Archive for the ‘ JOURNAL ’ Category

Artist Ksenia Lavrova, (Saint Petersburg)

THE EXHIBITOR OF THE SALON “ART CAPITAL” 2014 – 2015

KL- por-1 bigOur world is beautiful, bright, refined … It just needs to be seen. The history of fashion is the most truthful mirror of human nature and the visual environment of any historical character. A careful study of the history of costume and fashion, the history of the creation of fabrics, stages of formation of the historic appearance of “a dressed up person” at different times in different countries, as well as the understanding and study of ethnic groups in different countries – helps me create a real and live artistic images. Try to see the subtlety of the Egyptian kalaziris, and the severity of the French brokkara, the possession of which, at the time of the Directory, could end in you losing your head. Perhaps that is why my Marie Antoinette looks with such sadness at the viewer. In my portraits there is sadness, contempt, and euphoria. Glamorous charm is not for me. Hundreds and thousands of scientific studies, whole libraries of historical literature, are created in an attempt to understand and explain the nature and purpose of my characters, but words alone are not enough. For complete characterization there also needs to be paint of artist. It would be better to say that I am creating a visual encyclopedia of human images of bygone eras – images of the whimsical, strange, and not always beautiful…

Ksenia Lavrova for the readers of the ”Russian Art & Paris”.

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It is known that the story develops in a spiral. In the early twentieth century Paris was shocked by the exotic beauty of the works of Russian artist Aleksandr Yakovlev, shown at an exhibition in the gallery Charpentier, at the end of a series of expeditions organized by “Citroen” in Africa, Asia and the Far East. On display in front of the astonished audience were leaders and princesses of African tribes, actors of Chinese opera, and peasants, Japanese geishas and kabuki actors, sumo wrestlers and Afghan shepherds.
•  At the beginning of the twenty first century, when it would seem that the world has been studied, and there was not an undiscovered nook, a Saint Petersburg artist Ksenia Lavrova invites viewers into her exciting journey across the countries and continents of the world. A world transformed by her imagination, an amazing world, where imagination echoes with an ethnographic precision of details; a mysterious and frightening world, filled with very strange creatures as if descended from the pages of Lewis Carroll.
•  The creative work of Ksenia Lavrova is characterized by multiple stylistics, KL- por-4 textas is typical of contemporary art. The artist intentionally uses the principles and techniques of different styles and different directions. The easy composition of multiscale pieces on one sheet and a wonderful unusual combination of heroes or patterns of fragments and compositional pauses of empty space, give rise to memories of masters from the European Middle KL- 6 text-smallAges, and the quirky, whimsical, elastic line is as if borrowed from Persian miniature painters. Luxury materials and textures depicted in the works of Ksenia Lavrova, send the viewer to the aesthetics of Art Deco. The mood of a light sadness, smooth flowing silhouettes, the bright combination of gold with purple, lilac hues, the quiet showing of reflections and iridescence, complemented by decorative flatness are reminiscent of Art Nouveau.
•  With this diversity of sources, creative style of K. Lavrova differs by its uniqueness. The subtle combination of quiet disparate methods from different eras and styles is an expression of the feeling of life in modern society, the big city, where ethnic groups and cultures from all ends of the planet coexist together.
•  The contemplation of works by Ksenia Lavrova can be compared with aesthetic pleasure, slowly drinking small sips of strong oriental coffee and re-reading a novel from the nineteenth century, highly rich in elegant epithets, detailed descriptions, and almost devoid of action. Information density of her artworks is unusually high. It is impossible to catch at first glance all of the characters and innumerable details. Each time when viewing the creative work of Ksenia Lavrova, you always discover something new that slipped from view before. This extremely fascinating and endless journey of discovery gives viewers the opportunity to enjoy a fine and generous aesthetic of an amazing artist.
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by Marina Chekmareva,  Ph.D. in Art History,
Research associate of the State Hermitage Museum 
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Probably one of the most impressive St. Petersburg graphic artists today, Ksenia Lavrova is equally gifted with a bright talent and a vibrant personality. An artist’s own style, the unique artistic vision are the features which are so highly valued in the art-world throughout all times. In the art of graphics, which is sophisticated and elitist by its nature, these features become critical . If there is no personal style, there is no artist. In the presented graphic compositions from the series “Historic Identities”, the problem of style does not appear theoretical. What is before us: a poster, an illustration, or an graphic arts? Where is the birthplace of these graphics: in the tradition of Russian Art Nouveau, or in the synthetic omnivorousness of pop-art? With what language does this artist speak to us? Perhaps the last question is the most interesting.
• It is easy to see that the compositional constructions of K. Lavrova include the texture of the material as a separate component of the image. The material world of objects, colliding with live characters, suddenly acquires the right to speak. In this metaphysical space, the justacorps ceases to be a detail of clothing and becomes an independent character of the narrative. Items enter a dialogue: with each other and with the main character of the artwork. The dialogue of objects is the basis of plot for many works of the artist Ksenia Lavrova. Marie Antoinette’s wig clearly mocks its mistress. Queen Boleyn’s cloak is only waiting for an excuse to challenge her right to the throne. The voices of the objects, like the voices of musical instruments, build the melody of the composition. This tune becomes its content.
• The traditional graphics language – the language of the conditioned space and chamber color rows noticeably expands the range of its capabilities in the works of Ksenia Lavrova. The harmony of the two fundamental, and at the same time difficultly compatible, graphic elements of lines and ornament is remarkable. The ornamental arrangement of the image’s plane is thought out and organic. The elegance of the compositional decisions, seemingly simple and obvious, is captivating by the conciseness and expressiveness of the result. Does everything mentioned above allow us to speak about the innovative nature of this artist’s work? Is it possible, within the framework of this artistic style, to create a painting with any, including any modern, theme. In other words, is this style sufficiently universal to be called a style? We will definitely search for the answer to this question in every new painting of the artist Ksenia Lavrova. ©

