Category Archives: ART

Not pushing the curtains

In the Pushkin Museum Pushkin brought masterpieces of the world’s largest private collection of old Dutch paintings belonging to Thomas Kaplan and Daphne Recanati-Kaplan.

It’s not just the art created during the time of Rembrandt and Vermeer (the exhibition opened March 28, is called “the Age of Rembrandt and Vermeer. Masterpieces of Leiden collections”), are present here, and the Rembrandt Harmenszoon van Rijn — dozen paintings and drawings “Stay young lion” (1638-1642), and Jan Vermeer of Delft, whose “the Girl behind verginella” (1670-1672) from the collection of kaplans is the only painter’s canvas, held in private hands.

In the exposition there are works by Gerrit Dow, the first pupil of Rembrandt, and a portrait of Govert Flinck, one of the most significant of his students; a few things legenza Gabriela Metso (origin of most of the artists collection and is named Leiden) and student Dau of Frans van mieris the Elder, including his “Lady with a parrot” (1663), with which the contemporaries was copying.

there are third generation students, and fourth — Delft, Utrecht. The exhibition brought two works by Frans Hals of Haarlem was difficult for a collector to resist a nice add-on. As from the temptation to show created by Leonardo da Vinci the head of a bear: it is believed that in “the Lady with an ermine”, the artist never having seen the ermine, used the same pattern a bear’s head, slightly extending it.

In the White hall of the Pushkin Museum exhibited painting by Jan Lievens, a friend and rival of Rembrandt, with whom he shared a Studio in Leiden (including brilliant early self-portrait), and on the gallery — “David and Uriah” (1619) their General Rembrandt’s teacher Pieter Lastman. Pieter Lastman, known for his passion for the unpopular old Testament stories, wrote them as quite historical, shifting the action in a familiar context. The scene where king David — of course, the cloak lined with ermine, — the deceived wife Bathsheba deadly letter appears in the background of the Roman Basilica of St. Peter.

not Another oft — quoted story-the angel who points gone mad from thirst, Hagar the source — written by Karel Fabricius, the most talented pupil of Rembrandt. “The angel of Hagar” (about 1645), one of the main things here is the only one stored in a private collection painting by the artist. Fabricius, who died young in the explosion of gunpowder warehouse in Delft (for those who read “the Goldfinch” Donna tart — it was in the novel talking about his picture), had very little: there are only 16 confirmed it works. This particular painting was sold in 1704 as the work of Ferdinand bol (another pupil of Rembrandt, whose canvases are also brought to the Pushkin Museum), and within two and a half centuries, when it was kept in the Austrian collection of the counts of schönborn-Buchheim, it was attributed to Rembrandt. Only in 2011, when cleaning revealed the signature of Fabricius in the left corner.

the Beginning of the Leiden collection, which you can not believe it! — only 15 years old, was laid in 2003, when American businessman and philanthropist Thomas Kaplan, the new York-based Electrum Group LLC, and founder (with wife Daphne) of the Fund for the protection from extinction of large cat Pantera gained their first Gerrit Dow — “Portrait of Dirk van Berenstein” (about 1652), selling for this silver mine.

Main achievements — of course, Rembrandt, of which the kaplans more than anyone from private collectors. They and Minerva (1635), brings to mind the exemplary “Rembrandt” from the Hermitage and Prado museums, and “the Girl in gold embroidered Cape”, stolen in 1975 from the Museum of fine arts in Boston and in 10 years sold at auction. Thanks to Rembrandt, seen in the Metropolitan Museum, six-year-old Thomas Kaplan addicted to the old Dutch, and at eight was taken by his parents to Amsterdam. He was 44 when he bought the first “Rembrandt”. Bought the dealers of old paintings, rare at auction, believing the incredible luck that all of these things were sold: “I was lucky, because I very quickly made my decision.”

Now, Thomas Kaplan, 55 years, wife less, and the Leiden collection includes 250 of the things, of which 30 were shown in 2017 at the Louvre, then twice more — in the National Museum of China, and now 82—.

the Second striking feature of the Leiden collection, after its exceptional level of openness. Deciding that the best thing to do with art — to present it to the world, the couple Kaplan put it in American museums anonymously. At the Getty Museum in Los Angeles, long hung, for example, “the Boy in the cloak and turban” Aristotle without mentioning the owner. The accumulation of paintings and knowledge, research and restorations, feeling the need to share information, the owner of the collection launched website, where you can now see the full collection and learn all about him.

In 2015, the Kaplans bought a picturesque panel “Patient who fainted (Allegory of smell)” — one of four allegories of the senses, created by 18-year-old Rembrandt, in addition to two more panels that they already had. Until 2015 it was thought to be lost, as an “Allegory of taste”, has not yet surfaced on a third-rate American auction under the guise of an unknown author with an estimate of $ 500-800. Sold, however, was nearly a million.

