly working in the service of the state." After the Bolsheviks closed the Troitse-Sergiyeva Lavra (1918) and the Sergievo-Posad Church (1921), where he was the priest, he moved to Moscow to work on the State Plan for Electrification of Russia (ГОЭЛРО) under the recommendation of Leon Trotsky who strongly believed in Florensky's ability to help the government in the electrification of rural Russia. According to contemporaries, Florensky in his priest's cassock, working alongside other leaders of a Government department, was a remarkable sight.

In 1924, he published a large monograph on dielectrics. He worked simultaneously as the Scientific Secretary of the Historical Commission on Troitse-Sergiyeva Lavra and published his works on ancient Russian art.

In the second half of the 1920s, he mostly worked on physics and electrodynamics, eventually publishing his paper Imaginary numbers in Geometry («Мнимости в геометрии. Расширение области двухмерных образов геометрии») devoted to the geometrical interpretation of Albert Einstein's theory of relativity.

In 1928, Florensky was exiled to Nizhny Novgorod. After the intercession of Ekaterina Peshkova (wife of Maxim Gorky), Florensky was allowed to return to Moscow. On the 26 February 1933 he was arrested again, on suspicion of engaging in a conspiracy with Pavel Gidiulianov, a professor of canon law who was a complete stranger to Florenskiy, to overthrow the state and restore with Nazi assistance a fascist monarchy.

He served at the Baikal Amur Mainline camp, until 1934 when he was moved to Solovki, where he conducted research into producing iodine and agar out of the local seaweed. In 1937 he was transferred to Saint Petersburg (then known as Leningrad) where, on 25 November, he was sentenced by an extrajudicial NKVD troika to death."


"Sergei Nikolaevich Bulgakov (1871-1944) - (Russian: Серге́й Никола́евич Булга́ков) was a Russian Orthodox Christian theologian, philosopher, and economist.

During his study at the seminary Bulgakov became interested in Marxism and took part in the Legal Marxism movement. Under the influence of works of Russian religious thinkers (Leo Tolstoy, Fyodor Dostoyevsky, Vladimir Solovyov, etc.), in the course of his meetings and arguments with Leo Tolstoy he found his religious beliefs again. He wrote a book about his evolution (Sergey Bulgakov, From Marxism to Idealism, 1903). Such an evolution was common for the Russian intelligentsia of the time, and he soon became one of their recognised ideologists. A primary contributor to the books Problems of Idealism (1902), Vekhi, Problems of Religion, About Vladimir Solovyev, About the Religion of Leo Tolstoy, The Religion of Solovyov's Philosophical Society, he participated in the journals New Way (Новый Путь) and Questions of Life (Вопросы Жизни). He was a leader of the publisher Way (Путь, 1911–1917), where he printed many important works of contemporary Orthodox theology.

In 1907 he was elected as an independent Christian Socialist to the Second Duma. He published the important original monographs Philosophy of Economy («Философия хозяйства» 1912) and Unfading Light («Свет Невечерний» 1917), in which he first offered his own teaching based on the combination of sophiology of Vladimir Solovyov and Pavel Florensky, the later works of Schelling, and his own intuition-based ideas about the Orthodox Christian faith.

In 1918, having returned to the Orthodox Church, he was ordained to the priesthood, and rose to prominence in church circles. He took part in the All-Russia Sobor of the Russian Orthodox Church that elected patriarch Tikhon of Moscow. Bulgakov rejected the October revolution and responded with On the Feast of the Gods ("На пиру богов", 1918), a book similar to the Three Talks of Vladimir Solovyov.

During the Russian Civil War he was in Crimea, where he worked in the field of philosophy. He wrote books Philosophy of the Name ( "Философия имени", 1920) and Tragedy of Philosophy ("Трагедия философии", 1920) in which he revised his views about the relation of Philosophy to Dogmatism. He concluded that the Christian views can be expressed only by dogmatic theology. Thereafter his works were devoted to dogmatic theology.

On 30 December 1922 the Bolshevik government expelled some 160 prominent intellectuals on the so-called Philosophers' ship, Bulgakov, Nikolai Berdyaev, and Ivan Ilyin among them.

In May 1923 he became professor of Church Law and Theology at the school of law of the Russian Research Institute in Prague.

In 1925 he helped found St. Sergius Orthodox Theological Institute (l'Institut de Théologie Orthodoxe Saint-Serge), in Paris, France. He was the head of this institute and Professor of Dogmatic Theology until his death from throat cancer on 12 July 1944. His last work was devoted to the Apocalypse."

Texts by Wikipedia.