by Russian Art & Paris

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KL- 7 text“Lius XIV” Acrylic on Paper. (64 x 90 cm)

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Ksenia Lavrova was born in Saint Petersburg in 1967. In 1990 she graduated from the Academy of Stieglitz (formerly LVHPU named after.V. Muhina). In 2005 she graduated from faculty sinology of the Oriental Institute.  Ksenia Lavrova is an artist with a wide range of creative skills. Active in various genres from design to book illustration, and graphic arts. Since 1994 she is a member of the Artists’ Union of Saint Petersburg. The artist Ksenia Lavrova lives and work in Saint Petersburg, Russia. 

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EXHIBITIONS

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Painting by Ksenia Lavrova in the exhibition of the Salon “Art Capital” 2015, (Paris).

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Painting by Ksenia Lavrova in the exhibition of the Salon “Art en Capital” 2014, (Paris).

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Russian spelling: Художник Ксения Лаврова, (Санкт-Петербург)

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“Russian Palette” in Paris 2013

ANNUAL MEETING WITH RUSSIAN ART IN PARIS “RUSSIAN PALETTE”.

From May 15 to 31, 2013 in 12 galleries in Paris, there will be art exhibitions representing Russian art in a variety of genres and styles – for the first time within the framework of the project “Russian Palette”, which promises to become an annual event thanks to the support of the Mayor of Paris, Mayor of the 8th arrondissement, the Russian Center of science and culture, as well as the monthly addition of Le Figaro Russia La Russie d’Aujourd’hui – an international project carried out since 2007 by the official daily newspaper of the Russian government, “Rossiyskaya Gazeta”. The Parisian gallery, regularly exhibiting Russian artists, offers a thematic route, which opens a wide panorama of art by contemporary Russian artists and artists of the XX century. Each gallery has its own concept, and thanks to this the palette of works is very rich: from figurative to abstract art, from sculpture and photography to installations.

