Винтажные и старинные предметы интерьера..
Collector Yury Nosov ...
The main theme of collecting activities of the Moscow collector Yuri Mikhailovich Nosov - the work of artists of Leningrad 1920 - 30-ies.
In 2001 in Moscow, the Museum of Private Collections, an exhibition "On the banks of the Neva (Nosov was its initiator and one of the participants) showed identity of the Leningrad school of painting and graphics. In the spring of 2003 in the gallery "New Hermitage" on Spiridonovka Moscow "Art Collectors Club was organized by" personal "exposure collector - an exhibition of works from his collection, dedicated to the theme of Leningrad. Around her and our conversation was conducted.
Editorial. private collecting, the principles of collecting activities, the identity of the collector - all these issues are at the center of our attention. Chairman of the "Collectors Club" Valery Alec sandrovich Dudakov in his interview published in the first issue of our magazine, spoke about the privileges of private collectors, and this is an unusual proposition we have learned while in the title of the published material. What are you, Yuri M., see these benefits?
Yury Nosov. I would concentrate on, as convinced of certain advantages of the private gathering in front of the public, museum collecting. These advantages, in other words - privileges, provide an opportunity to supplement, and in some cases and significantly adjust collecting activities of the state museums, acquiring and preserving the national culture for the work, ignored by officials for ideological, financial reasons, often because of indifference and arrogance. And, as our history shows, the famous Russian collector brilliantly executed this socially significant functions, relying on your own taste, flair and personal funds.
Thus, the benefits - in order. First, the collector is often more operativen compared with the museum. Secondly, it is free, independent decision-making, relying on its own flair. He was with anyone nothing to negotiate, to no one should be accountable. Third, it is no one should ask nothing, neither the sponsors nor the state. Good thing - pulled from his pocket the money and paid the owner. That's right - quickly, decisively - did George Dionisovich Kostaki. At a time when the whole stratum of our culture - the vanguard - has been banned, primarily for museums, as ideologically harmful, Kostaki, being a man free to choose, acquire, at your own risk, of the first third of XX century, which could in those years just to die. Most of the collection of George Dionisovich gave the Tretyakov Gallery in front of his forced departure from Russia. Since the collector kept the works of avant-garde for our country for many years ahead of estimates of Art graduate, has kept the names that could be forgotten. And how many young, an unknown artist, he gave a "free pass" in the 50's, 60's! He did it all, feeling pressure from the authorities, and formed around the negative public opinion. Even in the following departure of George Dionisovicha appeared in newspapers articles, in which dedicated collector has been described as "crafty Greek, allegedly lured a" loaf of sausage, "paintings from the artists.
Ed. True, in those years, many artists Kostaki not let starve to death. And besides that, he inspired artists in the belief in his talent, would not let fade away will work. Do you personally know Kostaki?
YN Yes, I was fortunate to meet with George Dionisovichem in the early 1970's in the house of the poet muses Pavlova, home to a range of interesting people. Been there, for example, the famous physicist, academician of Migdal, actress Maya Bulgakov, artists Vitaly Goryayev, Dmitry Krasnopevtsev. There I met with Lilya Brik and her husband Basil Katanyanom. I was very young, everyone was interested, and George Dionisovich, apparently feeling in me that a lively interest in art, he invited him to his apartment on Prospekt Vernadskogo. Where I first "live" saw the works of Paul Filonov, Marc Chagall, Ivan Cluny, Liubov Popova, Alexandra Drevins. While contacts with Kostaki, is "under the hood" of the KGB, were not safe for me - after I graduated from the Military Institute of Foreign Languages, where he taught at the Department of English, was an officer. When I visited George Dionisovicha, then left his car away from his home and approached him, winding alleys. Desire to see his unique collection was irresistible.
Ed. How is it that you began to collect works of Leningrad artists? On what do you base in your choice - for some personal sympathy?
YN Example Kostaki, who managed to find "their" free and open to people Mysterious strata in the art, inspired me to find their own niches. I wanted to make her at least a little, but the discovery. And to make it available to the public: to acquaint with them professionals - art historians, collectors and amateurs of art. Incidentally, it was not easy - find your topic. I've watched and read then books on art, including Western publications, I liked American painters - Pollock, Gorky, sculptor Calder. I was familiar with many Moscow artists of the sixties, nonconformists, as they are called now - Anatoly Zverev, Vladimir Weisberg, Vladimir Nemukhin, was friends with Dmitri Krasnopevtseva. And in the beginning I thought: this is my theme. But whether these people seemed to me close and available, or simply "face to face - a person can not see, only I kept thinking - to look for something else.
