{"id":17023,"date":"2015-07-13T01:04:00","date_gmt":"2015-07-13T00:04:00","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=17023"},"modified":"2015-07-13T01:13:01","modified_gmt":"2015-07-13T00:13:01","slug":"the-art-of-arkhip-kuindzhi-1842-1910","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/07\/13\/the-art-of-arkhip-kuindzhi-1842-1910\/","title":{"rendered":"The art of Arkhip Kuindzhi, 1842\u20131910"},"content":{"rendered":"<p><img decoding=\"async\" alt=\"kuindzhi01.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/07\/kuindzhi01.jpg\" \/><\/p>\n<p><em>Red Sunset on the Dnieper (c. 1905\u20131908).<\/em><\/p>\n<p>Another Russian painter I&#8217;d not come across before, <a href=\"https:\/\/commons.wikimedia.org\/wiki\/Category:Arkhip_Kuindzhi\" target=\"_blank\">Arkhip Kuindzhi<\/a> had a fondness for sunsets, moonlight and isolated plumes of cumulus, all of which he painted and repainted obsessively. The obvious model for these atmospheric studies is Caspar David Friedrich although Kuindzhi&#8217;s work isn&#8217;t as hyper-real, and lacks Friedrich&#8217;s Romantic mysticism. One detail that stood out for me in reading about Kuindzhi&#8217;s career was that Nicholas Roerich was one of his art pupils. Anyone familiar with <a href=\"http:\/\/www.roerich.org\/museum-paintings-catalogue.php\" target=\"_blank\">Roerich&#8217;s paintings of Himalayan mountains<\/a> will recognise a precursor in his teacher&#8217;s many studies of Mount Elbrus and other Caucasus peaks.<\/p>\n<p><img decoding=\"async\" alt=\"kuindzhi02.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/07\/kuindzhi02.jpg\" \/><\/p>\n<p><em>Clouds (1905).<\/em><\/p>\n<p><img decoding=\"async\" alt=\"kuindzhi03.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/07\/kuindzhi03.jpg\" \/><\/p>\n<p><em>The Elbrus, Moonlit Night (1890\u20131895).<\/em><\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/03\/01\/vasily-vereshchagins-temples\/\">Vasily Vereshchagin\u2019s temples<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2011\/06\/25\/friedrich-and-schinkel\/\">Friedrich and Schinkel<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2009\/12\/21\/winter-light\/\">Winter light<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Red Sunset on the Dnieper (c. 1905\u20131908). Another Russian painter I&#8217;d not come across before, Arkhip Kuindzhi had a fondness for sunsets, moonlight and isolated plumes of cumulus, all of which he painted and repainted obsessively. The obvious model for these atmospheric studies is Caspar David Friedrich although Kuindzhi&#8217;s work isn&#8217;t as hyper-real, and lacks &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/07\/13\/the-art-of-arkhip-kuindzhi-1842-1910\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;The art of Arkhip Kuindzhi, 1842\u20131910&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,44],"tags":[7480,871,290],"class_list":["post-17023","post","type-post","status-publish","format-standard","hentry","category-art","category-painting","tag-arkhip-kuindzhi","tag-caspar-david-friedrich","tag-nicholas-roerich"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4qz","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/17023","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=17023"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/17023\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=17023"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=17023"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=17023"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}