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EXHIBITIONS
 
Exhibition

Exhibitions (Archive)

MARGUERITE ANIELLE-PALEN: MYTH, LEGEND, FAIRYTALE
18 October - 12 November 2000.
St Michael's (Engineers) Castlee

Marguerite Anielle-Palen was born into an Italian family in Switzerland. Most of her time she lives in Switzerland, sometimes staying in Paris and Italy. She took up painting in 1980 after finishing the Paris studio of Georges Drobot, a priest and icon-painter. In the early 1990s, along with the artist Stomatis Skliris, Anielle-Palen worked on church murals in Italy. Although the artist had contributed to exhibitions in Turin, Venice and Paris, this was her first ever show in St Petersburg. The display comprised over sixty paintings made between 1994 and 2000.

The inner light of man is the reflection of the divine light, which dissipates the gloom of life. This idea is very close to the heart of the artist, who tries to express the poetry of the light that transforms our lives and accentuates their real values. The artist finds the poetry of light in mythology, legends, fairytales, icon-painting, folk decorative art and the works of the naive or primitive artists. Marguerite Anielle-Palen's artistic consciousness and painting technique are very similar to those of the aforementioned categories of artists.

Marguerite Anielle-Palen's art appeals to viewer's childhood memories, making us sense the world as something filled with bright and gleaming colours, where the objects are seen as if for the first time, from their attractive side, not completely cognized and wonderfully enigmatic. The artist's canvases evoke the desire to return to the sources of naive optimism.

RUSSIAN IMPRESSIONISM
From July 20 to November 8, 2000
The Benois Wing

The Impressionism in Russia exhibition was part of the cycle of shows dedicated to the major trends in Russian painting. This series is intended to throw new light on the history of the Russian school of painting.

The exhibition displayed some three hundred masterpieces of painting and sculpture from the collection of the Russian Museum, created by the leading masters of the second half of the nineteenth and early twentieth centuries. The oeuvres of most of these artists have never before been addressed from the point of view of Impressionism. Their canvases were previously only regarded as reflecting traces of "painting by impressions", "Impressionist possibilities" or "latent plein-airism".

Features of Impressionism can be clearly seen in the canvases of Vasily Polenov, Konstantin Korovin, Nikolai Kulbin and Wassily Kandinsky; the sculptures of Anna Golubkina and Paolo Trubetskoi; the expressive canvases of Philipp Malyavin; the decorative Fauvism of Mikhail Yakovlev; the Primitivism of Natalia Goncharova; and the works of the Russian Rayonists, Cezanneists, Cubists and Suprematists.

The exhibition in the Russian Museum displayed indisputable works of Impressionism alongside examples of Pre-Impressionist and Post-Impressionist painting.

RUSSIA THROUGH THE EYES OF FOREIGN ENGRAVERS (1600-1750)
From April 27 to November 1, 2000
Marble Palace

The exhibition was arranged within the framework of the "Foreign Artists in Russia" permanent exhibition and contains printed graphic works of foreign artists who lived and worked in Russia or were commissioned by Russian rulers.

West European metal engraving had long been known in Russia since the XVIth century. Metal engravings were brought for sale to Moscow alongside other goods in the XVIIth century. In the late XVIIth century engravings were commissioned abroad. In 1685 the gala portraits of the tsars Ioann and Peter Alexeyevich were made in Paris from the originals transferred to France through the Russian embassy. On the verge of the XVII-XVIII centuries a Dutch engraver Schenck was commissioned a number of portraits of the Russian statesmen ( Lefort, Golovin).The engraver made one the best portraits of Peter I.

The development of metal engraving in Russia and etching in particular is associated with the name of Peter I and dates back to the early XVIIIth century. Peter I regarded engraving as one of the means of propagation of the military triumphs of Russia. PeterI studied engraving under A.Schonebeck and commissioned engravings from the best European masters.

In 1740-1750s there appeared a popular trend of sketches on brass based on traditions of Dutch school of engraving, the Armory Chamber and the Publishing House in Moscow.

In Saint Petersburg the leading role was played by the Chamber of Engraving at the Academy of Sciences. Throughout the XVIIIth century many foreign masters worked alongside the Russian craftsmen.