And in the end, even in the early 90's, I found a topic that became her. Found, one might say, by chance, and not in Moscow, and Peter-burg. I started to go there as a job, attend home owners, selected and bought works by Leningrad artists prewar pores, then they are restored and decorated. These artists for many years remained in the shadows, were bypassed attention of art critics, especially in Moscow. In terms of the heirs of Leningrad artists known to have introduced me to art - the artist's son Alexander Rusakov, Julius A. (which, unfortunately, no longer with us) and his wife Alla. They believed in me, that I collect the work and not for resale or warehousing, but in order to give them a second life, exposing them and publishing. And I hope I did not disappoint their expectations. I am glad that my classes popularize the names of the wonderful but lesser-known authors' show new facets of art by famous artists, expanding our understanding of the history of the domestic arts.
After all, the Tretyakov Gallery, in its permanent exhibition, are not represented by Alexander Vedernikov, nor Alexander Rusakov, nor Vladimir Grinberg. Here is a vivid example of "discrimination" of the Leningrad school: Tretyakov does not respond even to the 100 th anniversary of Alexey Fedorovich Pakhomov in the year 2000.
Ed. At the exhibitions of artists of Leningrad, as the Museum of Private Collections, and the "New Hermitage", reigned amazing, spiritually-enlightened atmosphere. Struck by the artistic chastity authors of the works - they are totally surrendered to creativity, if not noticed anything that happened around ...
YN They really were so, despite the fact that the events of real life dealt them closely. And they pretty much had to do. Association "Circle of Artists, founded in 1926 by graduates of the Academy (it included Vyacheslav Pakoulin, Alexey Pakhomov, Alexander Samokhvalov, Alexander Vedernikov, Alexander Rusakov, Tatiana Kupervasser, etc.), holding an exhibition in the halls of the Russian Museum, organized discussions, workshops the arts. They were both artists themselves, and well-known art Punin, Tarabukin. By its nature, "Circle" was close to Moscow Ost, but unlike "ostovtsev", "krugovtsy were more free of social and industrial order programmatically declaring" the content of the picture ... its formal nature, its quality. "
And in general for the work of artists united by the notion of "Leningrad school, characterized by a very special atmosphere, filled with spiritual purity, marked by high culture goes back to the traditions of the" World of Art. And yet - some are my reading experience of the French post-impressionism. My collecting interests are focused on the artists, representing a "third way" that is not adjacent to any avant-garde, nor to social realism, and engaged in "pure" painting.
Once in 1932, all factions were disbanded, the artists continued to work, still intense, but, as it were only for myself, not hoping to show their work in formal exhibitions, are not focusing on the social order. They understood that in the foreseeable future their work will not be claimed. And they were in the full sense servants of the high art, not working "for" and "sake".
Alexander Rusakov clearly aware that his paintings, he can neither put nor sell, and yet, every morning he would stand up to the easel. His wife, Tatiana Kupervasser-Rusakova donated their talent, allowing Alexander Isaakovich realized, and in 1930 she was forced to make a living that drew some diagrams and charts.
Ed. Who are the artists of the Leningrad school you value most?
YN Want to select Vladimir Arievich Greenberg, although each of the artists was a talented and bright person. Greenberg formally in the "Circle" was not included, but was close "krugovtsam" stylistically and spiritually. In urban landscapes Greenberg - deep poetry and, with all manner of freedom, an amazing finish, shaped completeness: the minimum means he could say a lot.
But in general I love all those who gather and feel a duty to each artist. I want to restore historical justice - in fact many were killed during the siege of Leningrad, and later they nobody has seriously studied, not "unraveled", as they say. Museums staged exhibitions of famous artists - Filonov, Chagall, Lissitzky, and until these artists almost nobody cared, even for specialists. For example, Peter Lviv - we knew him as graphics, lithography, and it turns out, was an excellent painter. Lions died during the war, as, indeed, and Greenberg, and Tyrsa, and Lapshin, and Kazan. Maria Kazan had been a student (in the medieval sense of the word) and the companion Vera Ermolaeva - one of the famous "amazons" of the Russian avant-garde, persecuted after the assassination of Kirov, who died in the camp in 1938.
