Paintings of the Soviet period is full of brilliant names. Unfortunately, time is sometimes ruthlessly to the memory of the art formerly known authors. Example is the name of the prematurely departed in 1997 a full member of Arts, Honored Art Worker of the RSFSR Filatcheva Oleg Pavlovich (1937-1997). In 2007, academic halls Prechistenke an exhibition of his memory have included a pictorial and graphic works submitted by the artist's family. OP Filatchev better known as a muralist. He worked not only in the USSR but also abroad. Its walls were decorated with paintings of the USSR Embassy in Washington. Some radical citizens linked intravital success with "giperkonformizmom" mirovoreniya artist in relation to power. Leave on their conscience this statement. OP Filatchev entered the history of art as an artist reinterpreting dull aesthetics severe style, enriching it with new image-plastic language. Filatcheva favorite artists were painters of the early Renaissance. It was in this cultural-historical paradigm was the life-giving source of inspiration and creativity of the author of the landmark. Undoubted interest are the series of portraits of his contemporaries, executed in tempera on levkasnomu ground, as well as a magnificent series of graphic works dedicated to the fishermen to the north and military pilots.
Most of the heritage of the artist is included in the collections of major public museums. The market is practically no work of this author. In this regard, there is no information about the artistic heritage. But sorry. Yourself OP Filatcheva not so clearly understood in the context of the cultural perspective of artistic life in the USSR 70-ies. He himself, not only as a painter, but also as a person, were a type of universal and harmonious human era of great style.
Most of the heritage of the artist is included in the collections of major public museums. The market is practically no work of this author. In this regard, there is no information about the artistic heritage. But sorry. Yourself OP Filatcheva not so clearly understood in the context of the cultural perspective of artistic life in the USSR 70-ies. He himself, not only as a painter, but also as a person, were a type of universal and harmonious human era of great style.
Artist Boris Zworykin: IMAGES OF OLD RUSSIA
Posted 01-02-2010 at 20:13 by OTROK NIKODIM
The name of Boris Zvorykina, one of the founders of the "Russian style" in book illustration and, perhaps, better graphics-ornamentalists early twentieth century, for several decades dwell in oblivion. Original art by this artist until recently, could be assessed only a few connoisseurs, collectors - happy owners of rare and expensive publications issued in the pre-revolutionary Moscow, but the emigre Paris.
The reason for this neglect stemmed from the one hand, initially adopted by this artist relatively narrow range of creative practices, limited, pre-eminently the sphere of books and applied graphics, and on the other - in their chosen path of building an independent artistic career, has resulted in the consistent non-participation in any a "group policies". Zworykin stayed away from such a landmark for the domestic arts and, of course, close to him on the prevailing symbolic retrospektivistskomu spirit of collective action, as the exhibition of the Moscow Association of Artists, "World of Art" and "Blue Rose". He was not able to participate in the Moscow magazine "Balance" who united in its pages many Symbolist artists - from senior representatives of the Russian Art Nouveau "Vrubel and Viktor Borisov-Musatov to the young" berdsliantsa Nikolai Feofilaktova. Cooperation is Zvorykina another symbolist body - a luxurious large format magazine "Golden Fleece, this brainchild of Moscow's patron and the artist NP Ryabushinsky, got up and followed the" Libra "the banner of Russian Symbolism, was sporadic and confined to a few vignettes, performed by him in 1906 -1909, respectively. All this led to the talented and original artist has been overlooked newspaper and magazine critics, who have always influenced the public assessment of the relevance of an artistic phenomenon.
Not surprisingly, in the eyes of not only his contemporaries, but also a number of subsequent researchers, of books and graphic art by Boris Zvorykina remained in the shadow of his more famous and prolific younger contemporary - Ivan Bilibin, whose creative, and personal destiny in many respects similar to zvorykinskoy. Striking example in this regard is a statement of the Soviet biographer Sergei Golyntsa Bilibin, who allowed himself to be called Zvorykina "clever simulator, the shadow that followed Bilibin for several decades in Russia and in France, losing sight of the obvious fact that creative formation of these Two artists, no doubt inspired by common ideals, proceeded in parallel, and their first steps in the field of book illustration took place almost simultaneously.
Biographical information on Boris Zworykin, avoid excessive publicity, very scarce. It is known that the artist was born on 1 (13) October 1872 in Moscow in a family of merchants. In 1892-1893, he studied at the Moscow School of Painting, Sculpture and Architecture, and later, perhaps, attended classes at St. Petersburg Academy of Arts, which, however, we were unable to document. In my youth, like Bilibin, he was fascinated by the "Russian theme", the most harmonious artistic expression which was then largely associated with the work of Helena Polenova, Viktor Vasnetsov and Sergei Malyutina - the first native artists who have managed to depart from the primitive peredvizhnicheskogo naturalism in the interpretation of national history and folk stories. Love of the Russian past - the history, legends and folklore, decorative and applied art, icons and wooden architecture, ancient calligraphy, ornamentation, and a miniature portrait - has become the pivot on which later built the creative life Zvorykina.
