Monet exhibition at the Grand Palais in Paris

[tchaika]

Yes, I agree with you, but in Western Europe Repin called "Russian Courbet, Alexey Kharlamov - Russian Bonn (" Bonn little "or" Russian-Spanish Frenchman, "as sarcastically spoke of Russian criticism of him) and so on. Why? And such a comparison as "Russian Courbet, considered the highest praise.

Ivan Turgenev, who lived in Paris, met in 1874, a young Russian artist Alexei Kharlamov, was fascinated by his talent and he predicted a bright future: "There were two remarkable artist - Repin and Kharlamov, - he wrote. - The second in particular will go far. "
Unfortunately, not gone, carried away by an imitation of then fashionable French artist Leon Bonn.

But Andrei Rublev in the West as the first Russian artist, appreciate, noting its identity and spiritual fulfillment.

At one time director of the Winter Palace and Hermitage collection Vasilchikov Prince expressed his deep regret over the state of Russian art in view of its zatesnennosti Western European influence, citing as the most typical example has just delivered Bryullova painting "The Last Days of Pompeii."

Later arose the school of admirers and followers of Cézanne, not without the participation of Mayakovsky, irresponsibly saying that now de our god - Cezanne, and tomorrow may be - Gauguin.

From time to time there follow the trends of Western art of different epochs: a "low Dutch", the Italian Renaissance ... there is a "Russian Matisse", "Russian Dali", "Russian Klimt ...

Remember the words of Corot: "Do not imitate, do not follow others, you will be behind them."

[fabosch]

I think that this is the nature, is characteristic of Russian people. It is open to all, he was always interested in everything, he is always ready to borrow something alien, that he liked (certainly not in the sense of theft, namely in terms of ideas). And there is nothing wrong ... On the contrary, it is his dignity. For all these borrowings perevarennnyh and rethinking, there is a live stock of national art.
Yes, let them be imitators of Cezanne, but out of a hundred simple imitators "born" Falk, without which these imitators, without this kind of "dung art" may not be.
Art should be open - this is its strength. Sitting in a remote village, sniffing foot wraps and writing hut - a dead-end path

[tchaika]

Remember the young Glinka, who loved Italian music. In 1830 he went to Italy to study there and become an Italian composer. Moreover, it was his sincere desire (because of Russian classical music was still just did not exist). He tried. And in Italy, he suddenly realized that he could not write Italian music that lives in it something else, other melodies it is born. Then he went to Germany where he became acquainted with Berlioz, continued to learn. And at the same time, it is fully aware that he - Russian composer. From his trip abroad he returned to Russia Russian composer!
And since then, Mikhail Ivanovich Glinka, considered the "father of Russian music."

In 1844, Glinka went to Paris. Its author's concert in Paris was a complete success. Hlinka has been recognized as an original Russian composer, was recognized as a genius! Berlioz, who became a great admirer of his music, performed a year later works by Glinka for his concert.

The issue is sensitive and attentive attitude to their roots. Someone else's are addicted to those who have a soul, seems to have nothing, who have nothing to regret and nothing to lose. Neglect their name in someone else's finished - a speculative idea.

And here at Claude Monet had a lot to lose. It took all of his native air. He managed to find this new section of the same French nature and treat it like no other. In this - selfless love of nature.
And next to it worked mighty and unique artists.

But Pushkin as written in "remote village". "How ironic that the confinement in the village of St. Michael has brought extraordinary benefits: the end of" Gypsy, "continued Eugene Onegin, Boris Godunov," Graf Nulin "and the most famous samples of his love lyrics."

[fabosch]

Сообщение от tchaika

Remember a young Glinka, who loved Italian music. In 1830 he went to Italy to study there and become an Italian composer. And tried. And then realized that he could not write Italian music that lives in it something else, other melodies it is born. Then he went to Germany where he became acquainted with Berlioz, and went on to study at the same time, it is fully aware that he - Russian composer. He returned to Russia, Russian composer.

The issue is sensitive and attentive attitude to their roots. Someone else's are addicted to those who have a soul, seems to have nothing, who have nothing to regret and nothing to lose. Neglect their name in someone else's finished - a speculative idea.

And here at Claude Monet had a lot to lose. It took all of his native air. He managed to find this new section of the same French nature and treat it like no other. In this - selfless love of nature, and not strangers freaks.

And next to it worked mighty and unique artists.

But Pushkin as written in "remote village". "How ironic that the confinement in the village of St. Michael has brought extraordinary benefits: the end of" Gypsy, "continued Eugene Onegin, Boris Godunov," Graf Nulin "and the most famous samples of his love lyrics».

