Synonyms for pavel_filonov or Related words with pavel_filonov

isaak_brodsky              kuzma_petrov_vodkin              david_burliuk              pyotr_konchalovsky              vasily_polenov              olga_rozanova              aleksandr_gerasimov              leonid_pasternak              mstislav_dobuzhinsky              aleksandra_ekster              vladimir_tatlin              isaac_levitan              alexander_bogomazov              mikhail_nesterov              ilya_glazunov              ivan_kliun              rudolf_frentz              kazimir_malevich              abram_arkhipov              piotr_buchkin              boris_grigoriev              ivan_kramskoi              konstantin_somov              wladimir_burliuk              mikhail_vrubel              alexander_rodchenko              konstantin_korovin              aleksandr_deyneka              nadezhda_udaltsova              alexander_savinov              mikhail_larionov              aleksei_gritsai              igor_grabar              vladimir_makovsky              el_lissitzky              bogaevsky              pavel_kuznetsov              valentin_serov              ilya_mashkov              liubov_popova              lyubov_popova              pavel_korin              arkady_rylov              aristarkh_lentulov              boris_kustodiev              boris_ioganson              sergey_gerasimov              alexander_lubimov              andrei_ryabushkin              rodchenko             



Examples of "pavel_filonov"
In 1926 Boris has found the new idol - Pavel Filonov with new "Analytical Art".
Boris Smirnoff refused to sell his artworks like his teacher Pavel Filonov.
From 1910 to 1914 he has participated in exhibitions of the group of artists "Soyuz Molodyozhi" (Union of Youth) together with David Burliuk, Wladimir Burliuk, Kazimir Malevich, Pavel Filonov, Vladimir Tatlin, Yuri Annenkov and others.
Zabolotsky had already begun to write poetry at this time. His formative period showed the influences of the Futurist works of Vladimir Mayakovsky and Velimir Khlebnikov, the lyrical poems of Alexander Blok and Sergei Esenin, and the art of Pavel Filonov and Marc Chagall. During this period, Zabolotsky also met his future wife, E.V. Klykova.
Varvara Bubnova, Mikhail Matyushin, David Burliuk, Wladimir Burliuk, Yuri Annenkov, Kazimir Malevich, Pavel Filonov, Vladimir Tatlin, Ivan Kliun, Ivan Puni, Nadezhda Lermontova, Aleksandra Ekster, Valentin Bystrenin, Marc Chagall (exponent of an exhibition), Nadezhda Udaltsova, Svyatoslav Voinov, Pyotr Miturich, Nikolay Tyrsa, Alexey Grischenko, Lev Bruni, Nathan Altman.
Starting from the Russian avant-garde (Pavel Filonov), I finally came to classical style. This was my personal choice. Oil painting as a universal mode of expression, a way of understanding the world. The great masters of the past (Dürer, Leonardo da Vinci) remain our contemporaries and teachers.
From 1903 to 1905, Bubnova studied in the studio of Art Promotion Sosiety. From 1907 until 1914 she studied in the St. Petersburg Academy of Arts. She attended school with the soon-to-be famous Pavel Filonov and her future husband V. Matvey, who was the first Russian researcher of African Art.
Matyushin, along with Malevich and Pavel Filonov, was a "perceptual millenarianist", confident that the boundaries of individual human perception are yet unexplored and can be significantly extended in an almost mystic way. The movement began to fade at around 1915 and gave way to constructivist ideology in early 1920s, but Matyushin, Malevich and Filonov remained faithful to millenarianism through 1920s.
Vladimir Sterligov (1904-1973) was the student of Kazimir Malevich, Pavel Filonov, and all his life followed K. Malevich's principles of cubism and suprematism in this artistic tradition. His followers were: A. Baturin (1914-2003), Elena Gritsenko (b. 1947), A. Nosov (b. 1947), Mikhail Tserush (b. 1948), G. Zubkov (b. 1940), and other artists, who expending the Sterligov's philosophy in their artistic view.
Goldstein’s academic career began in Russian literature with her Stanford Ph.D. dissertation on Nikolai Zabolotsky, a Russian poet whom Goldstein describes as “brilliant.” Her early academic career was studying Russian modernist poetry, and she wrote a number of articles on and gave academic talks about Russian poets and artists such as Zabolotsky and Pavel Filonov.
The play was premiered in December 1913 at the Saint Petersburg's Luna Park theatre, directed by Mayakovsky (also engaged in the leading role) and financed by the Union of Youth artistic collective, with stage decorations designed by Pavel Filonov and Iosif Shkolnik. Two days before the premiere all the original cast withdrew because rumours started to spread across the city that actors on stage would be thrown garbage at and beaten up by the public. Mayakovsky had to look for substitutes and settle for amateurs, mostly art students. The supporting actors, most of whom just stood on stage wearing white hoods, faces concealed behind cardboard symbols (painted by Pavel Filonov), and were looking out from time to time only to pronounce cues, were visibly frightened. The (mostly middle-class) public was hostile and behaved as aggressively as Mayakovsky who was pacing up and down the stage, throwing invectives at them.
When Kazimir Malevich returned to Stalinist Russia, his works were confiscated, and he was arrested and banned from making art in 1930. Khardzhiev preserved a large number of documents and memoirs associated with the avante-garde movement, and around 1,350 artworks. These included oil paintings, gouaches and drawings by Malevich; paintings by Pavel Filonov, Mikhail Larionov, Natalia Goncharova and Olga Rozanova; and important drawings by El Lissitzky.
