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| | Arts Calendar / October 3 / Exhibitions |
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 The concept of an exhibition of Albert Marquet’s (1875–1947) works was conceived and fulfilled by the curators of Musée d'Art Moderne de la Ville de Paris as a monographic research on the oeuvre of this renowned French artist. The exhibits – from the early “Algerian” studies up to the later Marquet’s paintings depicting views of Parisian quais and squares – come from European and American museums and private collections. The exhibition hosted by the Pushkin State Museum of Fine Arts will be completed with some materials on Marquet’s travel to Russia and his impressions. The display will also include artworks created by the Vkhutemas and Vkhutein alumni of the 1920s, members of the “13” group, and the “Circle of Artists” group from Leningrad, who praised Marquet’s oeuvre and implemented similar aesthetic principles in their cityscapes of Moscow and Leningrad. Albert Marquet formed his artistic talent in the late 19th – early 20th century, during the period of flourishing of Parisian artistic life. The artist had a close friendship with the Fauves – Henri Matisse and André Derain. He standed out among the Fauves who were famous for using bold colors and simplified forms. Marquet’s peculiar and original technique consisted in combining the plasticity of dynamic and unchained brushstrokes and a harmonious palette with a range of complex color schemes. Until 08.01.17
Pushkin State Musem of Fine Arts. European and American Art  |
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| Alexander Rodchenko. Experiments for the Future. On the 125th anniversary of his birth |
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 The Russian avant-garde of the twentieth century is a unique phenomenon not only in Russian, but in world culture. The amazing creative energy accumulated by the artists of this great age is still providing nourishment for artistic culture today and all who have dealings with the art produced by Russian Art Nouveau. Alexander Rodchenko was indisputably one of the main generators of creative ideas and the general spiritual aura of the age. Painting, design, theatre, cinema, typography and photography, all areas invaded by the powerful talent of this strong, handsome man, were transformed, opening up radically new paths of development. The early 1920s was an «intermediate age», to quote Viktor Shklovsky, one of the finest critics and theoreticians of the day, a period when, albeit briefly, illusively, there was a resonance between artistic and social experiment. It was at this time, 1924, that photography was invaded by Alexander Rodchenko, already a well-known artist with the slogan «Our duty is to experiment» placed firmly at the centre of his aesthetic. The result of this invasion was a fundamental change of ideas about the nature of photography and the role of the photographer. Conceptual thinking was introduced into photography. Instead of just being the reflection of reality, photography also became a device for the visual representation of dynamic intellectual constructions. Until 12.02.17
Multimedia Art Museum |
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| Giovanni Battista Piranesi. Artworks from Russian and Foreign Collections |
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 The Pushkin State Museum of Fine Arts is planning to host a major exhibition dedicated to the art of Giovanni Battista Piranesi (1720–1778), an Italian engraver, architect, researcher, decorator, and collector of Ancient Roman objects. The display will include more than 100 etchings by Piranesi, engravings and drawings by his predecessors and followers, plaster casts, medals, books, models from the collection of the Pushkin State Museum of Fine Arts, the Cini Foundation (Venice), the Schusev State Museum of Architecture, the Russian Academy of Fine Arts Museum, and other collections based in Russia and Western Europe. The works of the predecessors and the followers of the Italian master will help visitors get a better understanding of how Piranesi’s artistic personality was formed, how his art influenced the following generations of artists and of the role of his legacy in Russia. Piranesi’s art inspired the architects of Catherine II’s court – Giacomo Quarenghi, Charles Cameron, Vincenzo Brenna; as well as masters of Russian Avant-garde – Ivan Leonidov, Konstantin Melnikov, Yakov Chernikhov. This art still continues to impress its admirers with its sophistication: a contemporary Russian artist Valeriy Koshlyakov will display an artwork he has created exclusively for this exhibition. Until 13.11.16
Pushkin Fine Arts Museum |
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| Ivan Aivazovsky. For the 200th Anniversary |
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 The Tretyakov Gallery is preparing a large-scale monographic exhibition of Ivan Aivazovsky (1817-1900), one of the best-known and most popular painters in Russia. His art includes the themes that touched many generations of artists: the attempts to depict infinite, limitless spaces, the desire to capture the ever-changing nature in a given moment of time. From the large number of works created by Aivazovsky (based on his own estimate, approximately 6000), the exhibition presents about 100 paintings and 50 graphic works. The curators’ selection will allow the viewers to see the best examples of Aivazovsky paintings: seascapes, battle scenes, graphics works. The exhibition will display simultaneously four most significant paintings of the artist: “The Rainbow” (1873), “The Black Sea” (1881, both from Tretyakov Gallery), “The Ninth Wave” (1850), “The Wave” (1889, both from State Russian Museum). For the first time, the art lovers will see the large format painting “On the shores of the Caucasus” (1885, Tretyakov Gallery) that has never been on show before. The documentary section will introduce Aivazovsky as a patron of arts, the first honorary citizen of Theodosia. The exhibition will also include models of ships, compasses, globes, telescopes. Participants: the State Tretyakov Gallery, the Russian Museum, the National Art Gallery named after Ivan Aivazovsky (Theodosia), regional Russian museums, private collections. Until 20.11.16
