{"id":15566,"date":"2026-05-19T13:35:44","date_gmt":"2026-05-19T13:35:44","guid":{"rendered":"https:\/\/www.russianartcollection.com\/?p=15566"},"modified":"2026-06-08T14:54:18","modified_gmt":"2026-06-08T14:54:18","slug":"vecernje-novosti","status":"publish","type":"post","link":"https:\/\/www.russianartcollection.com\/en\/vecernje-novosti\/","title":{"rendered":"Ve\u010dernje novosti"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=””]Ve\u010dernje novosti<\/strong><\/p>\n

Miljana Kralj<\/em>
\nMay 19, 2026<\/em><\/p>\n

\u201cShining Domes\u201d by Grand Duchess Olga Beneath the Eiffel Tower<\/em><\/strong><\/p>\n

The exhibition \u201cThe Splendor of Russian Painting of the 19th\u201320th Centuries. Masterpieces from the Vladimir Pesic Collection,\u201d will open in the French capital from tomorrow.<\/strong><\/p>\n

A curated selection from the most significant collection of Russian art outside the borders of Russia \u2014 comprising more than 330 paintings, works of decorative and applied art, icons, and unique antique ivory objects \u2014 assembled with dedication over the course of thirty-seven years by Vladimir Pesic, will be presented to the public of the French capital starting tomorrow. With the exhibition \u201cThe Splendor of Russian Painting of the 19th\u201320th Centuries. Masterpieces from the Vladimir Pesic Collection,\u201d<\/em> the Russian Orthodox Spiritual and Cultural Center in Paris will celebrate its tenth anniversary.<\/p>\n

According to Pesic, the exhibition was conceived as a visual journey through 150 years of Russian art history. Eighteen carefully selected works will represent twelve major movements in Russian art, ranging from Realism, Impressionism, Post-Impressionism, and Russian Modernism to the Neo-Russian style, Cubism, Cubo-Futurism, Suprematism, Constructivism, Socialist Realism, Nonconformism, and Expressionism.<\/p>\n

\u201cAll the works possess exceptional artistic value \u2014 they are masterpieces and works by outstanding artists,\u201d Pesic emphasizes, noting that all of these works will be shown publicly for the first time.<\/p>\n

As the export of museum objects was temporarily suspended by decision of the Ministry of Culture of the Russian Federation in 2022, the Vladimir Pesic Collection<\/em> in France represents a unique opportunity for Russian artistic heritage to be presented to the world. The last major exhibition of Russian art in Paris took place four years ago \u2014 \u201cThe Morozov Collection: Icons of Modern Art\u201d<\/em> at the Fondation Louis Vuitton, which opened five years ago.<\/p>\n

France has always been a country in which Russian art was especially appreciated, says Pesic, whose view is that French and Russian cultures developed for decades in a mutual dialogue of enrichment and exchange. The symbolic centerpiece of the exhibition is the painting \u201cShining Domes\u201d<\/em> (1920) by Grand Duchess Olga Romanova, daughter of Tsar Alexander III and sister of the last Russian Emperor Nicholas II, which also appears on the cover of the exhibition catalogue.<\/p>\n

\u201cThe artist\u2019s life motto was: \u2018To be, not to pretend,\u2019\u201d explains the collector. \u201cGuided by these words, we are not trying merely to \u2018appear,\u2019 but rather to take a genuine step toward Russian-French mutual understanding and cultural enrichment. The shining domes in Grand Duchess Olga\u2019s painting resonate with the golden domes of the Holy Trinity Cathedral of the Spiritual and Cultural Orthodox Center. When I first approached the Center two years ago and saw those domes with the Eiffel Tower in the background, I felt something deeply familiar \u2014 a certain warmth. I immediately thought of the Grand Duchess\u2019s painting and had no doubt that my first exhibition in France should take place precisely here.\u201d<\/p>\n

In addition to being a subtle lyrical landscape painter, Grand Duchess Olga was also a nurse, philanthropist, and protector of the poor. During the First World War, she founded the First Evgenievsky Hospital with her own funds and continued painting even at the front. After the October Revolution of 1917 and the execution of her brother\u2019s family, she lived in Crimea and the Kuban region before leaving Russia in 1920 and traveling through Belgrade to Denmark, where her mother resided.<\/p>\n

\u201cIn exile, Olga Alexandrovna\u2019s home became a gathering place for all those who shared the bitter fate of displacement,\u201d Pesic<\/p>\n

recounts. \u201cShe continued her charitable work: she sold her paintings at auctions and used the proceeds to support Russian \u00e9migr\u00e9s facing difficult circumstances. After the Second World War, the Soviet authorities demanded her extradition, and in 1948 the family emigrated to Canada. She never abandoned painting.\u201d<\/p>\n

