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The State Tretyakov Gallery presents an exhibition of masterpieces by the incomparable Italian master—Giotto di Bondone. There are only two exhibits: “Madonna and Child” (1295-1300) and a polyptich from the Santa Reparata church in Florence; but they make an unprecedented show in Moscow. Thanks to past cultural exchanges between Russia and Italy, viewers in both counties have had a chance to see quite a number of masterpieces from principal museums of both countries. Giotto in Moscow is a real surprise, however, taking into consideration that the decision to stage the exhibition in Moscow was taken only last August, giving very little time for preparation. In Italy, the name of Giotto commands massive respect. He was a forerunner of the Renaissance. With the artists of his epoch there are often difficulties in terms of attribution with sources so few and scattered. This problem occurred with the currently displayed Madonna by Giotto. For many years it was attributed to an unknown painter but for an accident in the Ufizzi gallery in 1993 when a small

February 1-March 19,
10:00-19:00, every day except Monday
State Tretyakov Gallery

explosion damaged several exhibits. They were subsequently restored, and this icon was one of those. That was when restoration experts learnt the name of the real author— Giotto. As part of the exchange programme, the Tretyakov is sending three items to Florence: the 13th century Virgin Hodegetria from Pskov, Andrei Rublev’s The Ascension (1408), and Dionisius’ Crucifixion (1500).

The silver city: St. Petersburg in photographs of the 19th and 20th centuries

The Lumiere Brothers Centre for Photography (Moscow) and FotoDepartament Centre (St. Petersburg) present a joint exhibition dedicated to the Russian northern capital—Saint Petersburg. The exhibition is curated by Olga Korsunova (FotoDepartament) and Arkady Ippolitov (State Hermitage Museum). The main idea behind the exhibition is to focus on the St. Petersburg school of photography. From a European point of view, the city of St. Petersburg, though 300 years old, is quite young. That is why its classical orientation is in a way paradoxical, but at the same time it makes it unique. Photographers of the St. Petersburg school depict the city maintaining its peculiarities very clearly. No surprise why this show, presented in France last year, bore the name “St. Petersburg Stories”, so informative was it for new viewers not

February 1-26,
11:00-21:00, every day except Mondays
Lumiere brothers Centre for Photography

acquainted with the city. All the authors participating in the show are also involved in manual printing, working on the negatives and achieving the gradations of light they want to specifically underline a part of each photograph. All in all about 120 prints from the earliest years of the 19th century to the second half of the 20th, shot in monochrome or printed in gelatin silver are on display

Tales of Gypsies at Nashchokin Gallery

The Dom Nashchokina Gallery presents the first ever retrospective by famous photographer Lala Kuznetsova. Kuznetsova was born in the small town of Uralsk in Kazakhstan near the Russian border in 1946. Raised in Muslim traditions, she was a wife and a mother supported by a husband, but when he accidentally died, she had to earn her own living and raise her daughter. She started to work in one of the museums in Kazan as a photographer. But then one day, just as one of her gypsy characters would have done, she left the museum to work as an independent photographer, a decision which worked out well. Today Lala Kuznetsova is a world-famous artist with high ranking photographic awards, works in private collections and museums all over the world, with books of photographs published in different languages. The current show is the first large-scale exhibition of Kuznetsova’s works in Moscow and comprises photographs from several series: “Gypsies”, “Uzbekistan”, and “Bukhara. Jews.” Her photographs, always in black and white, possess so much dynamism in their composition—doves flying, children playing, mothers watching—they are as dynamic as the life of gypsies themselves. As a child, Lala Kuznetsova once saw a group of gypsies not far from her parents’ home. Being forbidden to approach them, she was absolutely fascinated by those “sun-tanned people.” Later, already a photographer,

February 1 - March 4, 12:00-21:00
Naschokin Gallery, 12,
Vorotnikovsky pereulok

she met again a group of gypsies, but this time she was accepted by them and even allowed to photograph them. She fulfilled her childhood dream, which brought her fame. Like most photographers, Lala Kuznetsova shoots what she sees. But our eyes filter what we see, and Lala Kuznetsova’s photographs are filled with the poetry of freedom, suffering and pride.

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