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EXHIBITIONS
 
Exhibition

Exhibitions (Archive)

KARL BRULLOV. JUBILEE EXHIBITION TO THE 200th BIRTHDAY.
From December 9, 1999 to May 22, 2000
The Mikhailovsky Palace

That was the first exhibition that acquainted the audience with various art of remarkable Russian painter and drawer in the full volume. In the exhibition it were presented about 150 paintings and 100 drawings and watercolors by Karl Brullov from collections of the Russian Museum, the Tretyakov gallery and some private French and English collections.

Karl Brullov was born on December 23 1799 in St. Petersburg in the family of retired academician of "ornamental sculpture on wood" and miniaturist Pavel Brullo.

He entered the Academy of Arts in 1809 and turned to be much stronger in many disciplines comparing to other pupils.

Brullov graduated from the Academy with the First golden medal and was given certificate of First Class "with a sword" and a handful of medals of different value. In August 1822 Karl with his brother Alexander were the first pensioners of the recently founded Artists' Encouragement Society who were sent in Italy for 4-years travel. But Karl stayed there for 13 years.

During this period Brullov created remarkable compositions (Italian Morning, Evening, Italian Girl Picking Grapes in the Environs of Naples, Midday) and splendid portraits (Portrait of Grand Duchess Elena Pavlovna with her daughter, portraits of Davydova, Demidov, Portrait of Countess Yulia Samoilova with her Adopted Daughter Amazilia Paccini).

In 1830 he began working on his grandiose canvas the Last day of Pompeii. The painting's success has exceeded all expectations. Owing to its exhibitng in Rome and Milan Brullov became the first Russian artist who acquired the worldwide recognition. The Pompeii painting was transported in 1834. The Academy of Arts voted it to be the best creation of the 19th century painting.

In autumn 1835 Brullov was called back in Russia by the Emperor Nicholas I and was appointed the professor position in the Academy of Arts. After 30 years the painter returned to its home country that received him as a national hero who will mark fluorishing of national painting. After returning to Petersburg Karl Petrovich Brullov was received by Nicholas I who permitted the artist to begin the work on the historical canvas the Pskov Seige. For this purpose Brullov left to Pskov after two weeks of celebrations in his honor in the Academy of Arts that took place in June 11. The work on this painting lasted for 8 years but it has not been completed. The painter's dream to create a work more significant than the Last Day of Pompeii has not come true. After that he didn't turn to historical subjects.

In the second half of 1830s and in 1840s he created the whole gallery of his contemporaries' portraits that amaze with their variety, truth and many-sided characteristics. In that time were painted portraits of Saltykova, Count Perovsky (Anton Pogorelsky), Vasily Zhukovsky, Ivan Krylov.

In 1840s he also worked on the main cupola's paintings in the Isaac Cathedral. Difficult work conditions on the scaffold have undermined Brullov's health and he took to his bed for seven months in October 1847. In spring 1849 he left Russia and has never returned to Russia anymore. He died on June 11 1852 in Italian village of Monciano.


Jack - Dominique Rachette Jacques - Dominique Rachette
The inhabitants of the edge of the Earth: peredvizhniki and orientalists.

From December 2nd to April 12, 1999
Marble Palace


Exhibition of works by Yuri Vasnetsov.
From December 23 1999 to March 14 2000
The Benois Wing


Exhibition of works by outstanding Russian artist Yury Vasnetsov (1900-1973) was timed to his 100th birthday. In exposition were presented around 300 works created by the master in various genres and kinds of fine art: painting, book and easel painting, prints and unique porcelain.

His creative way Y. A. Vasnetsov began in 1921 when he entered the painting department of the Higher State Free Art Workshops (the former Academy of Arts). Here in 1921-1926 he was taught by A. Rylov, V. Savinsky, Cezannist O. Braz, Russian Impressionist A. Karaev and was mastering with K. Petrov-Vodkin's spherical perspective. More than anything Vasnetsov was interested in V. Matyushin's painting system who && color with space and movement. From 1926 to 1928 Vasnetsov was studying cubism under K. Malevich's direction in the Leningrad State Institute of Artistic Culture and in 1926 - 1932 he continued post-graduate studies lead by V. Lebedev in the Academy of Art. Versatile interests allowed the young artist to enter circle of searches of contemporary national and latest Western painting.

