In December, the In artibus Foundation opened the exhibition “Under One Sky”, which will feature selected works from the collection of the founder of the foundation Inna Bazhenova. There are two equivalent trends in this collection: Western European art, presented in a very broad chronological framework – from the XV to the XX century and Russian painting of the XX century. The collection is unusual for our time, because it is not limited to the framework of the chosen concept, but rather organically follows the variety of mutual influences in the environment of classical painting. The Russian section of the collection is singled out as an independent one, but exists in the context of the pan-European history of art.
Russian Russian Art exhibition “Under one Sky” examines only one, but a very important topic, from those that are the basis of Inna Bazhenova’s collection – the relationship between Russian and European art at the turn of the XIX and XX centuries. and, in particular, the influence of the French school on Russian in the twentieth century. The exposition is not intended to serve as a literal illustration of the theme; the task of the organizers of the exhibition is to give an idea of how the formation of the collection creates opportunities for understanding plastic juxtapositions in art.
In the space of the foundation, the audience will see about 60 works by Russian and European artists – works Honore Daumier and Georges Seurat, Henri Rousseau and Odilon Redon, Alexander Drevin and Konstantin Istomin, Anatoly Zverev and Vladimir Veisberg has been seen at exhibitions in Russia and abroad in the last decade, but some of the works of these and other artists will be seen by the audience for the first time.
The little “Billiard Player” Daumier is one of the gems of the collection, a painting in which the artist is looking for the most successful way to convey movement using an open reception. This is one of the earliest works at the exhibition. Here you can also see Georges Seurat’s plein-air sketch “The Hospital and the Lighthouse in Honfleur”, recently exhibited at the artist’s largest exhibition in recent years at the Kroller-Muller Museum in the Netherlands. It should be noted that the works of this artist are not in Russian museums.
Moscow viewers will see for the first time the works of a contemporary of the Impressionists, the French artist Adolphe Monticelli, a separate exhibition of which is planned by the Foundation in the near future. Three jobs Maurice Utrillo will act as a kind of tuning fork for Moscow landscapes of the 60s. Several variants of Russian “Cezannism” will be presented by works Peter Konchalovsky, Alexander Shevchenko and Nikolai Sinezubov. Portraits and landscapes of Alexander Drevin, Nadezhda Udaltsova, Antonina Sofronova, little-known to the general public, the coloristic extravaganzas of early Anatoly Zverev and the impeccable compositions of Vladimir Veisberg will add to the audience’s impression of the domestic art of the mid-twentieth century.