Konstantin Alexeivitch Korovin (1861 – 1939)

 

 

The painting of Russian Peasants in the market place. Is oil on canvas measures 12.5 x18 inches is part of the F.A.M Collection.

Korovin Konstantin (1861-1939) – brief biography
Konstantin Korovin was Russian painter, master of realistic plein-air painting. He painted emotional landscapes and conversations. Under influence of impressionism he has developed a free decorative manner. Korovin created colourful entertainment theatrical scenery.

Konstantin Korovin was born in Moscow on December 5th, 1861 into the family of businessmen. His grandfather, a self-made man was the founder of the family business; his father, Alexey Mikhailovich, after graduating from the University had to go into business as well, though he never liked it and was more interested in art and music. As a result, soon after the grandfather’s death the family went bankrupt and had to move into the country. Constantin and his younger brother, Sergey, also a future artist, were brought up in an artistic atmosphere, they received drawing and painting lessons since their childhood.

In 1875, Constantin entered the Moscow School of Painting, Sculpture and Architecture, among his teachers were I.Pryanishnikov, E.Sorokin, V.Perov, and A.Savrasov. ‘These fair and kind teachers left deep traces in my soul. They are all dead now; and I remember them with admiration and a sad love; they seem alive, before me, these pure and honest people.’

At School Korovin became friends with I.Levitan.

In 1881-1882, Korovin spent a year at the Academy in St.Petersburg, but returned disappointed to Moscow. That year a new professor came to the Moscow School, a distinguished painter Vasily Polenov, who impressed his students not only with his painting but also with his knowledge and enthusiastic attitude towards contemporary Western art, especially French. Korovin stayed with the new teacher at the Moscow School until 1886. Polenov introduced his student to the famous patron of arts Savva Mamontov and his Abramtsevo group. The group included artists who favored the school of national romanticism in Russia. They were the first in the country to stage operas, produce experimental architectural works and design books in the new (‘neo-Russian’) style. They projected the image of a universal artist: painter, furniture and tableware designer, designer of stage costumes and settings, architect. With Polenov’s recommendation S.Mamontov invited Korovin to work for his private opera. Thus Korovin got engaged with theatre, for which he worked till the end of his life. Korovin was the first to introduce the Impressionist style on stage.

In 1885, Korovin made his first of many trips to Paris and Spain. ‘Paris was a shock for me: Impressionists: in them I found everything for what I was scolded back at home, in Moscow.’ In 1888, Korovin traveled with S.Mamontov to Italy, then visited Spain, where he painted one of his best works In Front of the Balcony: Leonora and Ampara. The artist traveled widely within Russia, Caucasus and Central Asia, exhibited with the Itinerants’ Society of Traveling Exhibitions (‘Wanderers’), painting in an Impressionist and later an Art Nouveau style.

In the 1890s, Korovin became very active in the World of Art group (‘Mir Iskusstva’). These artists adopted a new aesthetic approach to the world’s artistic heritage; they popularized the traditions of folk art and of Russian art of the eighteenth and early nineteenth centuries.

In 1896, Korovin designed, to great acclaim, the pavilion of the All-Russian Exhibition of Arts and Crafts at Nizhnii Novgorod. In 1900, he designed the decorations for the Central Asia section of the Paris World Fair; the same year he was awarded the Legion of Honour.

At the beginning of the twentieth century Korovin began to take a more close interest in the theatre. Working for the Bolshoi theatre he upheld new principles in designing operas and ballets. His evolution as a stage artist is directly linked to his mature painting. The peculiar features of the Russian Impressionist school became increasingly pronounced in his works of this period: the predilection for decorative effects, the emphatically expressive coloristic solutions and the pronounced romantic note. Korovin’s subjects were quite diverse, they included townscapes and rural landscapes, portraits and still lifes.

The first years of the 20th century were undoubtedly the peak of his creative career. In 1905, Korovin received the title of the Academician of Painting, and in 1909-1913 taught at the Moscow School of Painting.

In 1923, Korovin left Russia never to return. He spent the last 15 years of his life in France supported by Shalyapin, he worked for theatre as a stage designer. He also became famous as a book illustrator, but this period is obviously inferior to his former achievements.

