Posts

Showing posts from February, 2014

Sergei Lukyanenko to Prevent Publishing of Ukrainian Authors in Russia

Image
The popular Russian fiction writer Sergei Lukyanenko has forbidden translating his books into Ukrainian.

He stated it in his blog along with picking to pieces those Ukrainian sci-fi writers who have supported the Euromaidan.

“From now on I do not go to Ukraine, I do not participate in Ukrainian conventions, and I forbid translating my books into Ukrainian” - Sergei Lukyanenko wrote with a reference to the Maidan events.

Besides, Mr. Lukyanenko addressed Ukrainian science fiction writers, without naming them though. According to him, the addressees know whom he means. “Glorify Maidan fighters and bring them pie parcels, you half-wits. But if some o

Malevich’s Black Square: key work of the 20th century

Image
Not only Malevich’s works have become symbols recognizable throughout the world, but the artist's life itself continues to inspire many references featuring events and his paintings as players. Literature is just one of the art fields we have to thank for making Malevich a true pop icon. Thus, the smuggling of Malevich paintings out of Russia is a key to the plot line of Martin Cruz Smith's thriller “Red Square”. Another good example is American writer Noah Charney. His book “The Art Thief” tells the story of two stolen Malevich “White on White” paintings. The film industry too doesn’t fall behind. Malevich’s work is featured prominently in the 2011 Lars Von Trier apocalyptic drama “Melancholia”. With the Black Square the painter created a brand that has become a synonym of everything contemporary and novel, says Kirill Svetlyakov, the Director of the Department of Contemporary Art of The State Tretyakov Gallery. “If you want to be modern you might use this sign of Suprematism –…

Bolshoi: Bolero with Sergei Radchenko Elena Kholina Alexander Lavrenjuk 1967

Anton Chekhov: Genius for Hire

The great Russian writer Anton Chekhov (1860-1904) desperately needed money all his life. But maybe his constant need for work was what produced many of his greatest masterpieces. Chekhov had an exclusive deal with the publisher Adolf Marx, who owned the rights to all the writer’s works – present and future.   The value of the contact was 75,000 rubles –a small fortune at the time, but Marx paid the sum in small installments, in return for new manuscripts. Nevertheless, Chekhov bought a small house in Yalta with money from this contract. However, Chekhov found a way around the terms of the agreement – the contract didn’t cover plays. The book “The Cherry Orchard” was published by Marx, but royalties for the stage version went to the writer. It is no coincidence that more than half of Chekhov’s stage plays were written after he signed the contract with Marx – including “The Cherry Orchard,” “Three Sisters,” and no fewer than 10 short plays. However, in becoming a playwright, Chekhov traded…

Anna Karenina’s timeless allure

Image
When it comes to Russian style, the elegant ladies of Tolstoy’s novels spring instantly to mind, and none more so than his tragic heroine Anna Karenina. Almost a century and a half after the novel’s publication, Anna’s graceful wardrobe continues to inspire filmmakers and designers.

“Anna was not in lilac, as Kitty had absolutely wanted, but in a low-cut black velvet dress, which revealed her full shoulders and bosom, as if shaped from old ivory, and her rounded arms with their very small, slender hands.” In the late 19th century, the concept of beauty was vastly different from today. Feminine, almost Titianesque, figures and dresses were in style, emphasizing and sometimes exaggerating the figure. This is why none of the actresses in the new film version of Anna Karenina fit Tolstoy’s concept or description of female beauty.     At the time, beauty demanded of its victims a lengthy and laborious process of equipage: “Though Kitty’s toilette, coiffure and all the preparations for the bal…

Zinaida Serebryakova Exhibition to be Held in Moscow

Image
On February 13 the State Tretyakov Gallery opens the exhibition Zinaida Serebryakova. Parisian Period. Alexander and Yekaterina Serebryakovs. From Collection of the French Fondation Serebriakoff.

Zinaida Evgenyevna Serebryakova (1884-1967), an illustrious representative of the famous Benoit Lancer artistic dynasty, a follower of the well-known painter O. E. Braz, belonged to the second wave of the World of Art movement. In her works, which are stylistically close to the neo-academic school, she created the most charming women’s and children’s images in Russian painting. The exhibition is dedicated to the French period of her life - from 1924 to 1967. Galina Serebryakova’s paintings kept her Paris studio, including the well-known Moroccan cycles of 1928 and 1932, will be for the first time exhibited in Russia. Her canvasses and graphic art works will be accompanied with works by her children - Alexander Borisovich (1907-1995) and Yekaterina Borisovna (1913) Serebryakov.  

See more at: Ri…

Arseny Tarkovsky: On The Bank

He was sitting by the river, among reeds
that peasants had been scything for their thatch.
And it was quiet there, and in his soul
it was quieter and stiller still.
He kicked off his boots and put
his feet into the water, and the water
began talking to him, not knowing
he didn’t know its language.
He had thought that water is deaf-mute,
that the home of sleepy fish is without words,
that blue dragonflies hover over the water
and catch mosquitoes or horseflies,
that you wash if you want to wash, and drink
if you want to drink, and that’s all there is
to water. But in all truth
the water’s language was a wonder,
a story of some kind about some thing,
some unchanging thing that seemed
like starlight, like the swift flash of mica,
like a divination of disaster.
And in it was something from childhood,
from not being used to counting life in years,
from what is nameless
and comes at night before you dream,
from the terrible, vegetable
sense of self
of your first season.

That’s how the water was that day,
and its speec…