Pushkin in Moldavia. The name of Alexander Pushkin (1799-1837), the great Russian poet and founder of the new Russian literature, is closely linked with Moldavia. The significance of Pushkin’s works and his towering genius place him among the outstanding figures of world culture. In his quarter-century of writing, Pushkin, assimilating the achievements of Russian and…Details
The Russian-Turkish War of 1877-1878. Alexander II in the battlefield.
Coronation of Alexander II in the Dormition Cathedral of the Moscow Kremlin. 1856
The upbringing of the Grand Duke. V.A. Zhukovsky and the successor to the throne (Alexander II)
Reproduction of the portrait “Emperor Alexander II is a liberator of the Christians in the East”. A cheap popular prim. Chromolithograph. The Museum of the Russian Literature Institute in Saint Petersburg. Alexander II is Emperor of Russia. His reign was marked by a number of reforms which touched on nearly all units of state power,…Details
К. Briullov (1799—1852) О. Fersen Riding a Donkey. 1835 Water-colour. 52.5×40 cm The Russian Museum, Saint Petersburg
In Russian literature, too, we find very characteristic and vivid examples of such creativity. There are the sophisticated baroque work of Simeon of Polotsk and the political caricatures of Archpriest Avvakum (seventeenth century); the monumental mosaic compositions of Lomonosov (eighteenth century); the romantic landscapes of Zhukovsky and Baratynsky; the elegiac landscapes of Batyushkov; Gogol’s architectural…Details
Margot Fonteyn and Rudolf Nureyev were the star-crossed lovers in Kenneth MacMillan’s Romeo and Juliet during the Royal Ballet’s tour of the United States.
The importance of Beethoven’s sonatas as of a sort of “creative laboratory” in which the composer developed the fundamentals of his style is generally recognized. It was in this form that Beethoven mastered the dialectical method, moulded his themes and reached unprecedented heights in the development of musical ideas and images. Many of his piano…Details
The symphonic suite “Scheherazade” written by N. A. Rimsky-Korsakov in 1883 is one of the masterpieces of Russian classical music on Oriental themes. The suite is based on the “Arabian Nights”. The composer originally gave subtitles to individual parts of the suite, but later deleted them and left ony the title and the general programme.…Details
The First Symphony, begun in March of 1866, was done anew by the composers twice. In this new (already third!) editing “Winter Dreams” was soon presented to the Moscow audience. Its premiere was given by the Russian Musical Society on February 3, 1868, under the baton of N. Rubinstein. “…The performance signified Tchaikovsky’s first outstanding…Details
During the summer of 1788 Wolfgang Mozart composed three symphonies representing the acme of the symphonic work of the great Austrian composer: Symphony No. 39 in E-flat major, Symphony No. 40 in G minor and Symphony No. 41 in C major (“Jupiter”) cf which the G minor symphony with its sincere iyrics passion and ingenuousness…Details
Mozart’s violin concertos occupy a prominent place among his numerous and diverse violin compositions. They were written in connection with his concert activity as soloist and first violinist in the Salzburg orchestra. The great Austrian composer was not only a clavier virtuoso, but a superb violinist as well. Mozart’s violin concertos belong among his early…Details
The Requiem Mass is based on the text of a medieval Catholic funeral service. Its messages are the Day of Wrath, the Last Judge’s terrible punishment onto the sinners, their fierce pleading for mercy, the allmighty and relentless God and the merciful Jesus Christ. Neither the religious dogma, nor mysticism prevail in Mozart’s Requiem, which…Details
The Orthodox Church alone has kept so far the ancient Christian conception that the liturgical music should be only vocal. Way back in the IV c. St. Jerome has said that a Christian maiden should have an aversion for the heathen instruments and that it is not even befitting her to know the difference between…Details
20th century. India. Carved wood. Height, 40 cm
1869—1938. China. Renunciation of Vanity. 1924 Hanging scroll
19th century. Tibet. Tempera on textile. 60X44 cm
18th century. Japan. Wood, gold lacquer. Height, 15 cm
19th century. Persia. Metal. Height, 33 cm
19th century. India. Carved mahogany. Height, 94 cm
20th century. India. Carved ivory. Height, 33.5 cm
Three gods: Fu-hsing (god of happiness), Lu-hsing (god of salaries) and Shou-lao (god of longevity).
19th century. China. Emroidery. 190X130 cm
16th century. China. Bronze. Height, 55 cm
19th century. China. Bronze. 121X122 cm
Illustration for the Shah-nаmа by Firdausi. 18th century.Details
Illustration for the Shah-nama by Firdausi. 18th century Persia. Miniature. 20.5X11.5 cm; 31X19.5 cm. (including the frame).Details
Snuff-box. 18th century. China. Jade. Height, 6.8 cm.
19th century. Tibet. Gilded bronze. 30X10 cm.
18th century. Japan. Carved ivory. Height, 53 cm. Length, 45 cm.
17th century. China. Porcelain painted in cobalt blue. 23.4X85 cm.
18th century. China. Porcelain decorated with painting. Height, 6.5 cm. Diameter, 37.5 cm.
Mori Morikata Sosen. 1747—1821. Japan. 181X57 cm.
Anonymous artist of the Капо school. 18th or 19th century. Japan. Hanging scroll. 175X100 cm.
After a model by Pablo Picasso (1881 — 1971). France. Porcelain, painted in enamel. Diameter, 25 cm.
Robert Cauer the Elder. 1831 — 1893. Germany. 1864 Marble. Height, 72 cm.
L. Marchand. Active in the latter part of the 19th century. France. Bronze. Height, 38.5 cm.
Plate. 1806. Vienna, Austria. Porcelain, with polychrome and lustre painting. Diameter, 24.5 cm Mark in underglaze blue: shield.
Tapestry. 1720—30. After a cartoon by G. L. Vernan-Sal and J. Dumont. France. The Beauvais Tapestry Factory Wool, silk. 356X552 cm.
Anonymous sculptor active in the 18th century. Italy. Tinted wood. Height, 57 cm.