Arrested - for a short time - and Maria Kazan. In this still quite a young girl was fine spiritual organization, questioning its impact on the psyche, she fell ill and died at the beginning of the siege. In fact, it only worked in the first half of the 30-ies. Kazan is different from "krugovtsev" pronounced expressive gift. To lay down her life differently, how powerfully could turn this gift. Ermolaev Kazan was good training. I saw the early work in which she tried different style, consistently passing through sezannizm, puantelizm, Post-Impressionism, Fauvism. Recent exhibition, which exhibited Leningrad, in fact only begun to discover this author to the public. And much more famous artists are opening. So, we knew Vladimir Lebedev as graphics, but now we know him as a fine artist. His artistic style is close renuarovskoy. It is known that the artist his painting for some reason did not put even in the studio no one showed ... And how not to love Pakhomov!? What is it identity - he found his recognizable plastic formula a young painter, and some high culture - he found inspiration in the early Italians, and Russian fresco. Yuri A. Rusakov and S. Alexander Vedernikov, thank God, survived the war. Circumstances, no doubt, impelled them to compromise. But no social engagement or commercial calculation have not touched their creativity. Because they saw themselves only in the service of art. As for the Leningrad school as a whole, perhaps, the public still lacks the courage to admit that it is represented by artists of the highest European level. And I'm convinced of it.
Ed. Tell me, do you feel any result of your activities? Have satisfaction or think that public opinion can not be changed?
YN I think the result is obvious, this is the result, which can only delight of this collector. At the exhibitions at the Museum of Private Collections and the New Hermitage "was shown more than 150 anywhere previously unexposed jobs. All of them were published in a directory that is introduced to the academic community. Thousands of people attended these exhibitions, books reviews are submitted by the wonderful words of gratitude. Dozens of newspapers and magazines, television, responded to these events. I think that is largely thanks to this exhibition and the catalog of a few encyclopedic dictionaries for Russian art have appeared articles on Greenberg, Vedernikov, Rusakov, Lvov. Ap-las even commercial gallery "Art-Divazh" which does not hide its continuity and focuses on the art of Leningrad artists 1920-30-ies. So I'm very pleased and think - this is just the beginning.
And I want to finish by returning to the beginning of our conversation, recalling the most important "advantage" of this collector to the museum. This selfless love for art and not on positions, and for the soul.
http://www.rusiskusstvo.ru/collections/a649/
In 2001 in Moscow, the Museum of Private Collections, an exhibition "On the banks of the Neva (Nosov was its initiator and one of the participants) showed identity of the Leningrad school of painting and graphics. In the spring of 2003 in the gallery "New Hermitage" on Spiridonovka Moscow "Art Collectors Club was organized by" personal "exposure collector - an exhibition of works from his collection, dedicated to the theme of Leningrad. Around her and our conversation was conducted.
Editorial. private collecting, the principles of collecting activities, the identity of the collector - all these issues are at the center of our attention. Chairman of the "Collectors Club" Valery Alec sandrovich Dudakov in his interview published in the first issue of our magazine, spoke about the privileges of private collectors, and this is an unusual proposition we have learned while in the title of the published material. What are you, Yuri M., see these benefits?
Yury Nosov. I would concentrate on, as convinced of certain advantages of the private gathering in front of the public, museum collecting. These advantages, in other words - privileges, provide an opportunity to supplement, and in some cases and significantly adjust collecting activities of the state museums, acquiring and preserving the national culture for the work, ignored by officials for ideological, financial reasons, often because of indifference and arrogance. And, as our history shows, the famous Russian collector brilliantly executed this socially significant functions, relying on your own taste, flair and personal funds.
Thus, the benefits - in order. First, the collector is often more operativen compared with the museum. Secondly, it is free, independent decision-making, relying on its own flair. He was with anyone nothing to negotiate, to no one should be accountable. Third, it is no one should ask nothing, neither the sponsors nor the state. Good thing - pulled from his pocket the money and paid the owner. That's right - quickly, decisively - did George Dionisovich Kostaki. At a time when the whole stratum of our culture - the vanguard - has been banned, primarily for museums, as ideologically harmful, Kostaki, being a man free to choose, acquire, at your own risk, of the first third of XX century, which could in those years just to die. Most of the collection of George Dionisovich gave the Tretyakov Gallery in front of his forced departure from Russia. Since the collector kept the works of avant-garde for our country for many years ahead of estimates of Art graduate, has kept the names that could be forgotten. And how many young, an unknown artist, he gave a "free pass" in the 50's, 60's! He did it all, feeling pressure from the authorities, and formed around the negative public opinion. Even in the following departure of George Dionisovicha appeared in newspapers articles, in which dedicated collector has been described as "crafty Greek, allegedly lured a" loaf of sausage, "paintings from the artists.