From May 15 to 18, the participating galleries exhibited selected works from announced exhibitions at the Russian Center of Science and Culture in Paris.

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Russian Palette 1The Russian Center of Science and Culture. 61 Rue Boissière, Paris

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Russian Palette 2Director of the Russian Center of Science and Culture Igor Shpynov opened the vernissage.

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Russian Palette 3 Lada Skachkova, the gallery “Russkiy Mir”; Max Laniado, Director of the gallery “Visio Dell’Arte”; Vladimir Kara, artist; Francine Szapiro, Director of the gallery “Saphir”; Paquita Escofet Miro, art collector; Serge Korzhakovsky, art critic (from left to right).

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Russian Palette 4Francine Szapiro, Director of the gallery “Saphir”.

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Russian Palette 5The exhibition hall.

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Russian Palette 6Oskar Rabin, artist.

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Russian Palette 7Part of exhibition.

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Russian Palette 8Zurab Tsereteli, President of the Russian Academy of Arts.

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Russian Palette 10The viewers at painting.

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Russian Palette 12Eugenia Miro, artist.

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Russian Palette 14The glance. Eléonore Chalmin, (Auction House Daguerre Drouot) in front of the picture by artist Konstantin  Sutyagin.

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Russian Palette 13Max Laniado, Director of the gallery “Visio Dell’Arte”

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Russian Palette 11Lada Skachkova, gallerist  and Vladimir Kara, artist.

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Russian Palette 9Age of the digital revolution…

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Photo essay by photographer Vladimir Bazan.

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International Artexpo 2013, (New York)

THE EXHIBITION OF THE ARTEXPO NEW YORK 2013,  MARCH 21-24

International Artexpo is the world’s largest fine art trade show, providing dealers, collectors and buyers with access to thousands of innovative works from artists and publishers in one single venue. Over its 35-year history, Artexpo New York has hosted many of the world’s most renowned artists, including Andy Warhol, Peter Max, Robert Rauschenberg, Robert Indian, Keith Haring and Leroy Neiman. With attendees from all over the world, Artexpo New York hosts the largest gathering of qualified trade buyers, including gallery owners and managers, art dealers, interior designers, architects, corporate art buyers, art & framing retailers and many others. From Europe to the Far East and South America, Artexpo hosts an international audience of industry professionals seeking to discover exciting new works from AE 13-text-1AE 13-text-2-2AE 13-text-4established and emerging artists.

Dear Friends:
It is a great pleasure to welcome everyone to the 35-th Anniversary of Artexpo New York City. With more than 500 galleries and 150 world-class museums, New York is the place to be in the global arts scene. Our unparalleled arts institutions and the many talented artists who live and work here embody the creativity and innovation that defines our City, and that is why we are delighted to lend our support to the Artexpo, the largest fine art trade show in the world. This exciting annual event connects art dealers, collectors, and buyers with some of the best international artists and publishers, while also showcasing works from the top emerging artists and offering seminars on a wide range of topics. We applaud the Artexpo for contributing so much to our cultural landscape and look forward to New York remaining a premier destination for artists and art lovers alike in the years to come. On behalf of all New Yorkers, I am delighted to welcome everyone attending this year’s show to our City, and I hope you have the chance to explore our diverse neighborhoods and experience the many exciting attractions that define our five boroughs. Please accept my best wishes for a wonderful event and continued success.
Michael R. Bloomberg,
Mayor of New York City
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Piers 92/94, a premier trade show and special event venue in the heart of Midtown Manhattan, 55th Street and the West Side Highway. Piers 92/94 is home to design oriented events such as The Artexpo New York, The Armory Show, Architectural Digest Home Design Show, The Pier Antiques Show and leading fashion shows during New York Fashion Week. The facility also regularly host parties and product launch events for groups ranging in size from small charitable foundations to Fortune 500 companies. No matter your event needs, Pier 92 and Pier 94 enjoy a prime location, as well as established prestige in the New York convention and special event landscape. 208,000 square feet of exhibit area make Piers 92/94 the second largest facility in New York City. Connected by a spacious and welcoming headhouse, Pier 94 offers 133,000 square feet and Pier 92 features 75,000 square feet of contiguous exhibit or event space. Open space, high ceilings and column-free corridors create unlimited configurations and adaptable spaces.

