mstislav_dobuzhinsky - Synonyms for mstislav_dobuzhinsky

Examples of "mstislav_dobuzhinsky"
Within from Porkhov, on the bank of the Shelon River, is the Neoclassical manor of Princes Gagarin located in the village of Kholomki. In the early 1920s, Kholomki hosted an art colony that was frequented by Korney Chukovsky, Vladislav Khodasevich, Yevgeny Zamyatin, and Mstislav Dobuzhinsky. The village of Volyshevo, home to the former manor of the Stroganovs, is close at hand.
Other symbolist painters associated with the "World of Art" magazine were Victor Borisov-Musatov and Kuzma Petrov-Vodkin, followers of Puvis de Chavannes; Mikhail Nesterov, who painted religious subjects from medieval Russian history; Mstislav Dobuzhinsky, with his "urbanistic phantasms", and Nicholas Roerich, whose paintings have been described as hermetic, or esoteric.
Apart from three founding fathers, active members of the "World of Art" included Mstislav Dobuzhinsky, Eugene Lansere, and Konstantin Somov. Exhibitions organized by the "World of Art" attracted many illustrious painters from Russia and abroad, notably Mikhail Vrubel, Mikhail Nesterov, and Isaac Levitan.
In 1915, Zubov's father, former actor and art-lover Yu. Zubov, collected money for Pakhomov to study in Petrograd at Stiglitz Art School, where his teachers were N. Shukhaev, Sergey Chekhonin, Mstislav Dobuzhinsky and Alexander Savinov. He remained there until 1917. From 1921, the young artist studied at the Vkhutemas under V. Lebedev, N. Tyrsa and A. Karev.
World War I and the subsequent Russian Civil War put a hold on nearly all construction projects for a decade, yet the theatre prospered. The architect turned to theatre again, joined the board of Nikolai Evreinov's "Prival Komediantov" cabaret in 1916. In 1918 Shchuko and Mstislav Dobuzhinsky collaborated with the Theatre of Artistic Drama as stage designers; the company collapsed after producing Tirso de Molina's "El Burlador".
When in 1916 Alexander Benois was commissioned to decorate the Kazan Railway Station in Moscow, he invited Yevgeny Lanceray, Boris Kustodiev, Mstislav Dobuzhinsky, and Zinaida Serebriakova to help him. Serebriakova took on the theme of the Orient: India, Japan, Turkey, and Siam are represented allegorically in the form of beautiful women. At the same time she began compositions on subjects from classical mythology, but these remained unfinished.
At about age 20, Narbut settled in Saint Petersburg from 1906 to 1917. There he studied with painters Ivan Bilibin and Mstislav Dobuzhinsky. In 1909, Narbut continued some of his studies in Munich, in the school of Simon Hollósy. After his return to Saint Petersburg he joined the organization "Mir iskusstva". In 1910-1912 Narbut was an illustrator of the fairy tales Hans Christian Andersen, the fables of Ivan Krylov, and folk tales.
Commissioned by the Bolshevik government, Annenkov together with Mstislav Dobuzhinsky, S. Maslovski and A. Kugel, designed and staged the open-air mystery "Liberated Labour Anthem" on 1 May 1920 in Petrograd. Later that year, Annenkov staged and designed another mass show, The Storming of the Winter Palace, part of the October Revolution anniversary celebrations in Palace Square, Petrograd. In 1919-1920 Annenkov made a series of abstract sculptural assemblages and collages, influenced by the Dada movement.
The Russian art collection has 90 paintings, and numerous prints, etchings and was mostly donated by Prince Paul of Yugoslavia. The collection also has over 100 icons from the 15th to the 19th centuries. The collection includes work by painters and sculptors such as Ivan Aivazovsky, Marc Chagall, Kandinsky, Roerich, Repin, Filipp Malyavin, Alexei Harlamov, Mikhail Larionov, Boris Grigoriev, Vladimir Borovikovsky, Pavel Kuznetsov, Konstantin Korovin, Kazimir Malevich, Alexandre Benois, El Lissitzky, Mstislav Dobuzhinsky, Alexander Nikolayevich Samokhvalov, Pyotr Nilus etc.
