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Impressionism in Russia

Dawn of the Avant-Garde
#ImpressionismusRussland
 Ilia Repin:  Along the Field Boundary: Vera Repina Is Walking along the Boundary with Her Children,  1879, State Tretyakov Gallery, Moscow

Ilia Repin: Along the Field Boundary: Vera Repina Is Walking along the Boundary with Her Children, 1879, State Tretyakov Gallery, Moscow

 Kazimir Malevich:  Sisters,  1930, State Tretyakov Gallery, Moscow

Kazimir Malevich: Sisters, 1930, State Tretyakov Gallery, Moscow

 Nicolas Tarkhoff:  Carnival Day in Paris,  1900, State Tretyakov Gallery, Moscow
 Nicolas Tarkhoff:  Carnival Day in Paris,  1900, State Tretyakov Gallery, Moscow
Russian Artists in Paris
Modern Life
First chapter
 Konstantin Korovin:  Paris: Café de la Paix,  1906, State Tretyakov Gallery, Moscow

Konstantin Korovin: Paris: Café de la Paix, 1906, State Tretyakov Gallery, Moscow

 Nicolas Tarkhoff:  Street in the Parisian Suburb of Saint-Martin,  1901, State Tretyakov Gallery, Moscow 
 

Nicolas Tarkhoff: Street in the Parisian Suburb of Saint-Martin, 1901, State Tretyakov Gallery, Moscow
 

Konstantin [Korovin] loved Paris; he loved the noisy, colorful crowds on the boulevards. The friendliness and joie de vivre of the French were entirely to his liking.

As recalled by a female companion of Korovin
 Valentin Serov: Lelia Derviz, 1892, State Tretyakov Gallery, Moscow
 Valentin Serov: Lelia Derviz, 1892, State Tretyakov Gallery, Moscow
Impressionist Themes
French Motifs
Second chapter
Ilia Repin: Along the Field Boundary: Vera Repina Is Walking along the Boundary with Her Children, 1879
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 Ilia Repin:  Along the Field Boundary: Vera Repina Is Walking along the Boundary with Her Children,  1879, State Tretyakov Gallery, Moscow

Ilia Repin: Along the Field Boundary: Vera Repina Is Walking along the Boundary with Her Children, 1879, State Tretyakov Gallery, Moscow

 Konstantin Korovin: Summer: Lilac, 1895, State Tretyakov Gallery, Moscow

Konstantin Korovin: Summer: Lilac, 1895, State Tretyakov Gallery, Moscow

My single and most important goal, which I tirelessly pursued in the art of painting, was always beauty, ... enchantment through color and form. Never didactic, never an agenda or protocol of any kind.

Konstantin Korovin
 Valentin Serov:  Portrait of the Composer Pavel Ivanovich Blaramberg,  1888, State Tretyakov Gallery, Moscow
 Valentin Serov:  Portrait of the Composer Pavel Ivanovich Blaramberg,  1888, State Tretyakov Gallery, Moscow
A New View of Humanity
Impressionist Portraits
Third chapter

Humanity has always valued those works of art that express, as completely as possible, the drama of the human heart or, to put it simply, the inner character of a person.

Ivan Kramskoy
 Ivan Kramskoy:  Portrait of the Painter Aleksandr Dmitrievich Litovchenko,  1878, State Tretyakov Gallery, Moscow

Ivan Kramskoy: Portrait of the Painter Aleksandr Dmitrievich Litovchenko, 1878, State Tretyakov Gallery, Moscow

As I drew near to Litovchenko’s portrait, suddenly I was startled: there he stood in front of me, in the flesh, though I do not know him personally. What a magician this Kramskoy is! That’s not a canvas—it’s alive…

Modest Mussorgsky
 Konstantin Korovin:  Portrait of the Opera Singer Tatiana Spiridonovna Liubatovich,  1889, State Tretyakov Gallery, Moscow
Portrait of opera singer Liubatovich
 Konstantin Korovin:  Portrait of the Opera Singer Tatiana Spiridonovna Liubatovich,  1889, State Tretyakov Gallery, Moscow

Konstantin Korovin: Portrait of the Opera Singer Tatiana Spiridonovna Liubatovich, 1889, State Tretyakov Gallery, Moscow

Konstantin Korovin: Portrait of the Opera Singer Tatiana Spiridonovna Liubatovich, 1889
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 Nicolas Tarkhoff: Breakfast, 1906 
 
 Nicolas Tarkhoff: Breakfast, 1906 
 
Experiments in Color
French Impulses
Fourth chapter

It is time for us to quit chasing Parisian fashions … and develop our own character. May national pride, self-knowledge, and self-respect help us embrace the inexhaustible beauty of our homeland even more deeply in our hearts.

