But Gushchina fascinated as literature, philosophy, music. In 1908, he went to St. Petersburg, where he spent two years learning in the general education department just opened VM Psychoneurological Bekhterev Institute. In these years the main features formed worldview Gushchina. His philosophical and aesthetic concept of the world combined based on clear and rigorous categories classical German dialectic with the depths of subconscious revealed in infinity of symbolic forms. Art Gushchin understood as a great mystery, something reverent and undercurrent. Save the list of literature, the artist much later, while living in Saratov, recommended for reading to their students. This works Hume, Feuerbach, Nietzsche, Spinoza, Auguste Comte, Herbert Spencer, Kant, Schopenhauer, Boehme. Line of one of the artist's letters define his theory of creativity: "Who knows the world philosophically, must exceed all the things of the world, he himself must be the world rather than a fractional part of it. Before fractional part could never be staged daring task - to comprehend the universe ... The man knows himself before the world, and therefore knows the world after and myself .... Man - The intersection of all the planes of existence, with the power to create beauty. perception of beauty in the world - is creativity. But in freedom, not coercion - the beauty and creativity not to adjust to the world, and in the creation of another world, the enlightened. "
It is known that her studies Behterevsky Institute Gushchin engaged in preparatory classes of painting and drawing YS Goldblatt. The surviving works of graphic artist, both early and late, on stylistic features and virtuosity different techniques (pencil, charcoal, sanguine) close work great painters, students D. Kardovsky - V. Shuhaeva, Yakovlev, B. Grigoriev. Later, in the years of foreign exile in Paris and Nice fate will bring him back to these artists, prominent representatives of neoclassicism.
Well enough prepared, Gushchin seems without much difficulty, in 1910 he entered the Moscow School of Painting, Sculpture and Architecture. He lives in the famous Lyapinke of modest means, sent by his family, as well as the lump sum Perm county government. For two years he has successfully passed the mandatory initial training courses transferred to the portrait genre-class, where he studied with Sergei Malyutin and Konstantin Korovin. Earlier papers by Gushchina remained very little, they are clearly shtudiynogo plan mentioned in catalogs and student exhibitions MUZHVZ XVI Mobile.
Moscow offered the early twentieth century often immature young minds wide range of different artistic experiences: the Museum of Sergei Shchukin, which were pictures of P. Cezanne, Matisse, Picasso, to the outrageous and exquisitely refined exhibitions ("Donkey's Tail" "Jack of Diamonds", "Blue Rose"). The young, only seeking their own style, the artist was strongly influenced by the French Impressionists and their followers. "The failure of the extreme deformation of the shape at the Cubists, the sober observation by Degas, harmonically rigorous construction of a Cezanne, changeable color, the stamp of individuality Renoir, Monet, Matisse, Gauguin, Van Gogh only reinforce his break with classicism, academicism. Impressionism contributes to its appeal art, offer the greatest scope for the development of personality "- characterizes this effect Kappatti Louis, author of the essay" Nicholas Gushchin and mysticism of his portraits, "written with the words of the artist himself and published in Nice in 1942.
In the Moscow School of Painting, Sculpture and Architecture, in the workshop of the brilliant artist Konstantin Korovin, Nikolai Gushchin found that degree of freedom, which was decisive for the formation of his artistic personality. One of his classmates, almost-forgotten master of "socialist realism" Vasily Yakovlev in his autobiography, vividly recounts the years of his studies at Korovin, "The people had gathered in the studio talented .... beautifully written Gushchin .... One of the features of the school was to would not crush, God forbid individual student. This is achieved by the fact that all was given complete freedom to choose its own .... Each technique, its color, its relation to the form ... Individuality triumphed. "
Gushchin bowed before the figure also Vrubel, another of his great respect for the teacher - Sergey Malyutin. Store a card, sent him Gushchin in August 1913: "You have given me so much, and such a fascinating impression on me is your job, that was on display in the city of Perm. Among the general dissatisfaction, frustration and sometimes despair, it revived in me is overwhelming desire to work. Such infinite freedom felt soul .... ".