The exposition contained mostly the works of French, Dutch and German engravers.


XENIA HAUSNER: HEART MATTERS
From 14 September to 17 October, 2000
The Marble Palace

The exhibition of works by Xenia Hausner was the fourth show dedicated to works by contemporary Austrian artists at the Russian Museum. Local viewers have already seen the works by Gottfried Helnwein, Ernst Fuchs and Attersee.

Xenia Hausner was born in Vienna in 1951. From 1972 to 1976, she studied theatrical design at the Academy of Fine Arts and the Royal Academy of Dramatic Art in London. Hausner then designed the sets and costumes for more than a hundred theatrical productions, including commissions for Covent Garden, Wiener Staatsoper and the Salzburg Festival.

In 1992, the artist decided to dedicate herself solely to painting and now works mainly in the easel portrait genre. The exhibition at the Marble Palace showed twenty-seven of her portraits.

The excessive and colourful style, direct imagery and symbolic titles of some of Hausner's canvases link her oeuvre to the classical examples of early European Modernism and the latest psycho-plastic designs of the British school of painting and the Dogma movement in cinema art.


IGOR IVANOV. DOLLS
From September, 29 to October, 17 2000
Marble Palace

PROPAGANDA AND DREAMS
Photography of the 1930s in the USSR and the USA
21 September to 16 October 2000
St Michael's (Engineers) Castle

Both for the Soviet Union and the United States, the 1930s were the years of the formation of the image of the two superpowers. In the cultural life of both countries, visual arts and mainly photography were the focus of attention. This exhibition consisted of about two hundred photographs by thirty-nine Soviet and twenty-two American masters, including some of the most outstanding works of Alexander Rodchenko, Dorothy Lang, Boris Ignatovich, Ben Shahn, Ivan Shagin and Arthur Rodstein, from the Library of Congress, Museum of Modern Art (New York), National Archives of the USA, and corporate and private collections in the United States and Russia.

ANTONIO MENEGETTY
ONTOARTE: FOR THE REBIRTH IN ART

From October 2 to 15 2000
Stroganov Palace

GEORGE OSTRETSOV. "THE VISITOR"
From September 11 to 29, 2000
The Marble Palace


ENGRAVED VIEWS OF THE ENVIRONS OF ST PETERSBURG
(Bicentenary exhibition marking the creation of the original series after the paintings of Semyon Schedrin)

From July 13 to September 11, 2000
The Michael's (Engineer) Castle

The exhibition presented a series of easel engravings of the palace and park landscapes in Gatchina, Peterhof and Stone Island - the favourite places of Emperor Paul I (1796-1801), who originally commissioned the series. The engravings were made between 1800 and 1813 by masters of the Imperial Academy of Arts.

The series was based on the landscapes of Semyon Schedrin, who painted numerous views of Tsarskoe Selo, Peterhof, Pavlovsk and Gatchina. The artist initiated the foundation of the studio of landscape engraving at the Imperial Academy of Arts, and headed it from 1799 to 1804. The main task of the studio was to fulfill the commission of Emperor Paul I.

Ignatius Sebastian Clauber, a famous Paris engraver, contributed much to the development of engraving in Russia while working on this unique series. An admirer of the English school of landscape painting, Clauber headed the engraving class from 1796 to 1817.


ALEXEI VON JAWLENSKY
From 21 June to September 10, 2000
Stroganov Palace

On 21 June 2000, the Russian Museum opened an exhibition of the works of Alexei von Jawlensky. One of the most renowned artists of the Russian avant-garde, Jawlensky's works are virtually unknown in his former homeland of Russia.

Alexei von Jawlensky was born in 1864. Although he received a classical art education at the Imperial Academy of Arts in St Petersburg, the works of his academic period are more influenced by the Realist schooling he received from Ilya Repin. After graduating from the Academy in 1896, Jawlensky moved to Munich, where he was soon joined by fellow Russian artists Wassily Kandinsky, David Burliuk, Vladimir Bekhteyev, Alexander Salzman and Moisei Kogan.

In the course of his creative quests and experiments, Alexei von Jawlensky developed his own original painterly manner and style. In 1902, the artist broke with the academic traditions of painting, preferring to paint portraits, still-lifes and landscapes. He remained true to these forms until the early 1920s, conveying his sensations through colour and always searching for his own manner of painting.