The main trend of creative searches of Y. Vasnetsov was interaction of professional art with folk art and formation his own original style in this complicated process. Idea of turning to fine art folklore, town (bourgeois) culture was literally in the air in the beginning of the 20th century and many famous masters realized it. The artist often told of influence of his children impressions on his work. Vyatka citizens (Vyatichi) were famous by their crafts: bright painting of trunks, handicraft furniture, lace weaving, wares from birch. Vasnetsov liked them very much and made up his own collection with these articles.

Vasnetsov's painting (mainly landscape and still-life) is distinguished by its dynamism in searching of expressive means. It was very characteristic for works of the late period where the artist has achieved difficult color harmony and used various methods of texture painting in one work.

Vasnetsov was constantly occupied with painting though he didn't show his works during his lifetime as he not without reason feared that formal technical tasks he was interested in would not put down the construction of ideologized Soviet art. That is why in consciousness of several generations the artist's name is strictly associated with illustrations to Russian tales and colorful lubok (cheap popular pint) plates.

For the first time Vasnetsov turned to print in the end of 1930s, when on the base of Leningrad department of the Artists' Union was organized the Experimental lithographic workshop. In the end of 1920s there was published by Gosizdat the first children book with the artist's drawings. Classical style of Vasnetsov's illustrations was not formed at once. Only in 1940s their image, space, plastic and color way was defined.

In 1966 Yury Vasnetsov was conferred the rank of the People's Artist of the RSFSR. It sounds almost symbolical. In his face Russian art has a master of deep national character who managed to put in his individual work centuries-old traditions of his people's culture.

On the exhibition were presented the main stages of formation and evolution of the artist's painting system - apprenticeship period, travelling with artist N. Kostrov to the White Sea in 1931, the Great Patriotic War and the last, the so-called Roshino period of the master's work (1960-1972).

Vasily Mathe and his Students
Mikhailovsky Palace
From October, 15 to March 1999
Vasily Mathes
The exhibition included works by Vasily Mathe (1856-1937), a leading graphic artist and talented teacher, as well as the creations of many of his students, among them Anna Ostroumova-Lebedeva, Gerardov and Falileev.


A donation to The Russian Museum
From October 21,1999 to February 21, 2000
The Benois Wing

Game and Passion in Russian fine art
From June, 3 1999 to February, 15 2000
The Stroganov Palace

The exhibition was to reflect the role and playing principles development in life of a man - from children games to "adult" ones - such as roulette and duel. The exposition was composed on the Russian fine art materials of the 18th - 20th centuries. In addition visitors got acquainted with famous gamblers and duellist stories, their contemporaries reminiscences, saw their portraits as well as antique objects that were part of games in Russia of the 18th - 20th centuries. The exhibition was accompanied with music and videofilm.

Balls and Masquerades

Balls and Masquerades
From December, 23 1999 to February, 1 2000
The Mihailovsky Palace


The exposition showed traditions of various holidays - balls, dancing evenings and masquerades in different Russian society strata of the 18th - beginning of the 29th centuries. There were presented works of painting, drawing and decorative and applied art, among them were works by L. Karavakk, O. Kiprensky, A. Bryullov, V. Mayakovsky, B. Kustodiev, K. Somov.

Vladimir Shinkarev. WORLD LITERATURE
From December 24 1999 to January 21 2000
The Marble Palace

Vladimir Shinkarev was born in Leningrad in 1954. He has graduated from the Zhdanov Leningrad State University, from courses in Mukhina Art Institute and Repin Painting, Sculpture and Architecture Institute. He is a cofounder of Mit'ki group and Mit'kilibris publishing house. In 1970 - 1990s Shinkarev's works were exhibited on numerous personal and group exhibitions that took place in Petersburg, Moscow, Rio de Janeiro, Vienna, Paris, Antwerp, Cologne, Los Angeles, New York, Berlin and in other cities..

