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Russian icons.
The fifteenth and sixteenth centuries in Russia have been labeled the golden age of icon painting. At that time, Orthodox Christians venerated icons, seeing them as vehicles for spiritual communication with saints and other holy figures. In the middle of the seventeenth century there was a widespread movement to reform the church that ultimately splintered it into two groups: those who followed the reforms and those who did not, who were called Old Believers. While the latter preserved many aspects of the Orthodox Church ritual as practiced since the Middle Ages, they were persecuted and exiled to the most remote parts of Russia. At the end of the century, the small decorative borders of gold or silver that surrounded icons took on a greater importance, and what are known as oklads (panels of gold or silver) began to appear on icons more frequently. By the early 1800s this practice was commonplace.
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Icon painting was reformed under the reign of Peter I (the Great) who was a devotee of European civilization and the arts. It was his goal that icons, which had their roots in Byzantium, should follow the evolution of painting in Europe where artists had mastered perspective and could render the human form realistically. In the same period a secular artist became head of icon production at the Armory Workshops (which had jurisdiction over icon painters), and a law of 1710 required artists to sign their works. Furthermore, all icons were to be stripped of their applied trappings--jewels and gold elements that commonly were added to the figures. Today, late icons, which have generally been considered inferior to those created during the golden age, are being reevaluated by art historians, as is evident in an exhibition entitled Tradition in Transition: Russian Icons in the Age of the Romanovs. The show is on view at Hillwood Museum and Gardens in Washington, D. C., from June 1 to December 31.
In the nineteenth century the academic style held sway, and not only were numerous icons produced, but older examples were entirely repainted and oklads became even more ornate. Frequently ...
- Marjorie Merriweather Post. (Hillwood Museum & Gardens).
- Magazine article from: The Magazine Antiques Fisher, Frederick J. March 1, 2003 700+ words
Hillwood Museum and Gardens in northwest Washington, D. C., was once the twenty...1876-1958), who had been the United States ambassador to the Soviet Union. The estate had been built in the American country place style in...
- Hillwood Museum & Gardens Undergoes Renovation.(Brief Article)
- Magazine article from: Art Business News December 1, 2000 700+ words
WASHINGTON, D.C.--Hillwood Museum and Gardens, the former estate of collector...Frederick J. Fisher, director of the Hillwood Museum and Gardens. Ellen Charles, president of Hillwood Museum and Gardens Board of Trustees noted...
- Hillwood Museum: Treasures beyond most imagining: Marjorie Post home has lavish...
- Newspaper article from: The Washington Times Yorke, Tom April 18, 1996 700+ words
...how the other one-millionth lives? Just pay a visit to Hillwood Museum and Gardens on Linnean Avenue NW, overlooking Rock Creek...father was E.F. Hutton. ****BOX IF YOU GO WHAT: Hillwood Museum and Gardens WHERE: 4155 Linnean Ave. NW. WHEN: Tuesday...
- Paintings on porcelain vases at Hillwood. (Hillwood Museum & Gardens).
- Magazine article from: The Magazine Antiques Odom, Anne March 1, 2003 700+ words
...of the factory. Of the five pairs and six single vases made in the Imperial Porcelain Factory in the collection at the Hillwood Museum and Gardens most are decorated with paintings. The earliest vase dates from 1816-1825 during the reign of Alexander I...
- The northern Palmyra: Saint Petersburg at three hundred. (Hillwood Museum &...
- Magazine article from: The Magazine Antiques Kettering, Karen L. March 1, 2003 700+ words
...Petersburg will be celebrating the three-hundredth anniversary of its founding. In honor of this momentous anniversary, Hillwood Museum and Gardens is presenting its first temporary exhibition, The Myths of St. Peteraburg: Impresjions of the City fro the...
- Gold boxes at Hillwood. (Hillwood Museum & Gardens).
- Magazine article from: The Magazine Antiques Arend, Liana Paredes March 1, 2003 700+ words
The collection of gold boxes and objects of vertu (1) at Hillwood testifies to the sustained interest of Marjorie Merriweather Post (seep. 82, Pl. I) in precious objects with historical associations. She began buying French examples in the 1920s, and they form the core of her collection. She
- Russkii stil': the Russian style for export. (Hillwood Museum & Gardens).
- Magazine article from: The Magazine Antiques Odom, Anne March 1, 2003 700+ words
The Empire style united the decorative arts of Europe during the first third of the nineteenth century. However, as international expositions became the framework for touting national achievements starting in 1851, each country searched its history for its own distinctive and defining style. The
- Furnishing Hillwood: Marjorie Merriweather Post's passion for French style....
- Magazine article from: The Magazine Antiques Arend, Liana Paredes March 1, 2003 700+ words
Hillwood was Marjorie Merriweather Post's ultimate legacy as a collector. To understand her decorative preferences and her taste for the arts of eighteenth-century France, one has to examine the collecting trajectory of this grande dame. Brought up in a late nineteenth-century environment where