The artist died on September 11th, 1939 in Paris.

Konstantin Korovin always protested against attempts to place him into any artistic school or movement. Nevertheless he became the first Russian Impressionist painter, moreover, he was the creator of the national variant of this International school.

In 1893, Korovin returned from Europe, dazzled by French Impressionism. The painter, who understood that Russian nature required a different style, made this landscape particularly warm. The landscape gives the impression of being a welcoming and intimate interior. The wide open gate, the sleigh harnessed to the horse and the half open door of the house indicate a human presence. It is one of the most intimate and personal of Russian landscapes; the harmony between man and nature is omnipresent. The studied use of shades of pearl may at first glance be somewhat tiresome, but the rich greys and yellows, and the blue of the sky, are striking. This painting is not a rejection of Impressionism but a search for a Russian variant thereof. By muting the resonance of the colors and varying the cold and warm shades, Korovin was able to represent the variations of light in the atmosphere. This work, and the artist’s trip to Northern Russia in 1894, were an important period in Korovin’s creative history, freeing him from the influences of other painters and allowing him to find his own style.

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Alexej Harlamoff (1840 – 1922)

 

 

Alexei Alexeiewitsch Harlamoff was born in Saratov, Russia in 1849. He studied at the Academy of Fine Arts in St Petersburg where in 1868 he was awarded a gold medal and travel scholarship. At this time, the academy taught and promoted the neo-classical techniques and topics. Harlamoff’s earliest works were therefore mainly of religious and military subjects. However, it was at a time when the Russian art movement was undergoing great changes and with the advent of Romanticism a new emphasis was placed on portraits of individuals. Moreover, as art began to spread beyond court circles, Russian artists took a renewed interest in the world surrounding them instead of admiring distant European countries. This change caused a move towards greater naturalism.

Harlamoff took up his scholarship at L’ Ecole des Beaux-Arts where he was fortunate to study under the great portrait painter Leon Bonnat. Under his guidance, Harlamoff’s natural talent for portraiture excelled and received attention at the highest levels. Among his sitters and patrons were Tsar Alexander II and Prince Demidoff. By the 1880s Harlamoff was concentrating on portraits of children and young peasant girls, often using his own daughter as a sitter. His paintings captured an innocence and natural beauty for which he was to receive much acclaim.

In 1888, Queen Victoria expressed great admiration for a portrait exhibited at the Glasgow International Exhibition and in 1900 his work was displayed in the Russian section of the Decenniale Exhibition, part of the World Fair in Paris. Harlamoff continued to produce paintings until his death circa 1922.

His work achieved great popularity in his life-time, continuing to do so to this day. Examples of his work can be seen at the Alexander III Museum, St Petersburg and the Tretiakov Gallery, Moscow.

The painting is oil on canvas
measures 27×22
collection of the Farhat Art Museum

Peter Alexander Ilyin (1887 – 1950)

Peter Alexander Ilyin, Farhat Art Museum Collection.

The painting of young woman is oil on canvas measures 65×45 inches it was painted in the Art Deco style of the 1920’s period. The artwork is part of the Farhat Art Museum.

Peter Ilyin was born in Kazan, Russia in 1887. Best known for his portrait painting, he showed early promise as an artist when he started sketching his natural surroundings. His parents supplied him with crayons and paper that fueled his interest in art throughout high school. He attended high school with his younger brother Gleb Ilyin, also an artist, and took private lessons in art outside of school. Peter studied under Professor Pashovsky and by age eighteen was one of the best artists in Kazan. In 1905 he received several mural commissions in his hometown. His career in art was interrupted by a Russian tradition that the eldest son within an aristocratic family attend the Imperial Government Military Academy. The academy was close to his home and Ilyin continued what art studies he had time for on the side. He graduated in 1909 and returned to his pursuit of art. Between 1914 and 1916 he was assigned to the cavalry and was sent off to battle on the Austrian front. In 1918 Peter, his wife Nadine, and his brother Gleb all departed for Japan during the Russian Revolution. Peter and Nadine left Japan in 1922 with the money they had generated from portrait sales. Peter Ilyin and his wife settled in San Francisco where he opened a studio on Clay Street. His specialty was portrait painting and San Francisco provided an ideal atmosphere for him to prosper as an artist. He exhibited at the Bohemian Club, the Oakland Art Gallery, the City of Paris (S.F.), and the Crocker Art Gallery in Sacramento. Ilyin died in 1950 in a hospital in San Francisco.

