From the history of the school Filonova:
After the exhibition "Petrograd artists of all genres" in the Academy of Fine Arts (1923) Filonova name became widely known, and it stretched the students. Academy of Arts has even offered Filonov professorship. But he insisted that the lessons of art were in his system at the leadership of the Academy of course, could not agree.

But in the summer of 1925, during vacation time, the Academy decided to give Filonov shop for work, which quickly filled with students and the Academy of Art College. Later, in his diary Filonov recalled: "... from June to September under my supervision, a team of students, initially up to 70 people. <...> Of this group, at the same time and formed team of Masters anal [iticheskogo] action [usstva] "(diary entry dated March 5, 1934).

The initial core group MAI amounted P. Kondratyev, VV Kuptsov, BI Gurvich, EA Kibrik, YB Khrzhanovsky, AI whips, TN Glebov, A. E . Mordvinova etc.

The most important event in its short history, the team was an exhibition and staging of Gogol's The Inspector General of the Leningrad House of Printing in 1927, he was Director N. Baskakov, "a remarkable man, who tried in the House printing plant and give a free box of everything new in Art. For wall newspaper printing houses Filonov painted a portrait Baskakov, who had disappeared, along with himself portrayed. Baskakov repressed 1930-ies.

Artists, given the architectural features and the extent to which the exposition space, completed a series of canvases up to five meters high. All work carried out under the guidance and direct supervision of Filonova: the approval of the sketches to make edits to the finished product. But he himself often had to take up the brush, helping lagging painters.

The exhibit opened April 17, 1927 Glebova wrote: "Day at the opening ceremony were many people strolling about and celebrities. The powerful figure of Maximilian Voloshin stood out crowd, Freudian psychoanalyst Brodyansky predatory hunting out at anyone of the artists, exhibitors, his attack to deal with it now in terms of Freud. Wishing to be dismantled was not found. P. Mansurov grimly looked at paintings and grimly told me that he was disappointed. " The exhibition has caused much press, but among the comments were not enough positive ones. Critics did not want to take into account that they face a new phenomenon, which requires innovative approaches. Even experienced in matters of art people like EF Hollerbach, proved unsustainable in the face of the new. The critic gave the following assessment of the exhibition: "Socio-political grotesque, with a gradient of pathological anatomy - this is the most accurate definition of what is put on display at the Press House School Filonova"

Paintings-panel, united by a common theme of "Death of imperialism" had been written specially for the exhibition in the main hall of the House version. Of these, exist to this day not more than 10 works: four paintings stored at the State History Museum, St. Petersburg, three - in the State Russian Museum, the others - in private collections.

About staging Inspector
 

But the sad story of the production of The Inspector General, perhaps the last avant-garde theater productions:

In one of his articles Terentyev wrote: "The theme of the Auditor - one of the few topics worthy of contemporary theater. Giving a complete system of monarchist, Inspector considered not in terms of analogy, but in historical perspective, allows us to construct a performance of one of the strongest of our enemies - the indoor elusive enemy - philistinism. In the play will be lifted masks Auditor historical, masks mayor, from Skot to Nicholas I and Poincare - and the inspector general, the host at the end guise Gogol ... and against the philistinism theater raises its voice. Text Auditor remains unchanged, and the stage of its implementation comes from the mastery of the methods Transrational SCHOOL OF LANGUAGE "

Even those who sharply criticized the show, could not fail to note its novelty and surprise ending. The play ends with the arrival of this audit and the famous "silent stage", where all the characters are paralyzed with fear. In the performance Terent'eva action continues: Osip appears as a policeman, announcing the arrival of this audit, and that this proves himself Auditor Khlestakov. In evening dress, with a cane and his overcoat over his arm, he goes on stage to the sounds of loud music and bright red light is along the group of fossilized bureaucrats and characterizes each of them with the words of Gogol, remarks "dumb stage": "The mayor in a column with outstretched his hands and his head thrown back. On the right side of his wife and daughter and sought him out movement of the whole body, followed by the postmaster, turned into a question mark ... "etc. At the end of bypass it is to the fore, and addressing the audience, declared:" Silent scene! "This gave the final social acuity of the whole performance.

With the staging of Inspector Terent'ev went to cooperate with the avant-garde artists - namely, when exhibited in the House press team MAI. Those filonovtsev who have not got piers for canvases on display in the House of writers worked on the sketches for the "Inspector". It was AT Sasha, NI Evgrafov, AM Lyandsberg, MP Tsybasov, RM Leviton. They not only created sketches, props and backdrops, but painted ready costumes aniline dyes. Everything is natural under the constant guidance and supervision of Filonov.

Costumes: frock coats, pants, wide skirts and corsages of canvas or canvas with painted motifs - were colored, overloaded with bright filonovskimi "atoms". Costumes - emblems. Each of them gave any information about the professional status, or on the kind of character. For example, on the sleeve of the doctor - the emblem of death's head, and a belt - thermometer around the costume Postmaster - stamps, envelopes and stamps. His back was decorated with two strawberry fruit. Around his neck hung a private bailiff huge castle, and a belt - keys and handcuffs. In addition to his costume were depicted individuals suffering from criminals ... heel representing a complex combination of landscape and still life.

