Creativity Roman Suta and Aleksandra BEĻCOVA
 

I've been at the Latvian Museum of Art, I especially liked the here a picture of Alexandra BEĻCOVA.
   Museum of Roman and Alexandra BEĻCOVA Suta - a branch of the Latvian National Art Museum. It was opened in October 2008 on the base of the memorial apartment of Latvian artists of classical modernism Roman Suta and Aleksandra BEĻCOVA - participants of the "Riga Group of Artists", the founders of the Riga workshop porcelain painting "Baltars."

   The museum was created by the will of the artist's daughter Tatyana Suta art, on the basis of bequeathed her collection of works by both artists and his personal archive. Located on the street Elizabetes in an apartment where a family lived in 1935. The exposition is located in three rooms: the studio of the former Roman Suta, living room, which served as both interior and shop BEĻCOVA Alexandra, the former Tatiana Suta room.

   The creative life is displayed in all its diversity: paintings, drawings, set design. Widely represented objects of decorative art, sketches and finished work.

I would like you to submit an article, the chief curator Natalia Evseeva.

"Creativity Roman Suta (1896-1944) and Alexandra BEĻCOVA (1892-1980). A brief analysis"

 
   Creativity of artists and Alexandra Roman Suta BEĻCOVA closely linked with the era of modernism in art in Latvia. Paintings and drawings by both artists well represented in the collections of the National Art Museum of Latvia. The overall analysis of creativity BEĻCOVA Alexandra and Roman Suta posed in the title of the article is not accidental. It's not just that they are linked to family ties and the biographies of both artists a lot in common, they were combined and stylistic preferences in art. The mutual influence was undeniable, it was the creative tandem, and the story of one of the artists is not possible without reference to the second.
[SPOILER]
Start career BEĻCOVA Alexandra and Roman Suta due to the Penza Art School. Here in 1915 with the outbreak of World War II and podstupleniem front lines to Riga Roman Suta, along with several colleagues transferred from the Riga School of Art for further studies. Alexander BEĻCOVA in Penza came from the Ukrainian city Novozybkov three years earlier. Methods of teaching in the school Penza was founded on the principles of academic painting and the Wanderers. By and for young students enthusiastically covered by the new French art, spoke of the Penza teachers generally very skepticheski.2 And yet, without denying the influence of French modernism, which certainly was the case, we should recognize that a school of academic drawing and composition, resulting Sutoyo and BEĻCOVA in Penza, found its use in their work, as can be judged by the works of both artists 1920-1930's.

After school, Suta and BEĻCOVA went to Petrograd in the hope to continue their education. But it soon had to depart Roman home, while Alexander stayed and found a way to rabotat3 and learn. About a year she visited the studio of Nathan Altman (1889-1970) at VKhUTEMAS. As later recalled the artist herself, to communicate with students at the time Altman, employed by public policies and projects that were not, he came to class often. Judge the influence of Altman's work on BEĻCOVA difficult: leaving in Petrograd from Penza, she did not take with them their work. Similarly, she left the set up in Petrograd, starting in May 1919 in Riga. Returning to Altman, it should be noted that with the work of his teacher BEĻCOVA was certainly familiar, however, as the art of many other artists of Russian avant-garde, but in her works of the 1920s that there is no direct evidence. Much clearer you can talk about the influence of French modernism early twentieth century.

With works by Pablo Picasso, G. Braque, Matisse, Derain A., A. Marcus, and other artists from the collections of French modernism Morozov and Shchukin Roman Suta and Alexander BEĻCOVA became acquainted during the years of study at school Penza when they are with other students during recess went to St. Petersburg and Moscow. Find your style, desire to keep pace with the time determined the direction of creative search for young artists. At that stage it seemed the most appealing way, which offered cubism. In the enthusiasm for the direction of emerging from its peak in France and many other European countries at that time almost a decade ago, it is theoretically possible to see some manifestation of provincialism, but keep in mind that within each national school of art has its own rules and laws. Also, do not forget that some cubist compositions by Pablo Picasso and Gris H. were created in the 1920s, so we can say that at that time cubism has not been completely hidebound phenomenon.