Between 1905 and 1907, Jawlensky paid tribute to Fauvism. The influence of Fauvism in his works of this period can be clearly seen.

After a period of emigration in Switzerland, Jawlensky returned to Germany, where he felt the first symptoms of paralysis. In 1929, the artist began to suffer complete paralysis of the hands and knee-joints. He continued to work, however, creating his last great series - the Meditations. The human face, which had always been the focus of the artist's attention, was taken to the utmost level of abstraction; Jawlensky depicted both a human face and an Orthodox cross. Despite being in great pain, he continued to work with his brush tied to his paralysed hand. Amazingly, he managed to paint around 1600 Meditations in the last three years of his professional career. This series is unprecedented in the history of twentieth-century art.

This unique retrospective exhibition at the Stroganov Palace traced the entire oeuvre of Alexei von Jawlensky, an artist who now ranks alongside such great twentieth-century masters as Wassily Kandinsky and Marc Chagall. The show consisted of some eighty works, painted by Jawlensky between 1882 and 1937, from museums and private collections in Germany, Switzerland and Russia, including the Museum am Ostwall (Dortmund), Omsk Picture Gallery, Tretyakov Gallery (Moscow), Hermitage (St Petersburg) and the Russian Museum (St Petersburg).


PAINTING BY JEAN DAVIDSON
From August 1 to September, 5 2000
The Marble Palace

Jean Davidson is one of the founders of modern American abstract painting. By the 1960s, she had already made a name for herself as a figurative artist and the author of numerous portraits and still-lifes. Over the past thirty years, however, she has worked in abstract painting.

A devoted colorist at the beginning of her career, Jean Davidson later turned to the maximum use of soft tones close to white, managing to create pronounced internal contrasts. For the past forty years, the artist has produced works ranging from realistic representativeness to abstraction, from bright tones to the complete absence of colour.

Kazimir Malevich's White Square on a White Ground (1918) was an important influence on Jean Davidson's oeuvre and led to the White Series begun by the artist in late 1970s. The artist has contributed to more than twenty solo and group exhibitions. The show held at the Marble Palace was her first ever display in Russia. Organized by the Ludwig Museum in the Russian Museum, the exhibition comprised fifteen works from Jean Davidson's "white period".


RUSSIAN FUTURISM AND DAVID BURLIUK,
"THE FATHER OF RUSSIAN FUTURISM"

From June 21 to August 28, 2000
The Benois Wing

Compared to its Western counterpart, Russian Futurism is a little-known phenomenon. Futurism was, however, an extremely significant movement in Russia, influencing both art (painting, graphic art, poetry and theatre) and public life.

The Russian Futurists called themselves budetlyane - people of the future. Despite the seeming similarity between Russian and European Futurism, each national trend had its own peculiarities, based on local traditions and mentalities. One of the typical features of Russian Futurism was the blend of all possible styles and trends - "everythingism", as artist Ilya Zdanevich defined one of the leading artistic principles of Futurism.

The problem of one common style did not exist. Many of the Futurist artists wrote poetry (Velimir Khlebnikov, Vladimir Mayakovsky, David Burliuk, Alexei Kruchenykh, Elena Guro) and music (Nikolai Kulbin, Vladimir Baranoff-RossinČ, Mikhail Matiushin). Almost all of them were given to theorising, publicity stunts and dramatic gestures. All this went hand-in-hand with their understanding of Futurism as an art form shaping the man of the future. The genre, the form or the style did not matter. As David Burliuk said: "Futurism is not a school, it is a new disposition."

Natalia Goncharova, Mikhail Larionov, Kazimir Malevich, Pavel Filonov, Olga Rozanova, Nikolai Kulbin and Alexandra Exter all paid tribute to Futurism at certain points in their careers. David Burliuk, self-styled "father of Russian Futurism", stood at the centre of this galaxy of stars. Burliuk formulated the credo of Futurism as "the free representation of nature in the process of creative movement".

The exhibition at the Russian Museum consisted of some two hundred works of art - painting, graphic, decorative and applied art, book graphics, archive documents and sculpture from the Russian Museum and private collections in the United States. David Burliuk's glass eye was also on display, as an original symbol of the Futurist perception of the world.

