Alexander Drevin
 

One of my favorite artists. Passing through passion primitivism and bespredmetnichestvom, found his unique, immediately recognizable style, which did not leave until his tragic death. By the way, read it, but have not seen the original, that in the sentence, along with charges of counterrevolutionary activity was recorded and for "formalism in art."
He, of course, one must look alive, the picture that the screen that the book can not pass and the proportion of the expressivity, which is present in his works.

+100!

I also love Drevin. Moreover, it seems to me that the artist rather strangely undervalued, I am sure that the investment plan it will play in the coming years.
In the meantime, get aesthetic pleasure from such parachutes here :D

It is known that the arrest Hope Udaltsova Drevin pictures saved from confiscation by giving them their own. They were first exhibited in Moscow in 1971

After an optimistic autobiography, I want to quote from the book of Catherine Drevin Hope Udaltsova M., 1997, in which the published diaries of Hope Udaltsova:

In the night of 16 to 17 January 1938, was arrested Alexander Drevin. He left without even putting on his leather coat, which was so still remained in the apartment, said Udaltsova: "Do not worry, I'll be back" - and vanished forever.
Diary N. Udaltsova January 18, 1938:
"What happened, what happened? Two days in a fog. Where to go, someone shouting? Tend innocent man. Save the man who never had nothing to do with any Western people as they arrived, nor with Latvians: Jakub only one, and then, when arrests among the lat. artists. Said that there is nothing to worry Drevin, never with anyone else was involved. And old parents, too, is nothing. What do I do what I do? I have one in the whole world, and no money, and where, to whom shall I go? All have turned away from me. Yesterday found the strength to go to Yakubu. He was shocked. He said not to tell anyone. And, perhaps, this fellow (who conducted the search and seizure) is not telling the truth for comfort. When nothing was found, and the protocol was drawn up, that's nothing, we sighed with relief, and suddenly: "You will have to go with me for a long time you do not delay." And I - with care:
- Do not worry, nothing is found, through two or three days he will return, do not worry.
- No, - I said - he was a Soviet man, threw home, parents, and now!
- Do not you think that this may be due to other, - said the assistant, and neither the left.
And now, I wrote a letter to Yezhov, and I was calm and clear: Drevin not guilty of anything, and an innocent person may be convicted "*

* The above-mentioned letter to Yezhov - one of a countless number of pardon, which Udaltsova writing until 1956 Hope Udaltsova not gone to the evacuation, she believed that Alexander Drevin, shot on Feb. 26, 1938, was alive.

http://artinvestment.ru/news/exhibit...ondratiev.html
This exhibition was most recently, and somewhere came across a message on the large-scale exhibition in Yaroslavl. Now look for. It seems there was also Kondratiev.

Found it!
http://artinvestment.ru/news/exhibit...jaroslawl.html

In the directory "Alexander Drevin in museum collections" are excerpts from the interrogation Drevin.
For example:

V. - What is your expressed hostility to the Soviet system?
Q - My hostility to Soviet power was expressed in the fact that I
supported the formalist position in the art and counteracted
socialist realism.
And when it was instructed: follow the path of socialist realism,
I considered myself in the position of the offended the Soviet authorities, which does not
work freely and oppresses creativity of the artist.
And only since 1932, I gradually, with great difficulty in correcting
a formalist tendencies.
Q - Tell me what specific work you as an artist with written
counterrevolutionary distortions?
O. - I wrote a series of paintings that are counter-revolutionary
distortion, is: "Jumpers", "Roe", "Unemployed", "Girl" and
"The collective farm landscape.
VA - The essence of counter-revolutionary distortion of your paintings?
A. - That is, for example, painting "Girl on the farm" rather than to portray a fun, prosperous, joyful collective farm life, I drew a heavy, sad, sad reality of the collective farms, displaying it in the movie "Kolkhoznaya girl."
VA - The investigation has evidence that you went to the collective and
carried out the work of nationalist order.
A. - I do not deny it. I talked to the collective farmers about the life of Latvians in
Soviet Union. Remembered how the people live in Latvia. About Latvia I
said, as his homeland.
Q - So, you spent a nationalist agitation?
A. - Yes. I spent the nationalist agitation in the collective farms.

COP! I, unfortunately, did not see this directory. And in whose publication are those passages?
Strangely enough, but the archives represssirvannyh so far show only to relatives and often incomplete (some pages are questioning blind white sheet)

Tomorrow climbing out of the house-just tell.

Added after 5 minutes
http://forum.artinvestment.ru/showpo...5&postcount=33

Originally published Tatiana Zelyukinoy in 2003 from the KGB archives of Moscow and Moscow region in the publication of "Alexander Drevin. In museum collections" - the publication of the Tretyakov Gallery and publishers RA.

