Â. À. Ñåðîâ.
Ïîðòðåò Ñ. Ï. Äÿãèëåâà.
Ê. À. Ñîìîâ. Ìàñêàðàä.
Ì. Â. Äîáóæèíñêèé.
Ðèì. Ïàëàòèí. Ðàçâàëèíû äâîðöà Ñåíòèìèÿ Ñåâåðà.
Þ. À. Èãíàòüåâà, Ìîñêâà.
À. Í. Áåíóà.
Ýñêèç êîñòþìà ê áàëåòó "Ïåòðóøêà" íà ìóçûêó
È. Ô. Ñòðàâèíñêîãî.
Ðàííèé êèòàéñêèé âååð
ñî ñëþäÿíûìè îêîøêàìè â ôîðìå
ïòèö, çâåðåé è ðûá.
Ì. Â. Äîáóæèíñêèé.
Ç. Å. Ñåðåáðÿêîâà.
Ïîðòðåò Å. Å. Çåëåíêîâîé(?), ñåñòðû õóäîæíèöû.
1913 ã. ×àñòíîå ñîáðàíèå.
À. Ï. Áîãîëþáîâ.
Ñïóñê íà âîäó
êðåéñåðà "Àäìèðàë Êîðíèëîâ"
â Ñåíò Ìàðèçå â Áðåòàíè.
×àñòíîå ñîáðàíèå, Ìîñêâà.
Grigorii Sternin (Moscow). Mir iskusstva in the time machine.
Sternin is a Doctor of Art, a leading specialist at the State Institute
of Art and one of the best experts on Russian art at the cusp of the
XIX–XX centuries. In this article, he makes a correlation between the
ability of the Mir iskusstva artists to imagine as if they were in
various time periods all at once and the cultural consciousness we
Alla Rusakova (St. Petersburg) Mir iskusstva in Russian culture at the
end of the XIX and beginning of the XX centuries.
Rusakova is a Doctor of Art and a senior specialist with the State
Russian Museum. The article is devoted to the art situation in Russia
and the role of Mir iskusstva artists from the end of the 1890s to
1906, the period when the Society’s artists created their ‘classic’
Sergei Golynets (Ekaterinburg) Three different Mir iskusstva.
Golynets, a Candidate2 of Art and head of the Art History Department at
the Urals State University, examines three stages in the history of the
Mir iskusstva movement: the ‘Diagilev’ period (1898–1906), the ‘St.
Petersburg’ period (1910–1924) and the ‘emigre’ period (created in
Paris in 1921). The humorous ‘Ode to the Passing of the Great Fast’ by
the artist Ivan Bilibin is included as a supplement to this article (with
commentary from Golynets).
Iurii Molok (Moscow). The history of Mir iskusstva:
an a to z of names.
Comments on the ‘A to Z’ by Mstislav Dobuzhinskii.
Molok is an art critic and expert in Russian graphic printing and
design. His article is dedicated to interpreting the caricatures and
poems of Dobuzhin-skii, which formed an ‘A to Z’ of Mir iskusstva
(1911, 1943), portraying all the members of the Society in an ironic
Iurii Gerchuk (Moscow) The books of a ‘pampered century’.
This art critic and specialist in book art analyses the printed
masterpieces of Mir iskusstva, which he considers to be a new stage in
the evolution of the book and which influenced the development of this
art form over the whole of the XX century.
Irina Uvarova (St. Petersburg) ‘And the merry travelling show closed
down...’. The author is a specialist in folk theatre. She traces how a
type of ‘travelling show’ — Russian puppet theatre — was embodied and
transformed in works by Mir iskusstva artists, in particular, those of
Margarita Davydova (Moscow) Russians seasons: Lev Bakst in Russian
Ballet performances in Paris
The author is a Candidate of Art, a senior specialist with the State
Institute of Art and an expert in the study of Russian scenery. Here,
she analyses the evolving style of Bakst’s sketches for the theatre
Natal’ia Guseva (St. Petersburg) Nikolai Svirskii, purveyor to the His
Majesty’s Imperial Court, and ‘Modern Art’.
Guseva is a Candidate of Art, a senior specialist with the State
Hermitage Museum and curator of the Furniture Collection. She addresses
a little-known side of Mir iskusstva work: in January 1903, A.Benois,
E.Lansere, L.Bakst, K.Korovin and A.Golovin took part in organising a
gallery of interior designs in the ‘neo-Russian’ and ‘modern’ styles.
The project was called the «‘Modern Art’ Venture». Purveyor to the
Imperial Court, Nikolai Svirskii, took part in making furniture and
interiors, based on the artists’ sketches. The venture was financed by
the well-known patrons of the arts, Prince Sergei Shcherbatov and
Vladimir von Mekk.
Elena Bespalova (Moscow). Benois and Poiret.
Bespalova is an art critic and a specialist in the history of clothing.
Her article examines the reaction of Aleksandr Benois, a leader and
theoretician of Mir iskusstva, to the fashion show of the French
couturier, Paul Poiret, which took place in Russia in October 1911.
Vladimir Lapshin (Moscow) ‘The exhibition prose’. Observations on
collecting,the market and certain criteria for successful exhibitions.
Lapshin is a Doctor of Art and a leading specialist with the Institute
of Theory and History of Fine Arts (part of the Russian Academy of Arts).
He analyses the exhibiting techniques of Mir iskusstva artists and
looks at their activity in the art market in comparison with other
contemporary art associations.
