Alexandre BenoisRussia, 1870–1960Версаль. Парк
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Novosibirsk, Russia
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- Ultimo cambio di stato
- Fonte
- Il museo
Sul dipinto
Con le parole del museo — in russo
Парковый пейзаж с водоемом, украшенным вазой справа, около которого слева - стриженые кусты. На втором плане - партер с зеленой беседкой слева, украшенный двумя мраморными статуями. Свежая зелень деревьев второго плана пронизана светом, падающим со светлого пасмурного неба сквозь перламутрово-серые облака.
Novosibirsk State Art Museum
Scheda
- Numero di inventario
- Ж 14
In catalogo
Fonti
- Il Catalogo statale del fondo museale della Russia
- Immagine: Novosibirsk State Art Museum — © Новосибирский государственный художественный музей · Госкаталог музейного фонда РФ
Nella vita di Alexandre Benois
Tutta la vita1887–1926 · Luogo di lavoro
Saint Petersburg
1904
“Alphabet in Pictures”
Works for about a year on the “Alphabet in Pictures”, almost his only major work for children, playing with his two-year-old son Kolya as he draws. The censor's permission is dated 24 October 1904, and the book is printed in chromolithography with silver and gold at the Expedition for the Preparation of State Papers in 2,500 copies.
1905–1907 · Luogo di lavoro
Paris
1905–1907
Second trip to France
During his second trip to France he prepares the publications “The Russian Museum of Emperor Alexander III” and “The Russian School of Painting”, works with the magazine Golden Fleece, prints his “Parisian Notes” in the newspaper Slovo and takes part in exhibitions in Moscow, Saint Petersburg, Paris and Berlin. Other accounts say he moved to Paris in 1905 and from then on devoted himself chiefly to stage design.
1906
The “Russian Art Exhibition” in Paris
Following the Tauride exhibition of 1905, he organizes the “Russian Art Exhibition” in Paris together with Diaghilev and Bakst — an undertaking from which the theatrical Russian Seasons abroad will grow.
1907
Back to Saint Petersburg for “The Pavilion of Armida”
Returns to Saint Petersburg to work on the design of the one-act ballet “The Pavilion of Armida”, whose libretto he had written for Nikolai Tcherepnin back in 1903; the production did not go ahead at that time.