Since 1898, Boris Zworykin illustrated and designed books for Moscow and St. Petersburg publisher Sytin, AA Mamontov, I. Knebel, AF Marx, and AA Levinson. In 1903, a Moscow publishing house "Association skoropechatni A. Levinson" came out with his illustrations and his own rich design of large-scale (324 x 260 mm) dvenadtsatistranichnaya book "Tale of the Golden Cockerel Pushkin, who became the first experience of the artist in the field of children's books. Stylistically, this work echoes the "Vasilisa the Beautiful" in the design Bilibin, published a year earlier in St. Petersburg "Expedition harvested government securities" and is rightly considered one of the highest Bilibinskii achievements in this genre. Two mentioned the book, almost the same format, marked with common approaches to ornamentation registration page to interposition of illustrations and text; fairly close resemblance there to catch and colors, and images of individual objects and landscape elements. This absolute stylistic affinity, however, does not give grounds for accusations of imitation, but only points to the common origin of two artists, dating back to the imagery Helena Polenova. Here in the most complete way to express the characteristic of Russian art of early twentieth century, collective desire for wholeness of the plastic display of romance Russian folk tale.
Probably, we still regret the fact that the scope of children's books had not taken a firm place in the work of Boris Zvorykina and, unlike Bilibin, whose achievement here in 1900's were quite impressive, it is only occasionally turned to illustrating stories. Creative trajectories of these two artists (who, incidentally, have hardly been closely acquainted with each other) at some time left. The main area of application of forces Zvorykina in these years was applied graphics, and design of historical and artistic album, anniversary and gift books, wall and desktop calendars. Among the books he designed include the following: "Monastery, monasteries and temples in Holy Russia (St. Petersburg, 1909, edition was published the St. Petersburg diocese)," Serfdom and Freedom "(as appears on title page -" sumptuously illustrated commemorative edition in memory of 50-th anniversary of the liberation of the peasantry ", Moscow, 1911)," In memory of the centennial of the war of 1812 "(Stockholm, 1912), Jubilee Wall Calendar-album in 1912 with drawings based on the novel of Leo Tolstoy's War and world "(Moscow, 1912), a commemorative book" Yegorievsky Mayor Nicephorus Mikhailovich Bardygin: 1872-1901 "(Moscow, 1912), gift edition of the chronicle and facial Izbornik Romanov (Moscow, 1913) and" Moscow " (Moscow, 1914). Book an artist's work exhibited at the exhibition "Art in the book and poster, which was held in St. Petersburg in the winter 1911/1912 year.
Converging on the aesthetic decisions with more and more popular, but far less subtle Karazin Nicholas and Elena Samokish-Sudkovskoy, Boris Zworykin was one of the most prominent sponsors of the Christmas and Easter greeting cards. He received recognition as an artist and open letters by following a series of watercolor postcards on the theme "The Time of Troubles," "Napoleon's Invasion of 1812", "Russian children", "Russian epic," Hunting ", and since 1914 - on patriotic themes, encouraging citizens of a belligerent power.
Consistent supporter and creator of the "Russian style", Zworykin was greatly appreciated by members of the imperial family, which had a special affection for the national art forms and images. He is often engaged to carry out orders of the Imperial Court - known, for example, filled his menu, gala dinners in honor of French Senators and Deputies in Moscow (1910) and after arrival in Russia of the British Trade Mission (1912). In 1909-1912 years the artist has participated in the decoration of the cathedral Saints Alexander Nevsky in Simferopol and Feodorovsky Sovereign's Cathedral in Tsarskoe Selo, earning the gratitude of the emperor. He was executed and the cover sheet to released in 1915, the luxurious album "Feodorovsky Sovereign's Cathedral in Tsarskoe Selo. Vol. 1: The cave temple in the name of the teacher. Seraphim of Sarov Miracle Worker. Feodorovsky cathedral was ransacked by the Bolsheviks after 1917, and then suffered in the Great Patriotic War (the building it was restored in 1993). Simferopol is the cathedral was blown up in 1927, and only recently began work on its restoration in the same place.
In March 1915, Zworykin, along with other well-known artists (among them were Ivan Bilibin, Viktor Vasnetsov, Konstantin Makovsky, Mikhail Nesterov Nicholas Roerich), as well as architects, art historians, writers, government, community and church leaders, was the founder of " Company's revival of the art of Rus "- an organization that aimed to" spread among the Russian people a wide acquaintance with the ancient Russian art in all its forms and further continuity of its development as applied to modern conditions. " Envisaged an extensive program of this society, estimated by the beginning of 1917 nearly three hundred members, could not be implemented because of the revolution - its last general meeting was held a week before the abdication of Emperor Nicholas II.