Элегия (Слепой музыкант) - (1928) / Elegy (Blind Musician) - (1928)








Лисичка (1914) / A little fox (1914)








Молчание (1903) / Silence (1903)








Портрет Л. Н. Толстого (1907) / Portrait of Leo Tolstoy (1907)

"Count Lev Nikolayevich Tolstoy (1828-1910) - (Russian: Лев Никола́евич Толсто́й), usually referred to in English as Leo Tolstoy, was a Russian writer who is regarded as one of the greatest authors of all time.

Born to an aristocratic Russian family in 1828, he is best known for the novels War and Peace (1869) and Anna Karenina (1877), often cited as pinnacles of realist fiction. He first achieved literary acclaim in his twenties with his semi-autobiographical trilogy, Childhood, Boyhood, and Youth (1852–1856), and Sevastopol Sketches (1855), based upon his experiences in the Crimean War. Tolstoy's fiction includes dozens of short stories and several novellas such as The Death of Ivan Ilyich, Family Happiness, and Hadji Murad. He also wrote plays and numerous philosophical essays.

In the 1870s Tolstoy experienced a profound moral crisis, followed by what he regarded as an equally profound spiritual awakening, as outlined in his non-fiction work A Confession. His literal interpretation of the ethical teachings of Jesus, centering on the Sermon on the Mount, caused him to become a fervent Christian anarchist and pacifist. Tolstoy's ideas on nonviolent resistance, expressed in such works as The Kingdom of God Is Within You, were to have a profound impact on such pivotal 20th-century figures as Mohandas Gandhi, Martin Luther King, Jr., and James Bevel. Tolstoy also became a dedicated advocate of Georgism, the economic philosophy of Henry George, which he incorporated into his writing, particularly Resurrection."

Text by Wikipedia.








Портрет Максима Горького (1901) / Portrait of Maxim Gorky (1901)

"Alexei Maximovich Peshkov (1868-1936) - (Russian: Алексе́й Макси́мович Пешко́в or Пе́шков), primarily known as Maxim (Maksim) Gorky (Russian: Макси́м Го́рький) was a Russian and Soviet writer, a founder of the socialist realism literary method and a political activist. Around fifteen years before success as a writer, he frequently changed jobs and roamed across the Russian Empire; these experiences would later influence his writing. Gorky's most famous works were The Lower Depths (1902), Twenty-six Men and a Girl, The Song of the Stormy Petrel, The Mother, Summerfolk and Children of the Sun. He had an association with fellow Russian writers Leo Tolstoy and Anton Chekhov; Gorky would later write his memoirs on both of them.

Gorky was active with the emerging Marxist social-democratic movement. He publicly opposed the Tsarist regime, and for a time closely associated himself with Vladimir Lenin and Alexander Bogdanov's Bolshevik wing of the party. For a significant part of his life, he was exiled from Russia and later the Soviet Union. In 1932, he returned to Russia on Joseph Stalin's personal invitation and died there in June 1936."

Text by Wikipedia.








Святой Пафнутий Боровский / St. Paphnutius of Borovsk

"St. Paphnutius of Borovsk, Hegumen and Miracle-Worker. 1394-1477

St. Paphnutius of Borovsk was a disciple of the Borovsk Hegumen (abbot) Nikita, who was in turn a disciple of St. Sergius of Radonezh, and teacher of Joseph of Volotsk. Thus the ‘genealogy’ of the Moscow saints can be traced back to the great elder (starets) of Radonezh.

St. Paphnutius of Borovsk (secular name Parpheny / Парфений) was born in 1394 in the village of Kudinovo not far from Borovsk into a family of a baptized Tatar Martin and Fotinia.

St. Paphnutius’s diligence in his life of a monk was such that when the former hegumen died in 1426 he was chosen hegumen by his fellow monks and consecrated by Metropolitan of Kiev Photius.

For thirty years he lived in the Intercession cloister and served both as hegumen and elder-confessor. He had a gift of a pastor and a tutor and set amazing examples of love and care for his brothers entrusted to him by God.

During his abbacy he revealed numerous talents: a vocation to convert people and bring them to God, all-embracing mercy and compassion, uncompromising firmness towards any sin, astonishing insight and astuteness.

When St. Paphnutius was 50, he fell seriously ill and not hoping to recover he was tonsured into the great schema. Yet he recovered and decided not to resume his duties of the hegumen but to retire to solitude in order to dedicate the rest of his life to prayer and purification of the soul.

On 23 April 1444, St. Paphnutius left the Intercession Monastery with one monk and settled down on the left bank of the Protva River. More and more monks started gathering and settling around him. According to the legend during his hermitage the Mother of God appeared to St. Paphnutius and told him to found a monastery and to become its hegumen. He spoke about her apparition only at his deathbed."

