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Thread: Russian Artists

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    Default Gennady Dmitriyevich Pavlishin




























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    Pavel Podkidyshev




























































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    Борис Зворыкин / Boris Zvorykin






    Thanks to Nor56's signature, posting pretty much just so I can have a reference point for myself, because I'll forget the name sooner or later
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    Igor Ozhiganov



























































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    Boris Zabirokhin









    Иллюстрации из книги «Белая лебёдушка. Русские волшебные сказки»








































































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    Boris Zabirokhin continued

    Иллюстрации из книги «Новая АБЕВЕГА русских суеверий»

    Банник






    Буканай






    Чёрт





    Домовой






    Кикимора






    Колокольный ман






    Лешачиха






    Лихорадки






    Лобоста






    Мара






    Невидимый






    Оборотень






    Печник






    Поляха






    Русалки






    Скарапея






    Упырь






    Водяной


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    POUR UNE HISTOIRE DÉBARRASSÉE DES NOMBREUX MENSONGES
    Vincent Reynouard: Je suis ingénieur chimiste et historien révisionniste français. J’expose de la façon la plus pédagogique possible les arguments révisionnistes. Je propose, j’expose, je n’impose rien. Chacun doit (ou devrait) être libre de se faire une opinion sur le sujet. .


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    Ivan Ivanovich Shishkin, (Russian: Ива́н Ива́нович Ши́шкин; born Jan. 25, 1832, Yelabuga, Vyatka province, Russia—died March 20, 1898, St. Petersburg, Russia), one of the most popular landscape painters of Russia. His paintings of wooded landscapes led his contemporaries to call him “Tsar of the woods.” When Shishkin returned to St. Petersburg, he became involved with the studio of Ivan Kramskoy, and in 1871 he joined the Peredvizhniki (“The Wanderers”), where his ideas about Russian landscape painting were enthusiastically welcomed. His paintings united fidelity to nature with an individual epic style. Shishkin preferred to paint pine or oak forests in their pristine state during dry, sunny conditions. These primordially Russian landscapes are imbued with folkloric associations. The naturalistic depiction of every blade of grass paradoxically created a sensation of the majestic scale of the whole, as the entire painting was conceived as a quantitative apotheosis of separate details. The artist’s rejection of the plein air style, which was roughly impressionistic, corresponded with his belief in the constancy of Russian nature and its abiding monumental order. The absence of an airy perspective in his landscapes (the trees grow smaller the farther they stand from the viewer, according to the rules of linear perspective, but they do not lose the definition of their contours) also helped create the image of epic Russian steadfastness. In the late 1880s Shishkin fell under the influence of new artistic currents and attempted to imbue his work with “atmosphere” (Morning in a Pine Forest, 1889), but even the air in such paintings gives an impression of solidity. Shishkin’s “portrait” of Russian nature—expansive and rich, not subject to time and not dependent on human emotion—became associated with the staunchness and power of the Russian national character and with patriotic overtones of national history. Being in this sense an incarnation of the “Russian spirit,” Shishkin’s paintings entered everyday life in Russia, becoming the decoration on candy wrappers and illustrations in textbooks.
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    Song Ralph Vaughan Williams - Romance



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