Cubist work in parallel in the years 1923-1924 Roman Suta creates works showing the influence of purism. Static, clarity, balance of composition, the use of architectural elements (columns fragment) bring together these works by Latvian artist with paintings by the founders of purism - Amedeo Ozanfana and Le Corbusier (Jeanneret Edouard). This similarity even gave rise to scandal: one of the publications zhurnalist4 Sutu accused of plagiarism. Artist reacted very harshly, declared his readiness to sue for defamation. In support of his point, he was ready to provide a notarized letter from Le Corbusier himself, in which he denied the fact of plagiarism and claimed that the resemblance can only be explained by the fact that in one, and another still life shows a bottle. Indeed, many still lifes Suta that time often featured objects of fine arsenal of purists and the Cubists: smoking pipe, glass, bottle already mentioned, a bunch of grapes, and musical instruments. However, in some still lifes, choice of subjects is very revealing: chess, a roll of paper, drawing the line - that is, the objects themselves have a clear geometric form ("Still Life with a triangle," 1924). Through this selection of the artist creates an illusion of some kind of Cubist still life. Incidentally, this technique often in his still lifes, and Natan Altman used at that time, in his monograph on the artist in 1922, said critic Abram Efros.5 Of course, this does not give grounds to speak about the impact on the work of H. Altman Suta, rather This should be regarded as a kind of general stylistic trend.

Works by Alexandra BEĻCOVA early 1920s also show a significant influence of Cubism and, in particular, works by Picasso and Braque Jean ("Sukub. Decorative Panels", 1922). In those years BEĻCOVA actively worked in the portrait genre, who later became one of the key in her work. Total minor tonality of these works ("Self-portrait (in a hat with a blue lapel)," around 1920) may be due to the circumstances of life itself of the artist - she was seriously ill (tuberculosis), and the chances of survival, she had a little bit. Some hidden emotional anguish, sadness in her self-portraits guess those years.

In the work of both artists was of great importance first trip to Paris, which they did in 1923. Path to the French capital was through Berlin, where BEĻCOVA and Suta arrived in December 1922. For Roman, it was the second visit, the first time he visited Berlin in the summer of 1922. Here in Berlin, and Suta BEĻCOVA converge with the Russian artist Ivan Puni and his wife, artist Ksenia Boguslavskoy.6 Suta and BEĻCOVA also closely interact with are in a time in Berlin, Latvian sculptor Arnold Dzirkalom and Charles Hall. Due to the last they had the opportunity to become acquainted with Tomazzo Marinetti, just in time to visit Berlin with his lectures on art. Contacts were established with the young German artists, in particular, George Gross. On the one his work BEĻCOVA Alexander participated in the exposition of «November» Big in Berlin Exhibition 1923 years.7

Close friendships have emerged Roman Suta and the French painters Amedeo Ozanfanom purists and those already mentioned by Le Corbusier. In 1921 he published his novel Suta article about the Latvian contemporary painting in Ozanfanom published by Le Corbusier and the magazine «L'Esprit nouveau». Suta also was well acquainted with Juan Gris, and Louis Marcoussis. It is thanks to Suta Marcoussis began painting on glass. He created the work - a unique phenomenon for Latvian Art ("City motive", about 1927-1928). In 1923, Suta and BEĻCOVA with several works participated in the exhibition «L'Art d'Aujourd 'hui» along with such artists as Pablo Picasso, Juan Gris, Amedeo Ozanfan, Fernand Leger, Paul Klee, Max Ernst, Jacques Lipchitz, Joan Miro, etc.

Alexander BEĻCOVA this exhibition and the works on her could not see. Her stay in Paris was not as intense contacts with other artists. The fact that it was at this time her daughter was born, and most of his time in Paris, she was in hospital with a small child. However, at the beginning and end of the journey the artist managed to enjoy a walk in the French capital. Seen in galleries, museums and artists' studios is embodied in her work. In particular, the paintings of this time BEĻCOVA characteristically influenced by the work of Fernand Leger ("Structural composition", early 1920). Separate experiments in the style of F. Leger at this time appear and Suta ("Woman with Guitar", 1923).