Andrei Tolstoi (Moscow) Mir iskusstva and French painting.
The author is a Candidate of Art and a specialist in links between
Russian and French art in the XIX and XX centuries. He compares two
well-known Mir iskusstva members’ evaluations of French art and their
professional contacts with French artists at the turn of this century.
One is Mir iskusstva’s main ideologue, Aleksandr Benois from St.
Petersburg, and the other is the Moscow artist and critic, Igor Grabar.
Iurii Molok (Moscow) An artist with picturesque hearing:
a visit to Dimitrii Bouchene.
The art critic and graphics expert recollects a visit to one of the
last Mir iskusstva artists, Dimitrii Bouchene, in Paris at the
beginning of the 1990s.
Ekaterina Andreeva (St. Petersburg) Five drawings by Mstislav
from the former Argutinskii-Dolgorukov collection.
The art-critic and
employee of the State Russian Museum examines a folder of hoax drawings
by Mstislav Dobuzhinskii, executed in the styles of Antoine Vatteau,
Rembrandt and Claude Lorrain.
Elizaveta Plavinskaia (Moscow) The elements: a fortress of norms and a
thirst for freedom.
The author analyses the image of the natural elements and their
conflict with efforts to achieve harmony and calm in the paintings and
graphics of three ‘fundamental’ Mir iskusstva artists - Aleksandr
Benois, Lev Bakst and Konstatin Somov.
Aleksandr Iakimovich (Moscow) Benois and Diagilev:
the Apollo and Dionysius of Mir iskusstva
Iakimovich is a Doctor of Art and a specialist in XX century art. He
interprets the role of Benois and Diagilev in the development of the
Mir iskusstva movement as a struggle between rationality and
irrationality, evoking the spirit of Nietzsche, who viewed the
universe as a confrontation between Apollo and Dionysius.
A list of original lithographs, wood engravings and etchings of Russian
artists from editions of the journal Mir iskusstva (1899–1904). The
collector, Mikhail Zelikman, lists together and provides comments on
all the original engravings published in editions of Mir iskusstva.
Mir iskusstva pieces in private collections.
Rare and little-known works from private collections in Moscow, as well
as Paris, Cologne and New York.
Natal’ia Osminskaia (Moscow).
Open-air painter of the Naval Headquarters An article about the famous
seascape painter of the latter half of the XIX century, Aleksei
Bogoliubov. It is illustrated with some of his lesser-known works from
several private collections.
Fedor Kruger (Moscow) A fragment from a lost panorama.
This article discusses the recently-discovered fragment of a panorama
painted by the master of Russian battle-painting at the turn of the
century, Francis Roubaud. The panorama decorated the Church of Glory in
Tiflis (Tbilisi) in Georgia.
Sofia Pokrovskaia (Moscow) ‘Semiramida of the North’ thimble glasses.
An article about unique gold thimble glasses from Catherine the Great’s
time. The appearance of this kind of item on the Moscow antiques market
is nothing less than sensational.
An illustrated review of the most interesting items on the antiquarian
markets of Moscow and St. Petersburg in autumn 1998.
Sales of Mir iskusstva works at foreign auctions over the last few
Elena Iurova (Moscow) Lady’s evening bags.
Iurova, an expert and collector of Russian embroidery, presents us with
two unique handbags: one which was embroidered according to a sketch by
Konstantin Somov; and another, which has been attributed to the Russian
avant-garde artist, Aleksandra Ekster.
Ellen Alexander (Greenwich) XVII and XVIII century fans.
An English collector presents her unique collection of fans, which
forms the basis for the collection of the Greenwich Fan Museum, the
only officially registered museum of its kind in the world. Translation
from English by Andrei Alksnis.
Aleksandr Cherviakov (Moscow).
A gadget for wafting cool air.
The senior specialist from Moscow’s Ostankino Estate Museum traces the
history of the fan in XVIII-XIX century Russia, based on examples from
the Museum’s collection.
The Secrets of Seduction.
Fragments from the album, ‘Les Flacons de la Seduction. L’art du Parfum
au XVIIIe siecle’ by Ghislaine Pillivuyt, a book dedicated to the
‘cuisine’ of seduction and attraction in the XVIII century
(aromatic and cosmetic substances, beauty-spots, etc.).
Translation from French by Andrei Tolstoi.
Max Friedlander Chapters from the book ‘Genuine Article
For the first time, chapters on ‘Expert Opinion’ and ‘Fakes’ from the
book by the famous Austrian art
critic and authority.
Translation from German and introductory article by Kirill Svetliakov.
Reviews of art exhibitions.
Reviews of editions on art.
A review of the most interest sales
on the foreign antiquarian market.
Chronicles of journeys
Mikhail Mil’chik (St. Petersburg) Helsinki.
Mil’chik, a Candidate of Architectural History, gives an account of
some of the artistic sights of Finland’s capital city.
Artur Rondo (Moscow).
Neo-romance meets the ‘Golden Age’.
Notes on several Russian art exhibitions in Helsinki
Chronicles of crime.
A review of several cases of art theft in Russia
Tat’iana Vergun (Peterhof, near St. Petersburg) The Benois Family
Museum at Peterhof is ten years old.
The head of the museum presents the Benois Family Museum (the Peterhof
State Museum), relating how it was established and details of its
1 A movement in Russian art which translates literally as ‘World of
2 A ‘Candidate’ is the holder of a first higher degree, roughly
to a qualification between a Master’s degree and PhD.