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(b Mexico City, Jun 27, 1943).

Mexican painter, printmaker, performance artist, writer, teacher, and publisher. He qualified as a printmaker at a very early age, then as a painter and engraver under the tutelage of several masters, among whom the most influential on his life was José Chávez Morado. Although he at first worked with traditional media, he possessed a constantly innovative and critical attitude and experimented with performances, installations, happenings, correspondence art, and media art, as well as writing, lecturing, and publishing on such themes as artistic experimentation, cultural promotion, professional management for artists, collective mural painting, and the publishing process. From 1968 to 1972 Ehrenberg lived in England where, with the architect Martha Hellion and the critic and historian David Mayor, he founded the Beau Geste Press/Libro Acción Libre in Devon, to propagate the work of artists involved with the Fluxus movement of the 1970s. He was also instrumental in the rise of many artistic groups, workshops and small publishing houses, such as ...

(Vasil’yevich)

(b Nizhny Novgorod, 1861; d Leningrad [now St Petersburg], Oct 14, 1934).

Russian painter, patron, musician, writer and publisher. He pursued a highly original line of artistic thought and practice and developed an organic perception of the world, deriving his inspiration from nature rather than machines, unlike many of his Russian Constructivist contemporaries.

Matyushin trained initially as a musician at the Moscow Conservatory (1878–81) and played the violin in the Court orchestra in St Petersburg from 1881 to 1913. In 1889 he began to attend the School of the Society for the Encouragement of the Arts in St Petersburg, where he studied painting with Yan Tsionglinsky (d 1914). In Tsionglinsky’s studio he met the artist and writer Yelena Guro, whom he married. Later (1906–8) he studied with the World of Art (Mir Iskusstva) painters Léon Bakst and Mstislav Dobuzhinsky at the Zvantseva School of Art in St Petersburg.

In 1909 Matyushin briefly joined the circle around Nikolay Kul’bin and the following year he founded the ...

(b Bohdanów, nr Vilna [now Vilnius, Lithuania], Dec 10, 1870; d Bohdanów, Oct 30, 1936).

Polish painter, printmaker and stage designer. In 1890–92 he studied law at the University of St Petersburg, but from the autumn of 1892 dedicated all his time to painting classes at the Academy of Fine Arts. He was a student of the Russian landscape painters Ivan Shishkin and Arkhip Kuindzhi. During his studies Ruszczyc went twice to the Crimea (1894 and 1895) to paint seascapes. In 1896 and 1897 he went to the Baltic islands of Rügen and Bornholm and to the southern coast of Sweden to paint studies of northern landscape. He also went several times to Berlin, where he first saw works by German Symbolist painters. The influence of Arnold Böcklin may be detected in works on fantastical themes, while Spring (1897; Moscow, Tret’yakov Gal.) recalls Kuindzhi’s luminism and the lyrical Russian landscape tradition. After graduation Ruszczyc made an extensive tour of western Europe, thus substantially enlarging his knowledge of contemporary European art. At the end of his journey (...

[Sirak; Christov, Panayot Todorov]

(b Sliven, Oct 22, 1883; d Sofia, March 5, 1943).

Bulgarian painter, draughtsman, stage designer, writer, critic, editor and publisher. He studied (1908–12) under Léon Bakst at the Academy of Arts (Akademiya Khudozhestv) in St Petersburg and became a follower of the aesthetic concept of World of Art, dominated by the innovative decorative designs of Vera Komissarzhevskaya and Tairov. After he returned to Bulgaria, Skitnik was engaged in a variety of projects, writing poetry, critical reviews of exhibitions and plays and monographs on other artists such as Bencho Obreshkov. He also designed sets for the National Theatre (Naroden Teatâr) in Sofia. He painted mainly landscape and still-lifes in oils (e.g. Interior with Flowers, 1920), tempera (e.g. Russian Monastery, 1912), gouache (e.g. the Kiss of Judas, 1920; all Sofia, N.A.G.) and watercolour; he also drew in coloured pencil. During the 1920s and 1930s he became known in Bulgaria as an innovator who experimented with new problems of colour and form. Both his poetry and his original and highly emotional painting show his allegiance to the Symbolist movement. From ...