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MIKHAIL VRUBEL: MADNESS AND ART. MIKHAIL ALEKSANDROVICH VRUBEL (1856–1910) was one of the first modern Russian artists—modern in the sense that he broke away from academic traditions, expressing his own artistic vision in a unique vocabulary. Although Vrubel is sometimes considered a Symbolist, his art is rather difficult to categorize.
In the circle of Savva Mamontov, Mikhail Vrubel found a home in the 1890s. Even earlier, however, Vrubel had worked under a friend of Mamontov’s, Adrian Prakhov, who undertook in the mid-1880s the restoration and decoration of the 12th-century Kievan church of St. Kirill. For this project Vrubel studied both Byzantine mosaics and Russian icons.
The Russian side (usually the left) was devoted to the Symbolist painting of Mikhail Vrubel and to a number of academic-looking portrait painters. In the second room the French were even more dominant: Henri Matisse, Georges Braque, Fernand Léger, André Derain, and Albert Marquet (as well as Pablo Picasso) eclipsed the relatively sedate portraiture of Leon Bakst.
The Heart of the Matter is one of Magritte’s shrouded heads. Here a woman, her head covered with a cloth, stands with a tuba and a small suitcase as if just returning or about to depart. In the context of this picture, the incongruous tuba (trompête), I believe, spells out, “ déloger sans trompête,” the equivalent of “depart without ...
Amid the excitement of the fair, the tale unfolds. Three puppets—Petrouchka, a Ballerina and a Moor—come to life and dance on stage at the command of the Charlatan, while behind the scenes of the puppet theater the drama continues. Petrouchka falls in love with the Ballerina, who, in turn, is captivated by the Moor.
mikhail vrubel: madness and art Existential formalism does not need such full-blown expressionist notions as action painting to give it weight. The expressionistic does not have any monopoly on the existential, and in some way distracts from it, since it draws attention from the identity of the work to that of the artist’s person.
Working in the immediate wake of the October Revolution, Vertov and his followers—the latter including, foremost, his wife and editor, Elizaveta Svilova (1900–1975), and his brother and cameraman, Mikhail Kaufman (1897–1980)—evidently believed that such an approach to film would create new ways for a revolutionary society to represent itself to itself, by breaking away from the tropes, templates, types, and canons of “art” and indeed from the limitations of language and human ...
Michael Goldberg, Knossos, 2007, oil stick and oil on canvas, 81 1/2 x 74″. This exhibition brought together paintings that Michael Goldberg made in the 1950s, at the beginning his career (he was born in 1924) and in the 2000s, near the end of his life (he died in 2007). The juxtaposition of his earliest and latest works indicate that the ...
Feb 21, 2022 · Between 1989 and 1990, Finnissy wrote the song cycle Unknown Ground, which sets the voices of people with AIDS alongside the work of queer Soviet poets Sergei Esenin, Mikhail Kusmin, and Nicolai Kluyev (from whom the title is taken). The piece premiered at a benefit concert for the Association to Fight Aids in Moscow after it had been removed from the program of the official Brighton Festival for fear of prosecution under the then newly introduced Section 28 legislation, which made the ...
With gestures and movements choreographed by ballet dancer Mikhail Mordkin, and a special score by Czechoslovakian composer Jules Guitel, the Kamernyi Salome succeeded in surpassing the famous 1912 Paris production of Salome by Bakst for Ballets Russes performer Ida Rubinstein. Where Bakst’s style depended on the impression achieved by intensely colored and ornately decorated flat surfaces that often overwhelmed the other elements, Exter’s style depended on specificity, on her ability to ...