Indeed - surprisingly similar to the Steel 1949-50 gg. And pointless. And then, since 1951, when it was moved to objectivity, his painting lost pastoznost, the palette became brighter, in general, has changed, and the similarity was much lower.

It means that Gryshchenko stylistic characteristics inherent in 1949-50 he also became., Combined with stories that have appeared in steel after 1951, incredibly, is not it?

Qwerty,
Interestingly, it turns out that T. Zelyukina - expert Drevin?
Painfully difficult to get to the archives now the FSB, even with the noblest of art intentions.
And I, on the contrary, the impression that the attitude of the forum to tap expertise Zelyukinoy wary.

Maroussia, T. Zelyukina works in the Tretyakov Gallery, and although not considered a recognized expert on Drevin periodically involved in projects associated with this name, so the year before she was curator of the exhibition "Drevin-Udaltsova in House Nashokin. Indeed, there are strange examination, signed by her, but she did not naroshno ...
The best expert on Drevin is Julia Rybakova (recently retired from Grabar), although, in my opinion, no worse understands Boris Dergachev, restorer working in the same institution.
With regard to the archives, it became bad in the last decade, under Yeltsin was all much simpler.

Добавлено через 8 часов 39 минут
Ten years ago, Marina Loshak on Neglinka was a remarkable exhibition of Olga Rozanova. This exhibition was produced the original booklet with very interesting article Faina Balakhovskaja, which gives an interesting version of the origin of the famous series of playing cards of the artist. Below - Some excerpts from this article.

"Playing cards" Olga Rozanova - a series of amazing and mysterious. It is not known exactly when they were written. Even more mysterious is the reason for choosing Rozanova so unexpected, even daring plot for its first large pictorial cycle. The series consists of ten images of card characters - kings, queens, jacks of all stripes and "simultaneous images of four aces."
But this is - not the main mystery Rozanov "Maps". Bright, bold card figures keep the secret, for many years, alarming researchers and visitors. Behind the mask guessed, find out the real person that has surrounded that interested and intrigued Rozanov. Pretty conventional face card characters cause many guesses, and the specific properties of a card hierarchy and anonymous stiffness (sometimes cruel) characteristics leave much room for imagination.
Previously it was believed that "Playing cards" were written in 1915, now's the time of their creation belongs to the early career of the artist, and determined it was about - between 1912 and 1914 ¬ mi. Graphic same cycle was completed in 1914, and in 1915 used in the book Kruchenykh and Alyagrova "Transrational gniga. Graphic and painted a series of slightly different composition. Picturesque images scattered after the death Rozanova on various collections, not all survived, but the archived data and directories, it is clear that they were no less than eleven. Two of the plot have been duplicated. Experienced difficult times in all seven picturesque subjects, but perished, we can imagine only more concise and less informative graphical counterparts. For unknown reasons, one can only guess, graphic cycle is not identical to the picturesque, it had disappeared one lady and was replaced by a single jack.
About Rozanova Little is known, but it seems that most of all she was interested in a fairly narrow range of heroes Petersburg avant-garde.
Following certain rules of divination, try to spread out maps and figure out who is hiding behind them.
"Jack of Hearts" - a special, unlike the other characters in the series. He boldly destroys the most important principle of cards - uniformity, even he has other attributes than the other jacks. Jack of Hearts - a very smart in a lacy shirt with wide cuffs, with a bird on his shoulder (other jacks, as expected, bearing halberds). In this picture - the only one of the series - there is a noticeable shift in futuristic forms. He reveals the mystery of Jack. Even if Kruchyonykh not been called before the "twisted" - the metaphor is obvious. In comparison with other photographs and portraits of striking not only the physical resemblance, but also well documented by photographs and portraits of the characteristic mobility of the character.

1. M. Larionov, Portrait of Kruchenykh. Lithograph. 1912
2. N. Kulbin Portrait Kruchenykh
3. O. Rozanova Jack of Hearts. 1913-1914. Slobodskoi Museum and Exhibition Center

Добавлено через 8 минут
Chervonnaya lady - a kind of self-portrait card. This story of the series Rozanov particularly unlucky: lost not only the beauty "Chervonnaya lady", but two beautiful versions of "simultaneous images Chervonnaya and peak ladies. The only thing we have - linocuts. These features Chervonnaya ladies, though marked by only a few strokes - a simple rounded face, a soft line of the eyebrows, instead of the crown scarf conceals arranged around the head hair, short bangs, a small chin - are close not only the exterior of Olga Rozanova, photos of which survived quite a bit . Much more important is that they are remarkably similar for all her self-portrait images. That is, in poluprofil, Rozanova usually portrayed himself in numerous graphic self-portraits. In "At the same time the image Chervonnaya and Queen of the ladies" in Chervonnaya lady easily recognized the same character, which obscures, overlapping peaks.