Text by - http://www.dionisy.com/eng/additional/1345/








Старый и малый / Old and young








Архиепископ (Антоний Волынский) - (1917) / Archbishop (Portrait of Antoniy Volynskiy) - (1917)








С. С. Юдин во время операции (1933-1934) / S. Yudin during surgery (1933-1934)

"Sergei Sergeevich Yudin (1891-1954) - (Russian: Серге́й Серге́евич Ю́дин; September 27, 1891 – March 12, 1954) was a Russian surgeon.

He was an outstanding Russian surgeon of the 20th century.

In 1911, Yudin became a medical student at the University of Moscow. In the fall of 1914, after the beginning of the First World War, Yudin was called into the army as a junior doctor. During the war, Yudin was wounded three times. He was awarded the Cross of St. George for bravery.

In 1925, Yudin published the book "Spinal Anesthesia". In 1926 this book was awarded the F.A. Rein prize by the All-Soviet Surgical Society for the best surgical publication in 1924-1925. In the same year, Yudin was awarded a trip to the United States for 6 months. Yudin’s letters from America were published regularly in 1927-1928 in the leading Soviet surgical journal "New Surgical Archives" and probably represented the most detailed description of American surgery at that time.

After returning from the United States, in 1928, Yudin was invited to become chairman of the surgical department at the institute of emergency aid named after N.V. Sklifosovskiy in Moscow. Yudin also pioneered the transfusion of cadaveric blood and performed this successfully for the first time on March 23, 1930. In 1930, Yudin organized the world first blood bank at the Nikolay Sklifosovskiy Institute, which set an example for the establishment of further blood banks in different regions of the Soviet Union and in other countries.

During the Second World War, June 1942, Yudin was appointed a surgeon-in-chief to the army. In 1943 in recognition of his surgical achievements, Yudin was awarded honorary fellowships of the American College of Surgeons and the Royal College of Surgeons. Yudin was also an honorary member of the International College of Surgeons and of the Paris, Prague, and Catalonian surgical societies, as well an honorary doctor of Sorbonne University.

Despite his achievements and popularity, Yudin was arrested by the KGB on December 22, 1948. He was held in jail without trial for more than 3 years. His name disappeared from medical journals, articles he had submitted were not published, and his publications were removed from the libraries. In 1952, he was exiled to Siberia for 10 years to the town of Berdsk, which was 30 km away from Novosibirsk. Only after Joseph Stalin’s death in March 1953 Yudin was able to return to Moscow and recommence his work. One year later on March 12, 1954, Yudin died from myocardial infarction at the age of 62 years."

Text by Wikipedia.


 
Old March 5th, 2016 #5
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Ivan Shishkin



Автопортрет (1854) / Self-portrait (1854)





Автопортрет (1886) / Self-portrait (1886)








"Ivan Ivanovich Shishkin (1832-1898) - (Russian: Ива́н Ива́нович Ши́шкин) was a Russian landscape painter closely associated with the Peredvizhniki movement."

Text by Wikipedia.


“Russia - country of landscapes… I hope the time will come, when all Russian nature, alive and penetrated by spirit, will look from canvases of Russian artists…” - Shishkin.

Ivan Shishkin started drawing as a child and continued through his life; he is said to have never parted from his pencil. Drawing was a way to study the nature. By his contemporaries, Shishkin was given the nicknames “Titan of the Russian Forest,” “Forest Tsar,” “Old Pine Tree” and “Lonely Oak,” as there was no one at that time who depicted trees more realistically, honestly and with greater love.

“Shishkin - national artist. All his life he studied Russian, mainly the northern woods, Russian trees and Russian thickets. It is his empire, and here he has no contenders, he is unique.” - Stasov

It was Russia and chiefly her native forests that became the enduring focus of his long, successful and prodigious career. Shishkin's works were greeted as the defining images of Russia that promoted a new pride in the indigenous landscape. Before Shishkin no one had narrated the love of his native town and the soft beauty of the northern nature.

The works of this outstanding artist enjoy vast popularity in Russia and all over the world and have become classics of Russian landscape painting. During the 40 years of his artistic activity Ivan Shishkin produced hundreds of paintings, thousands of studies and drawings and a large number of engravings.
This is a prime example of Shishkin's exceptional talent, which the artist Ivan Kramskoy, the Itinerants' ideological mentor, noted was of such magnitude that it constituted an historical art phenomenon: “He is by himself a school... a milestone in the evolution of the Russian landscape.”

Apart from painting, Shishkin was also a master of drawing and engraving. His drawing went through the same evolution as his painting. Those of the eighties, which were executed in charcoal and chalk, are much more expressive than the pen-drawings of the sixties. In 1891, more than 600 etudes and etchings were exhibited at the Academy. The exhibition gave a good idea of the scope of the artist who was deeply aware of and sought to express the beauty and heroic power of the Russian countryside.

