Wednesday, 7 October 2026
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Museums

The Museum of Russian Impressionism has a bright, rich exhibition, Other Shores: Russian Art in New York, about the 1924 show that introduced the American public to Konchalovsky, Lentulov, Petrov-Vodkin, Polenov, Yuon, Vasnetsov…

Coming Up · Art · Moscow · Museums · New York

The Museum of Russian Impressionism has a bright, rich exhibition, Other Shores: Russian Art in New York, about the 1924 show that introduced the American public to Konchalovsky, Lentulov, Petrov-Vodkin, Polenov, Yuon, Vasnetsov…

The Museum of Russian Impressionism has a bright, rich exhibition, Other Shores: Russian Art in New York, about the 1924 show that introduced the American public to Konchalovsky, Lentulov, Petrov-Vodkin, Polenov, Yuon, Vasnetsov, Kustodiev, Arkhipov, Larionov, Grabar, Saryan and other outstanding names of Russian art. It was not the

By Alexandr Radayev
The Coat of Arms of the Russian Empire Made of Insects, 1842, Presented by an Author from Slovenia to His Colleagues, the Moscow Naturalists

Art · Monarchies · Moscow · Museums · Science · Nature · Humour

The Coat of Arms of the Russian Empire Made of Insects, 1842, Presented by an Author from Slovenia to His Colleagues, the Moscow Naturalists

Over the long years the picture has been restored more than once, and by our day all the insects, originally natives of the Illyrian Provinces, have been replaced by insects born, lived and died on Russian soil. One might say that this curious heraldic trinket has, in the end, become

By Alexandr Radayev
Angels in lapis-lazuli robes and white chaplets of roses, gathered about the Virgin and Christ Child on the right-hand panel of the Wilton Diptych, the celebrated monument of Gothic panel painting of the late fourteenth century, have become a riddle for a

Faith · Art · London · Monarchies · Museums

Angels in lapis-lazuli robes and white chaplets of roses, gathered about the Virgin and Christ Child on the right-hand panel of the Wilton Diptych, the celebrated monument of Gothic panel painting of the late fourteenth century, have become a riddle for a

The principal explanations come down to the personal iconography of King Richard II, who is himself portrayed kneeling on the left-hand panel with his patron saints John the Baptist, Edward the Confessor and Edmund the Martyr. Eleven was the number of gold coins that Richard offered to the Virgin

By Alexandr Radayev