#russianart

This piece is for sale — $60.

"I am stolen by this night." 🌙 Size: 15 by 27 cm. Paper, mixed technique.

Hello everyone! I've been working on a piece, and today I finished it. I carried this idea with me for years — and finally, I brought it to life. I was deeply inspired by a song from Russian singer Olga Arefieva called "Night-Trap." These are the lines that inspired my work:

"The snow on my face doesn't melt, I am stolen by this night, birds and beasts are not afraid of me, grass grows through me." 🌿

This is a night landscape where, under the magical light of the moon, familiar houses, fields, plants, and the river take on a completely fantastical appearance. It feels less like a painting and more like a window into another, more luminous world.

But the real genius wasn't just in the painting itself—it was in how he presented it. Kuindzhi staged an exhibition of a single painting. The hall was plunged into almost total darkness, and the canvas, illuminated by a focused beam of light, appeared to float, mesmerizing everyone who saw it.

The event was a grand success and a total sensation. Skeptical viewers accused the artist of trickery: they suspected he had cut a hole in the canvas and placed an electric lamp behind it—how else could one explain that unearthly, glowing light?

Another popular theory was a secret formula for the paints, supposedly suggested to Kuindzhi by his friend, the chemist Dmitri Mendeleev.

However, the fate of the original was unenviable. At the exhibition, a man asked the author about the price of the painting. The artist was not prepared for this question and simply replied: "Very much." The man asked to specify the amount, and then the artist named the first sum that came to his mind — 5,000 rubles — a huge amount of money at the time! "Leave this painting for me," the man asked. It turned out to be Grand Duke Konstantin Romanov. This is how the artist's painting ended up in the emperor's family.

Konstantin Romanov loved this work so much that he almost never parted with it—he even took it on long sea voyages, which had a disastrous effect on the canvas. The constant changes in humidity and temperature caused the paints to crack and darken. We will never see it in its original, dazzling glory. But one thing was certain: no one remained indifferent. "Moonlit Night on the Dnieper" brought Kuindzhi unprecedented fame and success. It's no wonder it became one of the artist's own favorite works. He made several author's copies of it, which you can now find in various museums across Russia and which give us an idea of its initial magic. The original is now housed in the State Russian Museum in St. Petersburg. If you ever find yourself in St. Petersburg, be sure to compare the original at the Russian Museum with the author's copy at the Tretyakov Gallery! This is a unique case in the history of art.

That's all about Kuindzhi for now. But this isn't all about art. Hehe. There's plenty more interesting stuff to come!

With love,

«Начало мая» (1958-1960)

«Я хочу,    чтоб к штыку          приравняли перо». В. В. Маяковский

С этим тезисом я согласен, только добавил бы сюда ещё кисть и мастихин. На примере Семёна Скрепецкого убеждаюсь, что если ты действительно делаешь полезное дело для революции, всерьёз борешься против путинского мракобесия и кремлёвского Гитлера, то на тебя неминуемо обратит внимание вездесущее око Саурона - сидишь ли ты в лагере, публикуешь ли хлёсткие статьи или сражаешься в одном ряду с ЗСУ.

Картины и перформансы Семёна Скрепецкого (Роберта Кузовкова) были просты и понятны всем - как искушённой публике, так и глубинному народу. И когда персонажи, изображённые на его полотнах, узнавали себя, а черты личности он передавал достаточно точно, оригинал нередко приходил в бешенство.

Жанр Скрепецкого можно отнести к сатире и карикатуре. Сам художник называл своё творчество гиперреализмом лапотного ренессанса. И кто знает, возможно, именно в наше время он основал новое направление в живописи.

Скрепецкий делал посмешищем не только ЧЛЕНов правительства кремлёвского Гитлера, но и деятелей русской оппозиции, которых подозревал в двойной игре. Да и многие так называемые оппозиционные средства дезинформации предпочитали умалчивать о его перформансах.

Необходимо отметить, что убийство художника, судя по всему, было для российских спецслужб более приоритетной задачей, чем проходивший в это же время в Берлине съезд «партии Яшина».

Многие художники предлагают провести акцию в поддержку Семёна Скрепецкого, нарисовав карикатуры на деятелей путинского режима.

Вдова художника и пятеро его детей нуждаются в поддержке. Вы без труда сможете найти реквизиты на его странице.