Russia - Prince Meshchersky claims back palace
T/I 10:25:22
Prince Yevgeny Meshchersky has taken his case to the Russian
courts in an effort to claim back a palace which was once home
to his ancestors. It was confiscated by the Bolsheviks after the
1917 revolution.
Designed by the architect Kazakov, the 19th century Meshchersky
Palace would probably be considered a building of architectural
importance if it was still standing today. It was destroyed by
the Bolsheviks, who used the bricks for a nearby road. In the
thirties it's remaining structures were used for a prison camp.
The palace was deserted until last September, when Meshchersky
moved from the Ukrainian capital Kiev, where he was living, back
into his ancestral home. His wife and three children joined him.
Living conditions at the former palace are spartan. The family
have set up home in one of the four deserted gate houses near
the ruins.
There is no electricity, heating or plumbing in their new home
and washing water has to be collected from a nearby river. The
problem of drinking water was solved with a little detective
work. After studying old plans of the palace, the prince found a
long ago buried spring.
Armed with a diploma from Moscow's Nobility Assembly
(Dvoryanskoe Sobranie) to prove his lineage, Meshchersky has
filed a claim to the palace with the Supreme Court.
SHOWS:
MOSCOW REGION, RUSSIA. 15/03
WS ruins of palace;
family standing in front of ruins in 19th century costume;
Pan across ruins;
Meshchersky carrying wood;
CU ringing door bell;
wife opening door;
prince going in;
prince putting wood into the stove;
wife taking tea pot off stove and putting it on the table;
family gathered around table;
prince pouring tea;
Meshchersky going to window;
ruined palace seen through window;
MS view of palace;
photo of palace in original condition;
prince clearing photo away;
Meshchersky leaving gate house;
prince walking to ruins of palace through snow;
CU detail on ruined column;
WS ruins;
SOT Meshchersky in Russian: People came to me, they brought
me tools, milk - all free of charge - gave all the apples and
apple trees from orchard. They behaved very kindly to me. And
they said: `Thank God, the prince has turned up and now there
will be order.'
Ca ruins;
SOT Meshchersky in Russian: I want the court to be fair. Let
it be the Supreme Court, if the lower court is not capable of
settling the issue. The state should respect its own laws, for
which all our Russian people voted. If the state itself will
respect and carry our these laws, then we will really have a
just state and not a bandit-and-thief state.
Prince walking through ruins;
WS palace gates.
Runs 3.07
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ANALYSE ART NOUVEAU RUSSE
Hello ! Aujourd'hui je te retrouve pour te parler des arts décoratifs en Russie à l'époque de l'art nouveau.
Bon visionnage !
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Les vidéos non répertoriées :
Formation d'Elena Plenova :
Cercle Abramtsevo :
L'objet et son matériaux :
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Sources :
- BOELE, Vincent, Arnoud Bijl, Elena Anisimova, Gosudarstvennyĭ Ėrmitazh, Art nouveau under the last tsars, Waanders Publishers, Hermitage Amsterdam, 2007.
- BORISOVA, G. I︠U︡ Sternin, et Igorʹ Anatolʹevich Palʹmin. Art nouveau russe. Paris: Editions du Regard, 1987.
- BOURRIOT, Audrey, et Jean Rudel, Les techniques de l’art, Tout l’art Référence, Paris, Flammarion, 2006.
- HILTON, Alison, « The Peasant House and Its Furnishings : Decorative Principles in Russian Folk Art », The Journal of Decorative and Propaganda Arts Vol. 11, no N°2 (1989), pp. 10‑29.
- LENIAUD, Jean-Michel, L’art nouveau. L’art et les grandes civilisations, Paris: Citadelles & Mazenod, 2009.
- RESTELLINI, Marc, Paul Greenhalgh, Victor Arwas, Dominique Morel, et Pinacothèque de Paris, éd. L’Art nouveau: la révolution décorative, Milano: Skira, 2013.
- SALE, Marie-Pierre, Cécile Guibert, et Musée d’Orsay, « L’art russe dans la seconde moitié du XIXe siècle: en quête d’identité », Paris, Paris, Réunion des Musées Nationaux, 2005.
- SALMOND, Wendy, « A Matter of Give and Take : Peasant Crafts and Their Revival in Late Imperial Russia », Designing The Modern Experience, The MIT Press, Vol.13, no N°1 (1997), pp. 5‑14.
- SALMOND, Wendy, « Arts and Crafts in Late Imperial Russia : Revinving the Kustar Art Industries, 1870-1917 ». Studies in the Decorative Arts, The University of Chicago, Vol. 5, no N°1 (1997), pp.139‑41.