In 1997-99 Vladimir Shinkarev was working on 16 paintings about famous and little known books. He gave a project the name "World Literature". Among selected books are "Iliad" by Homer, "Divine Comedy" by Dante, "Suffering of young Verter" by Goethe, "Eugene Onegin" by Pushkin, "Transformation" by Kafka, "Cavalry" by Babel' and the song "Little Fir Tree".
Vladimir Shinkarev. WORLDWISE LITERATURE
Shinkarev's World Literature on the first glance applies to Pop Art or Post-Modern object paintings, collages from all kinds of quotes. Especially as all the quotes in "World Literature" are symbolical. "Red Cavalry is Galloping" by Malevich as an illustration to Babel's "Cavalry" could be seen as Socialist Art critics and Shnkarev's composition "Dancing Alone" could be perceived as Gregor Zamza's history episode that was told by Kafka. All these allows to begin psychoanalytical speculations, repeating of the room from "Dancing alone" in the "Parsifal" painting also leads to them: there is the Holy Graal all alone in this room. But this train of thought turns to be false if you will take seriously the author's forewarning concerning the aim of this paintings' series. This aim is to "introduce to people the plastic way of thinking" but not to remind them of handbooks' summary because nowadays all of us don't read anything. Great impact of these paintings is connected with their composition construction that is absolutely neutral in comic books and resembles a row of shots. On the contrary in every composition there could be felt poignant efforts of subject's moving and episodes' coupling that are included in unequal and colliding right-angled blocks. Here we can see not tales depicted in paintings but muteness areas, pauses in literary narration that we fill in with our senses and afterwards we recreate from these pauses emotional atmosphere of work. All these paintings are intentionally mute, as they are full of painting form density. The exhibition was organized with the Ludwig Museum cooperation.

Gennady Zubkov "PAPAVER L., or BOTANY LESSONS"
From December 24 1999 to January 24 2000
The Marble Palace

Gennady Zubkov presented his new project that in fact is an exhibition of one painting. Its main object was a poppy flower that was isolated and presented in a multiple magnification as if it was seen through telescopic lens.

Gennady Zubkov was born in Perm in 1940. IN 1968 he has graduated from the art and graphic faculty of the A. I. Gertsen Leningrad State Pedagogical Institute. His work was greatly influenced by acquaintance with V. Sterligov and studying under his direction Impressionism, Cezannism, Cubism and cupola system. In 1976 - 1978 Gennady Zubkov was working out the lessons' methods on form and color problems that was founded on studying experience with V. Sterligov. Since 1986 he has begun his own pedagogical activity, he investigated painting culture problems with young artists. In 1995 Gennady Zubkov organized the group "Form + Color".
PAPAVER L., or BOTANY LESSONS
Gennady Zubkov took part in the first exhibitions of Leningrad non-official art in 1974-75 (the Gas Palace of Culture and the Nevsky Palace of Culture). He is an organizer and participant of the "Sterligov's group" main exhibitions in St. Petersburg, Vienna, New York and in other cities. The artist's works are in collections of the State Russian Museum, Pushkin State Fine Arts Museum, Museum of St. Petersburg History, Yaroslavl Art Museum and Reserve, in Norton Dodge collection (USA) as well as in many private collections in Russia, USA, Germany, France, Finland, Sweden, Switzerland, Italy, Greece, England and Holland. In the Marble Palace exhibition you can retrace all the life cycle of the plant. Every phase of this cycle is accentuated by painting it on a separate canvas. But the parts though handing on the image as a baton form the indivisible composition. Continuity of painting narration corresponds to continuity of life process. The artists has not been afraid of old-fashioned associations that are usual for "flower motive", but on the contrary he stimulated them by frankness of their showing. Fortune of a flower is similar to that of a man. Transience of "flower lifetime" that is intensified by combination of various stages in simultaneous imaging turns to be a warning for a man. It is a kind of "MÅmento mori". Maybe it is the main botany lesson.

The main theme continuing in the original herbaria - graphic commentaries - tells not only of life but also of painting. Subject of reflexion is old as our world - it is a form-building in art and in nature. In tradition connected with Russian Avant-garde nature was retreating in the face of form-creating will of an artist. Nature submitted to laws dictated by painting. In the Botanical Garden Gennady Zubkov realized that the very nature has a form-building potential. Poppy flower is a kind of perfect detail of natural architecture that is able to influence on surrounding by organizing it. Lesson of botany is to see this aura of natural geometry. The exhibition was organized with the Ludwig Museum cooperation.

Personal exhibition of works by Olga and Alexander Florensky
The Marble Palace
October 11th, 1999 to January, 9th, 2000 Olga and Alexander Florensky

The exhibition included works created over the last few years by these leading local artists and members of the Mitki group. On show were both new works and their already familiar Taxidermia and Beastiarium cycles. The exhibition was organized with the Ludwig Museum cooperation.



"A thread binding the times."
The Michael's (Engineers') Castle
From November, 1, 1999 to January, 2000


'Coma'. Installation by V.Kustov


"Coma". Installation by V.Kustov
From November, 29 to December, 15, 1999
The Marble Palace

The exhibition was organized with the Ludwig Museum cooperation.

