After 30 years of exile, internationally acclaimed painter Oscar Rabin’s work is now exhibited in his native Russia. Opening an exhibit in Tretyakov Gallery on his 80th birthday, Rabin’s work that was considered by “unofficial art” is now on display in Moscow’s largest art museum.

Rabin rose to prominence not only as a highly talented painter but also as a symbolic dissident from the rigidity of official Soviet culture. In 1958, his studio at the old Lianozovo army barracks became the epicenter of Moscow’s progressive artistic intelligentsia. He remained at the forefront of “unofficial art” until his Soviet citizenship was revoked 20 years later.

This confrontation was never something Rabin actively sought. “We all wanted official recognition,” Rabin explained. “But that was unavailable to us because they had a crude world for which not everybody had signed up. Everything in life depended on those three-letter organizations, and we just wanted to get our art shown.”

Rabin claims that he only knows how to paint one way, making his conflict with the authorities inevitable. Remarkably, his abilities seem to have emerged fully formed, with few changes in technique or subject matter over more than 50 years. “My art is entirely subjective,” he said. “I just paint what I see and feel. I stayed away from the protest exhibitions — I didn’t want to go to the gulag.” (Moscow Times)

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While Russian culture draws many parallels to that of the west, it has its own unique flavor. The development of Russia’s modern theatrical arts are rooted in the Skomorohi, or roving entertainers somewhat like western bards and troubadours.

The oldest “theatricals” were those performed by folk histrionics, called “skomorokhi” and first recorded in historical chronicles in 1068.

Skomorokhi were the wandering minstrels of ancient Russia; they were singers, jesters, musicians, play performers, acrobats and animal trainers. But first of all skomorokhi were singers of freedom, who dared to ridicule the power, the clergy, and the rich and sympathized with the common people.

It was quite a complicated phenomenon. Skomorokhi were considered to be somewhat of soothsayers. Yet it was a false belief, since skomorokhi, while taking part in rites did not enhance their religious and mystical character, but on the contrary, attached more of worldly, secular meaning to them.

Almost anyone could “skomoroshit”, i.e. sing, dance, jest, play music instruments and impersonate some personages or creatures. Yet, only those whose artistry made them stood out against mass art were recognized true skomorokh masters. (Russian IC)

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Russia’s newly wealthy have become major buyers of the the most expensive goods the world has to offer. A new trend for many is an interest in fine art.

Russia’s yachting, partying, British football club-acquiring billionaires are, as they mature, refining their tastes, learning the fine art of collecting fine art and breathing new life into a once-struggling Russian market.

Roman Abramovich, Russia’s 42-year-old uber-oligarch, jetted into Moscow this week for the opening of a new contemporary art space which he is funding as a pet project for his girlfriend, fashion designer Daria Zhukova. (St. Petersburg Times)

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Carving a sculpture as a folk art in Russia goes back to prehistoric times, and many pieces that have been found exhibit exquisite craftsmanship. Sculpture as a fine art came late to Russia, largely because it was considered taboo by the Russian Orthodox church. The first imperial patronage of sculpture beginning the 170o’s and flourished thereafter.

Peter the First, when starting the Russian fleet and artillery and requiring sculpture masters hired foreign casters and sculptors who were to teach their art to the Russians. But both under Peter the First and his successors sculpture developments long stayed in foreigners’ hands.

The Academy of Sciences open under Catherine the First had an arts department where sculpture was taught, yet it did not contribute much to progress of Russian sculpture. Still masters from abroad were employed to meet the demands of the imperial court. Out of those overseas sculptors there stood out Count Carlo Bartolomeo Rastrelli, famous for his statues in Rococo style. Only upon the establishment of Arts Academy first Russian sculptors started to grow up under the guidance of the talented sculptor Nicolas-Francois Gillet from Paris. Covering the requirements of noblemen who following the Western fashion wanted to have works of sculpture at their disposal, sculptors of Catherine’s epoch were engaged in creating marble monuments and manner busts that were in great demand.

Most remarkable of the first Russian sculptors were the gifted Fedot Shubin and Mikhail Kozlovsky, who worked in reign of Catherine the Second, and Boris Orlovsky from Alexander’s epoch. Having got classical education and perfected their skills in Europe they adhered to classical technique and French style reigning in Western Europe in those years, and yet at the same time they managed to add something independent and original into their creations. (Russia-IC)

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The art collection of Russian musicians cellist Mstislav Rostropovich and his wife opera singer Galina Vishnevskaya was to have been auctioned piecemeal by Southby’s last year but a wealthy arts patron had a different idea. Russian businessman Alisher Usmanov a reported $72 million to buy the complete collection. It is now on public display at the newly restored Constantine Palace outside of Saint Petersburg.

The collection consists of paintings by prominent Russian artists of the 19th century, imperial porcelain, interior pieces and furniture totalling more than 800 items, representing Russian art from the 17th to the 20th centuries.

Mstislav Rostropovich and Galina Vishnevskaya gathered this collection during the 30 years they spent in Paris after they left the USSR in the 1970s.

After the great musician died in April last year, his wife made the decision to put the collection on sale, as she said she didn’t possess all the resources needed for its maintenance, security and restoration. (Russia Today)

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Some of Russia’s wealthiest citizens are buying art in a big way to restore some of the nation’s pre-Soviet culture. Buying in auctions world wide these Russians are acquiring both home grown and world art.

“Art and cultural symbols are the best way for Russians to identify with their cultural heritage, which is considered imperial and splendid,” Mikhail Kamensky, director of auction house Sotheby’s Russian division, told Reuters.

The London-based auction house displayed pre-Bolshevik paintings last week near the Kremlin to prospective buyers, of which many are Russian.

The collection, which includes majestic, somber scenes of empty Russian landscapes by the artist Arkhip Kuindzhy, will go on sale in mid-April in New York.

Kamensky said that 80-90 percent of traditional Russian art at Sotheby’s is bought by Russians, who either live in the country or abroad. They also buy about 70 percent of contemporary Russian art.

“It (art) is to present themselves to the world. It is used to bridge the gap between 19th century Russia and 21st century Russia,” Kamensky said.

Sotheby’s, which sold a contemporary Russian art collection featuring a miniature Lenin in a setting sun for a record 4.2 million pounds ($8.35 million) last month in London, opened its Moscow branch last May.

Russia is undergoing its longest economic boom for more than a generation, fuelled by record oil prices and the new wealthy enjoy lavish lifestyles with multiple houses and English-speaking nannies for their children. Alongside that trend - not experienced since Tsarist times nearly 100 years ago - thirst for art has also resurfaced. (Moscow News)

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There’s a unique style and an engaging beauty to old Soviet propaganda posters. The sinister nature of the messages in many of them almost seem benign in their artful presentation.

The revolution coincided with a period of many radically different art forms in western culture, dada, futurism, constructivism, surrealism and so on. Especially in its early years, propaganda posters produced in Soviet Russia were influenced by such movements.

Though the more experimental looks eventually gave way to designs more akin to what could be seen in other western countries, Soviet propaganda still retained a look of its own, beyond the presence of cyrillic lettering. (Crestock)

Crestock has a small collection with English translations and descriptions.

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Three amateur videos present a unique look at one of the world’s greatest museums, the Hermitage in St. Petersburg.

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Moscow is a fast growing city. The next generation of architects have grown up, new projects have been launched, new buildings have been constructed. This 27 minute documentary offers a glimpse of their work.

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We’re always adding more content and links to make the most complete English Language resource on the arts of Russia. Feel free to register and contribute on you can email us at russiatrek@gmail.com

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