The next is an Evgenya Petrova brochure for the Malaga Russian Museum Exhibition. It is a good choice to share with our followers a georgeous XX century Russian women art selection.
Antonina Gmurzynska was perhaps the first Western collector to show a deep and serious interest in the Russian art of the first decades of the 20th century, and her collection was very well known to art connoisseurs. Items from it have often been exhibited in various countries, and published in books, catalogues and albums.
For several decades now Krystyna Gmurzynska, daughter of Antonina, has been continuing and developing what her mother had started, and during this time the collection has, of course, changed. Some things are now in other hands, and some names and works that were unknown in the 1950s-1970s, when Antonina was collecting Russian art, became available and were acquired by Krystyna.
The theme of Female Artists in Russia does not form a special section as such in this collection. However, it turns out that quite a considerable number of exceptional artists in Russia were, in fact, women. Thus, Krystyna Gmurzynska’s collection provides a welcome supplement to the female theme displayed in this year’s exhibitions.
It includes works by artists who are rarely found elsewhere, such as Elena Guro (1877-1913), Xenia (1895(94?)-1955) and Maria Ender (1897-1942) and Anastasia Akhtyrko (1902-1968). Some female artists, such as Antonina Sofronova (1892-1966), are represented by a whole series of works that are known just by individual drawings in other collections. Many of the works in the Gmurzynska collection reveal unknown pages in the artistic careers of famous masters. Kazimir Malevich, for example, worked during the last few years of his life on the decoration of architectural structures. One of his faithful students and helpers was Anna Leporskaya, and together they produced a project for decorating the Red Theatre in Leningrad (1931-1932). Malevich’s concept consisted of an entirely new non-objective approach to decorating public spaces. In a letter from Malevich to Leporskaya his specific colouristic treatment is indicated with complete clarity. In this same letter we can see Malevich’s inflexible demand: if his idea was altered in any way he would abandon the project. The sketches for the decoration of the Red Theatre that are in the Gmurzynska collection, are extremely important illustrations of what the interiors could have looked like if the theatre had not burnt down in 1932.
This relatively small exhibition, showing a small part of the Gmurzynska collection that is devoted to female artists in Russia, displays a fitting complement to the Women Artists exhibition.
Mask from the BaSongye, whose Word for mask, kifwebe, is commonly applied by collectors to this type of mask. The male mask embody the power of sorcery and perform spectacular feats to induce fear in the spectators.
Fanti doll, clearly related in form ton the Ashanti akua ba. It has been claimed that both types of doll are Ashanti, and that the round-headed type is worn when girls is desired and the rectangular-headed type when a boy is wanted, but in fact they are the work of diferent peoples.
Wooden figures covered with brass or copper sheeting are placed by the BaKota over a package containing simple bones of outstanding ancestors. The form was developed to display as much of the valuable metal as possible. (Juan Gris made a copy of one in cardboard in 1922)
Figure from northern Nigeria have been made by a Mumuye. A remarkable feature of the style is the way in wich the arms and even the abdomen of one piece are used to enclose space within the sculpture.
White faced mask of type used by the BaKota, BaLumbo, BaPunu, Mpongwe and several other tribes. Documented pieces have been collected among all these peoples. Among th BaPunu the wearer dances on sitis
Mask made by the Fang, given in 1905 to Maurice Vlaminck whom sold it to Andre Derain. It was seen also by Picasso and Matisse. This was not the first African sculpture to attract Valminck, but it appears to be the only one from this time wich is still certainly identificable.
The Berber Museum is located in the former painting studio of Jaques Majorelle, and presents a panorama of the extraordinary creativity of the oldest people in North Africa. A collection of over 600 objects (jewellery, arms, leatherwork, basketry, textiles, and carpets) was sourced throughout Morocco –from the Rif Mountains to the Sahara Desert- and attests to the richness and diversity of an ongoing, vibrant culture.
The museum was designed around its collection: sound, music photography and film transport the visitor, opening a door onto the Berber culture of Morocco
Set up in Amsterdam, in 1983, at the instigation of its current President, Michel Leveau, the Olfert Dapper Foundation takes its name from a xviith-century Dutch humanist who, despite never leaving his native country, wrote an encyclopedic description of Africa, first published in 1668.
The purpose of this private non-profit organization is to raise the profile of sub-Saharan Africa’s artistic heritage and contribute to its conservation, by staging exhibitions and awarding research bursaries.
Director Christiane Falgayrettes-Leveau was on the Musée du quai Branly steering committee from 1999 to the end of 2004 and is a member of the Committee for the Memory of Slavery (CPME), set up on January 5th 2004.
He was born in Edirne, the then capital city of the Ottoman Empire state. His father was sultan Murad II (1404-51). At the age of 21, he conquered Constantinople, bringing an end to the medieval Byzantine Empire. He also claimed the title of Caesar of Rome in addition to his other titles, Ottoman Sultan and Caliph, after the conquest of Constantinople. Mehmed II’s reign is also well-known for the religious tolerance with which he treated his subjects, especially among the conquered Christians, which was very unusual for Europe in the middle ages.