March 1 in VOHM them. I.N. Kramskoy was attended by students of the 7th grade of school № 30 of Voronezh.
The guys took part in the quest-quest “In Search of Truth” – an educational project for schoolchildren of grades 5-9, which is held in five museums of the city. The organizers of the project are the teachers of the Voronezh school number 30, the participants of the project “Teacher for Russia” Maria Potylitsyna and Marina Seliverstova.
During the tour of the museum exposition, the guys solved riddles and puzzles, looking for answers to questions written in special flyers-questionnaires. Tips for solving the tasks were the museum exhibits themselves and labeling for them.
Thanks to the attention and observation shown during the quest, all participants successfully coped with its passage.
We invite everyone from among the schoolchildren of the city and region to participate!
Voronezh Regional Art Museum. I.N. Kramskoy offers his visitors to use the augmented reality application “Artefact” (Artifact) within the framework of the main exhibition of the museum.
The application is a project of the Ministry of Culture of the Russian Federation.
Visitors to museums, once installing a mobile application, can download materials of exhibitions and expositions and get the opportunity to learn interesting information about the exhibits, just by pointing the camera device on the subject.
Even staying at home, you can explore museum collections in the “Catalog” mode.
When you hover the camera of a tablet or smartphone (available for iOS 10+ or Android 5+), the camera recognizes the exhibit and gives information about the item.
HOW DOES ARTEFACT WORK?
Install the free Artefact app to see augmented reality mode in action. Download via “App Store” or “Google play”, or go to ar.culture.ru
Download the exhibition.
Section “Exhibitions” – “The main exposition of the VOKM them. Kramskoy.
Click on the “Augmented Reality” button and point the camera at the exhibit, equipped with a special tag icon: the letters “AR” on a black background.
Get acquainted with the information about the exhibit. Find out about the details and interesting facts will help “points of interest.”
Some exhibits are equipped with an audio guide.
Step-by-step instructions are presented at the information stand of the museum (next to the cashier’s office) and on each floor of the main building at the entrance to the main exposition halls of the museum.
The following museum exhibits are available for recognition with the help of Artefact:
Department of Ancient Egyptian Art (1st floor):
Sarcophagus Nesipaherentahata;
Bust ancestor;
Stela Ramos.
Department of ancient art (1st floor):
Amphora;
Pelika.
Department of Russian Art (2nd floor):
I.N. Kramskoy. Portrait of the artist’s wife and daughter I.N. Kramskoy;
I.N. Kramskoy. Portrait of the artist’s son;
I.E. Repin Ivan the Terrible and his son Ivan;
V.A. Tropinin. Portrait N.P. Panina;
E.A. Kiselyov. Portrait of Sandy Hill;
A.A. Buchkuri. Fair;
I.K. Aivazovsky. Sea view;
P.A. Nilus. Paris after the rain;
CM. Romanovich. Rook in a storm.
Pleasant impressions!
March 1, 2019 in the regional museum of the city of Bobrov, the opening of the exhibition “Works of artists of Russian emigration in provincial Russian museums” was held.
The exhibition presents high-quality printed copies of works by artists-emigrants – Peter Nilus, Elena Kiseleva and Pavel Shmarov from the funds of the Voronezh Regional Art Museum. I.N. Kramskoy.
The opening of the exhibition was attended by artists – members of the Bobrovsky folk club “Creativity”, students of the art department of the Bobrovsk School of Art, as well as residents of the city.
The opening of the exhibition was accompanied by the sound of French melodies of the 1920s and 30s and the reading of poems of that time. At the end of the official part for everyone, a tour of the exhibition was held, which was held by the director of the museum Elena Stepanova.
Alexander Kuprin – Russian and Soviet landscape painter, Honored Artist of the RSFSR, corresponding member of the USSR Academy of Arts.
Alexander Vasilievich was born in Borisoglebsk. His father was a teacher at the county school. When the boy was 13 years old, they moved to Voronezh, where Kuprin studied at the gymnasium and worked as a clerk on the railway. Alexander was always fond of art, which led him to the evening classes of the Society of Art Lovers. Later, having decided to become an artist, he left for St. Petersburg in 1902 and entered the AE Dmitriev-Kavkazsky school, but in 1904 left it, moved to Moscow and entered the KF Yuon studio. After studying there for two years, Kuprin transferred to the Moscow School of Painting, Sculpture and Architecture.
In 1908, the artist first saw in private collections of Moscow patrons new French painting, which became very interesting to Kuprin. The artist began to write and exhibit works in the spirit of this art. In 1909, he participated in the salon “Golden Fleece” with its collections, which were created during the time of life in Moscow under the influence of the latest trends in French art. Having learned a lot, the master left the school and devoted a large number of years to experiments in the field of artistic art. Kuprin was one of the active members of the “Jack of Diamonds” association. In the period 1910-1924, he preferred writing still lifes, starting with cubist works, gradually softening the geometric shape.