Shishkin had a troubled private life, twice he fell in love and married and twice his wives died. His sons also died. But he never allowed his sorrows to appear on his canvases. Shishkin died suddenly in his studio in St. Petersburg, while working on the painting “Forest Kingdom.”

Text by Tatyana Klevantseva - http://russiapedia.rt.com/prominent-...ivan-shishkin/





Утро в сосновом лесу (1889) / Morning in a Pine Forest (1889)





Рожь (1878) / Rye (1878)

"In the landscape Shishkin has brought together two of his traditional motifs: a field with road running to the distance and powerful pine trees. In the inscription made by Shishkin on one of the sketches for the painting, we read “Expanse, open space, land, rye, divine abundance, Russian wealth.” The critic V.V. Stasov compared the pine trees with columns of ancient Roman temples. The viewer beholds a majestic panorama of Russian nature presented as a stage managed spectacle. Shishkin understood nature as a universe placed in relation to man. Therefore the two tiny figures are so important – these are human figures giving scale to what is here depicted. Shishkin drew his etudes not far from his native Yelabuga, standing on the banks of the Kama River. However his paintings are always composed and there is nothing fortuitous in them."

Text by http://www.tretyakovgallery.ru/en/co...image/_id/227#





Сосновый лес (1889) / Pine forest (1889)





Туманное утро (1885) / Misty Morning (1885)





Сныть-трава. Парголово (1885) / Goutweed-grass. Pargolovo (1885)

"Pargolovo (Парголово) is a municipal settlement in the Vyborgsky District of Saint Petersburg. Until the late 20th century, it was the city's northern suburb. The name derives from Parkola, a Karelian placename."

Text by Wikipedia.





Лес зимой (1884) / Forest in winter (1884)





Мухоморы (1878-1879) / Fly Agaric (1878-1879)





Перед грозой (1884) / Gathering Storm (1884)


 
Old March 6th, 2016 #6
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Сторожка в лесу (1870-ые) / Hut in the forest (1870s)





Сосны, освещенные солнцем (1886) / Pines in Sunlight (1886)





На опушке соснового леса (1882) / At the edge of a pine forest (1882)





Среди долины ровныя (1883) / Among the open valley (1883)

This is the words from a song by Alexei Merzlyakov (Алексей Мерзляков). There the author compares himself with beautiful and mighty but lonely oak





Берёзовая роща (1896) / Birch Grove (1886)





Корабельная роща (1898) / Mast Tree Grove (1898)





Дубовая роща (1887) / Oak Grove (1887)





Первый снег (1875) / First Snow (1875)





Вид в окрестностях Дюссельдорфа (1865) / View near Dusseldorf (1865)

"Düsseldorf is the capital city of the German state of North Rhine-Westphalia and the seventh most populous city in Germany. Düsseldorf is an international business and financial centre, renowned for its fashion and trade fairs.

Düsseldorf is known for its academy of fine arts (Joseph Beuys, Emanuel Leutze, August Macke, Gerhard Richter, Sigmar Polke and Andreas Gursky)."

Text by Wikipedia.





Золотая осень (1888) / Golden autumn (1888)


 
Old March 6th, 2016 #7
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Ivan Shishkin (III)



Парк в Павловске (1889) / Park in Pavlovsk (1889)

"Pavlovsk (Russian: Па́вловск) is a municipal town in Pushkinsky District of the federal city of St. Petersburg, Russia, located 30 kilometers (19 mi) south from St. Petersburg proper and about 4 kilometers (2.5 mi) southeast from Pushkin. Population: 16,087 (2010 Census).

The town developed around the Pavlovsk Palace, a major residence of the Russian imperial family. Between 1918 and 1944, its official name was Slutsk, after the revolutionary Vera Slutskaya, and then was changed back to Pavlovsk. Pavlovsk is part of the UNESCO World Heritage Site Saint Petersburg and Related Groups of Monuments."

Text by Wikipedia.





Болото. Полесье (1890) / A swamp. Polesye (1890)

"Polesia, Polesie or Polesye (Belarusian: Пале́ссе Paliessie, Ukrainian: Полі́сся Polissia or Polisia, Polish: Polesie, Russian: Поле́сье Poles'e) is a natural and historical region of Eastern Europe. One of the largest forest areas on the continent, Polesie is located in the south-western part of the Eastern-European Lowland, the Polesian Lowland. On the western side, Polesie originates at the crossing of the Bug River valley in Poland and the Pripyat River valley of Western Ukraine. Polesie extends eastward through modern-day south Belarus and north Ukraine, and ends within Russia. The swampy areas of central Polesie are known as the Pinsk Marshes (after the major local city of Pinsk). Large parts of the region were contaminated after the Chernobyl disaster and the region now includes the Chernobyl Exclusion Zone and Polesie State Radioecological Reserve, named after the region."