At the end of 1917, Boris Zworykin designed the message of the Local Council for the restoration of the patriarchate - a unique dvadtsatimetrovy manuscript, painted by hand in the style credentials of the XVII century and decorated with figures of saints. The artist also performed sketch Patriarchal printing and institutionalized a personal message of Patriarch Tikhon of foreign heads of Christian churches. In late 1917 - early 1918, the artist collaborated (together with Sergei Chekhonin and Alexander Benois) in a children's almanac "Creativity", which were published by his illustrations for the tale of Alexei Remizov "Comrades" (Book 1. Pg., 1917), and institutionalized Book V. Volzhanin "Ancient Rus in Proverbs and Sayings" (Pg., 1917, 2 nd ed.: 1919). He also illustrated for publishers Sytin two books of "fairy tales" VASmirnov - "Father Christmas" and "Witch and Zemlyanichka. In these pictures he is most close to "polenovskoy" manner, with its characteristic sharp expressive contours, general fill the spots of local color and recognizable techniques in the depiction of landscape details.
In 1919, Boris Zworykin participated in the design of the magazine "Red Army" and created expressive political poster "Fight the red knight with a dark force", depicting the horse working, crushing hammer armed knights in armor (a copy of this rare large format poster is available in National Library of Russia in St. Petersburg).
In 1921, Zworykin had left Russia in the Crimea. After spending several months in Constantinople, he found himself in Egypt, where, incidentally, for two years lived Bilibin. In the same year the artist came to France and settled in Paris, which gradually became the capital of the Russian political, economic and cultural exile.
Fate caught up in the emigration of artists evolved differently. For most of them art has become primarily a means of survival. Academics and former students, forgetting about ambition, have often been forced to write for the sake of earning custom portraits, realistic landscapes, narrative paintings are in demand on a given topic. The means of earning the latter often applied art crafts - art wood carving, painting and porcelain boxes, making toys and gifts, embroidery, hand-coloring cloth and scarves. Some worked in the field of advertising and commercial art, while others were engaged in restoration work and taught art in schools. Some also had to change majors and for ever with art.
Adaptation of the artist in a foreign country, is known to depend primarily on the success of the artistic market, dominated by the aesthetic preferences and tastes of the local society. Keeping in another cultural environment devotion to national grounds, native range of subjects and images, it risks being in the position of the marginal, capable of carrying his art only rare lovers "ethnographic exoticism. However, in this respect, Boris Zworykin relatively lucky, and he did not have to backtrack on his favorite themes and aesthetic ideals. However, by early 1920 and artistic fashion has changed significantly, and the "modern era" with its refined sophistication and commitment to historical and cultural reminiscences belonged to the past, replaced by cold calculation of constructivism. But, as it not seem strange, "Russian Theme", a well-assimilated Parisian public through the triumph of Diaghilev's seasons, not only did not cause rejection, but has been asked as a manifestation of acute is felt nostalgia for the destroyed socio-political and cultural background of old Europe.
In 1922, Boris Zworykin performed colorful species illustrations and drawings to the book "History of the Soviets" Henri de Vindelya issued by J. Makovsky (Histoire des Soviets, publiee sous la direction de M. Henri de Weindel. Paris: Jacques Makowsky, Edit., 1922 ). Earlier began his long-term cooperation with the publishing house "Piazza", headed by L. Frikatelli. To do this, the publishing house he designed the book "Moscow and the village in the engravings and lithographs" GK Lukomski (1921), "Confessions" MA Bakunin (1921), "Poems" by A. de Musset (1927), as well as graceful small-format gift edition series «Ex orient lux». In 1925 the publishing house "Piazza" was published in his registration book "The Golden Cockerel and Other Tales» (Pouchkin A. Le coq d'or et d'autres contes. Paris: H. Piazza, 1925). Here, unlike in Moscow edition in 1903 (as well as from a known Bilibinskiy edition 1910), the artist deliberately moved away from the illusory three-dimensional, making each of the twenty illustrations in exquisite color ornament. Registration of title, screensavers, frames and the selection round patterns in this book with great certainty be traced to the traditions of medieval book design.