The Russian Museum would like to express its gratitude to the members of David Burliuk's family for their assistance in organising the exhibition.


ATTERSEE
From 8 June to 24 July 2000
The Marble Palace

The retrospective exhibition of neo-expressionistic paintings by a famous Austrian artist Christian Ludwig, working under the pseudonym Attersee since 1966. The exhibition was organised by the State Russian Museum in association with the museums and private collections of Austria, Switzerland and Germany.

Christian Ludwig was born into a family of an architect in Czechoslovakia in 1940. In 1944 the family moved to Austria.

In 1957-1963 Attersee studied painting and stage graphics at the University of Applied Art in Vienna. The artist was strongly influenced by the abstract compositions of Wassily Kandinsky. Keen feeling for contemporaneity and adventurous disposition made Attersee start experimenting in the sphere of new trends in art of the early 1960s :performance, electronic and rock music ( his famous village concert for 600 cows in 1962).In mid 1960s he shot films and his style was close to pop art.

In 1966 Christian Ludwig held his first one-man exhibition in Berlin, after the exhibition he took up the pseudonym Attersee which he uses as his trade mark advertising the style of Attersee, the Attersee musicians and cuisine.

Throughout the following decades he contributed to group exhibitions alongside such celebrities as Jasper Johns ,he showed his works in the leading European and American museums and art galleries, exhibited his graphic works in Kassel and at Biennale Internazional dell'Arte in Venice in 1984. The artists arranges concerts, performances, practices teaching at the University of Applied art in Vienna and the summer academy of Saltzburg, creates sets for the Mozart concerts.

The exhibition was organized with the Ludwig Museum cooperation.


THE RETURNED NAME: PAVEL GOLUBYATNIKOV
From 25 May to 29 June 2000
Marble Palace

In 1920s Pavel Golubyatnikov(1891-1942) was a well-known figure in the cultural life of St. Petersburg. He was a member of numerous art societies, a friend and a favourite student of Kuzma Petrov-Vodkin.

The impression produced on the young artist by the "Bathing of a Red Horse" (1912) by Petrov-Vodkin predetermined the artistic fate of Pavel Golubyatnikov. The personal acquaintance of the two artists revealed the similarity of their views and kinship of souls. The conceptions of "planetarism", orientation towards the traditions of Old Russian Painting, monumentalism were exactly the things Pavel Golubyatnikov sought after in art.

In 1918 Pavel Golubyatnikov enters the VKhuTEMAS and studies under Kuzma Petrov-Vodkin. In mid-1920s Golubyatnikov moves to Kiev. Teaches at the Kiev Art Academy together with Vladimir Tatlin and Kazimir Malevich. In late 1920s Golubyatnikov contributes to two prestigious exhibitions - in New York and in Venice (Biennale Internazionale dell' Arte). In 1926 David Burliuk invites Golubyatnikov to contribute to the New-York exhibition of "Intimate Art". Canvasses by Pavel Golubyatnikov are purchased by Katherine Dreyer, a founding member of the Museum of Modern Art and by Christian Brinton, an art collector well known by the Russian avant-garde artists.

The uplift of creative activity in the late 1920s turnes into oblivion in the late 1930s. Golubyatnikov stops contributing to exhibitions and moves to Leningrad. Kuzma Petrov-Vodkin invites him to teach at the Academy of Arts. Golubyatnikov paints numerous portraits of his relatives. His oeuvres are accused of formalism and the artist is dismissed from the Academy. Together with Vladimir Tatlin Golubyatnikov starts working on the methodological programmes on art history and theory, the major work of their investigations being the "Atlas of Colour", the three volumes of which are supposed to contain 120000 colour scales tables.

In the course of time the works of Golubyatnikov acquire serious religious tinge. His last works are permeated with the ideas of purification and salvation.

Golubyatnikov dies from dystrophy in the besieged Leningrad in 1942. The wife of the artist evacuates with her children to the Urals and takes all his works which she keeps folded for the following 30 years.

Only in 1975 the curators of the Nizhny Tagil State Museum of Art started to investigate the artistic heritage of Pavel Golubyatnikov. It took more than 20 years to collect and restore his works, carry out researches concerning his life and creative activities.

