里爾克全集 第十卷 北京：商務，2021
起先要讀〈俄羅斯藝術〉(一半篇幅談 Viktor Mikhaylovich Vasnetsov)
發現里爾克的評論，內容豐富、中肯、每不勝收：H. Hesse 的、Thomas Mann的· Walter Pater Studies in the History of the Renaissance and Other Works (Graphyco Editions). 英語版 | Walter Pater、
維克托·米哈伊洛維奇·瓦斯涅佐夫（俄語：Ви́ктор Миха́йлович Васнецо́в；1848年5月15日－1926年7月23日）是一位專攻神話和歷史題材的俄羅斯藝術家。他被認為是俄羅斯文藝復興運動的關鍵人物之一。
日文版圖更豐富：https://ja.wikipedia.org/wiki/%E3%83%B4%E3%82%A3%E3%82%AF%E3%83%88%E3%83%AB%
Viktor Mikhaylovich Vasnetsov (Russian: Ви́ктор Миха́йлович Васнецо́в; May 15 (N.S.), 1848 – July 23, 1926) was a Russian artist who specialized in mythological and historical subjects. He is considered the co-founder of Russian folklorist and romantic nationalistic painting[1] (see also neo-romanticism), and a key figure in the Russian revivalist movement.
Saint Petersburg (1867–1876)[edit]
In August 1867 Viktor tried to enter the Imperial Academy of Arts, but failed. He succeeded one year later in August 1868.[5] Already in 1863 a groop of fourteen students left the Academy, finding its rules too constraining. This will lead to the Peredvizhniki movement of realist painters rebelling against the Academism.
Vasnetsov befriended their leader Ivan Kramskoi during his drawing classes before entering the Academy, referring to him as his teacher. He also became very close to his fellow student Ilya Yefimovich Repin.
It is ironic, but Viktor, whose name is associated with historical and mythological paintings, initially avoided these subjects at all costs. For his graphic composition of Christ and Pontius Pilate Before the People, the Academy awarded a small silver medal to him.
In the early 1870s he executed a lot of engravings depicting contemporary life. Two of them (Provincial Bookseller from 1870 and A Boy with a Bottle of Vodka from 1872) won him a bronze medal at the World Fair in London (1874).
At that period he also started producing genre paintings in oil. Such pieces as Peasant Singers (1873) and Moving House (1876) were warmly welcomed by democratic circles of Russian society.
Paris (1876–1877)[edit]
In 1876 Repin invited Vasnetsov to join the Peredvizhniki colony in Paris. While living in France, Viktor studied classical and contemporary paintings, academist and Impressionist alike. At that period, he painted Acrobats (1877), produced prints, and exhibited some of his works at the Salon. It was in Paris that he became fascinated with fairy-tale subjects, starting to work on Ivan Tsarevich Riding a Grey Wolf and The Firebird. Vasnetsov was a model for Sadko in Repin's celebrated painting Sadko in the Underwater Kingdom. In 1877 he returned to Moscow.
Moscow (1877–1884)[edit]
In the late 1870s Vasnetsov concentrated on illustrating Russian fairy tales and the epic narrative poem Bylinas, executing some of his best known pieces: The Knight at the Crossroads (1878), Prince Igor's Battlefield (1878), Three princesses of the Underground Kingdom (completed 1884 ), The Flying Carpet (1880), and Alionushka (1881).
Kyiv (1884–1889)[edit]
In 1884-1889 Vasnetsov was commissioned to paint frescos in the St Vladimir's Cathedral of Kiev. This was a challenging work which ran contrary to both Russian and Western traditions of religious paintings. The influential art critic Vladimir Stasov labelled them a sacrilegious play with religious feelings of the Russian people. Another popular critic, Dmitry Filosofov, referred to these frescoes as "the first bridge over 200 years-old gulf separating different classes of Russian society".
While living in Kiev, Vasnetsov made friends with Mikhail Vrubel, who was also involved in the cathedral's decoration. While they worked together, Vasnetsov taught the younger artist a great deal. It was in Kiev that Vasnetsov finally finished Ivan Tsarevich Riding a Grey Wolf and started his most famous painting, the Bogatyrs.
In 1885 the painter travelled to Italy. The same year he worked on stage designs and costumes for Nikolai Rimsky-Korsakov's opera The Snow Maiden.
