#Russian Artists

[thefugitivesaint]

Sergei Lodygin (1893-1961), 'Искушение' (Temptation) 1920

[patheticesque]

Prisoners, Stalingrad (1943), photographed by Galina Sanko.

[sictransitgloriamvndi]

Elegy (1893) - Apollinary Vasnetsov

[void-knights]

↪[Favourite artists 17/???] Viktor Mikhaylovich Vasnetsov | Ви́ктор Миха́йлович Васнецо́в, (15 May 1848 – 23 July 1926) Nationality: Russian. Movement: Peredvizhniki, History painting, Symbolism.

[sassafrasmoonshine]

© Olga Dugina (Russian, b. 1964) and Andrej Dugin (Russian, b. 1955) • The Brave Little Tailor (Detail) • Private collection

www.duginart.com

[ilovespec]

Я наконец открыла комишки , еее 🤟🤟🤟

I finally opened the commissions , YEAHHH 🤟🤟🤟

✅ Персонаж даже в нижнем белье

✅ Детализированные персонажи + 20 % к сумме персонажа

✅ дедлайн 2-3 дня

✅ Отвечаю чаще всего вечером

✅ Gore в легкой форме

✅ При наличии двух и более персов , к бюсту - портрету + 20 % к сумме от первого персонажа , к половине тела + 30 процентов к сумме от первого персонажа , и + 40 % к сумме в полный рост от первого персонажа к сумме.

❌ Голые персонажи.

❌ Фурри.

❌ ��оликон.

❌ Порнуха.

❌ Слишком сильное gore (расчленёнка)

К подробностям обращайтесь ко мне в личку 🤟🤟

[the-cricket-chirps]

Ivan Aivazovsky

Storm at Sea on a Moonlit Night

1866

[russianartsblog]

[toutpetitlaplanete]

Olga Antonova - Silver Teapot on Floral Blue, n.d.

[cicadas-sing]

Olga Suvorova, "The Paradise" (oil on canvas)

[thefugitivesaint]

Sergei Lodygin (1893-1961), 'Вампиры' (Vampires), ''Столица и усадьба'', #68, Oct. 15, 1916

[zoeandsubaloveart]

Ilya Repin (Russian 1844-1930) self-portrait 1878

[patheticesque]

Diver (1960), photographed by Lev Borodulin.

[uwmspeccoll]

Wood Engraving Wednesday

In 1994, Sebastian Carter (b. 1941) of the Rampant Lions Press in England printed a suite of original color wood engravings that the Soviet-era Russian graphic artist Anatoly Ivanovich Kalashnikov (1930-2007) had produced in response to the works of Fyodor Dostoevsky. They were printed for the London publisher Primrose Academy as The Dostoyevsky Suite, with an introduction by the noted jurist, educator. bibliophile, and bookplate collector William Elliott Butler (b 1939) in an edition of 135 copies signed by Butler and Kalashnikov.

Kalishnakov is most well-known for his engravings for postage stamps and bookplates. In his early years, Kalashnikov was deeply steeped in Soviet social realism, but broke with that style in the late 1960s to produce this suite of abstract wood engravings. Butler writes:

Kalashnikov's engravings . . . were deemed to be too subjective and abstract for publication. The engravings appear here for the first time in their proper colours. The technologies available in Moscow never permitted the artist to achieve the full artistic impression which he intended. A small unnumbered edition circulated underground amongst friends. . . . the engravings quietly brought Kalashnikov a formidable reputation in the artistic and literary circles. . . . The engravings were not conceived as illustrations for Dostoyevsky's books. Rather they stand as autonomous graphic expressions inspired by those works. . . .

Our copy is another donation from the estate of our late friend Dennis Bayuzick.

View other books from the collection of Dennis Bayuzick.

View more posts with wood engravings!

[malevichsuprematism]

Why would Kazimir Malevich shift away from Suprematism after the 1920’s?

Kazimir Malevich On the Boulevard, canvas, oil. 60.5 x 78, 1929 – 1930 Kazimir Malevich’s evolving relationship with Suprematism in the post-1920s era was influenced by a variety of factors, reflecting a complex interplay of political, personal, and philosophical dynamics.

Politically, the ascent of Joseph Stalin’s regime in Soviet Russia marked a significant shift in cultural policies, favoring Socialist Realism as the sanctioned artistic style. Suprematism’s abstract, non-representational approach clashed with the regime’s preference for art that served propagandistic purposes and depicted idealized Soviet themes. Consequently, Malevich encountered mounting challenges in showcasing and disseminating his Suprematist works within the state-controlled artistic milieu.

However, Malevich’s relationship with Suprematism was not solely defined by external pressures. Internally, he experienced a gradual evolution of his artistic vision and philosophical outlook. While Suprematism had been groundbreaking in its time, Malevich may have felt constrained by its formal constraints and sought new avenues for creative expression. His later works reflected a deeper engagement with spiritual and metaphysical themes, indicating a transition towards a more introspective and contemplative artistic practice.

Moreover, practical considerations likely influenced Malevich’s approach. With Suprematism marginalized within the Soviet art world, Malevich may have pragmatically adapted his artistic output to align with prevailing trends and market demands, ensuring his continued relevance as an artist.

“On the Boulevard” by Kazimir Malevich from the late 1920s to early 1930s, places it squarely within the period when Malevich was shifting away from Suprematism. This painting further exemplifies his departure from the movement.

In “On the Boulevard,” Malevich continues to depart from the strict geometric abstraction of Suprematism, instead incorporating elements of the urban landscape in a more recognizable manner. The use of color and form in this painting suggests a transition towards a more varied and representational style.

By depicting scenes from everyday life, such as people walking along a boulevard, Malevich moves away from the purely abstract concerns of Suprematism and towards a more figurative and narrative-driven approach. This departure from his earlier style reflects his evolving artistic interests and his willingness to explore new avenues of expression.

Overall, “On the Boulevard” serves as another example of Malevich’s shift away from Suprematism during the late 1920s and early 1930s, as he embraced a more diverse and representational approach to painting.

[nothing-like-the-sun-jgr]

Die Leidende Stadt (City of sorrow)

ca.1930,tempera on paper mounted on cardboard, 89 x 72.5 cm

Marianne von Werefkin (Russian,1860-1938)