Anticipating the question associated with Vermeer because he’s always causing issues, survived only 36 of its things — I should explain that at this time the origin is certain: the examination confirmed that the canvas for the paintings were cut from the same roll as for hanging in the Louvre, the “Lace”. Another thing is that the shawl which wrapped the girl, added later by another hand and is noticeably rougher.

one way or another, almost every masterpiece in the Leiden collection has its own history, and some of them pull on the detectives. It is not only the incorrect attribution, although Kaplan acknowledged that error correction usually occurred in his favour and never he made the right decision when buying. Just for 300-350 years of masterpieces with them anything can happen. Especially during the Third Reich, when the persecution of the Jews, which was missing among the art dealers, has forced many to flee, and someone died as a Dutch art collector Jacques Gaudstikkera. He owned a painting by Pieter Lastman was requisitioned in the collection of Hermann Goering, after the war was in the Dutch Museum, and in 2006, after years vessels returned to the heir of the dealer residing in the United States. The same way the “Sacrifice of Iphigenia” (1671) Leiden painter Jan Steen, but his “Parable of the rich man and Lazarus” (1677), is given to the owner of the painting for his and his family’s rescue in 1940 and for five years fell to Hitler in Linz.

In the Leiden collection there are works that adorned the collection of king August the Duke of Orleans, hanging in the Alte Pinakothek in Munich. “Portrait of a seated woman with crossed arms” (1658), Rembrandt atributiruemye now, and was believed to be the work of students, belonged to the Guggenheim family. But for the Russian audience it is also important that posed for him, it seems, the same model as rembrandta “Portrait of an old woman” hanging in the neighborhood with the current exhibition in the Pushkin Museum.

the Leiden collection as a whole looks are not accidental — and in Moscow, where the exhibition runs until 22 July, and especially in St. Petersburg where she will go next. Much of it is reminiscent of the Hermitage — not only to us but to the owner of the treasure. Remembering the happy time when he and his wife bought the painting a week, Thomas Kaplan notices that Catherine II the whole of such a collection could buy in a day. Some of these things and it just bought. For example, “Peddler sledu” (1964) Gerrit Dow together with his other works, some of which — including the famous “the old Man, considering the globe”, presented by one of the Orlov brothers, eventually came back to the Hermitage. A “Vendor…”, given to the favorite, in the late 1920s went to the West. “It shows in his shop, where you see bunches of onions, bunches of carrots, a head of red cabbage and a barrel of herring. The woman pulls out one and shows it to boy who is obviously very want to try it,” — said about this painting in the first, handwritten is still the catalog of the Hermitage, where it is listed under the number 534.

Dhow many in the Hermitage. But a miniature samples of Leiden fine painting (fijnschilderij), which Dow actually created, set specific direction and in the Leiden collection. Smooth as enamel, the surface is thoroughly discharged the little things, the everyday scenes, the details shown on the Board or a copper plate Cabinet painting, always very modest size, rarely written on the canvas, all done with such precision that it is clear why the master of fine art was so popular during his lifetime.

and now It looks like kunshtyukov and shown in separate display cases in the Cabinet of curiosities. Irina Sokolova, curator of the Hermitage exhibition (curator of the Moscow exhibition became the head of the Department of art old masters of the Pushkin Museum Vadim Sadkov), believes that the meeting of the kaplans as a whole, “embodies the idea, very similar to the cabinets of European painting masters of the art of the XVII-XVIII centuries”. Lined up, these Frank, albeit innocent scenes — “Cat, priceusa in the artist’s Studio” (1657), or “the Praying man” (circa 1665-1670 years), seem to be peeped in the keyhole and reminiscent of the forced tradition of the Protestant Dutch not draw the curtains in the Windows, exposing the heart.

The CHA show is the only in Russia collection of classic cars Volvo

In the Central house of artists on Krymsky Val has opened the exhibition project for lovers of Antikvariat Forum Collections in Russia. About it reported in a press release received by the editors”.ru”.

the Exhibition runs until 1 April.

the Forum’s work are the thematic of the exhibition, “portrait of a collector”, “Unique archaeology” and III Salon “Old paper and other forms of collecting.”

the exhibition, in particular, will be presented only in Russia collection of classic Volvo cars, the collection of red shoes from the XVIII-XXI centuries “the Red Shoe”, a collection of rare photos and personal belongings of the family members of the “King of Russian Vodka” Pyotr Smirnov.

Russia’s largest festival of Japanese culture held in Moscow

In the framework of the year of Japan in Russia, Moscow will host the festival of Japanese culture Hinode Power Japan. About it reported in a press release received by the editors”.ru” on Thursday, March 22.

the Event will take place on 28 and 29 April at the site of the 75th pavilion at VDNKH. Hinode Power Japan which is stated as the largest Japanese culture festival in Russia, held for the seventh time.

the event will perform Japanese rock band Yasuharu Takanashi & YAIBA, who recorded the soundtrack to the anime “Naruto: shippuuden”, “fairy Tail” and “Boruto: Next generation of Naruto”.

