Word: rublev
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...elderly man lost his leg to another car bomb. Two days after that, Alexei Yeliseyev, the second in command at Vnukovo Airlines, was beaten to death in front of his house. That same day two people were shot to death by gangsters during a car chase on the Rublev Highway. What surprised onlookers was not the sight of a high-speed gun battle along the heavily guarded road. It was the fact that a modest, Russian-made Zhiguli was able to overtake a more powerful Jeep Grand Cherokee...
...Malevich show was a political emblem -- an embrace of a severed history. Not long before, in A-Ya, a magazine dedicated to "unofficial" Russian art, the critic Igor Golomshtok lamented, "We know little more about Malevich's last paintings than about Andrei Rublev," the legendary Russian artist who died in the 15th century. For most artists in the Soviet Union today, Malevich is the rodonachalnik, the "founding father" of modern art: the man around whom its history needs to be rewritten...
...reason or none, Goskino could cut a scene, ban a film, put a director out of work or put him in jail. Sergei Paradjanov, a lyric poet in the Dovzhenko mold, spent nearly four years in prison. Andrei Tarkovsky, the greatest Soviet director since Eisenstein, filmed Andrei Rublev in 1966; the complete version was not shown publicly in the U.S.S.R. until 1987, just after Tarkovsky died in exile. Alexander Askoldov's The Commissar, filmed in 1967, was accused of "Zionist tendencies" and suppressed for 20 years; Askoldov has yet to make another movie. Erakli Kvirikadze made his satire of Stalinism...
...Ivan (1962). Tarkovsky was just 30 then, the son of a renowned Soviet poet and the rising sun of the Soviet film establishment -- a cinema Yevtushenko. But soon his artistic intransigence and the supposed obscurity of his themes nettled the bureaucracy that financed his films. The epic Andrei Rublev, completed in 1966, was not released in the U.S.S.R. until 1971; Solaris (1972), based on the Stanislaw Lem novel, suffered official censure; the lusciously enigmatic Mirror (1978) and Stalker (1979) sealed Tarkovsky's fate as a picturemaker on the way out. Within a few years, he was. He went to Italy...
...Virgin," is redeemed by the beautifully drawn central figure of the Holy Spirit (the rest of the figures are stereotypic and pedestrian.) "Our Lady of Jerusalem" is the only example from the famous Novgorod school. And the greatest of Russian icon painters--Feofan the Greek and Andrel Rublev--are not represented at all in the mini-exhibition. (I asked one of the Soviet guides about their absence and he replied that the potential damage to icons from an ocean crossing dissuaded the committee from bringing the greater masterpieces...
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