Stanislav Zhukovsky
 Vladimir Burliuk:  Young Girl with Yellow Kerchief,  1906–07, State Tretyakov Gallery, Moscow

Vladimir Burliuk: Young Girl with Yellow Kerchief, 1906–07, State Tretyakov Gallery, Moscow

 Abram Arkhipov:  The Visit,  1914, State Tretyakov Gallery, Moscow
The Meaning of the Color Red
 Abram Arkhipov:  The Visit,  1914, State Tretyakov Gallery, Moscow

Abram Arkhipov: The Visit, 1914, State Tretyakov Gallery, Moscow

 Alexej von Jawlensky:  Andrei and Katia,  1905, Collection of Iveta and Tamaz Manasherov, Moscow

Alexej von Jawlensky: Andrei and Katia, 1905, Collection of Iveta and Tamaz Manasherov, Moscow

 Konstantin Korovin:  Pond: Study,  1907, State Museum of Fine Arts of the Republic of Tatarstan, Kazan
 Konstantin Korovin:  Pond: Study,  1907, State Museum of Fine Arts of the Republic of Tatarstan, Kazan
Rural Places in Russia
Explorations at the Periphery
Fifth chapter

What a terrible mistake to chase after French color hues when there is so much beauty here.

Konstantin Korovin
 Sergei Vinogradov:  At a Country Estate in Autumn,  1907, State Tretyakov Gallery, Moscow

Sergei Vinogradov: At a Country Estate in Autumn, 1907, State Tretyakov Gallery, Moscow

 Sergei Vinogradov:  In the House,  1912
 Sergei Vinogradov:  In the House,  1912
The Play of Light
Interiors and Still Lifes
Sixth chapter
 Konstantin Korovin:  Tea on the Terrace,  1916, ABA Gallery, New York

Konstantin Korovin: Tea on the Terrace, 1916, ABA Gallery, New York

 Olga Rozanova:  Flowers on the Windowsill,  ca. 1910, Collection of Iveta and Tamaz Manasherov, Moscow

Olga Rozanova: Flowers on the Windowsill, ca. 1910, Collection of Iveta and Tamaz Manasherov, Moscow

The artist must never passively imitate nature, but must become the active mouthpiece of his relationship to nature.

Olga Rozanova
 Mikhail Larionov:  Lilac,  1904–05, State Tretyakov Gallery, Moscow

Mikhail Larionov: Lilac, 1904–05, State Tretyakov Gallery, Moscow

©
 Vladimir Baranov-Rossiné:  Green Garden,  1907–08, Collection of Vladimir Tsarenkov, London
 Vladimir Baranov-Rossiné:  Green Garden,  1907–08, Collection of Vladimir Tsarenkov, London
Experiments in Landscape
From Impressionism to Abstraction
Seventh chapter
 Natalia Goncharova:  Landscape (Pointillated),  1907–08, State Tretyakov Gallery, Moscow

Natalia Goncharova: Landscape (Pointillated), 1907–08, State Tretyakov Gallery, Moscow

©

I have learned everything the West could give me … I am now shaking the dust from my feet and leaving the West … my path leads to the source of all art, the East.

Natalia Goncharova
 Nikolai Meshcherin:  Moonlit Night,  1905, State Tretyakov Gallery, Moscow

Nikolai Meshcherin: Moonlit Night, 1905, State Tretyakov Gallery, Moscow

Nikolai Meshcherin: Moonlit Night, 1905
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The moon emits its radiance in a bright circle, surrounded by azure pearlescence. The clouds—gray masses on a veil of azure pearlescence. … Rose, purple, green in the distance.

Nikolai Meshcherin
 Stanislav Zhukovsky:  Blue Snow: Spring,  1899, State Tretyakov Gallery, Moscow
Russian Winter: The Color White
 Olga Rozanova:  Corner of the House and Bullfinches in the Tree: Winter,  1907–08, State Tretyakov Gallery, Moscow

Olga Rozanova: Corner of the House and Bullfinches in the Tree: Winter, 1907–08, State Tretyakov Gallery, Moscow

 Robert Falk:  Winter in Pokrov,  1905, State Tretyakov Gallery, Moscow

Robert Falk: Winter in Pokrov, 1905, State Tretyakov Gallery, Moscow

 Natalia Goncharova:  The Rowers,  1912, Collection of Vladimir Tsarenkov, London
 Natalia Goncharova:  The Rowers,  1912, Collection of Vladimir Tsarenkov, London
Light and Color
From Impressionism to Avant-Garde
Eighth chapter

Color is also light, light is also color—depending on the circumstances

Kazimir Malevich
 Georgy Iakulov:  Bar,  1915, State Tretyakov Gallery, Moscow

Georgy Iakulov: Bar, 1915, State Tretyakov Gallery, Moscow

 Mikhail Larionov:  City at Night: A Rayonist Composition,  1912–14, Collection of Vladimir Tsarenkov, London

Mikhail Larionov: City at Night: A Rayonist Composition, 1912–14, Collection of Vladimir Tsarenkov, London

©

I understood that Impressionism was concerned not with the precise rendering of appearances or objects, but exclusively with the way in which I turned my entire energy toward the purely painterly quality that these appearances conveyed or carried within themselves.

Kazimir Malevich
 Kazimir Malevich:  Construction in Dissolution (Three Arches on a Diagonal Element in White),  1917, Stedelijk Museum, Amsterdam

Kazimir Malevich: Construction in Dissolution (Three Arches on a Diagonal Element in White), 1917, Stedelijk Museum, Amsterdam

Kazimir Malevich: Construction in Dissolution (Three Arches on a Diagonal Element in White), 1917
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