Exhibition of Russian émigré artists at Taksim Military Barracks
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The exhibition of Russian-speaking émigré artists at Taksim Military Barracks was the first major exhibition organised by the Union of Russian Painters in Constantinople.
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Anonymous. “Vystavka Russkih Hudojnikov v Pol’zu Golodayuschih Hudojnikov Rossii.” Presse du Soir, 16 June 1922, n.p.
Anonymous. “Vystavka Soyuza Russkih Hudojnikov.” Presse du Soir, 19 June 1922, n.p.
Anonymous. "L'Exposition de peinture de la Caserne Mc Mahon." Journal D'Orient, 7 July 1922, n.p.
Bournakine, Anatoliy, editor. Russkiye na Bosfore. Les Russes sur le Bosphore. Imp. L. Babok & fils, 1928.
Bournakine, Anatoliy, and Dominic Valery, editors. Al’manah Na Proschaniye. The Farewell Almanac. L’Almanach Nos Adieux (1920–1923). Imp. L. Babok & fils, 1923.
L. de Knorring. “L’Exposition des Peintres russes à la Caserne Mac-Mahon.” Journal D'Orient, 25 June 1922, n.p.
Slobodskoy, A. Sredi Emigratsii: Moi Vospominaniya. Izdatel’stvo “Proletariy”, 1925.
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Istanbul Çelik Gülersoy Library.
Slavonic Library (Slovanská knihovna) in Prague.
Archives & Special Collections at the College of the Holy Cross (Worcester, Massachusetts).
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My deepest thanks go to the representatives of the Archives & Special Collections at the College of the Holy Cross (Worcester, Massachusetts) for their enormous assistance.
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In Istanbul, Ismailovitch became one of the leaders of the Union of Russian Painters in Constantinople, organised three solo exhibitions, and made contribution to the study of Byzantine art.
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It is difficult to say to what extent Istanbul was a fateful impact on Artemoff in terms of his artwork, but there he met his future wife, artist Lydia Nikanorova.
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Nikolai Peroff lived in Istanbul until the end of his life. He was engaged in restorations, carried out scene decorations, and did a lot for the Russian churches in Karaköy.
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Kalmykoff played an active part in the Union of Russian Painters in Constantinople and at the same time worked as a stage designer. Later he acquired the Turkish citizenship.
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Vasilieff was not only one of the Union of Russian Painters in Istanbul’s leaders, but he is also remembered for his stage settings and costumes for the ballet Scheherazade at the Theatre des Petits Champs.
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Tatiana Alexinsky-Loukina arrived in Istanbul with her husband in 1920. While living in Istanbul, she actively participated in exhibitions of the Union of Russian Painters in Constantinople.
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Bobritsky worked at the Theatre des Petits Champs, where he successfully dealt with stage designs and costumes, at the same time he participated in the Union of Russian Painters in Constantinople.
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Foster W. Stearns not only actively supported Russian-speaking émigré artists in Istanbul but also assembled a collection of their works which has survived to this day.
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In Istanbul, Nikanorova worked at copying the mosaics and frescoes of the Kariye Mosque, and met her future husband, Georges Artemoff, also an émigré artist from the former Russian Empire.
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Between 1941 and 1944 the Berlin sculptor Rudolf Belling worked on the Ismet Inönü Heykeli. The monument was placed in the neighbourhood of Maçka.
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The Union existed for less than two years but in that short space of time a tremendous amount of work was done by its members, refugees from the Russian Empire.
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The political turmoil of the twentieth century took Magda Nachman from St. Petersburg to Moscow to the Russian countryside, then to Berlin during the 1920s and 1930s and, finally, to Bombay.
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Nikolai Becker worked tirelessly in Turkey for three years. He created at least 168 portraits of men and women (among them admirals and their families, commanders-in-chief, diplomats, etc.).
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Not only did Ivanoff become one of the founders and chairman of the Union of Russian Painters in Constantinople, but he also became famous for “Drawing Thursdays”, which took place at his apartment.
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Leonid Skvirsky was one of the most successful photographic artists in Shanghai. His experimental take on lighting and staging of the models ensured him critical acclaim, awards in international competitions and patronage of the elites.
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At the beginning of the 1920s, a member of the Union of Russian Painters in Constantinople, Roman Bilinski was known as a sculptor. At the end of the 1920s–beginning of the 1930s – as a sculptor, painter and connoisseur of local antiques.
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