Said 36-year exhibition of local artists and the capital became an event in the cultural life of a country town. Its organizer - the poet, aviator, painter Vasily Kamensky wrote: "The exhibition has turned bright, and is unlikely to soon see a Perm cultural festival of colors: from the real Malyutina (portrait) to Futurist David Burliuk (He and N. Gushchin helped friendly)." Perm public was completely unprepared for the perception of the first exhibition of contemporary painting, "... even over provincial Malyutin laughed, thinking that he futurist." But the response of a local newspaper: "We should give full justice to the artists a new direction: they write their pictures so that their web is anyone other than the authors, can not be understood. Nalyapany colored squares, semi-circles, broken lines: think-think what does it mean? Only exhibition organizer Kamensky explain that this "ice drift", "impressions of childhood," Bouquet of flowers "," incommensurability "or something like that." Note that the presented in this exhibition of paintings with . Malyutina and his student Nicholas Gushchina were purchased by art lovers Perm.
Summer 1913 is significant for H. Gushchina rapprochement with gradually acquires notoriety futurists - Mayakovsky, D. Burliuk, V. Kamensky. "Too often - Gems - deep guys," said Vasily Kamensky, spend the summer months on the farm Kamenka, "... reveal his inner god - illuminated morning highs of Rhythm - All for dreams /All for the love of the happiness /All the birds - /Destiny in height /In life become poem bridal /burgeoning beauty. " In these lines of the poem "The girls barefoot" - the whole creative program young, looking for new ways in art writers. Gushchina Vasily Kamensky calls "artist-poet" and devotes his verses full of symbolist images:
"Master-poet mastermind charuyny,
Lines astral cyclone -
Your image - as the morning jet
Biryuzovodalny slope. "
In April 1914, Nicholas Gushchin finished the main course from the college in the next two years, he must carry out independent work for the title of the artist. Thus, the art education N. Gushchina basically - "Moscow", but enriched and refined picture of the St. Petersburg school. By this time he is in his creative development has gone through several stages: from the paintings of the Impressionists and their followers to drag Cubism, with its base shaped formal search is symbolism.
In the same year, apparently, the scholarship of the Moscow Society of Arts, Gushchin sent to the United States of America. He stays there for 7 months, and he was disappointed: "Pile of houses is not a town, a cluster of immigrants does not constitute race, a different combination of heredity can not give a perfect person." The outbreak of the First World War forced him to return to Russia via Japan. In the next two years, he volunteered to participate in military operations in the south-western front, in a few months accompanies the train across Siberia to China. After peace returned to Moscow in the grip of another war - revolution. Political events do not interfere with him after the submission of entries to receive the title of class artist I degree. Then Gushchin meets his love, Natasha, a student medical school, married, went to Perm.
He is actively involved in the lively cultural life of the large provincial center - teaches drawing and painting at the Art Hall of the People, is involved in the organization of art school and the "Union of Free Artists" - the first creative association Kama. "Proceedings of the Board of Perm" in October 1918 reported that "... hastily erected a monument to the freedom fighters of the project, prepared by local artist Gushchin." This monument, standing just over a month, was blown up after the capture of the city the Army. Warned of possible reprisals, "white", the author was forced to leave the country and, as it turned out, for a long time.
Emigration fascinated the artist, like thousands of his countrymen, openly accepts the new Russia or disconcerted by the unprecedented social upheaval. In March 1919, Gushchin already in Tomsk. At the University, according to the newspaper "Siberian life," "George Goldschmidt," a representative of a futuristic life, "and the Moscow artist Gushchin organized and conducted a three-hour lecture - Poetry-evening, attended by a large number of participants, mostly young people. Perm writer and yogi Goldschmidt delivered a lecture on "My fellow Futurists: Bob Kamensky, twisted, Burliuk and others." Artist NM Gushchin read several poems futuristic. "
For us, more valuable feedback from the press about the first personal exhibition "by Moscow artist Nikolai Gushchina" held in Tomsk. A writer ironically treated lush self-promotion of the artist, who reported that he shows his work "on his way from America," and exposes Awarded with work. Noting absolute felicity realistic things journalist likened futuristic works Gushchina customers with products psychiatric hospital. In conclusion, he stated categorically that Futurism in modern hard times "transgressed, as useless and idle pastime."