In 1920, the artist went to Nizhny Novgorod, where he worked as the head of the Nizhny Novgorod and Sormovsky art workshops. The year of return to Moscow (1924) turned out to be a turning point for the art of Alexander Vasilyevich, he turned to a realistic landscape, and also made annual trips to Bakhchisarai, where he wrote his first significant realistic paintings.
In the years 1930-1934 a new period began in the art of Kuprin. The artist worked on the industrial landscape, depicting factories in Dnepropetrovsk and Moscow, as well as oil fields in Baku. During these years, he again began to put the Crimea on canvas, and before the start of the war – the motives of Russian nature. Such landscapes again captured the attention of the artist, but in his last works he returned to industrial themes.
The painter survived, checked with his own hands, experienced almost all the artistic hobbies and manners, which in the years of his youth embarrassed the souls of young artists. He was led to realism by the complex process of adding a new person and a new artist.
It would be wrong to say that Kuprin in his youth and Kuprin at the time of creative maturity are two completely different artists. In his work a certain system of interests can be traced, which were characteristic of both the early and “most adult” period of art – attention to the emotional expressiveness of color, striving for strict constructiveness of the drawing, keen interest in the rhythmic mood of the composition, in which the pattern of the structure of objects and landscape is revealed. etc.
Creativity Alexander V. Kuprin peculiar great intellectual power. He was in love with the living beauty of nature and was inspired by the desire to check his impressions with his mind. In his works of art the light of creative, informative penetration in the imaged world glows.
Alexander Kuprin died in 1960 in Moscow. He was buried at the Novodevichy cemetery.
Aristide Onezim Croisy – French sculptor, author of many statues that adorn the gardens of the Palais Royal and the Louvre, as well as the Paris mayor’s office and other places in Paris.
Croisy was born in France to a mason family. A boy from childhood was fond of art. At age 17, Aristide entered the Paris National High School of Fine Arts, where his mentors were Armand Toussaint and Charles Gumer. After graduation he entered the disciples of the famous French sculptor Auguste Dumont.
In 1863, Aristide Croisy received the Rome Prize – an award in the field of art. Two years later, the sculptor for his work was awarded the big medal of the School of Fine Arts, and in 1867 the sculptor made his debut with his works in the Paris Salon.
The French sculptor became famous for a number of monuments dedicated to the Franco-Prussian war. He is the author of many monuments of patriotic sound in Orleans, Loire, as well as in other cities of France.
In 1877, Croisy worked on the restoration of the chapel of the Palace of Versailles. He created architectural decorations for the Paris Stock Exchange and a number of allegorical statues for monuments in Paris.
In 1885, the French sculptor was awarded the Order of the Legion of Honor.
Aristide Onesim Croisy died on November 7, 1899 in Fagnon (France).
The real name is Giovanni Francesco Barbieri.
Guercino in Italian (Guercino) is translated as “cross-eyed.” This great artist of the XVII century received this nickname for his squint, which, however, did not in the least prevent him from creating works of art recognized as masterpieces of world painting.
Born in Cento near Bologna, baptized on February 8, 1591.
The history of his family and childhood years of life is not known for certain, but it is known that the boy Barbieri was very fond of painting and showed a craving for art from an early age. As an artist, he was influenced by Lodovico Carracci, but he did not directly study at the “Entering the New Path” Academy founded by the Carracci brothers.
From 1617 to 1621 Gverchino lived in Bologna, where he wrote his most outstanding works. In huge altar images, such as “The Martyrdom of St. Peter” (Modena, Museum), “Return of the Prodigal Son” (Turin, Museum), “Ecstasy of St. Francis” (Paris, Louvre) and “St. William of Aquitaine Receives Monastic Robe” ( Bologna, gallery), Gverchino developed a broad, “picturesque” baroque style. The form structure dissolves in streams of light that emphasize protruding parts and leave everything else immersed in an impenetrable shadow; movements are directed diagonally into the depth of the unlimited space of the picture; Asymmetric composition and rich Venetian flavor enhance the overall dramatic effect.
Talent Guercino was noticed by the papal legate in Ferrara – Cardinal Serra, for whom a number of works were written. It is believed in the circle of specialists that the artist created his best works in his youth, therefore, works written in the early period were called “il vero Guercino” (genuine Gverchino).
An example of such an early manner of the Bologna master is the painting The Martyrdom of Peter. The original composition only partly resembles the techniques of Caravaggio, since Guccino tries to interpret it in the folk spirit, uses the folk type, emphasizes the coarse force of the images. Persons expressing themselves with significant gestures of characters express feelings, but without increased dramatization. The composition is well thought out and the characters are arranged in the form of a diamond shape around the central unfilled space.
In 1618, Guercino visited Venice, where he was greatly impressed by the works of Tintoretto and Jacopo Bassano. In 1621, Guercino was invited to Rome by Pope Gregory XV. The artist arrived in Rome and painted the famous fresco “Aurora” in the Casino Ludovisi, made in the tradition of brilliant Venetian colorism and Bologna academism.