Viktor Mikhaylovich Vasnetsov, (born May 3 [May 15, New Style], 1848, Lopyal, Vyatka province, Russia—died July 23, 1926, Moscow, Russia, U.S.S.R.), Russian artist, designer, and architect whose monumental works include the facade of the State Tretyakov Gallery in Moscow. He was the older brother of the painter Apollinary Vasnetsov.
Born into the family of a priest, Viktor received his first drawing lessons in the Vyatsky Seminary in the early 1860s. In 1867 he moved to St. Petersburg and enrolled in the Drawing School of the Society for the Encouragement of the Arts, where he was mentored by Ivan Kramskoy of the Peredvizhniki (“Wanderers”) group, which rejected the classicism of the Russian Academy. Vasnetsov later finished his studies at the St. Petersburg Academy of Arts (1868–75). He was awarded the academy’s Grand Silver Medal for his sketch Christ and Pilate Before the People (1870). In 1878 he himself joined the Peredvizhniki.
Vasnetsov’s first works were genre paintings typical of the Peredvizhniki. In paintings such as Moving House (1876), News from the Front (1878), and A Game of Preference (1879),
he presented with evident affection closely observed domestic scenes and characters from an array of social backgrounds.
From the 1880s on, Vasnetsov’s main theme was the world of folk poetry: tales, epics, and legends. He discovered the means to give visual expression to legendary and epic verbal phrases and imagery. Dark forest wilds, fiery sunrises and sunsets, stormy clouds—all these elements of his works helped make the legendary episodes depicted in his paintings seem to be actual events in Russian history. For that reason paintings such as After Prince Igor’s Battle with the Polovtsy (1880), Ivan Tsarevich Riding the Gray Wolf (1889), and Alyonushka (1881) were extremely popular in Russia. They became, in a sense, surrogates for Russian history, and during the Soviet era many were reproduced in schoolbooks and on consumer goods such as calendars, posters, and boxes of chocolates. That one of his most important paintings—Bogatyrs (1898), on which he worked for more than a decade, with countless preparatory studies and sketches—had just this fate is quite characteristic. His careful approach resulted in the transformation of his paintings into pseudohistorical fantasies based on themes of Russian history.
Vasnetsov designed costumes and stage sets for Nikolay Rimsky-Korsakov’s opera Snegurochka (The Snow Maiden) in 1886. He created a monumental panel, Stone Age (1883–85), for Moscow’s State Historical Museum. The church of Abramtsevo was also built according to his sketches, as was the Baba-Yaga Hut (1883; also called the Hut on Chicken Legs). Shortly before the Russian Revolution of 1917, Vasnetsov created sketches of military uniforms for the Russian army, which were then used during Soviet times (such as the well-known budyonovka [initially bogatyrka] cap worn by the Red Army cavalrymen). After the revolution, Vasnetsov continued to paint folkloric themes.
Complete works[edit]
- Rainer Maria Rilke, Sämtliche Werke in 12 Bänden (Complete Works in 12 Volumes), published by Rilke Archive in association with Ruth Sieber-Rilke, edited by Ernst Zinn. Frankfurt am Main (1976)
第一卷：早期詩歌、祈禱書、圖像集；
第二卷：新詩集、新詩續集、挽歌、瑪利亞的一生、杜伊諾哀歌、致俄爾甫斯的十四行詩；
第三卷：佚詩與遺稿（1906-1926）；
第四卷：法文詩、意大利文詩、俄文詩；
第五卷：組詩、詩劇（1894-1902）；
第六卷：佚詩與遺稿（1884-1905）；
第七卷：早期短篇故事、散佚短篇故事和草稿(1893-1902)；
第八卷：戲劇(1895-1901)；
第九卷：沃普斯韋德、奧古斯特•羅丹；
第十卷：短論、書訊、沉思錄、讀書筆記（1893-1905）；
目錄 · · · · · ·
在波西米亞閒蕩的日子<一>·<二>
卡爾·漢克爾，《向日葵》<一>
安東·蘭克，《吻》
漢斯·本茨曼，《春日暴風雨中》
阿爾布萊希特-門德爾松·巴托爾第和卡爾·馮·安斯瓦爾德，《蝴蝶》
本書為第十卷，收錄了奧地利詩人萊納•馬利亞•裡爾克1893年至1905年寫下的短文、閑文小品、隨想錄、藝術評論、書評、信件、讀書筆記、公開信等文字，除了在詩人遺物中找到的中學作文、劄記片段和幾封信件，大多為詩人生前發表在布拉格、慕尼黑、柏林、維也納各報刊雜誌上的文章。
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