6. O. Rozanova Self Portrait. 1913
7. O. Rozanova Chervonnaya lady dancing. 1913
 8. O. Rozanova Chervonnaya lady. Linocut

Добавлено через 9 минут
The Queen of Spades - traditionally bright brunette, hard, almost harsh. Her image - one of the most vivid and expressive in the cycle. Not only features but also restrained the severity of the image, it reminds Natalia Goncharova, as we know from photographs and numerous descriptions. "Combed hair, blazing eyes and sharp angular movements gave her resemblance to the exalted socialist revolutionary" (Benedikt Livshits). Marina Tsvetaeva: "First: masculinity. - <... > Integrity features and view, seriously - not severity <...>! - Total image. The most detailed description of the exterior Goncharova left Valentina Khodasevich: "A little head on a high neck. Person - without the details, very well drawn. Mimicry stingy, black hair, or almost, brushed on parting, tighten the head, neck Mapping, and down by the neck, wrapped in a small, barely noticeable puchochek. The eyebrows are black, thin, quiet. Oval face clear. (A small tip) with vigorously carved nostrils. Eyes - brown, small, staring, circled in black fringe of eyelashes. Mouth is not small. Direct line interface gives lips an expression of severity. ... Corners - youthful swollen and raised. The chin is short .... No embellishment: no makeup, not in the clothes.
On relations Olga Rozanova and Natalia Goncharova, we do not know. When Rozanova just beginning its rapid ascent, Goncharova was already a famous artist and his example paved the way for "Amazons Russian avant-garde. She was supposed to be, if not a model, the benchmark for Rozanova. And at the same time - the authority which was necessary to refute, if only for myself, to go further. Perhaps, in the same time, the image Chervonnaya and Queen will give "a complicated situation is encrypted and hidden rivalries, in real life, no clue as to whether or not noted by his contemporaries. Moreover, the Queen of Spades in cards - it is the main rival of the heroine and means "covert hostility". This skromnitsa Chervonnaya overlaps symbolically "lies" the beautiful peaks. Way Olga Rozanova, not marked by scandals, full of inner struggle and overcome the authority and influence - after Goncharova, Tatlin and Malevich will be.

9. O. Rozanova Queen of Spades. 1913-1914. Ulyanovsk Regional art museum
10. Goncharova in the studio Ser. 1920
11. O. Rozanova Simultaneous image Chervonnaya and Queen of the ladies. Linocut
12. O. Rozanova Queen of Spades. Linocut
13. M. Larionov, Portrait of Natalia Goncharova. Lithograph. 1912

Playing cards Olga Rozanova
 

Ten years ago, Marina Loshak on Neglinka was a remarkable exhibition of Olga Rozanova. This exhibition was produced the original booklet with very interesting article Faina Balakhovskaja, which gives an interesting version of the origin of the famous series of playing cards of the artist. Below - Some excerpts from this article.

"Playing cards" Olga Rozanova - a series of amazing and mysterious. It is not known exactly when they were written. Even more mysterious is the reason for choosing Rozanova so unexpected, even daring plot for its first large pictorial cycle. The series consists of ten images of card characters - kings, queens, jacks of all stripes and "simultaneous images of four aces."
But this is - not the main mystery Rozanov "Maps". Bright, bold card figures keep the secret, for many years, alarming researchers and visitors. Behind the mask guessed, find out the real person that has surrounded that interested and intrigued Rozanov. Pretty conventional face card characters cause many guesses, and the specific properties of a card hierarchy and anonymous stiffness (sometimes cruel) characteristics leave much room for imagination.
Previously it was believed that "Playing cards" were written in 1915, now's the time of their creation belongs to the early career of the artist, and determined it was about - between 1912 and 1914 ¬ mi. Graphic same cycle was completed in 1914, and in 1915 used in the book Kruchenykh and Alyagrova "Transrational gniga. Graphic and painted a series of slightly different composition. Picturesque images scattered after the death Rozanova on various collections, not all survived, but the archived data and directories, it is clear that they were no less than eleven. Two of the plot have been duplicated. Experienced difficult times in all seven picturesque subjects, but perished, we can imagine only more concise and less informative graphical counterparts. For unknown reasons, one can only guess, graphic cycle is not identical to the picturesque, it had disappeared one lady and was replaced by a single jack.
About Rozanova Little is known, but it seems that most of all she was interested in a fairly narrow range of heroes Petersburg avant-garde.
Following certain rules of divination, try to spread out maps and figure out who is hiding behind them.
"Jack of Hearts" - a special, unlike the other characters in the series. He boldly destroys the most important principle of cards - uniformity, even he has other attributes than the other jacks. Jack of Hearts - a very smart in a lacy shirt with wide cuffs, with a bird on his shoulder (other jacks, as expected, bearing halberds). In this picture - the only one of the series - there is a noticeable shift in futuristic forms. He reveals the mystery of Jack. Even if Kruchyonykh not been called before the "twisted" - the metaphor is obvious. In comparison with other photographs and portraits of striking not only the physical resemblance, but also well documented by photographs and portraits of the characteristic mobility of the character.