Exhibition of Li San Wong works
From November, 26 to December 1999
The Benois Wing
Exhibition of Li San Wong works
Li San Wong is the outstanding contemporary artist from Northern Korea who combines devices of the Far East traditional painting and Western art experience, in particular pop-art.


Franz Lefort - associate of Peter I
From November, 17 to 30 1999
Michael's (Engineers') Castle
Portrait of Frantz Lefort
The exhibition was prepared in cooperation with Swiss Cultural Center. Its main exhibits were historical documents and engravings from the Navy Archive, Russian National Library and the State Russian Museum.

Frescoes from the Saver on Nereditsa Hill Church. 800th jubilee from its creation.
The Benois Wing
August, 5 to November, 15, 1999


Kharlampy Gavrilov-Oroshakov.
The inhabitants of the edge of the Earth: peredvizhniki and orientalists.

From October, 9 to November, 1999
Marble Palace

The inhabitants of the edge of the Earth: peredvizhniki and orientalists. Descended from an old Russian-Bulgarian family, Kharlamy Oroshakov currently lives in Berlin. His background and private experiences were reflected in his new installation in the Large (Gothic) Room of the Marble Palace, which addressed the problems of cultural interaction. The exhibition was organized with the Ludwig Museum cooperation.


Sculpture by Dmitry Kaminker
Benois Wing
September, 8 to November, 15 1999

D.Kaminker The Organizer 1988


Contemporary St Petersburg sculptor Dmitry Kaminker is the creative leader of the Shuvalovo-Ozerki group of artists and a founding member of the KruKaKo sculptural international alliance. His one-man show at the Russian Museum included works from various years held at both the museum and in the artist's own collection. The works on display reflected Kaminker's interest in the cultures of various periods and peoples, from Ancient Egypt and Greece to contemporary Indonesia and the Amazon basin. These diverse cultural phenomena provided the impulse for the artist to create such highly original plastic images.

The Chernetsov Brothers and Pushkin
From July 4th to November 1999
The Benois Wing

In the exposition were presented the works by the middle of the 19th century splendid artists - brothers Nikanor and Grigory Chernezov. They were known mostly as the landscape masters and they became Russian art propagandists in Italy where they were working. Having travelled the Volga River they created a huge panorama with the Great Russian River views. The most prominent canvas was "The parade on the Tsaritsyn meadow". They portrayed A. Pushkin among other historical characters in this work.


Alternative museum
Opened to October, 26 1999
The Marble Palace
Alternative museum

There were presented artworks, books with autographs, memorable things, connected with names of the greatest contemporary artists: R. Rauschenberg, J.Beuys, B.Eno, A.Worhole. All the exhibits were from the private collections of famous reperesentatives of Petersburg art-world: T.Novikov, S.Bugaev (Africa), S.Kurjokhin, B.Gebenshikov, A.Belkin etc. The exhibition was organized with the Ludwig Museum cooperation.

Alexander Pushkin and his milieu.
From June 2nd to October, 11th 1999
The Mikhailovsky Palace

In the exposition were shown more than 60 drawings and watercolors by Russian masters of the first half of the 19th century that introduced us to A.Pushkin's friends and contemporaries images. The poet's milieu was presented in the portraits by Pyotr Sokolov, Alexander and Karl Bryullov, Konstantin Makovsky, Fyodor Bruni etc.

Jean-Michel Alberola "My name is not Pierrot, my name is Ferdinand"
The Marble Palace
September, 24 - October, 8, 1999

The exhibition of Jean-Michelle Alberola's serigraphs was organized in collaboration with the French Institute in St Petersburg.

Jean-Michel Alberola was born in a French family in Algeria in 1953. He then moved to France in 1962 and studied at the Marseilles Academy of Art. He currently lives and works in Le Havre, Paris and Naples. Alberola was recently decorated with the gold medal of the city of Paris.
Jean-Michel Alberola
Jean-Michel Alberola first showed his works at a group exhibition in the Toulon Salon (1975-76). He acquired fame after his works were included in the permanent exhibition of the Musee d'Art Moderne in Paris. His first personal exhibition, Susanna and the Elders, was held at the Galerie Daniel Templeton in Paris in 1982. Since then, the artist has held more than thirty one-man shows. One of his most extraordinary exhibitions was the series of wall paintings that he presented in Bratislava.