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AE13-xAn early morning in New York. Artexpo parking lot on the roof of “The Art Pier”.

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AE13-2Artexpo parking lot on the roof of the Pier 90.  “Carnival” is a American global cruise company, and the world’s largest cruise ship operator.

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AE13-3The Pier 90. The yacht “Eclipse” is the world’s largest private yacht. The owner is Russian businessman Roman Abramovich.

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AE13-4Artexpo New York 2013. The entry hall.

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AE13-5Artexpo New York 2013. The lobby.

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AE13-6Artexpo New York 2013. The exhibition hall.

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AE13-8Artexpo New York 2013. The Gallery Pavilion.

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AE13-10The Gallery Pavilion. Artworks and viewers.

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AE13-9The Gallery Pavilion at the beginning of exhibition.

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AE13-aArtexpo New York 2013. The galleries exposition.

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AE13-16The galleries exposition.

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AE13-15Viewers at an artwork.

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AE13-11An afternoon time.

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AE13-12Painting and viewers connection.

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AE13-13There are many styles and topics…

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AE13-14…for every viewer.

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AE13-18Inside the Gallery Pavilion.

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AE13-19A lot of artworks.

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AE13-17Video advertising is part of modern presentation.

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AE13-25The exhibition at noon.

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AE13-26Discussion inside a gallery section.

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AE13-24Viewers and buyers.

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AE13-27Russian painting in Tatyana International Art, Inc. booth.

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AE13-zGallerist Tatyana Cohen (Houston, USA) introduces many excellent Russian artists to New York public at Artexpo 2013.

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AE13-20Art dealers and traders.

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AE13-29Contemporary art viewers.

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AE13-21The print section.

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AE13-22…to buy or not to buy?

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AE13-30Viewers in the SOLO Pavilion.

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AE13-34The SOLO Pavilion. Viewers at artworks.

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ArtExpo13-4Artexpo CEO Eric Smith with Larisa Fayvisovich at artist Aleksandr Fayvisovich booth.

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AE13-23From 10 am till 7 pm there are viewers, traders, and buyers…

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AE13-yThe end of a day.

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AE13-35An evening on the West Side.

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Artists and Art Lovers. Part 2

Editorial Part 2-4

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ARTISTS AND ART LOVERS  (2)