Ed. True, in those years, many artists Kostaki not let starve to death. And besides that, he inspired artists in the belief in his talent, would not let fade away will work. Do you personally know Kostaki?
YN Yes, I was fortunate to meet with George Dionisovichem in the early 1970's in the house of the poet muses Pavlova, home to a range of interesting people. Been there, for example, the famous physicist, academician of Migdal, actress Maya Bulgakov, artists Vitaly Goryayev, Dmitry Krasnopevtsev. There I met with Lilya Brik and her husband Basil Katanyanom. I was very young, everyone was interested, and George Dionisovich, apparently feeling in me that a lively interest in art, he invited him to his apartment on Prospekt Vernadskogo. Where I first "live" saw the works of Paul Filonov, Marc Chagall, Ivan Cluny, Liubov Popova, Alexandra Drevins. While contacts with Kostaki, is "under the hood" of the KGB, were not safe for me - after I graduated from the Military Institute of Foreign Languages, where he taught at the Department of English, was an officer. When I visited George Dionisovicha, then left his car away from his home and approached him, winding alleys. Desire to see his unique collection was irresistible.
Ed. How is it that you began to collect works of Leningrad artists? On what do you base in your choice - for some personal sympathy?
YN Example Kostaki, who managed to find "their" free and open to people Mysterious strata in the art, inspired me to find their own niches. I wanted to make her at least a little, but the discovery. And to make it available to the public: to acquaint with them professionals - art historians, collectors and amateurs of art. Incidentally, it was not easy - find your topic. I've watched and read then books on art, including Western publications, I liked American painters - Pollock, Gorky, sculptor Calder. I was familiar with many Moscow artists of the sixties, nonconformists, as they are called now - Anatoly Zverev, Vladimir Weisberg, Vladimir Nemukhin, was friends with Dmitri Krasnopevtseva. And in the beginning I thought: this is my theme. But whether these people seemed to me close and available, or simply "face to face - a person can not see, only I kept thinking - to look for something else.
And in the end, even in the early 90's, I found a topic that became her. Found, one might say, by chance, and not in Moscow, and Peter-burg. I started to go there as a job, attend home owners, selected and bought works by Leningrad artists prewar pores, then they are restored and decorated. These artists for many years remained in the shadows, were bypassed attention of art critics, especially in Moscow. In terms of the heirs of Leningrad artists known to have introduced me to art - the artist's son Alexander Rusakov, Julius A. (which, unfortunately, no longer with us) and his wife Alla. They believed in me, that I collect the work and not for resale or warehousing, but in order to give them a second life, exposing them and publishing. And I hope I did not disappoint their expectations. I am glad that my classes popularize the names of the wonderful but lesser-known authors' show new facets of art by famous artists, expanding our understanding of the history of the domestic arts.
After all, the Tretyakov Gallery, in its permanent exhibition, are not represented by Alexander Vedernikov, nor Alexander Rusakov, nor Vladimir Grinberg. Here is a vivid example of "discrimination" of the Leningrad school: Tretyakov does not respond even to the 100 th anniversary of Alexey Fedorovich Pakhomov in the year 2000.
Ed. At the exhibitions of artists of Leningrad, as the Museum of Private Collections, and the "New Hermitage", reigned amazing, spiritually-enlightened atmosphere. Struck by the artistic chastity authors of the works - they are totally surrendered to creativity, if not noticed anything that happened around ...
YN They really were so, despite the fact that the events of real life dealt them closely. And they pretty much had to do. Association "Circle of Artists, founded in 1926 by graduates of the Academy (it included Vyacheslav Pakoulin, Alexey Pakhomov, Alexander Samokhvalov, Alexander Vedernikov, Alexander Rusakov, Tatiana Kupervasser, etc.), holding an exhibition in the halls of the Russian Museum, organized discussions, workshops the arts. They were both artists themselves, and well-known art Punin, Tarabukin. By its nature, "Circle" was close to Moscow Ost, but unlike "ostovtsev", "krugovtsy were more free of social and industrial order programmatically declaring" the content of the picture ... its formal nature, its quality. "
And in general for the work of artists united by the notion of "Leningrad school, characterized by a very special atmosphere, filled with spiritual purity, marked by high culture goes back to the traditions of the" World of Art. And yet - some are my reading experience of the French post-impressionism. My collecting interests are focused on the artists, representing a "third way" that is not adjacent to any avant-garde, nor to social realism, and engaged in "pure" painting.