Paintings by Nicholas Gushchina 1910s, we do not know. Have to rely on more than one critic, hiding under the initials GG and gave a professional review of the exhibition N. Gushchina in Tomsk. "The most interesting part of it is impressionistic period - he writes. Vividly felt by Myself" Tsvetozvon "," Garden azure meetings "and" I is not here. "Last - the most mature, perhaps, a thing of the exhibition, the first signs of serious fumbles. Spoke up artist , autonomy becomes painting, literary disappears, which suffered so other things ... ". Note criticism "of literary" probably true. Very often the names of the artist's paintings echo the lines of poetry Kamensky: "The poet would lead you to the country from coast jack" or "Oh, you - the burgeoning Princess" - the first lines of the book "Zvuchal vesneyanki" (1918).
Along with the impressionist period of review author writes about "elements of Cubism and Futurism," particularly evident in "Portrait of Walt Whitman," adding, however, that "the artist as one and the other for perceived externally, mechanically ... without understanding the true value them - values picturesque revolutionary. " But here's the main conclusion and the total score of creativity the young artist: "... the little amount of studies and sketches, which was put on the Post Office, is valuable for Tomsk in Siberia and the general - where recently exposed a mass of weak and inept, amateur stuff. Here at least visible, though immature, fragile talent, but talent is still, able in future work to much. "
Of the works exhibited at the exhibition of Tomsk, survived a few early drawings NM Gushchina. They - academic, shows the undoubted talent author and are serious training: a few self-portraits, "Portrait of a Mother", "Natasha", "Portrait of Victor's nephew." These small pencil drawings of native artist, performed in Perm in 1917-1918, and the author of a zipped through all the years of foreign exile to end up in a meeting Radischevskaya museum.
Participation in the exhibition "Green Peony" in April 1919, opens the "Harbin" period of Nikolai Gushchina. One of the critics of contemporary called these years "Harbin stagnation." One can hardly agree with this. The cultural life of our emigration in the "Russian" city of China was quite intense. Numerous exhibitions were held in small rooms of the Commercial Club or rail assembly. Gushchin - indispensable to party, and usually exhibits a lot of work. For the first time after the military and revolutionary events the young artist was finally able to consistently work creatively. We know that he taught painting and drawing in a private studio ("Lotus"), engaged in lithography. On the latter, we can judge more soundly since survived several authentic lithographs 1920: "Self-portrait", "Sorrow", "inevitability." The latter, with upturned to the sky image of Christ and a self-portrait of the artist at the center, apparently, is a version of a song from the series "Hell of a time machine that eats life of the world" at which Gushin started working during the First World War.
Recently published from personal files, NM Gushchina show continued interest in his work. Almost all Russian newspapers published in those years in China - "Journal of Manchuria", "light", "forward", "Russian voice", "News of life" - not just give the information, but extensive reviews of the works N. Gushchina. E. Articles of MGO, E. Schirovskoy, L. Astakhov, M. Vasiliev, S. Mamandi, but especially Sergey Alymova, we learn not only the names of works, whose fate is unknown. But, most importantly - how to develop a creative style of the artist. All critics agree that "... over the past three years, NM Gushchin are some interesting artists exhibited in Harbin." Software for it to remain a symbolic composition, caused controversy, such as "Maiden's Soul Trilogy" and "Tosca times." But "... his portraits are very interesting, because the artist has a secret to any person present in a very favorable aspect for the original." At the exhibition in Harbin, Shanghai, Beijing and exhibited numerous landscapes, executed in Shanghai, Guan, Songhua, Peytayho. Critic Mikhail Vasiliev, noting the influence of Futurism and Cubism, the style of the young artist warns his hobbies of the "Left" tendencies, which can lead, in his opinion, "the full aesthetic" sloppiness. "Other reviewers rave about his painting, textured, "placer such gems", emphasizing the already existing features of individual style.