- SALMOND, Wendy, « Avant-Garde of the 1890s : The Abramtsevo Circle “, The Journal of the Walters Art Museum, Walters Art Museum, Vol. 60-61 (2003 2002), pp. 7‑13.
- SLAMOND, Wendy, « The Solomenko Embroidery Workshop », The Journal of Decorative and Propaganda Arts, Florida International University, Vol. 5 (1987), pp. 126‑43.
- STUPPLES, Peter, « Abramtsevo : Resisting and Accepting Cultural Translation », New Zeland Slavonic Journal, Australia and New Zeland Slavists’ Association, Vol. 45, no N°1 (2011), pp.71-90.
Victoria and Albert museum, « Art nouveau 1890-1914”, in Paul Greenhalgh (dir), Bruxelles, La Renaissance du livre, 2006
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Art Nouveau | Wikipedia audio article
This is an audio version of the Wikipedia Article:
00:03:04 1 Naming
00:05:49 2 History
00:05:58 2.1 Influences
00:09:19 2.2 Origins of Art Nouveau – Brussels (1893–1898)
00:13:54 2.3 Paris – Maison de l'Art Nouveau (1895)
00:15:29 2.4 Paris iExposition Universelle/i (1900)
00:18:02 3 Local variations
00:18:12 3.1 Art Nouveau in France
00:21:13 3.2 Art Nouveau in Belgium
00:23:49 3.3 iNieuwe Stijl/i in the Netherlands
00:27:01 3.4 Modern Style and Glasgow School in Britain
00:30:11 3.5 iJugendstil/i in Germany
00:34:29 3.6 Secession in Austria-Hungary
00:34:39 3.6.1 Vienna Secession
00:37:38 3.6.2 Hungarian iSzecesszió/i
00:41:17 3.6.3 Other variations
00:43:27 3.7 iStile Liberty/i in Italy
00:45:18 3.8 iModernismo/i in Spain
00:49:39 3.9 iArte Nova/i in Portugal
00:51:01 3.10 iJugendstil/i in the Nordic countries
00:51:11 3.10.1 Finland
00:53:11 3.10.2 Norway
00:54:22 3.10.3 Sweden and Denmark
00:54:59 3.11 iModern/i in Russia
00:59:00 3.12 iJūgendstils/i (Art Nouveau in Riga)
01:00:39 3.13 iStyle Sapin/i in La Chaux-de-Fonds, Switzerland
01:01:26 3.14 iTiffany Style/i and Louis Sullivan in the United States
01:04:44 3.15 Art Nouveau in Argentina
01:06:17 3.16 Art Nouveau in the rest of the world
01:07:45 4 Characteristics
01:11:14 5 Relationship with contemporary styles and movements
01:13:00 6 Genres
01:13:26 6.1 Posters and graphic art
01:16:12 6.2 Painting
01:18:25 6.3 Glass art
01:21:53 6.4 Metal art
01:23:06 6.5 Jewellery
01:25:36 6.6 Architecture and ornamentation
01:29:03 6.7 Sculpture
01:30:09 6.8 Furniture
01:35:25 6.9 Ceramics
01:38:31 6.9.1 Mosaics
01:38:59 6.10 Textiles and wallpaper
01:41:07 7 Museums
01:42:12 8 See also
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SUMMARY
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Art Nouveau (; French: [aʁ nuvo]) is an international style of art, architecture and applied art, especially the decorative arts, known in different languages by different names: Jugendstil in German, Stile Liberty in Italian, Modernisme in Catalan, etc. In English it is also known as the Modern Style (not to be confused with Modernism and Modern architecture). The style was most popular between 1890 and 1910. It was a reaction against the academic art, eclecticism and historicism of 19th century architecture and decoration. It was often inspired by natural forms such as the sinuous curves of plants and flowers. Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash curves, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces. One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewelry and metal work. The style responded to leading 19-century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900). In Britain, it was influenced by William Morris and the Arts and Crafts movement. German architects and designers sought a spiritually uplifting Gesamtkunstwerk (“total work of art”) that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents.The first Art Nouveau houses and interior decoration appeared in Brussels in the 1890s, in the architecture and interior design of houses designed by Paul Hankar, Henry Van de Velde, and especially Victor Horta, whose Hôtel Tassel was completed in 1893. It moved quickly to Paris, where it was adapted by Hector Guimard, who saw Horta's work in Brussels and applied the style for the entrances of the new Paris Metro. It reached its peak at the 1900 Paris Internationa ...