Once in 1932, all factions were disbanded, the artists continued to work, still intense, but, as it were only for myself, not hoping to show their work in formal exhibitions, are not focusing on the social order. They understood that in the foreseeable future their work will not be claimed. And they were in the full sense servants of the high art, not working "for" and "sake".
Alexander Rusakov clearly aware that his paintings, he can neither put nor sell, and yet, every morning he would stand up to the easel. His wife, Tatiana Kupervasser-Rusakova donated their talent, allowing Alexander Isaakovich realized, and in 1930 she was forced to make a living that drew some diagrams and charts.
Ed. Who are the artists of the Leningrad school you value most?
YN Want to select Vladimir Arievich Greenberg, although each of the artists was a talented and bright person. Greenberg formally in the "Circle" was not included, but was close "krugovtsam" stylistically and spiritually. In urban landscapes Greenberg - deep poetry and, with all manner of freedom, an amazing finish, shaped completeness: the minimum means he could say a lot.
But in general I love all those who gather and feel a duty to each artist. I want to restore historical justice - in fact many were killed during the siege of Leningrad, and later they nobody has seriously studied, not "unraveled", as they say. Museums staged exhibitions of famous artists - Filonov, Chagall, Lissitzky, and until these artists almost nobody cared, even for specialists. For example, Peter Lviv - we knew him as graphics, lithography, and it turns out, was an excellent painter. Lions died during the war, as, indeed, and Greenberg, and Tyrsa, and Lapshin, and Kazan. Maria Kazan had been a student (in the medieval sense of the word) and the companion Vera Ermolaeva - one of the famous "amazons" of the Russian avant-garde, persecuted after the assassination of Kirov, who died in the camp in 1938.
Arrested - for a short time - and Maria Kazan. In this still quite a young girl was fine spiritual organization, questioning its impact on the psyche, she fell ill and died at the beginning of the siege. In fact, it only worked in the first half of the 30-ies. Kazan is different from "krugovtsev" pronounced expressive gift. To lay down her life differently, how powerfully could turn this gift. Ermolaev Kazan was good training. I saw the early work in which she tried different style, consistently passing through sezannizm, puantelizm, Post-Impressionism, Fauvism. Recent exhibition, which exhibited Leningrad, in fact only begun to discover this author to the public. And much more famous artists are opening. So, we knew Vladimir Lebedev as graphics, but now we know him as a fine artist. His artistic style is close renuarovskoy. It is known that the artist his painting for some reason did not put even in the studio no one showed ... And how not to love Pakhomov!? What is it identity - he found his recognizable plastic formula a young painter, and some high culture - he found inspiration in the early Italians, and Russian fresco. Yuri A. Rusakov and S. Alexander Vedernikov, thank God, survived the war. Circumstances, no doubt, impelled them to compromise. But no social engagement or commercial calculation have not touched their creativity. Because they saw themselves only in the service of art. As for the Leningrad school as a whole, perhaps, the public still lacks the courage to admit that it is represented by artists of the highest European level. And I'm convinced of it.
Ed. Tell me, do you feel any result of your activities? Have satisfaction or think that public opinion can not be changed?
YN I think the result is obvious, this is the result, which can only delight of this collector. At the exhibitions at the Museum of Private Collections and the New Hermitage "was shown more than 150 anywhere previously unexposed jobs. All of them were published in a directory that is introduced to the academic community. Thousands of people attended these exhibitions, books reviews are submitted by the wonderful words of gratitude. Dozens of newspapers and magazines, television, responded to these events. I think that is largely thanks to this exhibition and the catalog of a few encyclopedic dictionaries for Russian art have appeared articles on Greenberg, Vedernikov, Rusakov, Lvov. Ap-las even commercial gallery "Art-Divazh" which does not hide its continuity and focuses on the art of Leningrad artists 1920-30-ies. So I'm very pleased and think - this is just the beginning.
And I want to finish by returning to the beginning of our conversation, recalling the most important "advantage" of this collector to the museum. This selfless love for art and not on positions, and for the soul.
http://www.rusiskusstvo.ru/collections/a649/
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