A writer, evaluating the work of the artist writes, "Gushin entangled in nets its persistent dreams, his deliberate, a little peace modifies those lines and favorite smoky lilac and dull turquoise scales and beating a prisoner of fear of life." In 1922, apparently, aware of the exhaustion of staying in the East for its creative development, Gushchin goes to Paris "for artistic improvements."
The artist's own words, preserved in the memories of his contemporaries, in the first years of life in Paris he is in poverty, took on any job until the painter. The same sources, we know that many Gushchin copied in the Louvre, there was skills in oil painting restoration, very useful to him since his return. About meetings N. Gushchina with his teacher in Paris Korovin documentary evidence has yet been found, but is unlikely to be great courage to assume that these meetings were. In the "Saratov period" for reasons of personal safety Gushchin hardly had a chance to think about it. In any case, the teacher and the student engaged in the same Parisian exhibitions. In his "Autobiography" Gushchin lists them: Autumn Salon, Independent, Salon des Tuileries, Gallery Carmine. The artist works a lot, becoming known primarily as a portraitist. Using the expression of Mayakovsky, said of the other master, a number of portraits, "He's always poised, to do him justice - with great taste, between the passenger and the arts."
Among the features preserved in foreign collections of paintings by color chromolithograph, published in Paris, we know of two - "Self-Portrait" (1924) and "Tosca" (1925). In the catalog of the 29th exhibition, organized by the Royal Academy of Arts in London, including paintings by Nicholas Gushchina - "From the South" and "My Spring" ("My Spring", 1923). The fate of the first we know nothing. On the second depicts the artist's wife and his self-portrait, as if "leaving" deep background. This composition anticipates the separation from his wife in the early 1930s, suffering artist. On the back color Photogravure owned Guschin, survived another name of this painting - "care - care." Personal tragedy, the loss of financial savings, but most importantly - for the external success taivsheesya deep sense of longing for the homeland - these are the reasons that led the artist to apply to the Russian Consulate in Paris for a visa to return. Refused, leaving Gushchin the Riviera, where the capital of the Principality of Monaco, he had lived for almost fifteen years, until his return to his homeland.
In Monte Carlo on Orchid Street, one can see a beautiful villa Leone, where the family settled Gushchin natives of Russia Nikolay and Olga Vuichey. The artist does not participate in the capital now shows missing from the field of view of Russian critics, who lived in Paris. But he noticed the sophisticated French art. "This is a completely unique and very clever artist" - wrote George Avril. Louis Kappatti Guschin devotes several journal articles already mentioned monographic essay, and even the verses:
"Your fate is stamped as a medal in your stern countenance ...".
Very accurate, concise line of French criticism, inspired memorable conversations with the master, set by the imagery of the self-portrait, written in 1941 and brought to Russia Gushchin. Mercilessly thrown to the bottom of his soul - that appears in the self-portrait of the artist "mind's eye". In relief, sharp features and unruly Verse background we feel deeply sincere author, his pulsating energy.
Portraits, landscapes, still life artist are exhibited in Monte Carlo, Nice, Menton, Beaulieu. We call the "Salon of Artists of Monaco" (1938), "Arts, Sports, Tourism" in the principality of Monaco "(1942)," White and Black. Exhibition of drawings by old and modern "(Monaco, 1942)," One hundred modern patterns "(Monaco, 1944). Paintings and drawings H. Gushchina in these exhibitions side by side with the works of luminaries as French art and the works of the same, as he Russian immigrants, the fate of abandoned the Cote d'Azur. Tereshkovich Names K., Popov, N. de Stael is only now becoming known in Russia. Most exhibitions accounted for during the Second World War, so the fate of the many pictures we can only guess. In Museum of Art and History of Monaco Nicholas Gushchin presented "Self-portrait with a black cat", where the artist painted himself amid rough seas and capricious flight of gulls, and the stringent portrait "Labanda Historian", the official chronicler of the princely family of Grimaldi. But where now track "Behold the man "zkspressivno written with head of Christ, is in the collection B. Musollini?