The Jean-Michel Alberola exhibition at the Marble Palace is the artist's first show in Russia. It includes twenty serigraphs edited by Eric Linard, among them Pierrot - Ferdinand, Dangerous Poison, Dedication to Cezanne and Tototati. The creation of the serigraphs was preceded by engravings made in collaboration with Pierrot Crommelink. Serigraphy is a special form of engraving that became especially popular with Andy Warhol.

The exhibition has already visited Central and Eastern Europe. The highlight of the Russian showing, however, is the painting Susanna and the Elders: The Mute (1987-88), a central fixture in the permanent exhibition of the Ludwig Collecton in the Russian Museum.

Jean-Michel Alberola's serigraphs combine features of posters, graffiti, slogans, calligraphy and, of course, painting.

The Third Room
From September 3rd to 6 October 1999
St Michael's (Engineers) Castle

October 1999 in St Michael's (Engineers) Castle of the Russian Museum. The exhibition was held in collaboration with the Third Room Foundation (Dusseldorf, Germany) and was based on the theme Children and the Future. It presented works of painting, photography, objects and installations by artists belonging to the various nationalities now living in Germany. The aim of the exhibition was to draw attention to our responsibility towards children and the need to teach them to unite art with reality.

The exhibition is divided in three sections, each of which symbolizes a stage in the development of a child entering society. The first part demonstrates forms adopted from nature: the birth and life conditions of a newly-born infant are recreated and shown as "pliable forms". The second part incarnates the reality that surrounds a child and a succession of influences -that which might be called the "current of experience", to use the term of American psychologist and philosopher William James. The third stage addresses synthesis, when self-conscience and creative work should destroy the walls of "closed reality". A series of meetings and discussions conducted by artists were planned to coincide with the exhibition, as well as a number of master-classes for local young people.


Georgy Pusenkov. Simply virtual installation
From September, 9 to September, 30 1999
Marble Palace

Georgy Pusenkov was born in Krasnopolye, Belorus, in 1953. After completing a course in higher technical studies, he graduated in 1983 from the drawing department of the Moscow Polygraphic Institute and devoted himself to designing books.

Since 1984, Georgy Pusenkov has actively contributed to exhibitions in Russia (Moscow, St Petersburg) and abroad (London, Dusseldorf, Bogota, Hamburg, Cologne, Toronto, Paris, Krakow, Bonn). He currently lives and works in Cologne and Moscow. Since 1987, the artist has been a member of the Hermitage association and the Moscow Union of Artists. This exhibition is the artist's second one-man show at the Russian Museum (the first was in 1995).

Georgy Pusenkov's creative strategy appeals to the mass communication that has long since usurped reality. Thanks to doubling and multiplication, a device employed in Pop Art, particularly by Andy Warhol, the power of a single image is raised to the level of an "icon" and, at the same time, presented as an endless variation.

The exhibition includes 46 works by Georgy Pusenkov (acrylic on canvas) created in recent years. The exhibition was organized with the Ludwig Museum cooperation.

Vladimir Viderman. Simulacre of The Sign.
Marble Palace
September 3rd, to September 27 1999

The exhibition is curated by the Contemporary Art Department of the Russian Museum, which has, over the past few years, attempted to present the geometric tradition in contemporary Russian and foreign art. Vladimir Viderman's exhibition continues this strategy and presents a personal version of geometrism corroborated by the author's own experience.
V.Viderman. Hamlet. 1995
Vladimir Viderman was born in Leningrad in 1945. In 1971, he graduated from the Vera Mukhina School of Art and Industry. He has contributed to a number of group exhibitions since 1974, including the shows at the Gaz Palace of Culture (1974), Nevsky Palace of Culture (1975), Chagall's Successors (Turku, Finland, 1990) and Kunstmarkt (Dresden, Germany, 1996-97).

Despite the fact that Vladimir Viderman was a contributor to the first non-official Soviet art exhibitions, his contact with the Gaz and Nevsky trend and his membership of the Association of Experimental Fine Art had little impact on his own creative evolution. Viderman was no underground artist and opposition to the semi-official organs had no value for him. Being an introvert person, Viderman had more interest in plastic, rather than political, ideas. Even his works of the 1970s were dominated by the concept of plastic drama.
V.Viderman. Composition ¹ 38
The 1980s were a kind of classicist period for the artist, when his ideal was a turning away from all connections with subject.

The present exhibition reflects the artist's oeuvre in the 1990s. The exhibition is not retrospective, though it could be called a project show, i.e. the working through of a concrete idea resulting from previous development.