The next step, and possibly apical Boris Zvorykina achievement in his chosen path was the book "Boris Godunov" by Pushkin, was released in the same publishing house in 1927 (Pouchkine A. Boris Godounov. Paris: H. Piazza, 1927). In this edition, the artist demonstrates, above all, an impressive possession of ornamental art. An important feature of the book is not only the tracery lace vignettes, captions and frames, but the subtle weaving of patterns, mottled clothing characters, floor carpets and tablecloths, tiled stove, the walls and vaulted ceilings in chorus. Patterned entourage are organically connected with the three-dimensional and very realistic representation of space, care of details in the picture. This iridescence is not transferred to the motley and graphic sophistication does not become an end in itself and prevails over the drama depicted scenes. The strong impression placed at the beginning and end of the book (in color or black and white versions) portrait of Boris Godunov, which refers the reader to the aesthetics of "fryazhskih sheets" or "kunshtov" - engraved portraits, originating in Europe in Muscovy since Ivan the Terrible to Jewelry royal apartments and the rich boyar houses. It is interesting to compare zvorykinskogo "Boris Godunov" fired with two years earlier in a Paris publishing house galaxy of "book, illustrated by another famous immigrant - Basil Shuhaevym (Pouchkine, Alexandre. Boris Godounov /Illustrations de V. Choukhaeff. Traduction de J. Schiffrin. Paris: Éditions de la Pléiade, 1925). The youngest of the "miriskussnikov, Shukhaiev by that time managed to gain success with the Parisian public with exceptional technical skills acquired in the walls of the St. Petersburg Academy of Arts. The brilliant painter and draftsman who apply for a dozen books by Russian and French authors, he never sought to reproduce historical styles, and this work has built on virtuosity NCCA plays, or rather, parody Russian iconic designs. In "shuhaevskom" and "zvorykinskom" versions of "Boris Godunov" has always existed manifested in our artistic environment of the difference in views on the importance and intrinsic value of the national style. M. Blumenfeld wrote about Zworykin in the British journal «The Studio» in 1927: "All his work is based on strict preservation of the style a certain period. He believes in the primacy of style to ensure the unity of impression, to meet the aesthetic sense and to achieve ultimate success. He calmly continues he studied various techniques of the ancient art of all countries, but especially, of course, Russia.
Among other works of Boris Zvorykina performed abroad, should be called the cover and title page to the score of the opera Mussorgsky "Sorochinskaya Fair» (Musorgskij M., Tcherepnine N. La foire de Sorótchintzi: Opera comique en trois actes. Paris: W. Bessel & Cie., 1923), color cover literary and art anthology "Moscow", issued in Berlin, Olga Dyakova (1926), watercolor landscape of Red Square for the book on the geography of the USSR (Monmarché M, Tillion E. Russie. URSS Paris: Hachette, 1935). In 1928 the artist participated in the exhibition "Luxury Book 1923-1927" at the Museum of the books in Brussels. In 1935, his watercolors, depicting the pre-revolutionary forms of regiments 1 st Guards Cavalry Division, were on display in a bookstore «Librairie Générale» in Paris. In the same year, together with members of the society, "Icon", founded ten years earlier in France, artists, connoisseurs and lovers of Russian icon painting, Zworykin participated in an exhibition of icons of Christ the Savior Cathedral in Asnieres.
In late 1930, Boris Zworykin translated into French Russian fairy tale "The Snow Maiden", "Vasilisa the Beautiful", "Mary Marevna" and "Firebird" and appended his own illustrations stylized handwriting. This album is the artist of the four tales, in the hope of publication, presented to his employer and patron L. Frikatelli. However, the implementation of the project was conceived only after many years after his death: in 1978 this album in English was published in the form of colorful children's book with the assistance of the widow of U.S. President Jacqueline Kennedy Onassis (The Fire-Bird and other Russian Fairy Tales /Illustrated by Boris Zvorykin; Ed. аnd introd. By Jacqueline Onassis. NY: The Viking Press, 1978).
Illustrations Zvorykina to the said four Russian fairy tales formed the basis for the twelve sketches of porcelain plates. These sketches are stored now in the Metropolitan Museum in New York, and the collection itself plates was released a limited edition by the German firm «Heinrich Porzellan» in 1980-1983, respectively.
Boris Zworykin died in early 1942 in German-occupied Paris in those days, when, by a strange coincidence, in blockaded death of his brother in the arts and the continued correspondence rival Ivan Bilibin.
After the 1917 revolution, Russia had left many of literature and art, music and theater. And wherever the artists carry the life circumstances, and everywhere they wanted at least a modest amount to recreate his "Little Russia", and again returning to the lost values of the spiritual world. Creation of each emigrant bore the imprint of Russian art school, the establishment of which was interrupted by the revolution. It's time to pay tribute to the artist Boris Zworykin, who aspired to embody in their works elusive image of old Russia - a country that during his life with a violent sequence wavered from its historical past.
Bibliography
Villager E. Remarkable echoes of old Russia //Modern Times. 1914. January 18.
Print and revolution. 1928. Kn. 4. S. 124, 126.
Art. 1967. Number 11. 22-23.