In 1947, the "Exhibition of seven artists Monaco" Gushchin showed only one portrait - "My little friend Dima" (1935). It is in the collection of DN Vuicha (Canberra), fortunately, survived the portrait and other first-class works of N. Gushchina, allowing a more reasonable estimate of this period in his career. Personal exhibition of Nikolai Gushchina held in Monte Carlo in 1942. Its catalog includes more than forty works, among them - "Harmony in Blue", "Virgin Forest", "clown-musician", "Anemone", "Sibelius' Valse Triste." The imagery of his paintings shows him as a symbolist. In them - the refined atmosphere of artistic connection with the realities of the game of life. Protagonists of many paintings - otherworldly girl, "blue vision", as he called them, the artist himself, leaving the impression of fragile beauty. They represent complex emotional states, expressed anguish, despair, loneliness, dreams, hope, and love. Sometimes they guess the destructive, demonic.
Romantic symbolism paintings by Nicholas Gushchina serious, it lacks features of theatricality, irony, innocence, by contrast, is combined with the sophisticated technique of painting. Many French critics saw the originality of his talent in conjunction brush virtuosity and depth of vision. The basis of color scheme, usually the blue color of the two elements - water, air, sky, space. For the artist as for the romantic poets and philosophers "silver" century, characterized by mystical interpretation blue connecting poetic ideal and the impression of reality. Literary and musical analogies in many of his works - a manifestation of a whole philosophical and aesthetic concept of the master.
In October 1947, Gushchin to return, and now his life is linked to Saratov. What was the determining factor in this choice? Extraordinarily broad and picturesque in these places Volga Radischevskaya rich collections of the museum, the commitment aesthetic symbolism, became pronounced in VE Borisov-Musatov, and other artists, "Saratov" school? Or both, and some other reasons, which we can only guess. But they do know a lot about on my next life Gushchina meeting with the artist Valentin Yustitsky (1882-1951). Know they were in his youth, now the similarity of fate brought them together - the artist-immigrant Nicholas Guschina and recently returned from Stalin's camps Valentine Yustitsky. They met almost daily, because Gushchin lived in an old house on Gogol Street, where an apartment Yustitsky. He was now a large art studio in Monaco - only a tiny eight-meter room, from floor to ceiling hung with its amazing pictures. How many souls they stir! For how many college students Saratov Goushchin taught only one semester, was a real teacher, spiritual connection to that determined their future path. "I often think that the beauty - the purpose of our life and the purpose of the latter. Beauty not as a cultural value, and beauty, as a being, as implementation of the chaotic ugliness of human relationships in the real beauty, the beauty of the living" - this whole program is a creative artist, which he followed throughout life.
Nicholas Gushchina include prominent representative of expressive symbolism uniquely report from "silver" age in the era of "socialist realism." His fate history has repeated itself once again one of the legends of lives and left much of the creative heritage of only a small fraction, perhaps not even the most important.
Lyudmila Pashkova
Deputy. Director General for Research of the Saratov State Art Museum named ANRadischev, Honored Worker of Culture
http://www.radmuseumart.ru/
The author is grateful for the continued support and donated the general representative of the Russian Nobility Assembly in Australia Count Dmitry Nikolayevich Vuichu (Canberra)
Material published in the journal "Golden Palette" № January 2009
http://zolotayapalitra.ru/Article/58
26.03.2013, 17:55
Gushchin Nikolai Mikhailovich (1888-1965).
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