The Museum of Art at Nizhny Tagil is the only owner of the collection of works by Golubyatnikov. It comprises almost all of his surviving canvases and graphic works. The exhibition in the Marble Palace consisted of 28 canvases and 20 graphic works by Pavel Golubyatnikov from the Nizhny Tagil Museum of Art.


ALEXANDER ARNSHTAM
From 16 May to 29 June 2000
St Michael's (Engineers) Castle

ALEXANDER ARNSHTAM Alexander Arnstam is a brilliant illustrator, painter and one of the firsrt Russian professional cinema artists.

Alexander Arnstam was born into a family of a rich textile manufacturer in Moscow. In his childhood he showed interest to music, theatre, painting, played piano and violin, participated in amateur school performances. When he was 16 Arnstam took up painting in the workshop of Konstantin Yuon. In 1901 Arnstam went to Berlin to continue his education at the chemical department of the Kaiser Wilhelm University. He studied philosophy, anatomy,, attended lectures on history of art and music. After two years he moved to Moscow and entered the department of law at the University.

In 1905 "Signal" the satirical magazine edited by Korney Chukovsky published several drawings by A.Arnstam .In 1907 the artist emigrated and worked in Switzerland and France. In Paris he took up painting at La Palette Academy and Grande Chaumiere. IN 1907 he came back to Russia and settled in Saint Petersburg. A.Arnstam worked at the "Griffin" publishing house as an artistic designer and illustrated books by M. Voloshin, I.Annensky,V. Nabokov, designed book covers and monographs dedicated to Anton Chekhov and Vera Komissarzhevskaya theatres, published his drawings in numerous magazines, contributed to "Graphic Art" exhibition," Permanent Exhibition of Contemporary Art", Dobychina Salon. In 1915-1917 he contributed to all exhibitions of the World of Art.

After the October revolution the artist was offered the post of an art designer at the State Publishing House.

In 1919 Alexander Arnstam was arrested by Cheka (secrete police) and kept in prison for a year in Shpalernaya street, then in Butirskaya prison in Moscow and Pokrovsk prison camp. At the end of 1921 Arnstam moved with his family to Berlin. The Berlin period is the most glorious page of the artist's biography. There he worked as an illustrator, portrait painter and turned to cinematography for the first time in 1928. First he was a consultant for the films on Russian themes, then he worked as production producer, sets and costumes designer. He took part in 10 full length film productions in Germany.

After the Nazis came to power 1n1933 A. Arnstam moved to Paris where he lived till his last day. Several years of his life he devoted to the ballet "Nana" after Emile Zolya. He wrote the libretto, created the stage and costume designs.The first night performance of the ballet was in 1962.
The artist died in Paris in 1969.

The exhibition contained over 150 works of art ( paintings, graphics, archive documents and photo material) from the artist's family collection.

The exhibition was organised in collaboration with the Center of Art Sociology.


ADAM LOWE. TEXTURAL EFFECTS IN PHOTOGRAPHY
From 5 May to 6 June, 2000
Marble Palace

Adam Lowe was born in 1959. In 1981 he graduated from the Ruskin School of Drawing and Fine Art in Oxford and received an MA from the Royal College of Arts.

Adam Lowe's oeuvre is a never-ending creative experiment in an absolutely new sphere of the arts, embracing philosophy, computer technology, the textural possibilities of photographic prints and the quest for new structures of artistic and intellectual communication.

The exhibition presented works already published by the artist, as well as his new series of Emulsion photographs.

The exhibition was organized with the Ludwig Museum cooperation.

YURY AVAKUMOV. DIPOSITARIUM: RUSSIAN UTOPIA
From March 9 to June 5, 2000
The Marble Palace

Muscovite Yury Avakumov is one of the founders of outstanding and original trend of national art of 1980s - the so-called paper architecture. Paper architecture is a genre of easel architecture artwork, variety of conceptual art in architecture that is orientated to exhibitions, ideas' competitions and magazine publications. It is a product of non-conformist reflection that uses architectural styles' languages and images for creating multiciphered compositions. Yury Avakumov's project Russian Utopy: Dipositarium was exhibited before at the VI International architectural exhibition (Venice Biannual), Netherlands Architectural Institute (Rotterdam) and the F. V. Shusev State Architectural Museum (Moscow). It is an original architectural dipositarium that includes 480 non-realized projects for last 300 years of Russian history - that is small part of ideas for Russia architectural reconstruction.

