RUSSIAN ICONS (Rare USSR Printing): Old Russian Art Collection Pavel Korin 1966

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RUSSIAN ICONS (Rare USSR Printing): Old Russian Art Collection Pavel Korin 1966:
$49.00

An important and rare book on Russian art in Russian, printed in the USSR.A very important addition to a serious library specializing inscientific, historical, or natural history subjects, offered under .

TITLE AND DESCRIPTION

Antonova, V.I.1966. Old Russian Art in the Collection of Pavel Korin. . In Russian. Printed in the USSR. 10.5 by 8.5 inches. Lacks Jacket. 161Illustrations in color and black and white.

Bookplate of Anton Beliajeff. Very goodcondition. .

BACKGROUND

FROM WIKIPEDIA:

Pavel Dmitriyevich Korin (Russian: Павел Дмитриевич Корин; 8 July [O.S. 25 June] 1892 - 22 November 1967) was a Russian painter and art restorer. He is famous for his preparational work for the unimplemented painting Farewell to Rus.

Pavel Korin was born in the village of Palekh (now in Ivanovo Oblast) to a family of a professional icon-painter Dmitry Nikolayevich Korin. In 1897, when Pavel was only five years old, his father died. In 1903-1907, he studied at the School for Icon Painting at Palekh getting a formal certificate as a professional icon-painter. In 1908, he moved to Moscow and until 1911 worked there at the icon shop of the Don Monastery.

In 1911, he worked as an apprentice to Mikhail Nesterov on frescoes of The Intercession Church at the Convent of Martha and Mary (Marfo-Mariinsky) on Bolshaya Ordynka Street in Moscow. Nesterov insisted that Korin gain a formal education in easel painting and arranged his admission to the Moscow School of Painting, Sculpture and Architecture in 1912. Pavel graduated from that school in 1916, having been a student of Konstantin Korovin and Leonid Pasternak.

In 1916, he worked on frescoes for the mausoleum of Grand Duchess Elizabeth Fyodorovna at The Intercession Church at the Convent of Martha and Mary. In accordance with the wishes of the Grand Duchess, he traveled to Yaroslavl and Rostov to study traditional frescoes of antique Russian churches.

In February 1917, he started to work in his attic studio on Arbat Street in Moscow and worked there until 1934. In 1918-1919, he taught at the 2nd State Art Studios (2-ые ГСХМ). In 1919-1920 he worked at the Anatomic theatre of Moscow State University, as he thought that, as a painter, he needed deeper knowledge of the human anatomy. In the evenings he copied paintings and sculptures of the Museum of Fine Arts. In 1923, he traveled over Northern Russia, visiting Vologda, Staraya Ladoga, Ferapontov Monastery, and Novgorod. In 1926-1931, he worked as an instructor of painting classes for beginners at the Museum of Fine Arts. In 1926, the Convent of Martha and Mary was closed by the Soviets and all the art there was to be destroyed. Pavel and his brother Alexander managed to smuggle out and save the iconostasis and some of the frescoes. On March 7 of that year he married Praskovya Tikhonovna Petrova, a disciple of the Convent of Martha and Mary. In 1927, Korin\'s aquarelle Artist\'s studio and his oil landscape My Motherland were bought by the Tretyakov gallery, showing recognition from the Soviets. In 1931, Korin\'s studio was visited by Maxim Gorky, who supported Korin since. In 1932, Korin followed Gorky to Sorrento, painted Gorky\'s portrait, and visited Italy and Germany. In 1931, Korin started to work as the Head of the Restoration Shop of Museum of the Foreign Art (former Museum of Fine Arts later Pushkin Museum). He held this position for until 1959. After this he held the position of the Director of the State Central Art Restoration Works (ГЦРХМ) until his death. As one of the most senior Russian restorers of the time he contributed enormously to the saving and restoration of famous paintings.In 1933, Korin moved to the studio on Malaya Pirogovka Street in Moscow where he worked until his death. Now the building is Korin\'s museum. In the 1940s, he painted many portraits of members of the Soviet intelligentsia (including Leonid Leonidov, Mikhail Nesterov, Alexey Tolstoy, Kachalov and Nadezhda Peshkova (Gorky\'s daughter in law)). He painted the fresco Match to the Future for the Palace of Soviets in the Moscow Kremlin and a Triptych devoted to Alexander Nevsky.

In the 1950s, Korin worked on mosaics for the Moscow Metro. His mosaics decorate the stations Komsomolskaya-Koltsevaya, Arbatskaya (Arbatsko-Pokrovskaya Line) and Novoslobodskaya, and also the Main Hall (Актовый Зал) of Moscow State University. He also won an impressive list of Soviet awards. Pavel Korin died in Moscow on 22 November 1967 and was buried in the Novodevichy Cemetery.

FROM WIKIPEDIA RUSSIAN ART, MURALS AND AND ICONS:

The use and making of icons entered Kievan Rus\' following its conversion to Orthodox Christianity in AD 988. As a general rule, these icons strictly followed models and formulas hallowed by Byzantine art, led from the capital in Constantinople. As time passed, the Russians widened the vocabulary of types and styles far beyond anything found elsewhere in the Orthodox world.

The personal, innovative and creative traditions of Western European religious art were largely lacking in Russia before the 17th century, when Russian icon painting became strongly influenced by religious paintings and engravings from both Protestant and Catholic Europe. In the mid-17th-century changes in liturgy and practice instituted by Patriarch Nikon resulted in a split in the Russian Orthodox Church. The traditionalists, the persecuted \"Old Ritualists\" or \"Old Believers\", continued the traditional stylization of icons, while the State Church modified its practice. From that time icons began to be painted not only in the traditional stylized and non-realistic mode, but also in a mixture of Russian stylization and Western European realism, and in a Western European manner very much like that of Catholic religious art of the time. These types of icons, while found in Russian Orthodox churches, are also sometimes found in various sui juris rites of the Catholic Church.

Russian icons are typically paintings on wood, often small, though some in churches and monasteries may be much larger. Some Russian icons were made of copper. Many religious homes in Russia have icons hanging on the wall in the krasny ugol, the \"red\" or \"beautiful\" corner.

There is a rich history and elaborate religious symbolism associated with icons. In Russian churches, the nave is typically separated from the sanctuary by an iconostasis (Russian ikonostas, иконостас), or icon-screen, a wall of icons with double doors in the centre.

Russians sometimes speak of an icon as having been \"written\", because in the Russian language (like Greek, but unlike English) the same word (pisat\', писать in Russian) means both to paint and to write. Icons are considered to be the Gospel in paint, and therefore careful attention is paid to ensure that the Gospel is faithfully and accurately conveyed.

Icons considered miraculous were said to \"appear.\" The \"appearance\" (Russian: yavlenie, явление) of an icon is its supposedly miraculous discovery. \"A true icon is one that has \'appeared\', a gift from above, one opening the way to the Prototype and able to perform miracles\".

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