1. M. Larionov, Portrait of Kruchenykh. Lithograph. 1912
2. N. Kulbin Portrait Kruchenykh
3. O. Rozanova Jack of Hearts. 1913-1914. Slobodskoi Museum and Exhibition Center

Chervonnaya lady - a kind of self-portrait card. This story of the series Rozanov particularly unlucky: lost not only the beauty "Chervonnaya lady", but two beautiful versions of "simultaneous images Chervonnaya and peak ladies. The only thing we have - linocuts. These features Chervonnaya ladies, though marked by only a few strokes - a simple rounded face, a soft line of the eyebrows, instead of the crown scarf conceals arranged around the head hair, short bangs, a small chin - are close not only the exterior of Olga Rozanova, photos of which survived quite a bit . Much more important is that they are remarkably similar for all her self-portrait images. That is, in poluprofil, Rozanova usually portrayed himself in numerous graphic self-portraits. In "At the same time the image Chervonnaya and Queen of the ladies" in Chervonnaya lady easily recognized the same character, which obscures, overlapping peaks.

6. O. Rozanova Self Portrait. 1913
7. O. Rozanova Chervonnaya lady dancing. 1913
 8. O. Rozanova Chervonnaya lady. Linocut

The Queen of Spades - traditionally bright brunette, hard, almost harsh. Her image - one of the most vivid and expressive in the cycle. Not only features but also restrained the severity of the image, it reminds Natalia Goncharova, as we know from photographs and numerous descriptions. "Combed hair, blazing eyes and sharp angular movements gave her resemblance to the exalted socialist revolutionary" (Benedikt Livshits). Marina Tsvetaeva: "First: masculinity. - <... > Integrity features and view, seriously - not severity <...>! - Total image. The most detailed description of the exterior Goncharova left Valentina Khodasevich: "A little head on a high neck. Person - without the details, very well drawn. Mimicry stingy, black hair, or almost, brushed on parting, tighten the head, neck Mapping, and down by the neck, wrapped in a small, barely noticeable puchochek. The eyebrows are black, thin, quiet. Oval face clear. (A small tip) with vigorously carved nostrils. Eyes - brown, small, staring, circled in black fringe of eyelashes. Mouth is not small. Direct line interface gives lips an expression of severity. ... Corners - youthful swollen and raised. The chin is short .... No embellishment: no makeup, not in the clothes.
On relations Olga Rozanova and Natalia Goncharova, we do not know. When Rozanova just beginning its rapid ascent, Goncharova was already a famous artist and his example paved the way for "Amazons Russian avant-garde. She was supposed to be, if not a model, the benchmark for Rozanova. And at the same time - the authority which was necessary to refute, if only for myself, to go further. Perhaps, in the same time, the image Chervonnaya and Queen will give "a complicated situation is encrypted and hidden rivalries, in real life, no clue as to whether or not noted by his contemporaries. Moreover, the Queen of Spades in cards - it is the main rival of the heroine and means "covert hostility". This skromnitsa Chervonnaya overlaps symbolically "lies" the beautiful peaks. Way Olga Rozanova, not marked by scandals, full of inner struggle and overcome the authority and influence - after Goncharova, Tatlin and Malevich will be.

9. O. Rozanova Queen of Spades. 1913-1914. Ulyanovsk Regional art museum
10. Goncharova in the studio Ser. 1920
11. O. Rozanova Simultaneous image Chervonnaya and Queen of the ladies. Linocut
12. O. Rozanova Queen of Spades. Linocut
13. M. Larionov, Portrait of Natalia Goncharova. Lithograph. 1912

I have! In a green cardboard-case!
Only today otduda, pardon, took out money green ... they are there under the two "decks" lie.
Coincidence ... :)


I'm Mrs. Loshak every time when they meet this exhibition do not get tired to remember, thank and bow.
Already tired, perhaps, but I see that she was pleased.
A successful was the project, many remember now ...

:)