The version of geometric tradition offered by the artist has an upper layer - dynamic and "whisked" compositions of an abstract nature. Some signs actively force their way through the self-sufficiency of these structures. These are the simplest irritants, like road signs, which need to be decoded and interpreted. The signals turn out to be false, however, and leave us with a fraudulent sign - the sign-simulacra. The presence of this sign is indication that the geometric tradition has psychedelic and manipulative impact.

The exhibition presents some eighty works produced by the artist over the past decade, including Eclipse on a Striped Background (1987), Hamlet (1995), Remembering Antiquity (1996) and Juggler (1997). The exhibition was organized with the Ludwig Museum cooperation.

Contemporary Art Department: Recent Acquisitions
From August 5 to September 1999
Benois Wing

The exhibits on show were just some of the works that have recently been acquired by the museum. The Contemporary Art Department has been shown here only a small aspect of its on-going collecting process. The department existed in the museum for just over a decade now. It was created in order to collect and exhibit in the Russian Museum such new and non-traditional forms of art as installations, assemblages, video art, photography, photo-based art and much more, phenomena that are now in the mainstream of modern art, shown in a multinational context.

The curators of the Contemporary Art Department are inspired by the historical precedent set by Nikolai Punin back in the 1920s. In the second half of the 1920s, Punin headed the department of the same name at the Russian Museum. The object of its attention was art in all its experimental and radical forms. Today, no state of affairs -- be it politics, group loyalties or arbitrary factors -- is sufficient reason to not pay attention to the leading phenomena of modern art.

The department's collecting activities is closely connected to its exhibition work. As a rule, its collection is augmented by works included in museum exhibitions. This museum exhibition thus confirms a work's status, which is then reaffirmed by its acquisition for the museum collection.

The department's main task is to follow the art process and reflect this process in the museum collection, filling in any gaps that might have occurred. The department pays particular attention to phenomena that, for various reasons (usually political), were not previously collected. These works appeared long before the department was formed. Among such works are the creations of the representatives of the Moscow underground and art of the 1970s and 1980s. They are represented by such movements as Moscow pop-art, conceptualism, soc-art, geometric abstraction, the Petersburg New Artists and Necro-Realism. The exhibition included the works of Leonid Borisov, Sergey Bugaev (Africa), Victoria Buyvid, Ira Valdron, Konstantin Zvezdochetov, Timur Novikov, Vadim Ovchinnikov, Boris Savelyev and Marilyn Spindler.


Without the Wall
From July 9th to August 29th 1999
The Marble Palace

Without the Wall The exhibition that was organized in cooperation with the George Soros Modern Art Center were shown photographs, video art and installations by artists being our contemporaries from the East European countries. The exhibition was organized with the Ludwig Museum cooperation.

Ekaterina Savchenko. "Fire"
From June 25th to July 15th 1999
The Marble Palace

Ekaterina Savchenko. 'Fire' The works by contemporary Petersburg artist Ekaterina Savchenko was presented by her paintings, photo and video installations dedicated to the fire theme where fire is a symbol of energy, ebullient passions and transforming power. The exhibition was organized with the Ludwig Museum cooperation.

"On the banks of the Neva river..."
K. P. Beggrov, S. V. Galaktionov, K. I. Kol'man, A. E. Martynov
Drawing 1800 - 1830

From June 4th to July 10th 1999
The Michael's (Engineers') Castle

On the banks of the Neva river... The exposition was composed from more than 100 drawings, watercolors and engravings from the Russian Museum collection that were created by the artists who were A. Pushkin's contemporaries. The decorative and applied art works from the Pushkin epoch art supplemented the exhibition.

Dirk Varklas
From June 1st to July 1st 1999
The Marble Palace

Dirk Varklas The exhibition of German artist Dirk Varklas was organized by the Russian Museum in cooperation with the Bausmann gallery (Mainz, Germany). Dirk Varklas' works - compositions, collages and mixed media works - show plenty of colors and form combinations that create refined richness of space and color compositions. Varklas' works are connected with fine art tendencies that were worked out in the 1910s and 1920ies by the Russian avant garde artists such as Alexander Arkhipenko and Vladimir Lebedev. The exhibition was organized with the Ludwig Museum cooperation.

Current exhibitions



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World-known music festival "The Stars of the White Nights". Artistic director - Valery Gergiev (Mariinky (Kirov) Opera and Ballet)World-known music festival "The Stars of the White Nights".
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