Text by Wikipedia.





Бурелом (1888) / Wind Fallen Trees (1888)





Кама близ Елабуги (1895) / Kama Near Yelabuga (1895)

"The Kama (Russian: река́ Ка́ма) is a major river in Russia, the longest left tributary of the Volga and the largest one in discharge; it is larger than the Volga before junction.

It starts in the Udmurt Republic, near Kuliga, flowing northwest for 200 kilometres (120 mi), turning northeast near Loyno for another 200 kilometres, then turning south and west in Perm Krai, flowing again through the Udmurt Republic and then through the Republic of Tatarstan, where it meets the Volga.

The Kama is 1,805 kilometres (1,122 mi) long."


"Yelabuga (Russian: Ела́буга) is a town in the Republic of Tatarstan, Russia, located on the right bank of the Kama River and 200 kilometers (120 mi) east from Kazan."

Texts by Wikipedia.





Лесное кладбище. Старый валежник (1893) / Forest cemetery (1893)





Лесные дали (1884) / The Forest Horizons (1884)





Цветы на опушке леса. (1892-1893) / Flowers at the Edge of a Wood (1892-1893)





Кора на сухом стволе. Этюд (1889-1890) / Bark on a Dry Trunk (1889-1890)





Вечер (1871) / Evening (1871)





Лес перед грозой (1872) / Forest before the storm (1872)


 
Old March 6th, 2016 #8
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Ivan Shishkin (IV)



Лесная глушь (1872) / Backwoods (1872)





В лесу графини Мордвиновой. Петергоф (1891) / Countess Mordvinov's Forest (1891)





Буковый лес в Швейцарии (1863) / Beech Forest in Switzerland (1863)





Буковый лес в Швейцарии (1863-1864) / Beech Forest in Switzerland (1863-1864)





Дорожка в лесу (1880) / The Path through the Woods (1880)





Ручей в березовом лесу (1883) / Stream in the birch forest (1883)





Березовая роща (1896) / Birch Grove (1896)





Вид окрестностей Петербурга (1856) / View in the Vicinity of St. Petersburg (1856)





Дождь в дубовом лесу (1891) / Rain in the Oak Forest (1891)





Дубы (1887) / Oaks (1887)


 
Old March 6th, 2016 #9
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Ivan Shishkin (V)



Шалаш (1861) / Hovel (1861)





Вид на острове Валааме (Местность Кукко) - (1859-1860) / View of Valaam Island. Kukko (1859-1860)

"Valaam (Russian: Валаам or Валаамский архипелаг) is an archipelago in the northern portion of Lake Ladoga, lying within the Republic of Karelia, Russian Federation. The total area of its more than 50 islands is 36 km². The largest island is also called Valaam. It is best known as the site of the 14th century Valaam Monastery on Valaam Island and for its natural beauty."

Text by Wikipedia.





Полдень. В окрестностях Москвы (1869) / Noon in the Neighbourhood of Moscow (1869)





Лес вечером (1868-1869) / Wood in the evening (1868-1869)





Лесной пейзаж с цаплями (1870) / Forest Landscape with Herons (1870)





Лесной ручей (Чернолесье) - (1874) / Forest Stream (1874)





Смешанный лес (Шмецк близ Нарвы) - (1888) / Mixed Wood (Shmetsk near Narva) - (1888)

"Narva is the third largest city in Estonia. It is located at the eastern extreme point of Estonia, at the Russian border, on the Narva River which drains Lake Peipus."

Text by Wikipedia.

Shmetsk was a villiage.





Прогулка в лесу (1869) / A Walk in the Forest (1869)





Лес весной (1884) / Forest in spring (1884)





Ивы, освещенные солнцем (Конец 1860-ых - начало 1870-ых) / Willows Lit Up by the Sun (End of 1860s - beginning of 1870s)

 
Old March 8th, 2016 #10
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Let me introduce you to the greatest Russian artist Alex Him




A self-portrait





A town





An oak





The essence of eternity





Stormy sea





Nightmare





A crocodile





An octopus





Harry Potter with his friends





A scribble



Last edited by Alex Him; March 8th, 2016 at 04:51 AM.
 
Old March 8th, 2016 #11
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Alex Him (II)



An aquarium





A boat





Egypt





Mars

It is dog's name.