Sidorov AA Russian timetable early twentieth century: Essays on the history and theory. Moscow, 1969 (Ukazat.).
Ivan Bilibin: Articles. Letters. Memories of the artist /Red.-comp., Bus. introd. Art. i komment. SV Golynets. L., 1970. P. 14.
Severyukhin DY, Leikind OL Golden Age of art associations in Russia and the USSR (1820-1932). SPb., 1992. S. 156-157.
Severyukhin DY, Leikind OL Artists of the Russian emigration. SPb., 1994. 209-210.
Artists of the USSR: bibliographical dictionary, Ed. OE Voltsenburga, AA Fedorov-Davydov, et al, 1995. T. 4. Part 1. S. 273.
Leikind OL, Makhrov KV, Severyukhin DY Russian artists living abroad 1917-1939: Biographical Dictionary. SPb., 1999; 2000. S. 287-288.
Graphics by Russian artists from A to Z /Sost. and the text: A. Vinogradov, GE Klimov. M., 2002. P. 91.
The Golden Fleece. Artistic, literary and critical journal "(1906-1909): Paintings content /Sost. VV Shadurskiy. Veliky Novgorod, 2002. S. 58, 75, 76, 121.
Medvedev Yu Return of beauty /Motherland. 2003. № 4. S. 105-108.
Blumenfeld M. Boris Zworykine //The Studio. 1927. V. 93. P. 188-191.
The Fire-Bird and other Russian Fairy Tales /Illustrated by Boris Zvorykin; Ed. аnd introd. by Jacqueline Onassis. N.Y.: The Viking Press, 1978.
Plate collection «Russian fairy tales» Heinrich Porcellan. Selb: Galleria Ceramica von Heinrich Porzellan GmbH, [s. a.]
Een Russisch Sprookje: Russischer boekkunst en grafiek uit het begin van de 20e eeuw. Voorbeelden uit de LS collectie, Nijmegen Gekozen en voorzien van texten door A. Lemmens en S.-A. Stommels. Nijmegen, 2004 [+ CD].
DY Severyukhin
The reason for this neglect stemmed from the one hand, initially adopted by this artist relatively narrow range of creative practices, limited, pre-eminently the sphere of books and applied graphics, and on the other - in their chosen path of building an independent artistic career, has resulted in the consistent non-participation in any a "group policies". Zworykin stayed away from such a landmark for the domestic arts and, of course, close to him on the prevailing symbolic retrospektivistskomu spirit of collective action, as the exhibition of the Moscow Association of Artists, "World of Art" and "Blue Rose". He was not able to participate in the Moscow magazine "Balance" who united in its pages many Symbolist artists - from senior representatives of the Russian Art Nouveau "Vrubel and Viktor Borisov-Musatov to the young" berdsliantsa Nikolai Feofilaktova. Cooperation is Zvorykina another symbolist body - a luxurious large format magazine "Golden Fleece, this brainchild of Moscow's patron and the artist NP Ryabushinsky, got up and followed the" Libra "the banner of Russian Symbolism, was sporadic and confined to a few vignettes, performed by him in 1906 -1909, respectively. All this led to the talented and original artist has been overlooked newspaper and magazine critics, who have always influenced the public assessment of the relevance of an artistic phenomenon.
Not surprisingly, in the eyes of not only his contemporaries, but also a number of subsequent researchers, of books and graphic art by Boris Zvorykina remained in the shadow of his more famous and prolific younger contemporary - Ivan Bilibin, whose creative, and personal destiny in many respects similar to zvorykinskoy. Striking example in this regard is a statement of the Soviet biographer Sergei Golyntsa Bilibin, who allowed himself to be called Zvorykina "clever simulator, the shadow that followed Bilibin for several decades in Russia and in France, losing sight of the obvious fact that creative formation of these Two artists, no doubt inspired by common ideals, proceeded in parallel, and their first steps in the field of book illustration took place almost simultaneously.
Biographical information on Boris Zworykin, avoid excessive publicity, very scarce. It is known that the artist was born on 1 (13) October 1872 in Moscow in a family of merchants. In 1892-1893, he studied at the Moscow School of Painting, Sculpture and Architecture, and later, perhaps, attended classes at St. Petersburg Academy of Arts, which, however, we were unable to document. In my youth, like Bilibin, he was fascinated by the "Russian theme", the most harmonious artistic expression which was then largely associated with the work of Helena Polenova, Viktor Vasnetsov and Sergei Malyutina - the first native artists who have managed to depart from the primitive peredvizhnicheskogo naturalism in the interpretation of national history and folk stories. Love of the Russian past - the history, legends and folklore, decorative and applied art, icons and wooden architecture, ancient calligraphy, ornamentation, and a miniature portrait - has become the pivot on which later built the creative life Zvorykina.