Michelle Stuart (1940- )

Michelle Stuart, Fossil chart. All was sea, 1983, 58 x 68 in, Farhat Art Museum Collection

 

Michelle Stuart, Suomi Tunturi Chart, 1983, Oil/Canvas, 38″ x 44″, Farhat Art Museum Collection

Michelle Stuart is an American artist born in California. She studied in Mexico, France and in New York at The New School for Social Research. Since the 1960’s, Stuart has created a multifaceted body of work including large-scale earth works, complex multi-media installations, earth drawings, encaustic paintings, sculptural objects, drawings and prints. Stuart has also written and published artists books. Her work references a range of influences, from history, biology, botany and her extensive travels to ancient sites of archaeology. Stuart pioneered the utilization of organic mediums such as earth, wax, seeds, and plants to the vertical surface experience. These works that go beyond the bounds of traditional artistic resources articulate the complex processes through a language of exploration of both the physicality of materials and cultural and scientific issues not generally thought of in the vocabulary of art. The changes that take place in organic matter, the extinction series and the series on genetic variation, explore scientific issues that provide a new art vocabulary. Stuart has exhibited widely. Her work can be found in museum collections, including the Los Angeles County Museum of Art, the Museum of Modern Art (New York City), the Museum of Contemporary Art(Los Angeles), the San Francisco Museum of Modern Art , the Walker Art Center (Minneapolis) and the Museum of Contemporary Art (Chicago).

David James III Gilhooly (1943 – )

David James III Gilhooly, Farhat Art Museum collection

Title:FrogOsiris and His Tree of Life, 1974
Artist: David James III Gilhooly
The size
34″ x 19″ inches
(86.36cm x 48.26cm)

Created: 1974
Signed and Dated, Ceramic
David Gilhooly, also known as David James Gilhooly III, is an American ceramicist and printmaker, born in Auburn, California in 1943. He graduated from the University of California, Davis with a BA in 1965 and an MA in 1967. Gilhooly, together with Robert Arneson, Peter Vandenberge, Chris Unterseher and Margaret Dodd, working together in TB-9 (temporary building 9) were what was later to be called, The Funk Ceramic Movement of the San Francisco Bay Area. David left TB-9 for one semester to become Manuel Neri’s assistant and started making things out of lumber, fur, neon lights and asbestos shingles. In 1982, Gilhooly started exploring the media of Plexiglas, but still produced a multitude of ceramic pieces. The Contemporary Museum, Honolulu, the Fine Arts Museums of San Francisco (San Francisco, California), the Jane Voorhees Zimmerli Art Museum (Rutgers University, New Brunswick, New Jersey), the Little Rock Art Center (Little Rock, Arkansas), the Louisiana State University (Baton Rouge, Louisiana), the National Gallery of Canada (Ottawa, Canada), the Norton Museum of Art (West Palm Beach, Florida), the Oakland Museum of California (Oakland, California), the Palm Springs Desert Museum (Palm Springs, California), the Philadelphia Museum of Art (Philadelphia, Pennsylvania), the San Antonio Museum of Art (San Antonio, Texas), the San Francisco Museum of Modern Art (San Francisco, California), the San Jose Museum of Art (San Jose, California), Stanford University (Palo Alto, California), the Farhat Art Museum ( beirut, Lebanon ), the Stedelijk Museum (Amsterdam, Netherlands), the University of Arizona Art Collections (Tempe, Arizona), the University of California, Santa Barbara, the Vancouver Art Gallery (Vancouver, British Columbia, Canada) and the Whitney Museum of American Art (New York City) are among the public collections holding works by David Gilhooly.