It seems to me You do not quite understand. More precisely, I'm not quite clearly written.
The meaning of what I tried to say that in Russian culture, a huge number of loans (in fact, as in many other cultures), but it all melted into something that absolutely quirky and do not repeat. This is completely original and very colorful culture - the national to the roots. Russian culture is absolutely not afraid of borrowing. They are afraid of the culture of the weak, not having a bright originality. But in our culture such power that she was not scared - she's purge of its pot and make their own. And when I wrote about a remote village, I had in mind that should not be afraid of borrowing and influence. We are only helping to develop their own. Pushkin, who was sitting in the village, was a highly educated Russian intelligentsia, absorbed the European culture, but refers to her not as a model for imitation, but as "dung" (sorry for this haunting image, he is right do not mean anything bad ), where better to grow flowers that besides manure fed also by common people and culture, from the Russian language and Russian are the colors of it, despite the "European dung."

[Peter]

Russian tend to borrow form the West progressivnee.No here if you have Russian content in this form, it is still original. If only the shape, we simply podrazhateli.Rublev self-existence to the West and in content and form, but he painter, (for them, too, a painter), but we understand that this is something different.

[tchaika]

I am reminded of the fate of the remarkable Russian artist Konstantin Alekseevich Korovin (1861, Moscow - 1939, Paris). It was called "the first Russian impressionist."

Coming from a wealthy family of farmers from the province of Vladimir, became a merchant (but then bankrupt), he was deeply loved Russia. He was forced to leave Russia. In 1923 he went to France.

Apprentice Savrasov and Polenov each Wrubel, Levitan, Serov, Chaliapin, he was one of the greatest colorists, possessed an innate sense of color and tone. In his visits to France (in 1886, 1892 and 1893) Korovin sincerely and greatly carried away by French Impressionism. The artist continued to work under his influence, when the tide was already subsided. And what came of it?

Exhibition in Paris was able to organize only in 1929. The French did not understand him and did not appreciate.

Inability to adapt to a foreign country (and, perhaps, unwillingness to adapt), illness of a close, financial difficulties - all this has led to the fact that he died in extreme poverty by 11 September 1939, forgotten, in a house on the outskirts of Paris, somewhere In the district of Saint-Clue. They say that in the last years of his life he did not even have money for the paint or on paper, he used to draw the wrapping paper. When loss of vision forced him to completely abandon the visual arts, the artist went on to write memoirs.

But in Russia, once Konstantin Korovin was one of the most outstanding artists. He actively participated in various exhibitions, worked on the design of the performance of the opera Mamontov, then - the Bolshoi and the Mariinsky Theatre, he was even awarded the title of the official artist of the Imperial Theatres. His design of the performance revolution in theatrical decorative art. Instead of the traditional decoration of the stage, only determines the place of action, Korovin creating "sets the mood" that gave a general emotional performance. The artist collaborated with Stanislavsky.

In 1900, Konstantin Korovin designed the Russian pavilion at the World Exhibition in Paris, he wrote a number of large decorative panels. For this work he received a gold medal at the exhibition.
Since 1901, he and Valentin Serov taught at the Moscow School of Painting, Sculpture and Architecture. He was highly appreciated and respected.

That is a tragic fate remarkable Russian artist.

Konstantin Korovin paintings on the theme of Paris:
- "Paris cafe", 1890-1900.
- "After the Rain. Paris, 1897.
- "Paris After the Rain" in 1900.
- "Paris, 1907.
- "Paris." Morning ", 1906.
- "Paris." Boulevard des Capucines, 1911.
- "Paris by Night", 1920.
- "Paris." Calle Venezia, 1927.
- "Place de la Bastille", the end of 1920.
- "Paris". 1933.

[Peter]

Korovin was in great demand at home, although left quite deliberately, knowing that Bolshevism will not help him as an artist (and it could be worse). And in Paris he became one of mnogih.Kstati and emigration from the USSR artists 70s-80s many
plunged into unynie.Oni ceased to be heroes.

[tchaika]

For the French, Korovin was not sufficiently original.

Let me note here that in French the word original is understood differently than we have understood the word original. The fact that the French word original has two meanings: 1) true; and 2) weird, bizarre. And most often used in the first sense.
Thus, the word originalité means identity. And the word origine - Home, origin. D'origine - derived from ... that is where I came from.
This means in the sense that originality - it's not something strange, a sort of quirk, but that comes from a genuine, real, from the roots of their origin. Hence, it can only be truly original, that goes from the depths.

Thus, it appears to the French Korovin was not sufficiently distinctive.

[tchaika]

[fabosch]

I would rather have sided with the French in the sense that things Parisian Korovin me warm, even at such high prices. Yet his best work - the Crimean, although I like the early northern

Posted 6 minutes

Сообщение от Peter

Russian tend to borrow form here West progressivnee.No if there is a Russian content in this form, it is still original. If only the shape, we simply podrazhateli.Rublev self-existence to the West and in content and form, but he painter, (for them, too, a painter), but we understand that this is something else.

Well, icons, generally something special and it should not be here to interfere.
But, say, Monet, had no direct profound influence on Russian culture in the sense that the impressionist tradition is not very organic for Russian art. All the same, it is typically French phenomenon. That's because neither the Italians nor the Germans, too, it did not take. Do not take seriously as Lieberman Segantini or Grabar