Since 1898, Boris Zworykin illustrated and designed books for Moscow and St. Petersburg publisher Sytin, AA Mamontov, I. Knebel, AF Marx, and AA Levinson. In 1903, a Moscow publishing house "Association skoropechatni A. Levinson" came out with his illustrations and his own rich design of large-scale (324 x 260 mm) dvenadtsatistranichnaya book "Tale of the Golden Cockerel Pushkin, who became the first experience of the artist in the field of children's books. Stylistically, this work echoes the "Vasilisa the Beautiful" in the design Bilibin, published a year earlier in St. Petersburg "Expedition harvested government securities" and is rightly considered one of the highest Bilibinskii achievements in this genre. Two mentioned the book, almost the same format, marked with common approaches to ornamentation registration page to interposition of illustrations and text; fairly close resemblance there to catch and colors, and images of individual objects and landscape elements. This absolute stylistic affinity, however, does not give grounds for accusations of imitation, but only points to the common origin of two artists, dating back to the imagery Helena Polenova. Here in the most complete way to express the characteristic of Russian art of early twentieth century, collective desire for wholeness of the plastic display of romance Russian folk tale.
Probably, we still regret the fact that the scope of children's books had not taken a firm place in the work of Boris Zvorykina and, unlike Bilibin, whose achievement here in 1900's were quite impressive, it is only occasionally turned to illustrating stories. Creative trajectories of these two artists (who, incidentally, have hardly been closely acquainted with each other) at some time left. The main area of application of forces Zvorykina in these years was applied graphics, and design of historical and artistic album, anniversary and gift books, wall and desktop calendars. Among the books he designed include the following: "Monastery, monasteries and temples in Holy Russia (St. Petersburg, 1909, edition was published the St. Petersburg diocese)," Serfdom and Freedom "(as appears on title page -" sumptuously illustrated commemorative edition in memory of 50-th anniversary of the liberation of the peasantry ", Moscow, 1911)," In memory of the centennial of the war of 1812 "(Stockholm, 1912), Jubilee Wall Calendar-album in 1912 with drawings based on the novel of Leo Tolstoy's War and world "(Moscow, 1912), a commemorative book" Yegorievsky Mayor Nicephorus Mikhailovich Bardygin: 1872-1901 "(Moscow, 1912), gift edition of the chronicle and facial Izbornik Romanov (Moscow, 1913) and" Moscow " (Moscow, 1914). Book an artist's work exhibited at the exhibition "Art in the book and poster, which was held in St. Petersburg in the winter 1911/1912 year.
Converging on the aesthetic decisions with more and more popular, but far less subtle Karazin Nicholas and Elena Samokish-Sudkovskoy, Boris Zworykin was one of the most prominent sponsors of the Christmas and Easter greeting cards. He received recognition as an artist and open letters by following a series of watercolor postcards on the theme "The Time of Troubles," "Napoleon's Invasion of 1812", "Russian children", "Russian epic," Hunting ", and since 1914 - on patriotic themes, encouraging citizens of a belligerent power.
Consistent supporter and creator of the "Russian style", Zworykin was greatly appreciated by members of the imperial family, which had a special affection for the national art forms and images. He is often engaged to carry out orders of the Imperial Court - known, for example, filled his menu, gala dinners in honor of French Senators and Deputies in Moscow (1910) and after arrival in Russia of the British Trade Mission (1912). In 1909-1912 years the artist has participated in the decoration of the cathedral Saints Alexander Nevsky in Simferopol and Feodorovsky Sovereign's Cathedral in Tsarskoe Selo, earning the gratitude of the emperor. He was executed and the cover sheet to released in 1915, the luxurious album "Feodorovsky Sovereign's Cathedral in Tsarskoe Selo. Vol. 1: The cave temple in the name of the teacher. Seraphim of Sarov Miracle Worker. Feodorovsky cathedral was ransacked by the Bolsheviks after 1917, and then suffered in the Great Patriotic War (the building it was restored in 1993). Simferopol is the cathedral was blown up in 1927, and only recently began work on its restoration in the same place.
In March 1915, Zworykin, along with other well-known artists (among them were Ivan Bilibin, Viktor Vasnetsov, Konstantin Makovsky, Mikhail Nesterov Nicholas Roerich), as well as architects, art historians, writers, government, community and church leaders, was the founder of " Company's revival of the art of Rus "- an organization that aimed to" spread among the Russian people a wide acquaintance with the ancient Russian art in all its forms and further continuity of its development as applied to modern conditions. " Envisaged an extensive program of this society, estimated by the beginning of 1917 nearly three hundred members, could not be implemented because of the revolution - its last general meeting was held a week before the abdication of Emperor Nicholas II.
