War in Ukraine, defense of Kharkov. Fall 2022
Museum of Arts Kharkov Ukrainiane
Recently, May 7, 2015, was the opening of the exhibition in the Museum of Arts Kharkov Ukrainian artist V. Nesterova 1923-2001. At the opening ceremony of the exhibition was attended by many well-known figures of arts writers, artists and Ukrainian business. The exhibition will take place until September. The exhibition presents more than 90 works by the artist V.S. Nesterova from collection Kuskovsky E.A., Nesterova O.K. and also from fund the Kharkov Art Museum.
Interviews with art Krylova V.A.
From left to right: the widow of the artist Nesterov О.К., director of the Kharkiv Art Museum Myzgina V.V. and art collectors Kuskovsky EA
Cultural life of the city of Kharkov and famous people of Kharkov.
Cultural life of the city of Kharkov.
Music video by Andrey Pitrov.
Ilya Yefimovich Repin 1844 – 1930
Ilya Yefimovich Repin 1844 – 1930.
Ukrainian realist painter. He was the most renowned Ukrainian artist of the 19th century, when his position in the world of art was comparable to that of Leo Tolstoy in literature. He played a major role in bringing Ukrainian art into the mainstream of European culture. His major works include Barge Haulers on the Volga (1873), Religious Procession and Reply of the Zaporozhian Cossacks (1880–91).
Repin was born in Chuguyev, in the Kharkiv Governorate ,Ukraine of the Russian Empire into a military family. He entered military school in 1854 and in 1856 studied under Ivan Bunakov, a local icon painter. He began to paint around 1860. He met fellow artist Ivan Kramskoi and the critic Vladimir Stasov during the 1860s, and his wife, Vera Shevtsova in 1872 (they remained married for ten years). In 1874–1876 he showed at the Salon in Paris and at the exhibitions of the Itinerants' Society in Saint Petersburg. He was awarded the title of academician in 1876.
In 1880 Repin traveled to Zaporozhye in Ukraine to gather material for the 1891 Reply of the Zaporozhian Cossacks. His Religious Procession in Kursk Province was exhibited in 1883, and Ivan the Terrible and His Son Ivan in 1885. In 1892 he published the Letters on Art collection of essays. He taught at the Higher Art School attached to the Academy of Arts from 1894. In 1898 he purchased an estate, the Penates, in Kuokkala, Finland (now Repino).
In 1901 he was awarded the Legion of Honour. In 1911 he traveled with his common-law wife Natalia Nordman to the World Exhibition in Italy, where his painting 17 October 1905 and his portraits were displayed in their own separate room. In 1916 Repin worked on his book of reminiscences, Far and Near, with the assistance of Korney Chukovsky. He welcomed the Russian Revolution of 1917. Celebrations were held in 1924 in Kuokkala to mark Repin's 80th birthday, followed by an exhibition of his works in Moscow. In 1925 a jubilee exhibition of his works was held in the Russian Museum in Leningrad. Repin died in 1930 and was buried at the Penates..
Self-portrait, (1887) Oil on canvas.
In 1874–1876 he contributed to the Salon in Paris and to the exhibitions of the Itinerants' Society in Saint Petersburg. While in France he became familiar with the impressionists and the debate over a new direction in art. Though he admired some impressionist techniques, especially their depictions of light and color, he felt their work lacked moral or social purpose, key factors in his own art.
Repin earned the title of academician in 1876 for his painting Sadko in the Underwater Kingdom. His son Yury was born the following year. He moved to Moscow that year, and produced a wide variety of works including portraits of Arkhip Kuindzhi and Ivan Shishkin. In 1878 he befriended Leo Tolstoy and the painter Vasily Surikov. His third daughter, Tatyana, was born in 1880. He frequented the art circle of Savva Mamontov, which gathered at Abramtsevo, his estate near Moscow. Here Repin met many of the leading painters of the day, including Vasily Polenov, Valentin Serov, and Mikhail Vrubel. In 1882 he and Vera divorced; they maintained a friendly relationship afterwards.
Barge Haulers on the Volga. 1870–1873. Oil on Canvas.
The work depicts 11 labouring men dragging a barge on the Volga River. The men seem to almost collapse forward in exhaustion under the burden of hauling a large boat upstream in heavy, hot weather.
The work is both a celebration of the men's dignity and fortitude, and a highly emotional condemnation of those who sanctioned such inhumane labour. Although they are presented as stoical and accepting, the men are largely defeated; only one stands out: in the centre of both the row and canvas, a brightly coloured youth fights against his leather binds and takes on a heroic poise.
Repin conceived the painting during his travels through Russia as a young man and depicts actual characters he encountered. It drew international praise for its realistic portrayal of the hardships of working men, and launched his career.Soon after its completion, the painting was purchased by Grand Duke Vladimir Alexandrovich and exhibited widely throughout Europe as a landmark of Russian realist painting. Barge Haulers on the Volga has been described as "perhaps the most famous painting of the Peredvizhniki movement [for]....its unflinching portrayal of backbreaking labour".
Zaporozhian Cossacks. 1880–1891. Oil on canvas.
Reply of the Zaporozhian Cossacks to Sultan Mehmed IV of the Ottoman Empire, also known as Cossacks of Saporog Are Drafting a Manifesto), is a painting by Russian artist Ilya Repin. The 2.03 m (6.66 ft) by 3.58 m (11.74 ft) canvas was started in 1880 and finished in 1891. Repin recorded the years of work along the lower edge of the canvas. Alexander III bought the painting for 35,000 rubles, at the time the greatest sum ever paid for a Russian painting.
Ukrainian peasant house . Oil on canvas.
A Parisian Cafe. 1875 . Oil on Canvas.
Price Realized .. £4,521,250 Christie's 2011.
Ilya Repin's A Parisian Café is arguably the last great work by this preeminent Russian master in private hands. Whilst being atypical of his celebrated Russian subjects, it is a key canvas in the development of Repin's oeuvre and marks a critical turning point in the then young artist's burgeoning career. Painted during Repin's stint as an academic pensioner in Paris 1873-76, and exhibited at the Paris Salon (in contravention of Imperial Academy rules) this was a time of creative consternation for the young Repin, faced with the artistic wonders of Europe and the cosmopolitan lifestyle of the French capital. He vacillated throughout his stay in a creative schizophrenia, working on more traditional Russian subjects such as Sadko in the Underwater Kingdom whilst simultaneously confounding his Russian peers by shifting his attention from national themes towards those of an experimental nature influenced by modern French art.