Tretyakov Gallery at Krymsky Val |
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| Pino Pinelli. Matter. Fragment. Shadow |
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 Pino Pinelli was born in 1938 in Catania, Italy. Pinelli’s works explore the essence of painting itself through the innovative use of materials and formal experiments, creating mixed-media geometric forms which mimic either outlines or geometric trails. Pinelli was one of the leading artists of Analytical Painting, defined by art critic Filiberto Menna and characterized by the artists’ interest in the material components of the painting and the relationship between the painting and the artist. Having studied art in Catania, Pinelli moved to Milan in 1963 where he became attracted to the artistic debates of influential artists such as Lucio Fontana, Piero Manzoni, and Enrico Castellani, as well as other artists from the Zero group. In the early 1970s Pinelli began paring down his works developing a series of monochrome paintings. From 1973 his works are titled simply “Painting,” followed by the first letter of their colour (R for red). Pinelli’s “Topologies” and “Monochromes” series focus on the painted surface and experiment with the juxtaposition and combination of smaller paintings on a large canvas. Later, in his “Disseminations” series from 1976 the wall itself becomes part of the work thus breaking down the relationship between the painting and its surroundings. In the same years, Pinelli stopped using canvas instead opting for materials such as flannel, giving the work a tactile component. Without any fundamental attachment to the space in which they reside, Pinelli’s paintings cannot be comfortably categorised thus allowing them to grow, without the boundaries of a canvas, into often expansive, modular and dynamic forms. By moving the painting away from the canvas, Pinelli challenged the traditional conception of painting and enriched the constantly-evolving dialogue between art and life.
Multimedia Art Museum |
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 Raphael has arrived in Moscow. A landmark exhibition dedicated to the Italian painter and architect of the High Renaissance opened at Moscow’s Pushkin Museum of Fine Arts on Sept. 13. “Raphael. The Poetry of the Image” features 11 artworks, including three drawings and eight paintings — among them the artist’s iconic self-portrait. The exhibition, unprecedented in scale and significance, is a milestone cultural collaboration between the Pushkin Museum and the Uffizi Galleries. The unique event is held under the patronage of the Italian Embassy in Russia and was envisaged in a signed agreement between Eike Schmidt, director of the Florentine Uffizi Galleries and Marina Loshak, director of the Pushkin Museum, in the presence of the Italian Ambassador Cesare Maria Ragaglini. All of the artworks are on loan from Italian museums: eight from the Uffizi Gallery and the Palatine Gallery, the others from the National Gallery of Bologna, the National Gallery of Marche and the Tosio Martinengo Gallery. Raphael’s portraits are praised for their beauty, serenity and harmony of composition. Born in Urbino in 1483, Raphael demonstrated a precocious talent and painted masterfully from a very young age. The qualities of balance that characterize his paintings represent the peak of Renaissance art, referred to as “High Renaissance.” Until 11.12.16
Pushkin Fine Arts Museum |
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| Zero group: Günther Hecker, Heinz Mack, Otto Piene |
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 Multimedia Art Museum within the framework of the Days of Moscow in Düsseldorf presents an exhibition of the legendary German art group Zero, which has had a huge impact on the post-war European art. The exhibition includes iconic works of its founders: Günther Hecker, Heinz Mack and Otto Piene. The art of Zero that arose out of the new Düsseldorf had a complex birth defined by its two leading protagonists: Piene and Mack, who later were joined by Günther Hecker. Zero in the name of the group was not a symbol of negation. It was a starting point, point of silence and emptiness, in which there is a new world, full of hope and light. By the early 60’s many world artists and philosophers came to the «zero point»: Maurice Merleau-Ponty argued about the «zero space», Roland Barthes — the «zero degree writing» Yves Klein opened an exhibition called «The Void», and John Cage began working on the music of silence. In 1963, the manifest of Otto Piene, Heinz Mack and Günther Hecker appeared, it was called «Zero — is silence. Zero — is the beginning». The group ideas were expressed with the help of light and kinetic installations, different objects at the junction of painting and sculpture, with the monochrome picture. Until 13.11.16
Multimedia Art Museum |
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