Visitors can expect musical performances, competitions in traditional Japanese sports and cooking classes by chefs of Japanese restaurants in the capital. The event will also host the final of the championship of Russia on cosplay.

The artist set fire to live chickens and caused a scandal

Museum of contemporary art MAC Lyon in France removed from display video Algerian artist Adel of Abdessemed. On Thursday, March 15, according to the portal, artnet.

a Piece called “Spring” was a record on which the dangling legs of live chickens burned alive. The curators emphasized that the video was created with special pyrotechnic effects and with its creation, no bird was hurt. The chickens were in the “safe fire” for three seconds, the record was set on repeat. Previously, the artist in the same way was set fire to himself.

the Work, which was shown in a separate room and only after a warning about “sensitive content”, caused a scandal in social networks. Activists have accused the Museum is that it “promotes torture of animals.”

representatives of the gallery said that the artist in many of his works and interviews condemns cruelty to animals, and “Spring” is a metaphor for violence and its negative consequences.

Utility exotic

anniversary retrospective exhibition was prepared together with the artist — February 15, Vladimir Yankilevsky, one of the leaders of the Moscow non-conformist, the artist, whose works are in the Centre Pompidou, the Cologne Museum Ludwig, Albertina etc., was about to turn 80 years old. Did not live up to her less than two months, Yankilevsky died in Paris, where he lived the last decades, and how now arrived in Russia a large body of his work.

the exhibition, called, one of the things the “Incomprehensibility of life” brought a lot of works by Vladimir Yankilevsky (1938-2018) in this century in Paris (in 1989, the artist left the beginning in the US and then France). But in the halls of the MMSI on Gogol Boulevard, where, generally speaking, little space, works got three times less than expected. This is, however, quite early, the time of her study in the Institute of Printing, painting mostly oil on cardboard, and non-figurative things 1960-ies, and the multimeter triptychs and pentaptih. Brought to Moscow and the first “Door” Yankilevsky, 1972 — the earliest of his three-dimensional installation, which bought it Dina Verni said that she would never leave Paris.

Moscow is this “Door” at the time also left with adventure. In 1974, the owner of the famous Paris gallery, the Nudes of Matisse and Maillol’s Muse and his last heir, came to the USSR to search for traces of relatives — Dina Vierny, Dina, she’s Ibinder, was a native of Chisinau. Once in Moscow, she has bypassed many shops and found three of interest in artists: Kabakov, Yankilevsky, and Bulatov.

“It took a lot of my stuff — graphics, gouache,” recalled Yankilevsky. Then Dina Vierny saw his Door, which was even double and triple bottom.

“Door” reflects the moment of simultaneous living person of the three States — past, present and future. The conceptualists, friends and colleagues of the author, used to depict things like that literary language — the text —Yankilevsky preferred plastic language. “Standing before the door, — he explained, — with all these calls and emails, we don’t know what’s behind it. Opening, we see a character that seems real, in a coat and a shopping bag. But it is bonded to the second door, opening that we find ourselves in another space — and to see him cut silhouette and a breakthrough…” Breakthrough somewhere, in the future or the past, but it is important that the shining horizon in the breakthrough, and access to open space, the illusion of freedom.

All this could hardly immediately evaluate Dina Vierny — according to the artist, the object I impressed her “as the image of the Soviet reality.” Endless calls to doors leading to different rooms, doused with paint the mailbox, taped to the wooden surface Declaration — it was all communal exotic, nothing else is required.

took out the “Door” of the USSR in their van, the son of Maurice Thorez, who traveled to the country as a tourist. Entering the Soviet Union, he declared an old wardrobe, and took out already a work of art. Until 1995, while on Rue Grenelle opened musée Maillol — Foundation Dina Vierny, “the Door” collecting dust in the basement. But in 1995 it was put up in a closed form, it was written “Wardrobe”. The author tried to argue: “Dina, this is La Porte — the door.” She said: What’s the difference.

for 21 years this “Door” no one has seen — and it was a loss for the Soviet unofficial art. No one else here nothing of the kind is not done then. “With the exception of Kabakov, Steinberg and narrow circle of friends, nobody has seen her, recalled Yankilevsky. — It happened, of the artistic life of Moscow fell the actual process.”

the concept of the Door has become a textbook form for many subsequent works of the artist. In the Museum you can see the “Doors” in different years: from the Russian Museum, for example, brought “Triptych No. 14. Self-portrait” (1987) dedicated to the memory of his father, Boris Yankilevsky, is also an artist. There is only the Central part of the work — the door of the train station, and not a bag with noodles, the hero, and a briefcase and newspaper in hand.