The earliest works in the exhibition were created within the tradition of Russian Realism: \u201cLittle Russian\u201d<\/em> by Vladimir Makovsky (early 1880s), and the watercolor \u201cPortrait of a Russian Peasant\u201d<\/em> (1885) by N. P. Zagorsky, a study for his most famous painting \u201cThe Lean Year (The Poor).\u201d<\/em> Russian Modernism is represented by two portraits: \u201cPortrait of a Young Girl\u201d<\/em> (1929) by M. N. Yakovlev and \u201cSelf-Portrait\u201d<\/em> (1921) by S. V. Malyutin, creator of the famous Russian matryoshka doll.<\/p>\n

\u201cThe shape of that wooden doll was conceived by Malyutin himself at the Talashkino art center \u2014 the estate of M. K. Tenisheva, visited by all the prominent artists of the time,\u201d states the text accompanying the exhibition. \u201cIn 1899, together with the woodcarver V. P. Zvyozdochkin from Sergiyev Posad, S. V. Malyutin created the first Russian matryoshka, today known throughout the world.\u201d<\/p>\n

Russian Impressionism is represented by the lyrical landscapes of N. P. Bogdanov-Belsky \u2014 \u201cBlooming Garden\u201d<\/em> and \u201cSummer Flowers in the Park.\u201d<\/em> The Neo-Russian style appears through a stage design sketch for the opera \u201cSadko\u201d<\/em> (1934) by F. F. Fyodorovsky, one of the leading artists of the Bolshoi Theatre. The watercolor \u201cBlack Sea Landscape\u201d<\/em> (1929) is the work of one of the most important masters of Russian and Soviet art of the first half of the twentieth century \u2014 Pyotr Petrovich Konchalovsky. This maritime theme is complemented by \u201cCrimean Landscape\u201d<\/em> (1897) by Mikhail Sergeyevich Tkachenko, who lived in Paris and visited Crimea every year, and \u201cAdriatic Landscape\u201d<\/em> (1966) by Nikolai Petrovich Glushchenko \u2014 Soviet painter and intelligence officer.<\/p>\n

Socialist Realism is represented by B. N. Yermolayev\u2019s \u201cUrban Rhythms of Socialism\u201d<\/em> (1937), while the later Soviet period appears through \u201cRegatta of Sailing Boats at Sea\u201d<\/em> (1960) by G. E. Dontsov. The most recent work in the exhibition is \u201cSaint George and the Dragon\u201d<\/em> (1982) by Anatoly Timofeyevich Zverev.<\/p>\n

Dedication to Sergei Yesenin<\/strong><\/p>\n

The painting \u201cStill Life with a View of Saint Isaac\u2019s Cathedral\u201d<\/em> is dedicated to the renowned Russian poet Sergei Yesenin, the exhibition organizer points out. The work depicts part of the room in the Angleterre Hotel where Yesenin spent the final days of his life. It is believed that there, on December 27, 1925, he wrote his final poem, \u201cGoodbye, my friend, goodbye.\u201d<\/p>\n

Goodbye, my friend, goodbye<\/em>
\nMy love, you are in my heart.<\/em>
\nIt was preordained we should part<\/em>
\nAnd be reunited by and by.<\/em>
\nGoodbye: no handshake to endure.<\/em>
\nLet’s have no sadness \u2014 furrowed brow.<\/em>
\nThere’s nothing new in dying now<\/em>
\nThough living is no newer.<\/em><\/p>\n

A Tatlin Work of Global Importance<\/strong><\/p>\n

\u201cOne of the central places in the exhibition is occupied by a work of global significance \u2014 \u2018The Struggle of Ideologies\u2019<\/em> by V. E. Tatlin, founder of Constructivism,\u201d reveals Pesic. \u201cThe painting belongs to the period between 1910 and 1920, when Cubo-Futurism emerged within the Russian avant-garde \u2014 a movement that united the principles of French Cubism and Italian Futurism. Russian Cubo-Futurism represented the modernization of Russian art, connecting past and future. Its principal aim was the synthesis of dynamics and statics. It was precisely from Cubo-Futurist experimentation that the later concepts of Malevich and Tatlin emerged. \u2018The Struggle of Ideologies\u2019<\/em> demonstrates a synthesis of Cubo-Futurism and the early Constructivist explorations of the artist.\u201d[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”15558″ img_size=”Full” alignment=”center” onclick=”img_link_large” css=””][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

\u201cShining Domes\u201d by Grand Duchess Olga Beneath the Eiffel Tower.
\nThe exhibition \u201cThe Splendor of Russian Painting of the 19th\u201320th Centuries. Masterpieces from the Vladimir Pesic Collection,\u201d will open in the French capital from tomorrow.<\/p>\n","protected":false},"author":5,"featured_media":15562,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[414],"tags":[],"class_list":["post-15566","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-our-media-appearances"],"yoast_head":"\nVe\u010dernje novosti - Russian Art Collection Russian Art from Pesic's collection in Paris<\/title>\n<meta name=\"description\" content=\"\u201cShining Domes\u201d by Grand Duchess Olga Beneath the Eiffel Tower. The exhibition \u201cThe Splendor of Russian Painting of the 19th\u201320th Centuries. 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