The modern viewer is a man not spoiled with opportunities to see good contemporary art. A large, representative exhibition with selections based on creative criteria is very scarce. A gap has occurred between what the viewer sees in museum collections and that which he is shown in contemporary art galleries. The two have nothing in common. This gap disorients and frustrates the viewer. The man begins to shun today’s art, who knows what is going on there … The artist, in turn, can not exist in isolation from the viewer. The loss of competent and demanding viewers starts the process of an involuntary and spontaneous reorientation towards the tastes of the crowd. A chain reaction, so to speak – a symbiosis of degradation.
•  The situation with the painting exhibitions is unlikely to change in the foreseeable future, the positions of commercial players – art dealers, galleries, auctions – are very strong. Many of them are objectively interested in the erosion of professionally high standards. Primarily due to the fact that there are more traders-sellers in today’s art world than artists of a professional class, and many more traders-sellers than buyers of serious artworks. There is not enough good artists and wealthy clientele, so they have to deal with what they have. This niche has been filled with an avalanche of amateur pop art. Sellers try to convince the viewer that this is genuine contemporary art. Today success is on their side.
•  The viewer appears to be the more vulnerable party in this situation. In contrast to the artist, the viewer has no presence in the face of artistic and professional organizations. Being a passive participant in the artistic process, the viewer is not able to influence the turn of events. How can he be helped to survive? How he be helped to avoid becoming a consumer of the products of anti-culture? Obviously, another actor must appear from behind the scenes, the most enigmatic and mysterious person in the art world – the art critic.
•  The critic is never seen by anyone. This man appears on exhibitions incognito and leaves incognito. Critics are loved no more than a policeman of traffic services. They have the same function – competently and impartially investigate the situation and make their verdict public. What happens afterwards: a sigh of relief from some or a penalty for others – is not a matter of the critic’s concern. The artist does not need the critic. The artist is quite comfortable in the art community. They have common interests and shared champagne. The critic is needed by the viewer. Someone needs to lay down the road markings, the particular solid dividing strip, which would indicate clearly and unequivocally: art ends here, and ahead – the ditch.
•  Can the critic be wrong? Yes, of course. Could all the critics be wrong? Certainly. Human history is a history of massive errors and global acts of stupidity. Nevertheless, the weight of yesterday’s mistakes is not a reason to deny criticism the right to comment today. Silence is worse. The human community and the world of arts exist by different laws. Tolerance is a great concept, but for it there is no entrance into the field of fine art. Professional art is always cruel to those who create it. It is cruel to its losers, and to its favorites. The critic does not add to the cruelty, he adds clarity. And those who risked to enter the territory of art, must be ready for a meeting with all stakeholders, including critics.  ©

by Russian Art & Paris

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Attention: Our next publication – “Art Show Winter ’13″ – will be online on February 1th.

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Editorial: 2013

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ARTISTS AND ART LOVERS

Who and when was the first to call attention to the ability of paintings to enter a dialogue with the audience, we will never know, like we will never know the real name of the inventor of the wheel or compass. And pity, since the name of the first art critic is no less important for the history of human culture than the inventor of gunpowder. Meanwhile, it is this feature of visual artwork – its openness towards the viewer, that determined the fate of visual art in the human world. In order for the image to speak, it needs someone soul. A conversation about modern painting is impossible without a conversation about the contemporary viewer. Critics carefully avoid this issue, but artists cannot afford such a luxury. The artist sees the audience at each exhibition, the viewer is there, he stands next to the painting here and now. Who is this man and why did he come here? Apparently, in order to see contemporary art, he needs this art. If so, then the viewer is an inseparable part of the artwork’s space.
•  In the central streets of Paris, New York, London or Moscow, there are many well-equipped showrooms with signs that have the word “Gallery”. This is false. A gallery is a place where art meets with the audience. A place where a product meets the buyer is named differently – a shop. The contemporary gallery business does not need an audience. Going into any of the galleries, the first thing that catches your eye is the empty exhibition halls. The audience is not there. In most galleries there is a lack of artwork as well. To call work of art that which hangs on the walls is not possible, even with a rich imagination. A person who has visited the halls of major museums, will not buy any of this. Meanwhile, the person visiting museums does not attempt such a task – to certainly buy. Communicating with visual art is a completely self – sufficient process. And the natural question arises: where you can see modern professional artwork, specifically work of art, and not its surrogate?
•  This question is a leitmotif through numerous emails that comes to our journal’s postbox. This question is asked by the audience and it cannot be ignored – too far has the process of degradation of artistic culture gone. The journal “Russian Art & Paris” does not yet have its own showroom. Such a hall will certainly appear, but this won’t happen overnight. Today, we are focused on creating an informational field in which the audience can meet with those artists whose work is noted with features of a genuine artistic search. We constantly provide virtual pages of our journal to masters working in various directions, styles and genres. What unites all of them is the presence of real talent and true professionalism. As to how much interest it arouses in our readers from different countries and continents, you can witness by opening the statistical table of views posted below. In the coming year we will continue our exhibition activities. Artists, whose work will be presented at European exhibitions, you will be able to see in our quarterly column – “Art Show”. We will expand our creative cooperation with art historians and art critics, whose professional interests include contemporary issues. ©

Dear readers, we thank you for your daily presence, for your letters and your comments. We sincerely wish you and your family success and happiness in 2013! Happy New Year!

