1878-1927 Russian Boris Kustodiev Galleries The Russian Revolution of 1905, which shook the foundations of society, evoked a vivid response in the artist's soul. He contributed to the satirical journals Zhupel (Bugbear) and Adskaya Pochta (Hell??s Mail). At that time, he first met the artists of Mir Iskusstva (World of Art), a group of innovative Russian artists. He joined their association in 1910 and subsequently took part in all their exhibitions. In 1905, Kustodiev first turned to book illustrating, a genre in which he worked throughout his entire life. He illustrated many works of classical Russian literature, including Nikolai Gogol's Dead Souls, The Carriage, and The Overcoat; Mikhail Lermontov's The Lay of Tsar Ivan Vasilyevich, His Young Oprichnik and the Stouthearted Merchant Kalashnikov; and Leo Tolstoy's How the Devil Stole the Peasants Hunk of Bread and The Candle. In 1909, he was elected into Imperial Academy of Arts. He continued to work intensively, but a grave illness??tuberculosis of the spine??required urgent attention. On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic. He pined for his distant homeland, and Russian themes continued to provide the basic material for the works he painted during that year. In 1918, he painted The Merchant's Wife, which became the most famous of his paintings. The Merchant's Wife, (1918).In 1916, he became paraplegic. "Now my whole world is my room", he wrote. His ability to remain joyful and lively despite his paralysis amazed others. His colourful paintings and joyful genre pieces do not reveal his physical suffering, and on the contrary give the impression of a carefree and cheerful life. His Pancake Tuesday/Maslenitsa (1916) and Fontanka (1916) are all painted from his memories. He meticulously restores his own childhood in the busy city on the Volga banks. In the first years after the Russian Revolution of 1917 the artist worked with great inspiration in various fields. Contemporary themes became the basis for his work, being embodied in drawings for calendars and book covers, and in illustrations and sketches of street decorations. His covers for the journals The Red Cornfield and Red Panorama attracted attention because of their vividness and the sharpness of their subject matter. Kustodiev also worked in lithography, illustrating works by Nekrasov. His illustrations for Leskov's stories The Darner and Lady Macbeth of the Mtsensk District were landmarks in the history of Russian book designing, so well did they correspond to the literary images.  Related Paintings of Boris Kustodiev :. | Portrait of Julia Kustodieva | Portrait of Julia Kustodieva | Easter Greetings | Portrait of Fyodor Chaliapin | Russian Venus |
Related Artists:
Sergey Ivanovich Svetoslavsky
painted In the Garden in 1900s
John Smart
English Rococo Era Miniaturist, ca.1741-1811,English miniature painter, was born in Norfolk; he became a pupil of Cosway, and is frequently alluded to in his correspondence. This artist was director and vice-president of the Incorporated Society of Artists, and exhibited with that society. He went to India in 1788 and obtained a number of commissions in that country. He settled down in London in 1797 and there died. He married Edith Vere, and is believed to have had only one son, who died in Madras in 1809. He was a man of simple habits, and a member of the Society of Sandemanians. Many of his pencil drawings still exist in the possession of the descendants of a great friend of his only sister. Several of his miniatures are in Australia and belong to a cadet branch of the family. His work is entirely different from that of Cosway, quiet and grey in its colouring, with the flesh tints elaborated with much subtlety and modelled in exquisite fashion. He possessed a great knowledge of anatomy, and his portraits are drawn with greater anatomical accuracy and possess more distinction than those of any miniature painter of his time.
NOVELLI, Pietro
Italian Baroque Era Painter, 1603-1647 Italian painter. He trained with his father, Pietro Antonio Novelli (1568-1625), a painter and mosaicist, then in 1618 in Palermo with Vito Carrera (1555-1623). He also studied perspective with the mathematician Carlo Maria Ventimiglia. Paolini (1980) suggested that in his early years Novelli may have contributed, with Domenico Fiasella and Nicolas Tournier, to a cycle of paintings in the oratory of S Stefano in Palermo and that he made a first journey to Rome between 1622 and 1625. His first dated work is from 1626: St Anthony Abbot (Palermo, S Antonio Abate). The development of his style owed much to Anthony van Dyck, who visited Sicily in 1624 and whose altarpiece, the Madonna of the Rosary (Palermo, oratory of S Maria del Rosario), was of fundamental importance to Novelli. Van Dyck's influence, which remained with Novelli throughout his career, is most apparent in the Death of the Just Man (Palermo, Gal. Reg. Sicilia), the Apparition of the Virgin to St Andrea Corsini (1630; Palermo, Chiesa del Carmine) and the Coronation of the Virgin