A school





Freedom of creativity





An Ocean gives burth to Sun





A dream of Pythagoras





Shaman's work





A flower


 
Old March 8th, 2016 #12
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Alex Him (III)



A watermelon





Arab tales





Boxing





Diptych: Boots


Left boot





Right boot





A cake





Glade





A path





A turtle





Nebula


 
Old March 8th, 2016 #13
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Alex Him (IV)



Fairy ship





Storm





Vision of Saint

This is an attempt to illustrate the following paragraph:

"This most joyful reality, which ravished Paul, and made his mind go out from every creature but yet return entirely to himself—this he beheld as a light of revelation, though not of sensible bodies; a light without limit, depth, height or lateral extension. He saw absolutely no limit to his vision and to the light which shone round about him; but rather it was as it were a sun infinitely brighter and greater than the universe, with himself standing in the midst of it, having become all eye. Such, more or less, was his vision."

Gregory Palamas - "The Triads (For the Defence of Those Who Practice Sacred Quietude)", First Triad, III, 21.





Doctors catch a patient





A tree





On bathing





Pagoda





Blessed Russia: on the lake





1st of January





Battle UFO with a giant Chupacabra


 
Old March 8th, 2016 #14
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Alex Him (V)



After shearing





The door is open





Mushroom's kingdom





A swan





A gift to Mom





A bird





KikOriki: Pluto's Hero









A path to God





Game brush and paints





Pink Elephant


 
Old March 8th, 2016 #15
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Alex Him (VI)



Playing with numbers





Horse





New Year





Tiger





House





Cat





Eye of Limitless





Tree





Food





Deliverance


 
Old March 15th, 2016 #16
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Ilya Repin





Автопортрет (1878) / Self-portrait (1878)





Автопортрет (1878) / Self-portrait (1878)





Автопортрет (1887) / Self-portrait (1887)





Автопортрет (1894) / Self-portrait (1894)





Автопортрет с Натальей Борисовной Нордман (1903) / Double portrait of Natalia Nordmann and Ilya Repin (1903)


Natalia Nordmann (1863-1914) - a dramatic writer, fiction and publicist (the second wife of Repin).





Автопортрет (1920) / Self-portrait (1920)








"Ilya Yefimovich Repin (1844-1930) - (Russian: Илья́ Ефи́мович Ре́пин) was a Russian realist painter. He was the most renowned Russian artist of the 19th century, when his position in the world of art was comparable to that of Leo Tolstoy in literature. He played a major role in bringing Russian art into the mainstream of European culture.

Repin persistently searched for new techniques and content to give his work more fullness and depth.

Repin had favorite subjects, and a limited circle of people whose portraits he painted. But he had a deep sense of purpose in his aesthetics, and had the great artistic gift to sense the spirit of the age and its reflection in the lives and characters of individuals. Repin's search for truth and for an ideal led him various directions artistically, influenced by aspects of hidden social and spiritual experiences and national culture. Like most Russian realists of his times, Repin often based his works on dramatic conflicts rooted in reality, drawn from contemporary life or history. He also used mythological images with a strong sense of purpose. Some of his religious paintings are among his greatest.

His method was the reverse of impressionism. He produced works slowly and carefully. They were the result of close and detailed study. With some of his paintings, he made one hundred or more preliminary sketches. He was never satisfied with his works, and often painted multiple versions, years apart. He also changed and adjusted his methods constantly in order to obtain more effective arrangement and grouping and coloristic power. Repin's style of portraiture was unique, but owed something to the influence of Eduard Manet and Diego Velázquez."

Text by Wikipedia.





Бурлаки на Волге (1870-1873) / Barge Haulers on the Volga (1870-1873)





Запорожцы пишут письмо турецкому султану (1880-1891) / Zaporozhian Cossacks Write a Letter to the Turkish Sultan (1880-1891)





Иван Грозный и сын его Иван 16 ноября 1581 года (1885) / Ivan the Terrible and His Son Ivan on November 16, 1581 (1885)

"The subject of the painting is an episode in the life of Ivan the Terrible when, in a fit of anger, he beat to death his son and heir (tsarevich) Ivan. Repin intentionally gave the painting a precise date. The idea arose in connection with the impression made on the artist and his contemporaries by the murder of Alexander II on 1 March 1881 and the execution of the terrorists. Repin wrote: “It was natural to seek a way out of the painful historical tragedy…Our feelings were weighed down by the horrors of our own day….” The psychological contrast of the main characters in the painting achieves unusual tension. We see the nearly icon-like, calm face of the tsarevich and the face of Tsar Ivan, with its bulging eyes and covered in drops of blood. The red colour dominates in the painting. It is everywhere – from the rose colour of the tsarevich’s shirt to the dull Bordeaux of the background. The painterly expression of the picture was extraordinary for its time."