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RA&P 2012 Stats 2

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Salon “Art en Capital” 2012, (Paris). Continuing

ARTISTS AND ARTWORKS

The Grand Palais des Champs-Elysées, commonly known as the Grand Palais (English: Great Palace) exhibition hall was opened in 1900 by two major art exhibitions: Centennale, a retrospective exhibition of French art of the 19th century, and Décennale, devoted to the work of artists of the last decade. Artworks by Rodin, Ingres, Delacroix, Courbet, impressionists: Monet, Pissaro, Renoir, Degas and others began the exhibition history of the vast domed hall Grand Palais. Probably, few thought back then that under this glass dome, would pass the entirety of world painting of the 20th century. These walls have seen Cezanne and Picasso, here the voices of Chagall and Modigliani were heard, here sounded their painting… The aura of the place, its energy is enormous. This room must be seen not on exhibition opening day, but the day before, when artworks are being hanged, when it is vast and empty. Rows of paintings along the walls in the twilight of standby lighting, they will come to life tomorrow, but so far they are silent. In the silence, there are only the steps of workers hanging paintings, the Paris night sky overhead, and someone’s shadows.
•  The Salon “Art en Capital” 2012 exhibition again demonstrated a high degree of selectivity by the jury in choosing the artworks. The exposition, composed from works of a professional class, free from the amateurism of contemporary art shows, is impressive, equally whole and strong. The large presence of artists from around the world not only gives this art-show a formal international status, but also advances it into one of the most important annual gatherings of world visual art. As evidence of the fast growing influence of the Salon “Art en Capital” in the world – a significant presence in the exhibition this year of artists from Japan and Russia, countries with traditionally high artistic culture. In addition to the multi-ethnic nature of this art exhibition, the stylistic aspects also attracted much attention. The exposure, free from pop-art junk, did not seem too diverse in style. To speak of a formation of a grand style is premature, but strong centrifugal tendencies were no longer felt. Perhaps the world fashion for stylistically shocking artworks is coming to an end, which would be a great boon to contemporary visual art.
•  The exhibition again showed some old ills as well. First of all, is the obviously long-drawn-out crisis of the figurative genre. A nontrivial, with good artistic taste, figurative composition remains a rarity. The embrace of Munch and Klimt was surprisingly strong and firmly holds modern masters within the artistic achievements of the middle of last century. Perhaps a cruel joke  was played by years of attempts to solve the problem of the present by stylistic frills, ignoring the search for new meanings. The section on graphics and especially sculpture seemed, in this respect, preferable. There arose the feeling that outside the window is the 21 century. Surrounded by artistic canvases, our time and our life today looked through with difficulty. The irony is that this hall became famous by the ultra-modern scenes of Monet, Degas, Renoir, Toulouse-Lautrec, that exploded the once dietary academicism. Perhaps it may be time to recall these traditions?
•  Among the artworks of the presented Russian artists, stood out the painting of artists from the older generation – Givi Siproshvili and Eugene Yali. Refined, with subtle humor, the plot portrait of a Georgian peasant (“One more for the road”) and the cosmic space in an unusual perspective of the Russian steppe landscape (“Steppe”) appeared excellent at the Paris art exhibition. The great success of St. Petersburg artist Anastasia Vostrezova – the Silver Medal for the classic plot “La Bayadere”, was a joyous occasion for all Russian participants. The Moscow-like warm “Coffeemania” of Alena Philippi-Kargalskoy attracted much attention. Interesting were the artistic metaphors of Rinat Sharafutdinova and Andrei Shustov, and the impressionism of Aleksandr Fayvisovich. Russian artists in Paris is also a tradition, one long-forgotten, but not yet gone. ©

Artworks by Russian artists presented at the exhibition can be viewed in journal’s section “EXHIBITIONS”. For a photo report of a few days in Paris, see the section “PHOTO ESSAY”.