In 1623, Guercino returned to Cento. His palette began to light up, and the energetic baroque style changed in the direction of classicism, especially under the influence of the Bologna artist Guido Reni. One of the last works of the artist Guercino, performed in Rome – “Saint Romualdo” (1640−1641, Ravenna, Pinacoteca). In terms of style, this is the most classic work of the painter.
After the death of Guido, Reni Gverchino moved to Bologna, where he occupied one of the leading places among the masters of this painting school.
In the paintings of Guercino, much is close to the art of Caravaggio: irrational lighting, a dark gloomy background, large figures, common people. As a follower of Ludovico Carracci, he actively used the romantic chiaroskuro, eroding the sculptural clarity of the form. Painting Guverchino studied many European masters of the subsequent time. The early works of the artist Guercino had a direct impact on the Neapolitans PF Mol, M. Preti, and the Bolonian J. M. Crespi.
Gucerchino died in Bologna on December 22, 1666.
Socrates Vorobiev – one of the leading masters of landscape painting of the middle – second half of the XIX century, a representative of the academic direction.
Born into the family of the famous painter Maxim Vorobiev (1787 – 1855).
In 1833 he entered the Imperial Academy of Arts in the class of landscape and perspective painting, where he studied under the guidance of his father. In 1836 he was awarded a small and a large silver medals, in 1837 – a small gold medal, in 1838 – a large gold medal for the painting “View of the manor Fall of Count A.H. Benkendorf near Revel”. In 1839 he graduated from the Academy in the title of the artist of the XIV class.
Successful completion of studies at the Academy gave the artist the right to a pensioner’s trip abroad, for additional improvement. In 1840, Vorobyov traveled to Italy for six years. He worked in Rome and Naples. In 1844 he was in Palermo under Nicholas I, at whose request he created an album of paintings with views of Italy.
In 1846 he returned to Russia, where he was elected an academician without performing mandatory program work. In 1847, he again went to Italy for two years to paint pictures with funds issued by Nicholas I. In 1849 he returned to St. Petersburg, where he participated in academic exhibitions. In 1852 he created a series of works with views of the suburbs of the Russian capital.
After the death of his father in 1855, he taught at the Imperial Academy of Fine Arts, where he led a landscape painting class, consisting of a corrective professor. Among his students are many famous landscape masters of the second half of the 19th century: E. K. Dukker, I. I. Shishkin, A. M. Meshchersky, Yu. Yu. Klever, and others. In 1858 Vorobiev was awarded the title of professor, in 1859 – a professor of the 2nd degree. In 1872, he retired from the academy and settled in the estate of Turmont, Novoaleksandrovsky district of the Kovno province, where he spent his last years. In this period of life – almost did not draw.
Vorobyov’s works are in many museum and private collections, including the State Russian Museum, the State Tretyakov Gallery, the Museum-Estate of V.D. Polenov, museums of Vladikavkaz, Voronezh, Syktyvkar, Minsk, Riga and others.
Salvator Rosa is an Italian painter, engraver, poet and musician. Born in Renella, near Naples. The boy’s childhood was spent in the monastery, where he was trained for the adoption of spiritual dignity, but Salvator always felt an irresistible attraction to art, so he studied music and painting.
Rose began to study art from his brother-in-law – Fr. Francanzone, after his mentor became a student of Jusepa de Ribera, and then himself Ribera. Salvator Rosa also took over the mastery of the battle painter Anyello Falcone.
In addition to the lessons with the masters, Salvator devoted a lot of time to independent painting, developing his talent by writing sketches from life without any help.
When the artist was eighteen years old, he began to travel around Apulia and Calabria, where he fell into the hands of local robbers and lived for some time among them, studying the types and customs of those places.
In 1634, the painter moved to Rome, where he gained fame, thanks to his works, which have their own unique character. They depict real scenes of the life and life of shepherds, soldiers and bandits, however some satires turned the Roman society to such a degree against the master that he had to retire to Naples.
In 1647, the revolution of Mazaniello broke out in Naples. The painter was directly involved in it.
From 1650 to 1660, the artist worked in Florence at the court of the Grand Duke J.-C. Medici, at times visiting Rome.
In the last years of her life, Rose worked diligently on engraving. In total, they performed 86 etchings of their own composition, many of which can be counted among the best works of the artist and are appreciated by good printmakers in good impressions.
The Italian painter belonged in the direction of talent to the naturalists of the Neapolitan school of painting, having some affinity with his teachers – Ribera and Falcone. Nevertheless, Rosa put a lot of originality into the interpretation of the subjects of her work, despite their diversity. In paintings on historical themes, he was able to combine realistic images with the nobility of a lively composition and with a strong expression of the idea.
The portraits of Roza are very characteristic and expressive, which makes one assume that they are similar to the people who posed for him. Also this master is an excellent, completely original landscape painter, imbued with poetry, when depicting harsh mountains, wild gorges, deaf forest thickets, especially when he writes on canvases of small size. There are many of his paintings, in which the landscape plays a secondary role, and the main content is made up of human figures – for the most part these are soldiers and robbers. Salvator Rosa also beautifully painted very complex pictures of battles.
Salvator Rosa died in 1673 in Rome.