The Mémorial ACTe (Centre caribéen d’expressions et de mémoire de la Traite et de l’Esclavage) in Guadeloupe is hosting until December 2019 a jointly curated exhibition previously held at the Wallach Art Gallery at Columbia University in New York, Posing Modernity: The Black Model from Manet and Matisse to Today (October 2018 to February 2019, see C200.a.5469) and at the Musée d’Orsay in Paris, Le Modèle noir, de Géricault à Matisse (March to July 2019, see S950.b.201.5919). The Memorial to slavery, opened in 2015, which is also a cultural centre and museum, seems an appropriate venue for this exhibition, which focuses on “the representation of the black figure in the development of modern art”. Continue reading
Last week, I decided to tackle a set about major exhibitions and exhibition spaces in Moscow which had been in the Slavonic cataloguing backlog for some time. How hard a cataloguing challenge could it be? 4 volumes, 6 accompanying discs, 3 accompanying sheets, and 1 accompanying commemorative coin later, I can confirm that the answer was – very.
Cambridge’s copy of VSKhV–VDNKh–VVT︠S︡ is, according to Library Hub (the very new replacement for COPAC), the only one held in the country, which is unsurprising given that it was published in a small run not for general sale. The set was produced to celebrate the 70th anniversary of Moscow’s extraordinary exhibition complex, in 2009, although the UL was only able to obtain a copy years later.
The exhibition Sorolla: Spanish master of light (S950.a.201.6770) that inspired this post is coming to an end at the National Gallery (London) on 7 July, but will open at the National Gallery of Ireland in Dublin between 10 August and 3 November.
Although probably not known to the English-speaking educated public, Sorolla was the most internationally well-known Spanish artist of his time. A painter with a style close to impressionism, and without any doubt, a master at capturing light.
Joaquín Sorolla y Bastida (1863-1923) was born in Valencia, the son of a tradesman, but became an orphan at a young age. Joaquín and his sister were taken under the care of their aunt and uncle, who was a locksmith. Sorolla showed an early interest in painting. He started taking drawing classes in 1874, later followed by studies at the Fine arts school in Valencia. With the support of the photographer Antonio García Peris (see S950.c.201.1204), his future father-in-law, he was able to set up his first studio. Continue reading
A new exhibition of Russian literary publications featuring handwritten dedications has opened today in the Library’s entrance hall and online. Out of the shadows : post-1917 Russian emigration rediscovered has been curated by Vera Tsareva-Brauner of the University’s Slavonic Studies Section. Vera found the first of the dedications while researching Nobel laureate Ivan Bunin, an unearthing which led to the five other inscriptions being brought to light again. It is wonderful to be able to celebrate these re-discovered treasures.
The six dedications (three by Bunin, one by Teffi, two by Tolstoi)
The exhibition marks the centenary of the start of the Russian Exodus. Following the revolutions of 1917, as many as three million people fled their native land, among them many of the best representatives of early 20th-century Russian culture. Most of the émigrés, including the writers Ivan Bunin, Aleksei Tolstoi and Nadezhda Teffi fled to Western Europe, where their determination to preserve their cultural heritage saw the effective creation of a Russia Abroad. The books which feature in the physical and online exhibition and which have never been shown before have original autographs by Bunin, Teffi, and Tolstoi.
The books will be on display in the Entrance Hall until 30 November 2018. The permanent online exhibition can be accessed here: https://exhibitions.lib.cam.ac.uk/outoftheshadows/
Vera Tsareva-Brauner and Mel Bach
The final items have recently been added to the Revolution : The First Bolshevik Year online exhibition. I am extremely grateful to the students and librarians who provided many of the captions. Amongst the latest additions is a book which contains a written dedication by the White commander Petr Vrangel’ (commonly Wrangel) – a fascinating re-discovery.
Глубокоуважаемому Николаю Николаевичу Шебеко – повесть о крестном пути тех, кто вынес на чужбину и верно хранит национальное русское знамя. Ген. Врангель
To the esteemed Nikolai Nikolaevich Shebeko – a tale about the via dolorosa of those who brought out to a foreign land and faithfully preserve the national Russian flag. Gen. Wrangel
Shebeko had served as a diplomat under the tsar and fought with the Whites. By the time this book, on the Russians in Gallipoli, had been published in Berlin in 1923, Shebeko had settled in France. Wrangel had led the southern White forces and remained a hugely significant figure in emigration. He eventually moved to Belgium, via Yugoslavia where he founded ROVS, the Russian All-Military Union which served to unite émigré officers and soldiers and which attracted a great deal of Soviet state interest. Soviet involvement was certainly suspected in Wrangel’s death in Belgium in 1928 at the age of 49.
Wrangel’s writing proved quite a challenge to decipher, certainly for me. Sincere thanks go to Richard Davies of the Leeds Russian Archive who provided a transcription with little apparent effort and much-appreciated speed.
A higher-resolution image of the dedication can be found here: https://exhibitions.lib.cam.ac.uk/revolutionthefirstbolshevikyear/artifacts/a-trace-of-wrangel/