DOI issue:
Nr. 207 (June 1910)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20970#0100
Studio-Talk
Among the sculptors,
the “ Soyouz ” this year
has, in addition to Kus-
todieff referred to above,
brought to light another
novus homo in the person
of S. Sudbinin, who has
received his training in
Paris. The works he
exhibited bore clearly
enough the stamp of
Parisian influence, but be-
sides being executed with
brilliant technical skill,
they gave ample proof of
really individual gifts.
Miss Golubkina hardly
reached her previous high
level on this occasion, but
the new productions of
S. Konenkoff testified to
the steady progress of this
talented artist.
The chief artistic event
in Moscow during the
past Lenten season was
the exhibition of a series
of colossal wall paintings
of a religious character by
Victor Vasnetzoff. These
paintings were commis- self portrait
78
BV L. PASTERNAK
I. Bilibin. The colour note is the predominant
characteristic in Sapunoff’s work, and his theatrical
sketches, like his charming floral arrangements,
are rich in colour harmonies. Dobuzhinsky and
Bilibin are both of them pre-eminently graphic
artists, but the former in his delightful decora-
tions for TurgeniefFs comedy, “A Month in the
Country,” tastefully composed in the style of the
’fifties of the last century, has given something
more than mere draughtsmanship. Bilibin’s
designs and costume sketches for a posthumous
opera by Rimsky-Korsakoff are in the style of his
well-known illustrations to story books, which have
become popular abroad as well as in Russia. The
sole representative of the art of engraving was
Mme. Ostroumova-Lebedeff, who showed some
wood engravings in colour—little views of St.
Petersburg, in which sure draughtsmanship com-
bined with feminine grace
in form and colour was
displayed.
sioned by a Russian millionaire, and are destined
for a church connected with some works owned by
the latter in the Government of Vladimir. The artist
has been occupying himself for close on ten years
with these wall paintings, and during that period
has taken practically no part in the art doings of
Moscow. In view of the small output for which
Russian artists are noted, especially when their
early years are past, these five panels, which have
for subject The Last Judgment, The Last Supper,
The Crucifixion, Christ in Hades, and The Glorifi-
cation of the Virgin Mary, made a powerful impres-
sion by their purely extrinsic character as morceaux
de peinture, but as artistic achievements also they
constitute an important event in Russian art and
mark a new stage in the oeuvre of Vasnetzoff.
As in his earlier wall paintings for the Church
Among the sculptors,
the “ Soyouz ” this year
has, in addition to Kus-
todieff referred to above,
brought to light another
novus homo in the person
of S. Sudbinin, who has
received his training in
Paris. The works he
exhibited bore clearly
enough the stamp of
Parisian influence, but be-
sides being executed with
brilliant technical skill,
they gave ample proof of
really individual gifts.
Miss Golubkina hardly
reached her previous high
level on this occasion, but
the new productions of
S. Konenkoff testified to
the steady progress of this
talented artist.
The chief artistic event
in Moscow during the
past Lenten season was
the exhibition of a series
of colossal wall paintings
of a religious character by
Victor Vasnetzoff. These
paintings were commis- self portrait
78
BV L. PASTERNAK
I. Bilibin. The colour note is the predominant
characteristic in Sapunoff’s work, and his theatrical
sketches, like his charming floral arrangements,
are rich in colour harmonies. Dobuzhinsky and
Bilibin are both of them pre-eminently graphic
artists, but the former in his delightful decora-
tions for TurgeniefFs comedy, “A Month in the
Country,” tastefully composed in the style of the
’fifties of the last century, has given something
more than mere draughtsmanship. Bilibin’s
designs and costume sketches for a posthumous
opera by Rimsky-Korsakoff are in the style of his
well-known illustrations to story books, which have
become popular abroad as well as in Russia. The
sole representative of the art of engraving was
Mme. Ostroumova-Lebedeff, who showed some
wood engravings in colour—little views of St.
Petersburg, in which sure draughtsmanship com-
bined with feminine grace
in form and colour was
displayed.
sioned by a Russian millionaire, and are destined
for a church connected with some works owned by
the latter in the Government of Vladimir. The artist
has been occupying himself for close on ten years
with these wall paintings, and during that period
has taken practically no part in the art doings of
Moscow. In view of the small output for which
Russian artists are noted, especially when their
early years are past, these five panels, which have
for subject The Last Judgment, The Last Supper,
The Crucifixion, Christ in Hades, and The Glorifi-
cation of the Virgin Mary, made a powerful impres-
sion by their purely extrinsic character as morceaux
de peinture, but as artistic achievements also they
constitute an important event in Russian art and
mark a new stage in the oeuvre of Vasnetzoff.
As in his earlier wall paintings for the Church