The Russian avant-garde is an umbrella term used to define the large, influential wave of modernist art that flourished in Russia from approximately 1890 to 1930. The term covers many separate, but inextricably related, art movements that occurred at the time; namely neo-primitivism, suprematism, constructivism, rayonism, and futurism. Notable artists from this era include El Lissitzky, Kazimir Malevich, Wassily Kandinsky, Vladimir Tatlin, Alexander Rodchenko, Pavel Filonov and Marc Chagall. The Russian avant-garde reached its creative and popular height in the period between the Russian Revolution of 1917 and 1932, at which point the revolutionary ideas of the avant-garde clashed with the newly emerged conservative direction of socialist realism.
Khlebnikov is known for poems such as "Incantation by Laughter", "Bobeobi Sang The Lips", “The Grasshopper” (all 1908-9), “Snake Train” (1910), the prologue to the Futurist opera "Victory over the Sun" (1913), dramatic works such as “Death’s Mistake” (1915), prose works such as “Ka” (1915), and the so-called ‘super-tale’ (сверхповесть) “Zangezi”, a sort of ecstatic drama written partly in invented languages of gods and birds. He published "Selected Poems with Postscript, 1907–1914" circa 1914. Kazimir Malevich and Pavel Filonov co-illustrated it.
Pavel Kondratiev (1902-1985) was also the student of Kazimir Malevich, Pavel Filonov, Alexander Savinov at the Academy of Arts/Vkhutein, and collaborated with V. Sterligov and T. Glebova at that time and later. So, they both have the same kind of "Niche in art", where their followers and pupils were in one group or another, but followed the same kind of principles in art. Pavel Kondratiev was also a follower of Pavel Filonov's "Masters of Analytical Art" (MAI) movement in Leningrad from 1927 to 1932.
During the war close to every third member of the LOSSKh perished. Authors differ on the exact numbers. Olga Roitenberg, for example, writes about 550 lives lost to the war and the siege, while admitting that this sad figure is far from definitive. Among the dead were Alexander Savinov, Pavel Filonov, Pavel Shillingovsky, Ivan Bilibin, Nikolai Lapshin, Vladimir Grinberg, Nikolai Tyrsa and Аlexei Karev. Even more devastating were the losses among young artists and students. Yet the Artists’ Union was gaining new members, among them the young Nikolai Timkov, Sergei Osipov, Evgenia Baykova, Gleb Savinov, Nikolai Pilshikov and other Leningrad painters and graphic artists who would become well known in future.
In October 1913 Mayakovsky gave the performance at the Pink Lantern café, reciting his new poem "Take That!" (Нате!) for the first time. The concert at the Petersburg's Luna-Park saw the premiere of the poetic monodrama "Vladimir Mayakovsky", with the author in a leading role, stage decorations designed by Pavel Filonov and Iosif Shkolnik. In 1913 Mayakovsky's first poetry collection called "I" (Я) came out, its original limited edition 300 copies lithographically printed. This four-poem cycle, handwritten and illustrated by Vasily Tchekrygin and Leo Shektel, later formed Part One of the 1916 compilation "Simple as Mooing".
He became a lecturer at the "Society for the Encouragement of the Arts" and was one of the founding members of "Mir iskusstva" (World of Art). From 1902, he taught at the Imperial Academy. In 1906, he was named an Academician and, in 1911, became a full Professor. During this time, he also operated his own private art school. In 1912, he was honored with the title of Court Counselor. Many well-known painters were among his students, including Yury Annenkov, Ivan Bilibin, Eugene Lanceray, Pavel Filonov, Elena Guro and Piotr Buchkin.
Despite the complications caused by the change of regime, the civil war and foreign intervention, artistic groupings – Mir iskusstva, Peredvizhniki , the Arkhip Kuindzhi Society, the Commune of Artists, and the Society of Individualist Artists – continued to operate in Petrograd. In 1922 the Association of Artists of Revolutionary Russia (AKhRR) was formed and the artist Nikolai Dormidontov became head of its Petrograd branch. Among the participants in exhibitions between 1917 and 1923 were such artists as Nathan Altman, Mikhail Avilov, Isaak Brodsky, Boris Grigoriev, Ilya Repin, Vladimir Makovsky, Nikolay Dubovskoy, Osip Braz, Konstantin Makovsky, Boris Kustodiev, Sergey Konenkov, George Savitsky, Mykola Samokysh, Arkady Rylov, Stanislav Zhukovsky, Vladimir Kuznetsov, Wassily Kandinsky, Alexandre Benois, Vladimir Baranov-Rossine, Pavel Filonov, Kuzma Petrov-Vodkin, Nicholas Roerich, Marc Chagall, Kazimir Malevich, Mstislav Dobuzhinsky, Alexander Kiselyov, Ivan Bilibin, Zinaida Serebriakova, Piotr Buchkin, Yury Annenkov, Rudolf Frentz, Aleksander Golovin and some others. Between them, they represented the main directions and tendencies in contemporary art. Some of them, such as Kazimir Malevich, Wassily Kandinsky, Pavel Filonov, Marc Chagall and Nicholas Roerich were figures of world rank.
Universal Flowering ("Mirovoi rastsvet") is the name given by Pavel Filonov to his system of analytical art. The system arose from cubo-futurist experiments and works that he undertook from 1913-1915. It is characterized by very dense, minutely facetted, and relatively flat surfaces created by working from the particular to the general, using the smallest of brushes and the sharpest of pencils. The images have both Cubism's multiple vantage points and Futurism's representation of a figure over time. A number of the paintings, while having a given orientation, are painted as though they could be oriented in a variety of ways. Filonov's philosophy was originally formalized in written form in 1915, which was revised and published as "The Declaration of Universal Flowering" in 1923 when Filonov was a professor at the (then) Petrograd Academy of Arts. Filonov's main theoretical work "The Ideology of Analytical Art" ("Ideologia analiticheskogo iskusstva") was published in 1930.