The Dipositarium was presented as a columbarium and cemetery of ideas. Its compositional and space solution is strict and laconic. These were 16 monumental cupboards with 3 sections with 10 sliding boxes each, every box-cell keeps document evidence of the past future. There could be also found sketches of towns of the future as well as legendary projects as 400 meters high Palace of Soviets by V. Gelfreich, B. Iofan, V. Shuko and S. Merkurov as well as Monument to C. Columbus in Santo Domingo by K. Mel'nikov and Narkomtyazhprom House by I. Leonidov., The Dipositarium has its double in the Internet. Projects of this part are available for any user and open for realization. Original archive materials with a view of safety are substituted by plotter copies.

The exhibition was organized with the Ludwig Museum cooperation.


SPRING KALEIDOSCOPE
From 26 April to 26 May, 2000
Green Drawing Room, St Michael's (Engineers) Castle

The exhibition features works of applied art (embroidery, dolls, tapestry and lace) and works of graphic art by the members of the Admiralty Teenage and Youth Centre.


VLADIMIR TSESLER AND SERGEY VOYCHENKO
PROJECT OF THE CENTURY (12 FROM THE XX)

From April 27 to 22 May, 2000
The Marble Palace

Minsk artists Vladimir Tsesler and Sergey Voychenko who have been working together since 1978 have shown themselves in different kinds of fine art - from classical painting, graphic art and sculpture to up-to-date visual communications. They are best noted as posters' makers as they have won on international competitions dozens of prizes. In the conception base of the Project of the century is trying to understand and appraise the events that took place for the last 100 years. It is made up from 12 sculptural portraits-images of the 20th century: Jean Tinguely, Marcel Duchamp, Victor Vazareli, Amadeo Modigliani, France Mazarel, Iosif Brodsky, Kazimir Malevich, Vladimir Mayakovsky, Pablo Picasso, Salvador Dali.


THE SACRED SEAM (KRESTETSKAYA STROCH'KA)
Folk handicraft

From March 23 to April 25, 2000 - The Benois Wing
From April 26 to May 20, 2000 - The Stroganov Palace

Panno 11-th republics. 1938 sThe Sacred seam is one of the brightest phenomena in contemporary folk art. Its name is due to the village of Krestzy that is located near Novgorod. Nowadays this handicraft is developed in the Valday and Krestzy districts where have been worked generations of noted masters.

The exposition included more than 100 works from the collections of the Russian Museum, the Novgorod Reserve Museum and the Sacred seam handicraft that illustrate many-years history of assimilating complicated technical methods of hemstitch and ornamental tradition formation.

The exhibition was organized in cooperation with open joint-stock company Sacred seam where this traditional art is organized on industrial base.


The Michael's Castle: Idea and Realization
Architectural Graphics of the 18th - 19th centuries
From February 17 to May 10, 2000
The Michael's (Engineers') Castle

The Michael's Castle Scientific workers of the Michael's castle were preparing this exhibition for two years revealing in museums, archives and libraries of Petersburg and Moscow more than 200 draughts of the Petersburg unique monument as many of them had not been known to research workers.

The exposition that was accompanied by catalogue publishing was the first attempt in Russian architectural art history to collect, generalize and present to audience vast complex of graphic and document materials connected with one of the most famous Petersburg monument of Paul I time, with wonderful history and architecture.

In the exposition was presented complicated and many-staged history of the castle planning, there were shown unique draughts of the end of the 18th century including works by V. Bazhenov, V. Brennah and other famous architects as well as original sketches of the building plans made by the Grand Duke Paul Petrovich in 1784. Audience will have an opportunity to see architectural model of the building created in the process of its construction and the rarest engraving sketches of the Michael's castle that fixed various project variants of facades' decoration of Paul's residence and that have never been reproduced anywhere before. There were also demonstrated projects of the 19th century that have not been known before - rebuilding of the Emperor's palace for the Engineers' school needs.