Cooperating with the school Filonov, Terentyev wanted to give a new breath of avant-garde, combining its search abstruse language with the experiments of Masters of Analytical Art. Gurvich, one of the students Filonova generally encouraged to use as decoration installation with a slot in the middle and slide out tongue.

In his testimony during questioning after his arrest in 1931 g.Terentev argued that cooperate with Filonov he was offered a director of the House version: "Baskakov stood on the view that the essence of my staging ideas organically coincides with the (outlook) Filonova that we should work, if we do not upryamstvovat in the details ... with Filonov I did not get along. Ended rupture of our relationship ... I took off the costumes of actors and scenery canceled filonovskoy school, he declared me "illegal", ie stopped familiarity ... "
.
In filonovskih costumes played very little (one or two times), because the audience hardly understood what was happening. And the actors themselves were lost in these tableaux, and finally refused to play them. Whereas in the first production filonovskie costumes were too informative and samoigrayuschimi.
How to tell Emilia Inc., favorite actress Terentyev, Bukharin himself was trying to resolve the conflict between Filonov and actors, but still show closed. And for the new production of The Inspector artist Edward Krimmer created a more traditional costumes - as if the time, but with an ironic slant - which led to the freer play and emphasize the actors' original performances.

Instead scenery prepared filonovtsami, Terentyev put on stage five large black lacquered parallelepipeds on wheels. These mobile "cabinets" as they called Piotrowski, open to all sides and could close the scene, to serve a curtain or door, through which characters enter the scene and go from there. In some scenes on these "cabinets" riding. And one of them depicted the toilet.

Tragically, in his story, I have to just rely on recollections of eyewitnesses. No costumes, no scenery almost did not survive. Only once I was lucky to see a few sketches.

So in conclusion, "if, as he Raikin, I'll still not quite sick,

In fact, such a large school, like Filonov, there was not any of the leaders of Russian avant-garde. When, in 1927, the team of Masters of Analytical Art was officially approved, it had about 40 artists: Avlas V., Bortsova E., Vakhrameev K. Gankevich S., Glebova, T. Goreva E., Gubastova Y., Gurvich B. , Evgrafov N., Zaklikovskaya S., Zaltzman, P., Ivanova, Kapitanova (Arapova) Yu, Kibrik Eugene (Hertz), Kondrat'ev VP, Krapivny D., Leviton, R., Lozovoj N., Lukstyn Ya Luppian V., Lyandsberg A. Makarov, M., Meshkov VV, Mordvinova A., whips (Porret) A., Rabinovich S., Sasha A., Suvorov IM, Sulimo-Samuyllo V., Tagriny L., Taskin B., Tennisman E., Frolova, Bagreeva L., Khrzhanovsky Yu, Tsybasov M., Shvang I. et al

The most curious of the participants - Pavel Kondratyev, because it is recommended as the disciples Filonov, and to students of Malevich. (For me, personally, it is surprising combination). Very interesting views of the forum!
(Several later works by P. Kondratieff attached)

And also of course, would be very grateful if someone could share information about artists, about which very little remains known.

7 years ago the Moscow Center for the Arts (Marina Loshak) and fairly well-known dealer Yuri Smirnov organized an exhibition of Peter Galadzheva. I will not talk about him - his biography is on this site. Interestingly another: exhibition consisted of three major sections - drawings, photo collages and kontrrelefy, the last - exactly as in Tatlin. Pieces were exhibited 70 works, all in excellent condition. At the same time ever that name in the literature I have never met. If this exhibition were doing less than honorable people, one would think that something is wrong. And so could only wonder.

Добавлено через 8 минут
After the exhibition I was purposefully seek information about this artist, but did not find any documentary renewals of its participation in any exhibition, rally, group. Hence, one of two things: either I was not lucky enough to find, or that an industrious artist (try to do a similar kontrrelef or collage - will take a lot of time) engaged in creative work in his kitchen in between working on the film, none of this is not telling. Maybe, who knows what?

After the exhibition I was purposefully seek information about this artist, but did not find any documentary renewals of its participation in any exhibition, rally, group. Hence, one of two things: either I was not lucky enough to find, or that an industrious artist (try to do a similar kontrrelef or collage - will take a lot of time) engaged in creative work in his kitchen in between working on the film, none of this is not telling. Maybe, who knows what?

Maybe his movie is so engrossed that the usual procedure of art exhibition catalogs did not interest him. And almost from the beginning of creativity, I have found over 1925 Screen Cinema newspapers:
http://209.85.135.132/search?q=cache...&client=safari

Collages him very much.

Qwerty, thanks for reminding me about this exhibition. Indeed, with her then "me all started." For two reasons: I realized that the claims of Russian avant-garde in the synthetic art is absolutely legitimate, because they are talented avant-garde were talented in everything, and yet I understood that in the late 20 th century, we know only the tip of the iceberg, which is called "Russian Avant-Garde," and there are so many things ....