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ARTWORKS

The bronze artwork by Melanie Quentin  (France)

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“Rue de Paris” by Agnes Guillon  (France)

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“Le reflux” by Daniel Bergez  (France)

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“Cote d’albatre VI” by Emmanuel Lemardele  (France)

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Impressive dynamic composition by  Francine Toulemonde  (France)

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“Pause pigeons” by Eric Peaudecerf  (France)

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“La nuit” by Gelis  (France)

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“Ascese” by Louise Girardin  (France)

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“Femme enceinte” by Benjamin Georgeaud  (France)

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“Nouvel an – Maiko de Gion” by Takayuki Uno  (Japan)

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“Nu masculin n1” by Marie-Jeanne Buffetrille  (France)

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“Le crepuscule de l’ete” by Keiko Yoda  (Japan)

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“Faucon en vol” by Madeleine Van Der Knoop  (Belgium)

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Ex-14To be named.

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“Fruits au pichet vert” by Bernard Londinsky  (France)

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“Dedans dehors” by Richard Gautier  (France)

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“Torse” by Albert Avetisyan  (France)

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“Aigle royal” by Bernadette Planchenault  (France)

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“Pudeur exquise” by Jack Brisset  (France)

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“Intimite IV” by Veronique Laurent Denieuil (France)

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The Graphic Art section.

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The Sculpture section.

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Salon “Art en Capital” 2012, (Paris)

THE EXHIBITION OF THE SALON “ART EN CAPITAL” 2012 IS OPENED.

When the 1900 Universal Exhibition was over, the Grand Palais, as intended, was to fulfill its vocation as the fine art venue that the French capital had previously lacked, the Louvre having become too small. Throughout the twentieth century, the Grand Palais hosted dozens of official or independent salons, establishing it is a major player in the history of Western art.
•  The Grand Palais opened its doors for the Universal Exhibition with the Centennale, where the impressionists again scored a resounding success. As from the following year, true to its vocation as a fine arts venue, the Grand Palais was to host a number of other salons. First off was the Salon des Artistes Français, whose academism was dismissed by the avant-garde as pompous, followed by the Salon d’Automne, where the younger generation of painters were able to roll out their own manifesto. Finally came the Salon des Indépendants where Cubism made its first appearance spearheaded by a then unknown Spanish artist: Picasso.
•  At the turn of the century, the Salon was the place where any budding artist had to expose to obtain recognition. The oldest of these institutions was the Salon des Artistes Français (1881), successor to the Salon de Peinture inaugurated by Colbert in 1667. However its unswerving academism led to the inception of the breakaway Salon des Indépendants founded by Paul Signac in 1884, where artists rejected by the more venerable show could find refuge. It was here that artists like Gauguin, Matisse, Picasso and Mondrian came to the forefront.
•  To distinguish itself from these spring shows, Rodin, Carrière, Jourdain and other artists created the Salon d’automne in 1903. It was in 1905 that the notorious scandal of the “cage aux Fauves” (the wild beast cage) erupted. The centre of the storm was Room VII. The strident colours used in the paintings of Matisse, Derain and Vlaminck were all the more shocking as they flanked two unequivocally traditional busts by Albert Marquet. Though Fauvism had its supporters, French President, Émile Loubet, was not one of their number. Warned of the presence of many “unacceptable” works, he refused categorically to inaugurate the art show.
•  Today, salons still have their historic home at the Grand Palais — Artistes Français, Artistes Indépendants,  Nationale des Beaux Arts,  Comparaisons,  Dessin et Peinture à l’eau — are united as part of the “Art en Capital” event. The exhibition of 2012 year was open on November 27th, with 14 000 art lovers attended the Opening Day. More than six hundred modern artists: Americans,  Australians,  Austrians, Belgians, Brazilians, Bulgarians, Canadians, Chinese, Cypriots, Colombians, Croats, Danish,  English,  Finlands,  Greece,  Hungarians,  Israelis,  Italians, Japans, Koreans, Lebanese, Luxembourgers, Norwegians, New Zelandians, Netherlanders, Polish, Romanians, Russian, Spanish, Saudis, Swisses, Taiwanese, Turks and other continue the great art tradition of Signac, Seurat, Pissaro, Manet, Van Gogh, Utrillo, Cézanne, Renoir, Toulouse-Lautrec, Chagall, Vlaminck, Giacometti, Modigliani…