http://www.tretyakovgallery.ru/en/co.../image/_id/210





Не ждали (1884-1888) / Unexpected Return (1884-1888)

"The painting was the final one in a series of the artist’s paintings devoted to the Russian revolutionary movement. Here we see depicted the unexpected return home of a political exile. The reaction of the household is various – from unbelieving surprise (the maid at the door), caution (the little girl behind the table) to an outburst of joy (the wife seated at the piano and the boy at the table) and the moral shock expressed in the hunched over figure of the mother. The pictures on the wall – Golgotha, Emperor Alexander on his funeral bier, the portraits of T.G. Shevchenko and N.A. Nekrasov explain what has occurred and sum up the spiritual and intellectual atmosphere of the house of this intelligentsia family. Repin redid the face of the banished man trying to convey the expression of uncertainty and doubt of a man who has returned to his former world after many years. The times have changed, and the attitude towards revolutionaries, their ideals and methods of combat have become more unequivocal."

http://www.tretyakovgallery.ru/en/co.../image/_id/212


 
Old March 15th, 2016 #17
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Ilya Repin (II)



Крестный ход в Курской губернии (1880-1883) / Krestny Khod (Religious Procession) in Kursk Gubernia (1880-1883)

"Repin created a work which went far beyond the bounds of a genre scene. A huge crowd is moving right at the spectator. We see among them the diversity of human types belonging to different social classes and playing different social roles. The artist has given to each of them a subtle psychological portrait. Repin is developing here a broad panorama of Russia’s post-Reform society in all its contrasts and contradictions. He wrote: “I am applying all of my insignificant forces to try to give true incarnation to my ideas; life around me disturbs me a great deal and gives me no peace – it begs to be captured on canvas…”

http://www.tretyakovgallery.ru/en/co.../image/_id/211





Проводы новобранца (1879) / Send off of recruit (1879)





На дерновой скамье (1876) / On a Turf Bench (1876)





Торжественное заседание Государственного Совета 7 мая 1901 года в честь столетнего юбилея со дня его учреждения (1903) / Ceremonial Meeting of the State Council on May 7, 1901 in honor of the centennial anniversary of the date of its establishment





Садко (1876) / Sadko (1876)

"Sadko is a character of Russian medieval epic Bylina. He was an adventurer, merchant and gusli musician from Novgorod.

Sadko played the gusli on the shores of a lake. The Sea Tsar enjoyed his music, and offered to help him. Sadko was instructed to make a bet with the local merchants about catching a certain fish in the lake; when he caught it (as provided by the Tsar), the merchants had to pay the wager, making Sadko a rich merchant.

Sadko traded on the seas with his new wealth, but did not pay proper respects to the Tsar as per their agreement. The Tsar stopped Sadko's ships in the sea. He and his sailors tried to appease the Sea Tsar with gold, to no avail. Sadko's crew forced him to jump into the sea. There, he played the gusli for the Sea Tsar, who offered him a new bride. On advice, he took the last maiden in a long line, and lay down beside her.

He woke up on the shore and rejoined his wife."

Text by Wikipedia.





Иов и его друзья (1869) / Job and His Friends (1869)





Плач пророка Иеремии на развалинах Иерусалима (1867) / Weeping of the Prophet Jeremiah in the Ruins of Jerusalem (1867)





Воскрешение дочери Иаира (1871) / Raising of Jairus Daughter (1871)





Николай Мирликийский избавляет от смерти трех невинно осужденных (1888) / St. Nicholas Saves Three Innocents from Death (1888)





Иуда (1885) / Judas (1885)


 
Old March 15th, 2016 #18
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Ilya Repin (III)



Портрет А. Г. Рубинштейна (1881) / Portrait of Anton Grigorievich Rubinstein (1881)

"Anton Grigorevich Rubinstein (1829-1894) - (Russian: Анто́н Григо́рьевич Рубинште́йн) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory.

As a pianist, Rubinstein ranks amongst the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals—seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.

Although best remembered as a pianist and educator (most notably in the latter as the composition teacher of Pyotr Ilyich Tchaikovsky), Rubinstein was also a prolific composer throughout much of his life. He wrote 20 operas, the best known of which is The Demon. He also composed a large number of other works, including five piano concertos, six symphonies and a large number of solo piano works along with a substantial output of works for chamber ensemble."

Text by Wikipedia.