For the exposition decoration were used some original articles of decorative and applied art from the Emperor Paul I collection that once had adorned halls of the Michael's Castle

The exhibition was organized by the State Russian Museum with participation of

the State Hermitage
the State Reserve Museum Pavlovsk
the State Art and Historical Gatchina
the State Reserve Museum Peterhof
the State Historical Museum of St. Petersburg
the Scientific Research Museum of the Russian Academy of Arts
the Military Historical Museum of Artillery, Engineer and Signal Troops at the Russian National Library
the Russian State Navy Archive
the State Committee for St. Petersburg historical and cultural monuments control, usage and safety.

To the memory of the artists
Nikita Charushin (1934 - 2000) and Ludmila Sergeeva (1934 - 2000)
From the Russian Museum collection
From April 5 to 24, 2000
The Marble Palace


Nikita Charushin Ludmila Sergeeva This exhibition was a homage to remarkable Petersburg artists Nikita Charushin and Liudmila Sergeeva who have gone in the beginning of 2000.

In the exhibition were shown 20 drawings and watercolors by Nikita Charushin and about 30 works by Liudmila Sergeeva - these were watercolors, lythographs, etches from the Russian museum collection.

The Art of Gzhel'
Honored Artists of Russia Natalya Trophimovna Bidak and Vladimir Stepanovich Bidak

From March 2 to April 15, 2000
The Benois Wing

The city of Gzhel' located in the Ramensky district near Moscow for many decades was known as one of the most remarkable folk art canters. Nowadays there are several enterprises in Gzhel that produce artistic porcelain and majolica. There are manufactured such articles as tableware, services, small plastics, decorative objects with traditional underglazed painting with cobalt.

The exhibition is dedicated to the work of Natalja Trophimovna and Vladimir Stepanovich Bidak who form one of the brightest Gzhel' duets. Their artistic compass, active using of plant and geometric motives in painting, subtle music of forms, expressiveness of sculpture put them in the place of leading Russian porcelain artists.

Art of Drawing (1960 -, 2000)
From February 2 to March 26, 2000
The Michael's (Engineers') Castle
The State Russian Museum Lecture Hall

Art of Drawing (1960 - 2000) exhibition was organized for the Lecture Hall audience by the State Russian Museum staff in cooperation with the graphic section of the Artists' Union of Russia. It had an educational and auxiliary character and gave a chance to get acquainted with expressive possibilities of drawings and creative peculiarities of contemporary masters on the example of original works.

Evgeny Mikhnov. Painting and graphic works.
From February 16 to the end of March, 2000
The Marble Palace

In the exposition were shown 40 abstract works from private collection and the Russian Museum collection that presented the work of acknowledged master of Leningrad underground Evgeny Mikhnov (1932 - 1988).

The exhibition was organized with the Ludwig Museum cooperation.


On the Creative Path
From February 24 to March 20, 2000
The Michael's (Engineers') Castle

The exhibition was dedicated to the 65th birthday of the B. V. Ioganson State Academic Lyceum at the Russian Academy of Arts. The B. V. Ioganson State Academic Art Lyceum (former Art School) is the unique educational institute. Peculiarity of its program is combination of secondary education and professional art education. There are two schools of this kind in Petersburg and Moscow. There is no similar practice in Europe and USA. Among graduates of this school could be called the names of M.Anikushin, J.Tulin, A.Levitin, J.Podlyassky, V.Vetrogonsky, I.Razdrogin, V.Zagonek, D.Oboznenko, L.Kobachek, A.Korolyov, V.Starov, Y.Krestovsky, Y.Bogatkin. D.Shagin, A.Sokolov, E.Maltsev, I.Glazunov, E.Neizvestny, I.Uralov, M.Shemyakin. There were presented works of the architecture, painting and graphic art departments and will be arranged master classes and meetings with pedagogues.


Grand-hotel EUROPA

125 years of Grand-hotel "EUROPA"
From January 26 to March 7 2000
The Mikhailovsky Palace



Vance Kirkland "Retrospective"
From January, 20 to February, 25, 2000
The Marble Palace


Exhibition of works by famous American abstract expressionist Vance Kirkland (1904 - 1981) was held in the museum program context that introduced to visitors the most interesting figures of contemporary art process. The exhibition was organized with the Ludwig Museum cooperation.

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