"Khovanshchina" was not staged by New York's Metropolitan Opera until 1950, although excerpts were performed by the Met as early as 1919. The 1950 production was sung in English and featured Risë Stevens as Marfa and Lawrence Tibbett as Dosifei. The sets and costumes were designed by the Russo-Lithuanian artist Mstislav Dobuzhinsky. That production received only four performances in 1950, and the Met did not stage "Khovanshchina" again until 1985, this time in Russian.
In 1929 he joined his company with a troupe of "Russian opera" of Maria Nikolaevna Kuznetsova and her husband Alfred Massenet (Jules Massenet's nephew). The new company was called the "Russian Opera in Paris". The conductors, directors, painters, singers and ballet artists who worked there included Emil Cooper, Nikolai Evreinov, Alexander Sanin, Konstantin Korovin, Ivan Bilibin, Mstislav Dobuzhinsky; Michel Fokine, Bronislava Nijinska, opera singers: Feodor Chaliapin, Dmitriy Smirnov, Yelena Sadoven, Marya Davydova, Marianna Cherkasskaya, Natalia Ermolenko-Yuzhina, George Pozemkovskiy, Yakov Gorsky, Kapiton Zaporojets (Capiton D. Zaporozhetz, ru: Капитон Запорожец), Nina Koshetz etc. Alexey Tsereteli invited Colonel W. de Basil’s ballet troupe. The success was enormous.
The Russian art collection in National Museum of Serbia has 90 paintings,and numerous prints,etchings and was mostly donated by Prince Paul of Yugoslavia. The Collection also has over 100 icons from the 15th to 19th century. The collection includes work by painters and sculptors such as Ivan Aivazovsky, Marc Chagall, Wassily Kandinsky, Nicholas Roerich, Ilya Repin, Filipp Malyavin, Alexei Harlamov, Mikhail Larionov, Boris Grigoriev, Vladimir Borovikovsky, Pavel Kuznetsov, Konstantin Korovin, Kazimir Malevich, Alexandre Benois, El Lissitzky, Mstislav Dobuzhinsky, Alexander Nikolayevich Samokhvalov, Pyotr Nilus etc.
In 1899, Zvantseva returned to Moscow and opened an art school where painters like Konstantin Korovin, Valentin Serov and Nikolai Ulyanov taught students including Nina Simonovich-Efimova who studied there in 1900. She closed the school in Moscow in 1906. That same year, she opened drawing and painting studio in St. Petersburg, known as both the Zvantseva School of Drawing and Painting and The School of Bakst and Dobuzhinsky, until 1910. Léon Bakst taught painting at the school and Mstislav Dobuzhinsky was the drawing instructor. Among their students were Marc Chagall, Sergey Gorodetsky, Elena Guro, Mikhail Matyushin, Heorhiy Narbut, Anna Ostroumova-Lebedeva, Ivan Puni, Olga Rozanova, and Margarita Sabashnikova (later Woloschin).
Mstislav Dobuzhinsky, one of the last surviving members of "Mir Iskusstva", held more than one exhibition in the Club and presented several of stage designs to the Club. There was an exhibition of paintings and lithographs by Leonid Pasternak. Soviet writers brought to the UK by the British Council would often come and talk at the Pushkin Club; they included Konstantin Fedin and Alexander Tvardovsky in 1960. It also provided a rehearsal venue for the London Balalaika Ensemble, also popular during the 1960s. The Pushkin Club enabled people from opposite ends of the political spectrum to meet and discuss; this remains a firm commitment of Pushkin House to the present day.