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Paris. Champs-Élysées at night.

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Champs-Élysées. The light decoration.

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The light decoration.

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The evening before the grand opening. Everything is ready.

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The afternoon of November 27th. The vernissage.

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The vernissage. Doors are opened.

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The vernissage. First spectators.

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14 000 art lovers attended the Opening Day.

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More than 600 artists participated in this exhibition.

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Some discussion.

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The art viewers.

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Viewers and artworks.

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Inside the exhibition halls.

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Talk about art.

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Street of artworks.

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Good, old the Grand Palace.

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The artistic town.

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View from above.

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… and music

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Untill midnight…

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IT WAS IN 1912…

In 1900, the most important event in the French-Russian artistic relationship was the Paris International Exhibition, where Russia enjoyed an unprecedented place of prominence.
Between 1906 and 1917, a whole host of artists and personalities linked Russia to Europe. Thanks to the inspirational work of Sergei Diaghilev, Europe discovered dance, music and the audacious paintings from Russia. The retrospective fall show that he organized in 1906, which encompassed 750 paintings representing Russian art from the 15th to the 20th century, exhibited the work of young painters such as Mikhail Larionov, Natalia Goncharova, Alexei Jawlensky, Pavel Kuznetsov and Léon Bakst.
It was in 1912 that Chagall’s work was exhibited at the Autumn Salon, and Yakov Tugendhold, a writer for the modernist publication St. Petersburg Apollon, praised the young Chagall, saying his works are filled with “rich fire colours like the Russian countryside images, expressed to the grotesque, fantastic, to the limits of the irrational. Chagall senses the imperceptible but terrible mystique of life. Those are the images of Vitebsk – a sullen, dull province, a modest hair salon, a lovers’ rendezvous a bit awkward under a misty moon and street sweepers, a dusty illusion of life on the streets of small villages. Chagall creates beautiful legends by capturing glimpses of the simple and common life.” It is thus not surprising that, in 1913, the Autumn Salon welcomed “Russian Popular Art in the image, the toy and the spice bread, an exhibition organized by Miss Nathalie Ehrenbourg.” These objects came mainly from the collections of members of the art world (Ivan Bilibine, Sergei Soudieikine, Nikolai Roerich, Sergei Tchekhonine), but also from the collections of avant-garde artists such as Koulbine, Exter and primarily Larionov. The catalogue cover for this exhibit was written by Tugendhold himself, reaffirming that “the contemporary cult of the primitive is different from the one of the romantic era and the orientalism era…. This archaic art, strong, expressive, forever young, brings hope of renewal, ‘rejuvenation’ to use Paul Gauguin’s word.

By Jean-Claude Marcardé.

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GUESTS FROM THE EXHIBITION 1912 HAVE BEEN ARRIVED.

Guests from the exhibition 1912 have been arrived (1).

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Guests from the exhibition 1912 have been arrived (2).

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Guests from the exhibition 1912 have been arrived (3).

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Guests from the exhibition 1912 have been arrived (4).

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Guests from the exhibition 1912 have been arrived (5).

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Guests from the exhibition 1912 have been arrived (6).

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Guests from the exhibition 1912 have been arrived (7).

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Guests from the exhibition 1912 have been arrived (8).

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Guests from the exhibition 1912 have been arrived (9).

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The complete reportage about the exhibition of the Salon “Art en Capital” will be published in December 15th.

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