At the end of 1917, Boris Zworykin designed the message of the Local Council for the restoration of the patriarchate - a unique dvadtsatimetrovy manuscript, painted by hand in the style credentials of the XVII century and decorated with figures of saints. The artist also performed sketch Patriarchal printing and institutionalized a personal message of Patriarch Tikhon of foreign heads of Christian churches. In late 1917 - early 1918, the artist collaborated (together with Sergei Chekhonin and Alexander Benois) in a children's almanac "Creativity", which were published by his illustrations for the tale of Alexei Remizov "Comrades" (Book 1. Pg., 1917), and institutionalized Book V. Volzhanin "Ancient Rus in Proverbs and Sayings" (Pg., 1917, 2 nd ed.: 1919). He also illustrated for publishers Sytin two books of "fairy tales" VASmirnov - "Father Christmas" and "Witch and Zemlyanichka. In these pictures he is most close to "polenovskoy" manner, with its characteristic sharp expressive contours, general fill the spots of local color and recognizable techniques in the depiction of landscape details.
In 1919, Boris Zworykin participated in the design of the magazine "Red Army" and created expressive political poster "Fight the red knight with a dark force", depicting the horse working, crushing hammer armed knights in armor (a copy of this rare large format poster is available in National Library of Russia in St. Petersburg).
In 1921, Zworykin had left Russia in the Crimea. After spending several months in Constantinople, he found himself in Egypt, where, incidentally, for two years lived Bilibin. In the same year the artist came to France and settled in Paris, which gradually became the capital of the Russian political, economic and cultural exile.
Fate caught up in the emigration of artists evolved differently. For most of them art has become primarily a means of survival. Academics and former students, forgetting about ambition, have often been forced to write for the sake of earning custom portraits, realistic landscapes, narrative paintings are in demand on a given topic. The means of earning the latter often applied art crafts - art wood carving, painting and porcelain boxes, making toys and gifts, embroidery, hand-coloring cloth and scarves. Some worked in the field of advertising and commercial art, while others were engaged in restoration work and taught art in schools. Some also had to change majors and for ever with art.
Adaptation of the artist in a foreign country, is known to depend primarily on the success of the artistic market, dominated by the aesthetic preferences and tastes of the local society. Keeping in another cultural environment devotion to national grounds, native range of subjects and images, it risks being in the position of the marginal, capable of carrying his art only rare lovers "ethnographic exoticism. However, in this respect, Boris Zworykin relatively lucky, and he did not have to backtrack on his favorite themes and aesthetic ideals. However, by early 1920 and artistic fashion has changed significantly, and the "modern era" with its refined sophistication and commitment to historical and cultural reminiscences belonged to the past, replaced by cold calculation of constructivism. But, as it not seem strange, "Russian Theme", a well-assimilated Parisian public through the triumph of Diaghilev's seasons, not only did not cause rejection, but has been asked as a manifestation of acute is felt nostalgia for the destroyed socio-political and cultural background of old Europe.
In 1922, Boris Zworykin performed colorful species illustrations and drawings to the book "History of the Soviets" Henri de Vindelya issued by J. Makovsky (Histoire des Soviets, publiee sous la direction de M. Henri de Weindel. Paris: Jacques Makowsky, Edit., 1922 ). Earlier began his long-term cooperation with the publishing house "Piazza", headed by L. Frikatelli. To do this, the publishing house he designed the book "Moscow and the village in the engravings and lithographs" GK Lukomski (1921), "Confessions" MA Bakunin (1921), "Poems" by A. de Musset (1927), as well as graceful small-format gift edition series «Ex orient lux». In 1925 the publishing house "Piazza" was published in his registration book "The Golden Cockerel and Other Tales» (Pouchkin A. Le coq d'or et d'autres contes. Paris: H. Piazza, 1925). Here, unlike in Moscow edition in 1903 (as well as from a known Bilibinskiy edition 1910), the artist deliberately moved away from the illusory three-dimensional, making each of the twenty illustrations in exquisite color ornament. Registration of title, screensavers, frames and the selection round patterns in this book with great certainty be traced to the traditions of medieval book design.