Sergey Kalmykov was born in October 1891 in the Central Asian city of Samarkand, then a part of the Russian Empire. Soon after his birth the family moved to Orenburg where he studied in a gymnasium. In 1909-1910 Kalmykov lived in Moscow where he attended the Moscow Art School (studio of Konstantin Yuon, and from late 1919 in St.Petersburg where he was a member of the art studios of Mstislav Dobuzhinsky and Kuzma Petrov-Vodkin. It is widely believed that it was Kalmykov who inspired Petrov-Vodkin to create his famous painting.
An innovative line of work was the festive decoration of Petrograd for the early anniversaries of the October Revolution. Among the many people involved were the artists Kuzma Petrov-Vodkin, Boris Kustodiev, Isaak Brodsky, Arkady Rylov, and Nathan Altman, the sculptors Leonid Sherwood and Sarah Lebedeva, the graphic artists Vladimir Lebedev, Mstislav Dobuzhinsky and Sergey Chekhonin, the architects Lev Rudnev and Ivan Fomin. Their ideas and approaches to a large extent determined the characteristics of the nascent new Soviet art of decorating public spaces that answered the call for monumental propaganda.
From 1890 to 1893 she studied art at the Society for the Encouragement of the Arts in St Petersburg. From 1903 to 1905 she studied in the private studio of Jan Ciągliński where she met her future husband Mikhail Matyushin (they were married in 1906). In 1905 she illustrated the Russian translation of a book of fairy tales by George Sand. In 1906 she and Matyushin moved to the school of Elizaveta Zvantseva, where Guro worked under Mstislav Dobuzhinsky, Léon Bakst and Kuzma Petrov-Vodkin. In 1908 she left the school and established her own studio. By 1908 her home was a central meeting place for discussions on art and literature.
The main actors of that period were Yury Yuryev and Nikolay Monakhov. Many brilliant painters worked for the theater including Alexandre Benois, Mstislav Dobuzhinsky, Vladimir Shuko, Nikolay Akimov; among the composers working with the theater were Boris Asafiev and Yuri Shaporin. The theater produced mostly classical romantic dramas like "Don Carlos" (1919), "Othello" (1920), "King Lear" (1920), "Twelfth Night" (1921), "Ruy Blas" (1921), "The Robbers" (1919), and "Le Médecin malgré lui" (1921). Since the mid-1920s the theater added to its repertoire plays of German expressionists including "Gas" by Georg Kaiser, "Virgin Forest" by Ernst Toller, and, influenced by expressionism, "Machine Mutiny" ("Bunt Mashin") by Alexey Tolstoy.
Ažbe, crippled since birth and orphaned at the age of 8, learned painting as an apprentice to Janež Wolf and at the Academies in Vienna and Munich. At the age of 30 Ažbe founded his own school of painting in Munich that became a popular attraction for Eastern European students. Ažbe trained the "big four" Slovenian impressionists (Rihard Jakopič, Ivan Grohar, Matej Sternen, Matija Jama) and a whole generation of Russian painters (Ivan Bilibin, Mstislav Dobuzhinsky, Igor Grabar, Wassily Kandinsky, Dmitry Kardovsky and Kuzma Petrov-Vodkin, to name a few). Ažbe's training methods were adopted and reused by Russian artists both at home (Grabar, Kardovsky) and in emigration (Bilibin, Dobuzhinsky).
Among the art exhibitions, the largest were the "First State Free Exhibition of Works of Art", held in the Winter Palace in 1919 with 300 participants, and the "Exhibition of Paintings by Petrograd Artists of All Directions. 1918–1923", held at the Academy of Arts in 1923 with 263 participants. Exhibitions were staged of paintings by members of the Kuindzhi Society, the Commune of Artists, Peredvizhniki and Mir iskusstva, as well as the traditional autumn and spring exhibitions. The venues for them were the halls of the Society for the Encouragement of the Arts, the Academy of Arts, the Museum of the City (the former Anichkov Palace) and the Hermitage. The year 1920 saw one-man exhibitions of Kuzma Petrov-Vodkin and Mstislav Dobuzhinsky.