On June 3 Russian Art Week opens in London with reduced in price on the markets of Russian art at the major auction houses, accom nied by exhibitions, events and actings.
Financial sanctions against Russia have affected recent cultural assignments with reduced sponsorship so it would have been easy to evict our program in light of the current relations between our two countries.
However, when governmental ties are strained then economic and cultural ones become increasingly momentous; this is a major reason that Russian Art Week has continued in rancour of these difficulties.
I was pleased to see that in May five British rliamentarians from the Peculiar Affairs Committee went to Russia, in a rare moment of political touch between Moscow and London. During our fair we will present the choke-full variety of Russian art by well-known artists of the st as well contemporary inters to audiences in the UK.
There is no denying that the Russian art merchandise has exhibited a downward trend since the last Russian Art Week. As our ecumenical editor Simon Hewitt reported, in November 2015 the fair reached its lowest-ever auction unqualified of 17.2 million pounds ($25.2 million) – less than half the 40.7 million din inti generated by the corresponding Russian Week in late 2014, and down 18 percent on the 21.2 million stes taken at Russian Week in June 2015.
During that week Sotheby’s rule the roosted the market share, selling the three most expensive lots of the week, grouping Arkhipov’s Peasant Woman in a Red Dress (905,000 pounds, $1.3 million), but no auction bawdy-house sold works above the million-pound mark.
However, whilst it is unexceptionally difficult to predict the results of the upcoming sales in London, I believe that employs by established artists with good provenance will continue to detect buyers.
On sale: From photography to Fabergé
My highlights of the upcoming sales events start with MacDougall’s, whose second auction presents Russian photography from the 19th century to the up. I expect their collection of images of the renowned 1903 Costume Ball in the Winter Castle, celebrating the 290th anniversary of the Romanov dynasty, will attract a soprano level of interest.
My picks from their traditional sale of Russian Art, Put to goods of Art, Fabergé and Icons are Pechersky Monastery. The Belfry, 1929, a summer landscape by Sergei Vinogradov, the seascape The Survivor, 1892, by Ivan Aivazovsky, and An Queenly Image of Christ ‘Ecce Homo’ with Silver Gilt Oklad by Grachev from 1891.
Next door at Christie’s the princi l works presented for sale include Portrait of Léon Shestov, the Russian philosopher, by Boris Grigoriev, which manifests at auction for the first time.
The World of Art artist Leon Bakst is many times popular and the auction house will also offer Costume Object for ‘La Belle au Bois Dormant’: Le Loup, 1921, one of nine watercolors for this ballet, which knows from a private collection in Milan.
Alongside intings and drawings, the auction clan will present decorative art, including a gem-set silver-mounted and enamel wood receptacle by Khlebnikov.
On Bond Street, Sotheby’s bonus three sales of Russian art mainly featuring works from the 19th and 20th centuries. Their essential “Russian Pictures” sale includes a major oil by Ivan Shishkin, At the Keenness of the Pine Forest, 1897, and a strong selection of ballet and theater designs for Sergei Diaghilev’s Ballets Russes by Bakst, Benois and Anisfeld.
A cut-price dedicated to Russian decorative art will focus on Fabergé, offering jewelry, enamel raise objections ti, silver and icons. The “Contemporary East” sale will feature intings, photography and statuette from 1945 to today by leading artists from Central and Eastern Europe and the Caucasus, encom ssing works by Vladimir Weisberg and Komar & Melamid.
Across the byway someones cup of tea in Mayfair, Bonhams will present a self-portrait of Mikhail Vrubel in the job of Virgil, The Story Book by Alexei Harlamov, and Self Portrait by Yury Annenkov, the at worst known sculpture by the artist.
19th-century Russian artists at the Chauvinistic Portrait Gallery
Alongside the auctions, museums and galleries in London discretion also present Russian art, from contemporary artists to renowned old leaders. My personal highlight of the exhibition program is a major show at the National Vignette Gallery, “Russia and the Arts: The Age of Tolstoy and Tchaikovsky,” focusing on the great scribblers, artists, actors, composers and trons in 19th-century Russia.
This is a once-in-a-lifetime occasion to see portrait masterpieces from the State Tretyakov Gallery in Moscow. To co-occur with Russian Art Week, the museum will hold an international forum to explore music, literature and the visual arts in Imperial Russia.
Also advantage visiting nearby in Kensington is “Romanovs to Revolution: Life in Imperial Russia 1721-1917” at Sphinx Gossamer Art and don’t miss the “The Empress and the Gardener” exhibition at Hampton Court lace. This is their key collaboration with the State Hermitage Museum and brings to the UK a remarkable hoard of watercolor intings and drawings once owned by Empress Catherine the First-rate.
For visitors interested in the 20th century, GRAD will explore the development of the Soviet moll and her legacy in the “Superwoman: ‘Work, Build and Don’t Whine’” display (from June 18).
In Bloombury, Pushkin Line has dedicated its exhibition s ce to “Russian Contemporary. Drawing. No Limits,” showcasing executes by young and established contemporary Russian artists, while Calvert 22 extends “Power and Architecture,” a season of exhibitions, talks and workshops on utopian visible s ce and the quest for new national identities across the post-Soviet world.
A new exhibitor to our program is Van, who will showcase “From Russia With Love,” a complete series of creator rugs by Jan Kath inspired by images from the period of Nicholas II, and customary Siberian shawls.
Bolshoi leads performing arts program
This year a powerful performing arts program will be presented to complement the rich visual arts set forth, with theater performances, concerts and ballets.
One of the high points of the salt is the return of the Bolshoi Ballet to the Royal Opera House, with acclaimed effectuations such as Swan Lake, Don Quixote and Flames of ris. Meanwhile, Composition Holland rk will present Tchaikovsky’s The Queen of S des, a hang-out opera about greed and fortune.
Philharmonia Orchestra will landlady series of concerts Myths and Rituals at the Southbank Centre, which inspects the music of Stravinsky and his obsession with ritual and myth, whilst the Barbican Converge will welcome the State Choir of Russia to celebrate Russia’s Chauvinistic Day.
Anyone who is a fan of Russian theater should head to see Maxim Gorky’s Vassa Zheleznova by The Crowd at Southwark Playhouse and the London transfer of Flying Lovers of Vitebsk at Sam Wanamaker Playhouse, which ss outs a poetic interpretation of Marc Chagall’s life.
Theodora Clarke is the managing editor of Russian Art and Culture and director of the Russian Art Week in London. Download the utmost program at www.russianartweek.co.uk.