The next step, and possibly apical Boris Zvorykina achievement in his chosen path was the book "Boris Godunov" by Pushkin, was released in the same publishing house in 1927 (Pouchkine A. Boris Godounov. Paris: H. Piazza, 1927). In this edition, the artist demonstrates, above all, an impressive possession of ornamental art. An important feature of the book is not only the tracery lace vignettes, captions and frames, but the subtle weaving of patterns, mottled clothing characters, floor carpets and tablecloths, tiled stove, the walls and vaulted ceilings in chorus. Patterned entourage are organically connected with the three-dimensional and very realistic representation of space, care of details in the picture. This iridescence is not transferred to the motley and graphic sophistication does not become an end in itself and prevails over the drama depicted scenes. The strong impression placed at the beginning and end of the book (in color or black and white versions) portrait of Boris Godunov, which refers the reader to the aesthetics of "fryazhskih sheets" or "kunshtov" - engraved portraits, originating in Europe in Muscovy since Ivan the Terrible to Jewelry royal apartments and the rich boyar houses. It is interesting to compare zvorykinskogo "Boris Godunov" fired with two years earlier in a Paris publishing house galaxy of "book, illustrated by another famous immigrant - Basil Shuhaevym (Pouchkine, Alexandre. Boris Godounov /Illustrations de V. Choukhaeff. Traduction de J. Schiffrin. Paris: Éditions de la Pléiade, 1925). The youngest of the "miriskussnikov, Shukhaiev by that time managed to gain success with the Parisian public with exceptional technical skills acquired in the walls of the St. Petersburg Academy of Arts. The brilliant painter and draftsman who apply for a dozen books by Russian and French authors, he never sought to reproduce historical styles, and this work has built on virtuosity NCCA plays, or rather, parody Russian iconic designs. In "shuhaevskom" and "zvorykinskom" versions of "Boris Godunov" has always existed manifested in our artistic environment of the difference in views on the importance and intrinsic value of the national style. M. Blumenfeld wrote about Zworykin in the British journal «The Studio» in 1927: "All his work is based on strict preservation of the style a certain period. He believes in the primacy of style to ensure the unity of impression, to meet the aesthetic sense and to achieve ultimate success. He calmly continues he studied various techniques of the ancient art of all countries, but especially, of course, Russia.
Among other works of Boris Zvorykina performed abroad, should be called the cover and title page to the score of the opera Mussorgsky "Sorochinskaya Fair» (Musorgskij M., Tcherepnine N. La foire de Sorótchintzi: Opera comique en trois actes. Paris: W. Bessel & Cie., 1923), color cover literary and art anthology "Moscow", issued in Berlin, Olga Dyakova (1926), watercolor landscape of Red Square for the book on the geography of the USSR (Monmarché M, Tillion E. Russie. URSS Paris: Hachette, 1935). In 1928 the artist participated in the exhibition "Luxury Book 1923-1927" at the Museum of the books in Brussels. In 1935, his watercolors, depicting the pre-revolutionary forms of regiments 1 st Guards Cavalry Division, were on display in a bookstore «Librairie Générale» in Paris. In the same year, together with members of the society, "Icon", founded ten years earlier in France, artists, connoisseurs and lovers of Russian icon painting, Zworykin participated in an exhibition of icons of Christ the Savior Cathedral in Asnieres.
In late 1930, Boris Zworykin translated into French Russian fairy tale "The Snow Maiden", "Vasilisa the Beautiful", "Mary Marevna" and "Firebird" and appended his own illustrations stylized handwriting. This album is the artist of the four tales, in the hope of publication, presented to his employer and patron L. Frikatelli. However, the implementation of the project was conceived only after many years after his death: in 1978 this album in English was published in the form of colorful children's book with the assistance of the widow of U.S. President Jacqueline Kennedy Onassis (The Fire-Bird and other Russian Fairy Tales /Illustrated by Boris Zvorykin; Ed. аnd introd. By Jacqueline Onassis. NY: The Viking Press, 1978).
Illustrations Zvorykina to the said four Russian fairy tales formed the basis for the twelve sketches of porcelain plates. These sketches are stored now in the Metropolitan Museum in New York, and the collection itself plates was released a limited edition by the German firm «Heinrich Porzellan» in 1980-1983, respectively.
Boris Zworykin died in early 1942 in German-occupied Paris in those days, when, by a strange coincidence, in blockaded death of his brother in the arts and the continued correspondence rival Ivan Bilibin.
After the 1917 revolution, Russia had left many of literature and art, music and theater. And wherever the artists carry the life circumstances, and everywhere they wanted at least a modest amount to recreate his "Little Russia", and again returning to the lost values of the spiritual world. Creation of each emigrant bore the imprint of Russian art school, the establishment of which was interrupted by the revolution. It's time to pay tribute to the artist Boris Zworykin, who aspired to embody in their works elusive image of old Russia - a country that during his life with a violent sequence wavered from its historical past.
Bibliography
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Plate collection «Russian fairy tales» Heinrich Porcellan. Selb: Galleria Ceramica von Heinrich Porzellan GmbH, [s. a.]
Een Russisch Sprookje: Russischer boekkunst en grafiek uit het begin van de 20e eeuw. Voorbeelden uit de LS collectie, Nijmegen Gekozen en voorzien van texten door A. Lemmens en S.-A. Stommels. Nijmegen, 2004 [+ CD].
DY Severyukhin
