Arkhip Kuindzhi | |
|---|---|
 Portrait byViktor Vasnetsov, 1869 | |
| Born | (1841-01-27)27 January 1841 |
| Died | 24 July 1910(1910-07-24) (aged 69) St. Petersburg, Russian Empire |
| Resting place | Tikhvin Cemetery, St. Petersburg |
| Education | Full Member Academy of Arts (1893) |
| Alma mater | Imperial Academy of Arts (1868) |
| Known for | Painting |
| Notable work |
|
| Movement | Luminism |
| Awards | Bronze Medal (London, 1874) |
| Patrons | Pavel Tretyakov |
Arkhip Ivanovich Kuindzhi (Russian:Архип Иванович Куинджи[ɐrˈxʲipkʊˈindʐɨ];Ukrainian:Архи́п Іва́нович Куї́нджі[ɑrˈxɪpkʊˈindʐɨ];Greek:Αρχίπ Ιβάνοβιτς Κουίντζι; 27 January [O.S. 15 January] 1841 – 24 July [O.S. 11 July] 1910) was a Russian[1][2]landscapepainter ofUrum (Crimean Greek) origin.[3]
Kuindzhi's exact date of birth is not known. Although it was believed that he was born in 1842, the latest discoveries in archives suggest that he was born in 1841. Kuindzhi himself, when asked bySt. Petersburg Academy of Arts to clarify his date of birth, "clearly wrote 1841, then, with doubt, January, and then several times crossed out the month".[4]
The researchers believe he was born somewhere between January and March 1841. The commonly recognized date is January 27, although Kuindzhi celebrated hisname day on February 19O.S. (March 4N.S.), on the feast ofArchippus.[4][5]
Arkhip Kuindzhi was born inMariupol uezd (one of the subdivisions of theYekaterinoslav Governorate of the Russian Empire) but spent his youth in the city ofTaganrog. His Christian name is a Russian rendering of the Greek, Ἄρχιππος, (Archippos, from ἄρχος (archos) "master" and ἱππος (hippos) "horse": "master of horses"; cf. Colossians 4:17, Philemon 1:2) and his surname came from his grandfather's vocational nickname meaning 'goldsmith' inCrimean Tatar (Urum) (Crimean Tatar:quyumcı).[3] He grew up in a poor family; his father was aPontic Greekshoemaker, Ivan Khristoforovich Kuindzhi (elsewhere Emendzhi). Arkhip was six years old when he lost his parents, so he was forced to make a living working at a church building site, grazing domestic animals, and working at a corn merchant's shop. He received the rudiments of an education from a Greek friend of the family who was a teacher and then went to the local school.
In 1855, at age 13–14, Kuindzhi visitedFeodosia to study art underIvan Aivazovsky; however, he was engaged merely with mixing paints,[6] and instead studied with Adolf Fessler, Aivazovsky's student.[7] A 1903 encyclopedic article stated: "Although Kuindzhi cannot be called a student of Aivazovsky, the latter had without doubt some influence on him in the first period of his activity; he borrowed much from him in his manner of painting".[8] English art historianJohn E. Bowlt wrote that "the elemental sense of light and form associated with Aivazovsky's sunsets, storms, and surging oceans permanently influenced the young Kuindzhi."[6]
During the five years from 1860 to 1865, Arkhip Kuindzhi worked as a retoucher in the photography studio of Simeon Isakovich inTaganrog. He tried to open his own photography studio, but without success. After that, Kuindzhi leftTaganrog forSaint Petersburg.
He studied painting mainly independently and at theSt. Petersburg Academy of Arts (from 1868; a full member since 1893). He was co-partner of travelling art exhibitions (Peredvizhniki), a group ofrealist artists in Russia who, in protest to academic restrictions, formed an artists' cooperative which evolved into the Society for Traveling Art Exhibitions (Peredvizhniki) in 1870.
In 1872, the artist left the academy and worked as a freelancer. The paintingOn theValaam Island was the first artwork whichPavel Tretyakov acquired for his art gallery. In 1873, Kuindzhi exhibited his paintingThe Snow which received the bronze medal at the International Art Exhibition in London in 1874. In the middle of the 1870s, he created a number of paintings in which thelandscape motif was designed for concrete social associations in the spirit ofPeredvizhniki (Forgotten Village, 1874;Chumaks path in Mariupol, 1875; both in theTretyakov Gallery).
In his mature period Kuindzhy aspired to capture the most expressive illuminative aspect of the natural condition. He applied composite receptions (high horizon, etc.), creating panoramic views. Using light effects and intense colors shown in main tones, he depicted the illusion of illumination (Evening in Ukraine, 1876;A Birch Grove, 1879;After a Thunderstorm, 1879; all three are in the Tretyakov Gallery;Moonlit Night on the Dnieper, 1880 in theRussian Museum, St. Petersburg). His later works are remarkable for their decorative effects of color building.
Kuindzhi also developed a close friendship with the chemistDmitri Mendeleev,[9] who taught atSaint Petersburg University. Kuindzhi attended his classes as an auditor or student. Kuindzhi frequently visited Mendeleev and his wife's weekly gatherings, and he developed a life-long interest in the study of light, color, and perception.[10]
Kuindzhi lectured at theSt. Petersburg Academy of Arts (Professor since 1892; professor-head of landscape workshop since 1894; but was fired in 1897 for support of students' protests). Among his students were artists such asArkady Rylov,Nicholas Roerich,Konstantin Bogaevsky, and others. Kuindzhi initiated the creation of the Society of Artists in 1909, later the Society was named after him.
In January 2019, his workAi-Petri. Crimea was stolen from Moscow'sTretyakov Gallery, but was found and safely recovered the next day.[11] The man who stole the painting was sentenced to three years in prison.[12]
On 21 March 2022, during theRussian invasion of Ukraine, theKuindzhi Art Museum was damaged in a Russian airstrike during thesiege of Mariupol.[13][14] Although three original paintings by Kuindzhi that had been held in the collection—a sketch forRed Sunset, and two preparatory works,Elbrus andAutumn—had been placen in the museum's basement prior to the bombing and were not damaged, they were then taken by Russia as part of itslooting campaign.[15][16][17][18]
в Феодосию к знаменитому Айвазовскому. Куинджи прибыл в тихую Феодосию, по-видимому, летом 1855 года. ... Устройством Куинджи занялся Адольф Фесслер, ученик и копиист Айвазовского. Жил Архип во дворе под навесом в ...[to Feodosia to the famous Aivazovsky. Kuindzhi arrived in quiet Feodosia, apparently, in the summer of 1855. ... Adolf Fessler, a student and copyist of Aivazovsky, took charge of Kuindzhi's arrangements. Arkhip lived in the courtyard under a canopy in ...]
Хотя Куинджи и нельзя назвать учеником Айвазовского, но последний имел на него, несомненно, некоторое влияние в первый период его деятельности; от него он заимствовал многое в манере писать, в выборе тем, в любви к широким пространствам.[Although Kuindzhi cannot be called a student of Aivazovsky, the latter had without doubt some influence on him in the first period of his activity; he borrowed much from him in his manner of painting, in his choice of subjects, in his love of wide spaces.]
{{cite book}}: CS1 maint: location missing publisher (link)| International | |
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