And the first “Door” is a dedication to “the parents of my parents” — the artist’s grandfather was a Cantor, grew up Yankilevsky in the courtyard of the Moscow choral synagogue. On the one hand, we see on the back of the door photo of my grandfather and grandmother, on the other — cracked the double portrait of the Duke of Urbino and his wife, works of Piero della Francesca. The reminiscences in this portrait Yankilevsky will return to life.

“He has matured very early, almost instantly, without any searches and wanderings, — wrote the artist Viktor Pivovarov Vladimir Yankilevsky, the childhood friend and classmate in mshsh. And in the same pivovarovskiy the obituary said: “Throughout his work aroused widespread irritation — irritation of the chiefs, unhappy, ignorant and downtrodden public and the majority of colleagues.”

His art was not politically engaged, it was over politics and ideology. But today it seems that Yankilevsky was a nonconformist even among friends. What he did was not unlike what his hand is immediately recognizable and in the paintings, voluminous things, and in cartoons — Vladimir Yankilevsky was the artistic Director of the entire “Pushkiniana” Andrei Khrzhanovsky (remember, cartoons on Pushkin) and made drawings for his film “In the world of fables”, only there it appears under the name of his grandfather, Rabbi Volosov.

10 years Yankilevsky was waiting for membership in the artists Union in 1972 in the graphics section by secret ballot it was adopted, but the Secretariat of the Mosh was not approved. And without membership in the Union could neither paint professional to get, nor canvases. Sorry, due to financial difficulties, the exhibition brought “Nuclear power plant”: it is stored in the Cologne Ludwig Museum, and in 1962 was hanging on the infamous show in the Arena. So there are visible seams under the paint, because it’s not a canvas, and cardboard. “Nuclear power plant” was all done in a tiny room in a communal apartment where the author lived, his wife and little daughter. Made on cardboard, nailed to the wall, entirely the author kept her only in the mind and in the Arena for the first time saw live.

Among those who have suffered in the Arena the wrath of Khrushchev, the 24-year-old Vladimir Yankilevsky was the youngest. There should probably explain what actually the exhibition “30 years MOSKh” was located on the first and only floor of the Arena. But there is also the “balcony”, where the scandal occurred.

Here’s the story, narrated by Yankilevsky: “For a couple of weeks before the exhibition of students of the Studio Eliya Belyutina. To give it some status, he was invited to participate in it for a few independent artists: Ernst Unknown, Hulot Sooster, Sobolev, Yuri, and me. Then the four of us offered to do an exhibition in the lobby of the hotel “Yunost”, which has already been hung, never been opened. People from the Academy of fine arts moved our jobs out of the arena, telling Khrushchev that we, the members of Mosh — wanted to send his wrath against the competitors in the left wing of the Union. Of course, this was pure provocation”.

Belyutintsev hung in the same room, Yankilevsky with Sooster and Sobolev in the second, the third was standing sculpture of the Unknown. Today it is difficult to understand the intrigue of those years, just enough to know that Niklewski and Sooster was not at that time members of Moscow Union of artists, and the status of an independent artist in the Soviet Union did not exist. Yielding to the provocation, both put their most important and fundamental things and was happy to have that work hanging on the wall.

About this show like to say that Khrushchev, being indignant with what he saw, screaming about “fag”. Yankilevsky called the Apocrypha soap Opera and kept in the memory of other, far more fundamental aspects. First — the answer to the question “Why, Nikita, you are opposed to modern art, you first began the process of de-Stalinization?” Khrushchev said this: “as for art, I’m a Stalinist”. And the second is the reaction of the Secretary General to present at the exhibition of correspondents of foreign Newspapers: “All foreigners are our enemies”.

Introducing creativity Yankylevsky in retrospect — here is a collection of works created over 60 years — the curators of this exhibition, Lyudmila Andreeva, Olga Turchin and Vladimir Prokhorov tried to cover all genres in which the artist worked, to show them as a theme with infinite variations: a series of self-portraits, a series of “Mutants”, a series of “Anatomy of feelings”… Yes, all the creativity Yankylevsky can be divided into themes and variations to them. Endlessly he returned to the images of his past, experimented with a “vintage” works of the classics, it can be assumed that the early “Theme and improvisation” refer to musical analogues — the Beethoven variations, Bach, the preludes and fugues, jazz, because music was extremely important for Yankylevsky.

His triptychs, which seem to be variations on the theme each other (the path from female to male, male — always profile, female — torso front view), also remind about the music, about three-movement form of the classical Symphony. And on the altars of ancient folding.

the art Critic David Riff, who wrote an article for the exhibition catalogue, says that the first “Door”, 1972 — main, in his opinion, the work of Vladimir Yankylevsky — also is nothing but a closed portable altar.