Портрет Антона Рубинштейна (1887) / Portrait of the Anton Rubinstein (1887)





Портрет Антона Григорьевича Рубинштейна (1909-1915) / Portrait of Anton Grigorievich Rubinstein (1909-1915)





Портрет М. П. Мусоргского (1881) / Portrait of Modest Petrovich Musorgsky (1881)

"Modest Petrovich Musorgsky (1839–1881), Russian composer. Main works: the operas Boris Godunov (1872), Khovanshchina (completed by N.A. Rimsky-Korsakov, 1883), Sorochintsy Fair (Sorochinskaya yarmarka, completed by Ts.A. Kyui, 1916), and the piano series entitled Pictures from an Exhibition (1874). The portrait of Musorgsky is one of Repin’s best works and also one of the best portraits in all of Russian art during the 1880s. It was painted 10 days before the composer’s death, in the hospital, over the course of four sessions, and, in the words of an eye-witness, “with every possible inconvenience; the painter did not even have an easel and he had to perch at a desk before which the ailing Musorgsky sat in an armchair.” The artist depicts the fatally ill man with unusual delicacy. The indeterminate background creates the illusion of open space. Musorgsky seemingly is depicted against a background of open sky and his gaze is far away. Repin declined to accept pay for the work and he contributed to the raising of a monument for the composer."

http://www.tretyakovgallery.ru/en/co.../image/_id/214





Портрет композитора А. К. Глазунова (1887) / Portrait of the Composer Alexander Konstantinovich Glazunov (1887)

"Alexander Konstantinovich Glazunov (1865-1936) - (Russian: Алекса́ндр Константи́нович Глазуно́в) was a Russian composer, music teacher, and conductor of the late Russian Romantic period. He served as director of the Saint Petersburg Conservatory between 1905 and 1928 and was also instrumental in the reorganization of the institute into the Petrograd Conservatory, then the Leningrad Conservatory, following the Bolshevik Revolution.

Glazunov was significant in that he successfully reconciled nationalism and cosmopolitanism in Russian music. While he was the direct successor to Balakirev's nationalism, he tended more towards Borodin's epic grandeur while absorbing a number of other influences. These included Rimsky-Korsakov's orchestral virtuosity, Tchaikovsky's lyricism and Taneyev's contrapuntal skill."


Text by Wikipedia.





Михаил Иванович Глинка в период сочинения оперы "Руслан и Людмила" (1887) / Mikhail Ivanovich Glinka during the composition of the opera "Ruslan and Lyudmila" (1887)

"Mikhail Ivanovich Glinka (1804-1857) - (Russian: Михаи́л Ива́нович Гли́нка) was the first Russian composer to gain wide recognition within his own country, and is often regarded as the fountainhead of Russian classical music.Glinka's compositions were an important influence on future Russian composers."

Text by Wikipedia.





Портрет композитора и ученого-химика Александра Порфирьевича Бородина (1888) / Portrait of composer and chemist Aleksander Porfirievich Borodin (1888)

"Alexander Porfiryevich Borodin (1833-1887) - (Russian: Алекса́ндр Порфи́рьевич Бороди́н) was a Russian Romantic composer of Georgian origin, as well as a doctor and chemist. He was one of the prominent 19th century composers known as The Mighty Handful, a group dedicated to producing a uniquely Russian kind of classical music, rather than imitating earlier Western European models.

Borodin is best known for his symphonies, his two string quartets, In the Steppes of Central Asia and his opera Prince Igor."

Text by Wikipedia.





Портрет Ц. А. Кюи (1890) / Portrait of Cesar Antonovich Cui (1890)

"César Antonovich Cui (1835-1918) - (Russian: Це́зарь Анто́нович Кюи́) was a Russian composer and music critic of French and Lithuanian descent. His profession was as an army officer (he rose to the rank of Engineer-General (compared to full general) of The Russian Imperial Army) and a teacher of fortifications, and his avocational life has particular significance in the history of music."

Text by Wikipedia.





Портрет композитора Николая Римского-Корсакова (1893) / Portrait of the Composer Nikolay Rymsky-Korsakov (1893)

"Nikolai Andreyevich Rimsky-Korsakov (1844-1908) - (Russian: Никола́й Андре́евич Ри́мский-Ко́рсаков) was a Russian composer. He was a master of orchestration. His best-known orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade—are staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. Scheherazade is an example of his frequent use of fairy tale and folk subjects."

Text by Wikipedia.





Портрет композитора П. И. Бларамберга (1884) / Portrait of composer Pavel Ivanovich Blaramberg (1884)

Blaramberg Pavel Ivanovich (1841-1907) - Russian composer and music teacher.



Last edited by Alex Him; March 16th, 2016 at 10:09 AM.
 
Old March 15th, 2016 #19
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Thanks for posting this, Alex. Fine examples of White art.
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Old March 16th, 2016 #20
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Quote:
Originally Posted by Ray Allan View Post
Thanks for posting this, Alex. Fine examples of White art.
Thanks for this "thanks", Ray
 
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