DOI Heft:
No. 278 (May 1916)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21261#0282
Studio-Talk
“morning dawn
composition by Victor Vasnetsov,* with whose
work readers of this magazine are familiar, but
this unfortunately did not reach the level of the
painter’s earlier achievements.
This year’s exhibition of the group known as
the “Mir Isskousstva” (the World of Art) once
more proved that in its essence this society is in a
state of continuous evolution, as a result of which
the character of its exhibitions is more and more
subject to change. Amongst the founders of the
group two were altogether absent on this occasion,
namely, A. Benois and N. Roehrich, while Kon-
stantin Somoff was represented only by a quite
* Apropos of the article by Dr. Hagberg
Wright on Vasnetsov’s wall-paintings in Kiev
Cathedral, which appeared in our issue of January
last, we are asked to state that two of the paintings
reproduced as the work of that artist, namely The
Crucifixion and Christs Entry into Jerusalem,
were not painted by him but by P. A. Svedomsky.
In common with Dr. Wright, who was under a mis-
apprehension regarding the authorship of these
paintings, we regret the error.—The Editor.
278
BY A. RYLOFF
insipid portrait-drawing, and Mme. Ostroumova-
Lebedeff merely by variations of earlier work.
E. Lanceray and M. Dobuzkinsky exhibited
numerous drawings from the Russian Front—those
of the former from the Caucasus, and the latter’s
from the European field of operations—but for
the most part their interest was purely illustrative.
The features of chief interest in this display
emanated from two members of the Petrograd
section, B. Kustodieff and K. Petroff-Vodkin, and
the latter especially, with his more than life-size
Madonna picture, reaped great Ulat. In this
work the artist’s attempt to combine the style of
the Old Russian ikon with a modern mode of
pictorial treatment must be regarded as entirely
successful, and it was a religious painting in the
truest sense that here confronted the spectator.
The red and green of the Madonna’s garment
struck a particularly agreeable note, and the
artist’s penchant for painting heads larger than
life-size did not in this case arouse any of that
dissent which his life-studies have often called
forth. B. Kustodieff’s great technical ability was
( Union of Russian Artists, Moscow)
“morning dawn
composition by Victor Vasnetsov,* with whose
work readers of this magazine are familiar, but
this unfortunately did not reach the level of the
painter’s earlier achievements.
This year’s exhibition of the group known as
the “Mir Isskousstva” (the World of Art) once
more proved that in its essence this society is in a
state of continuous evolution, as a result of which
the character of its exhibitions is more and more
subject to change. Amongst the founders of the
group two were altogether absent on this occasion,
namely, A. Benois and N. Roehrich, while Kon-
stantin Somoff was represented only by a quite
* Apropos of the article by Dr. Hagberg
Wright on Vasnetsov’s wall-paintings in Kiev
Cathedral, which appeared in our issue of January
last, we are asked to state that two of the paintings
reproduced as the work of that artist, namely The
Crucifixion and Christs Entry into Jerusalem,
were not painted by him but by P. A. Svedomsky.
In common with Dr. Wright, who was under a mis-
apprehension regarding the authorship of these
paintings, we regret the error.—The Editor.
278
BY A. RYLOFF
insipid portrait-drawing, and Mme. Ostroumova-
Lebedeff merely by variations of earlier work.
E. Lanceray and M. Dobuzkinsky exhibited
numerous drawings from the Russian Front—those
of the former from the Caucasus, and the latter’s
from the European field of operations—but for
the most part their interest was purely illustrative.
The features of chief interest in this display
emanated from two members of the Petrograd
section, B. Kustodieff and K. Petroff-Vodkin, and
the latter especially, with his more than life-size
Madonna picture, reaped great Ulat. In this
work the artist’s attempt to combine the style of
the Old Russian ikon with a modern mode of
pictorial treatment must be regarded as entirely
successful, and it was a religious painting in the
truest sense that here confronted the spectator.
The red and green of the Madonna’s garment
struck a particularly agreeable note, and the
artist’s penchant for painting heads larger than
life-size did not in this case arouse any of that
dissent which his life-studies have often called
forth. B. Kustodieff’s great technical ability was
( Union of Russian Artists, Moscow)