To share what I have gathered about Peter Galadzheva:
Apparently, his legacy is stored in three sources: his daughter, Natalia Galadzhevoy Film studies - basically theatrical and cinematic sketches, I also heard that a few years ago the gallery "Old Years" offered his collages and reliefs; And of course, Alex Lachman, as a connoisseur of Russian photography, photo collages assembled. By the way, he showed Galadzheva in Cologne in 1995.

I still have a selection of works from the exhibition:
Peter Galadzhev. Papercollage "High life", 1920s. Alex Lahman gallery (Cologne) 1 of 16 ...
http://www.mdf.ru/english/exhibition...ev/photo1.html

As exhibitions 20-ies:
He participated in exhibitions of theatrical decorative art, only the directories it has not been published yet.
Documented, ie directory can only confirm his participation in the "First exhibition of graphics in the Press House in Moscow in 1926. Catalog: "The first exhibition of graphics. M., 1926. (In the second exhibition, incidentally, is not involved)

In one of the older editions of "From the history of cinema" Shklovsky published drawings Galadzheva to different productions. But this graph quite another kind - closer to B. Grigoriev (One need only scan ...)

Добавлено через 4 часа 54 минуты
P.S.podpisi in pictures.

Another Galadzhev
 

P.S.podpisi in pictures.

Maroussia,
Good and interesting topic. Can someone be interested in text ...
  "As you know, meeting old Russian icons, cleared from the records, the culture of a new era occurred in the early twentieth century. It is a philosophical idea of the Silver Age has shown overt interest in the ancient images, trying to comprehend the depth of the Orthodox" theology in color "...
 continued to:
  http://www.pravoslavie.ru/jurnal/30718.htm

I wrote it was a message about Tatlin, but remembered that this year 120 years since the birth of Alexander Drevin.

Here I have kept this autobiography:
(while I'm looking for pictures, who could complement)

Born 3 /VI /1889 in the town of Wenden used. Lifland province (now Latvia). City Wenden is located in the so-called Livonian Switzerland; there and spent early childhood up to six years.
Neighborhood Wenden carved with deep ravines, beautiful deep the length of the river Gauja. I remember sledding in the mountains, beautiful roads hearse, going down in length, the rocky shores of the river; Wenden himself all stone, white stone houses, around the mass of the gardens.
When I was six years old, my father in Pisco better earnings moved to Riga, where he soon entered one of the factories of Riga.
Outskirts of the city of Riga, where the workers' quarters, completely devoid of vegetation, instead of which are black slag everywhere wasteland and blank walls of plants.
The contrast with Wenden was so great that imprinted in me forever. This corresponded to a new environment and change our lives.
The hardships of life of my parents, their constant anxiety for his life could not affect me. The influence of the street on which my parents were busy working, they could not protect me, it was hard, especially in the outskirts of Riga, and their apashestvo all know, but some self-preservation instinct stopped me in the decisive moments.
After graduating from something as elementary school, I follow a dream of my childhood, entered the Nautical School.
Among my friends, where there were quite a few hooligans, were conscious revolutionary workers, who dragged me into their midst, giving me certain instructions. I served them, often without knowing where its origin.
In 1906 I was arrested. Nightmarish reaction in the Baltic region, where the victims fell, most of my friends made me leave at the time of Riga.
I went to the Smolensk province, where he stayed for six months.
In 1907, the fall, I returned to school. Among my friends was one who was engaged in a little painting. This is a newer hobby so captured me that I forgot the Maritime School, and began to sketch from nature, without guidance, as my companion was also a beginner, and none of the artists we did not know. I was then 19 years old, I knew nothing about painting and have not seen a single picture.
In autumn 1908 I went with a friend in Riga Art School, whose director was an artist Purve. In school, I knew the Impressionists.
In 1914 I was evacuated with his parents in Moscow, where we settled for Butyrskaya Gate and where I began to work independently.
D 1917, I was not familiar with Russian artists, entirely brought up at a meeting of Shchukin.
The rapprochement with the Russian artists who came after the 9 th Latvian infantry regiment raised me on social work in the Latvian National Commissioner, at the same time I took part in the exhibition in the Kremlin hosted by arrows, where I put primitives and non-figurative work.
After the 1-th exhibition of the Union of Artists of Moscow, where I first put up with Russian artists, VE Tatlin invited me to the Department of Fine Arts, where I worked until 1920.
In 1920 I was invited to the first public workshop, where he worked until the close VKhUTEMAS.
Since 1923, I returned to painting from nature. During this time mnyu written sketches near Moscow, the Urals, Altai.
Altai particularly influenced me with their colorful nature, big spaces, his extraordinary intensity changed my life.
Since the autumn of 1933 I again started to work hard in the field of landscape and returned to nature.
(As amended V. Starodumova Materials RGALI)
....
Executed in 1938.