However, the significance of this trip to Paris in the works of both artists is not limited to visual impressions. Acquainted with the ideas of Le Corbusier's ideal city, with the principles of constructivism in architecture, on returning home decided to create a novel style of modern national-meaningful interior, which was based on a constructive approach to the construction of interior parts, sharp geometry of the proportions of all objects. In turn, national identity was supposed to make the overall flavor of the interior wall color, textiles and furniture, as well as the use of ethnographic ornament. A special role in the new interior concept was assigned to the decorative porcelain.

In 1924, Roman and Alexandra Suta BEĻCOVA founded a workshop for porcelain painting. Name of the workshop "Baltars" meant "the art of the Baltic Sea." The third artist "Baltarsa" was Sigismund Vidbergs schedule, once graduated from the department of painting on glass in the school of Baron Stieglitz in St. Petersburg. Vidbergs was personally acquainted with St. Chekhonin and talked with him just in those years when he was already working at the former Imperial Porcelain Factory. On the technical side of the issue also helped artists to master Dmitry Abrosimov, has long worked on Dulevsky porcelain factory. For a list of artists have used ready-made forms of German, Polish and Czech plants, as well as products factory Kuznetsova in Riga. With each song made not more than ten variations.

In 1925, porcelain with the trademark "Baltars" was presented at the II Exhibition of Applied Arts and the International Agricultural and Industrial Exhibition in Riga. Real success came in the same 1925: at the International Exhibition of Decorative Arts in Paris porcelain "Baltarsa" won two gold and one bronze medal. Sevres museum acquired the work of three artists studio.

While the idea of ​​a constructive national identity was born of Roman Suta influenced by Le Corbusier, it is certainly possible to argue that he and other artists' Baltarsa ​​"were well known examples of Soviet agitfarfora (decorative plates" Demonstration ", 1925, and" Bermontiada "(" Latvian arrows "), 1928). Subject folk festivals, weddings frequently appeared in works of Roman Suta (decorative plate "Wedding", 1928). His favorite motif also are genre scenes of peasant life (decorative plate, "Engagement," 1929). Such a theme is quite understandable and justified if we recall the idea of ​​creating a national style. In turn, Alexander BEĻCOVA often refers to the Russian folk and religious grounds (bowl with lid (urn), 1927), it is often a preference for exotic subjects (decorative plate "African motif I. Fantasia", 1926). Such decisions can sometimes appear and Suta. African motifs in the works BEĻCOVA can partly be seen as a kind of tribute to Cubism, with its aestheticization art of primitive cultures. A number of compositions of both artists was created directly under the influence of Cubism and Constructivism (R. Suta. Decorative plate "design", 1926).

Already in the late 1920s, the company "Baltars" began to experience financial difficulties, the artists did not have the enterprise to organize the successful implementation of its products. In the 1930s, underwent a series of exhibitions "Baltarsa" abroad in 1930 - in Sweden and in America in 1933 - in Norway. Unfortunately, on his return from America, the fragile products have suffered due to careless packing. This has undermined the already difficult financial situation of the workshop. Thus ended this glorious undertaking for the artists' Baltarsa. "

Nevertheless, in 1930 Roman Suta continuing to work with porcelain and ceramics in Riga Kuznetsov fabrike8 (vase "Girl with a deer," 1937), and also creates sketches of shapes and crystal engraving glass dishes for Ilgyutsiemskoy fabrike9 (sketch crystal vase mid-1930s). In 1935 at the World Exhibition in Brussels earthen ware package was awarded a silver medal. In 1937 at the World Exhibition in Paris, was created based on sketches of Roman Suta crystal was one of nine "Grand Prix".

In 1930, Roman Suta, embodying his idea of ​​a constructive national style, is actively working on the design of public interiors. He created several murals for rooms of cafes and restaurants (fresco "The Wedding", 1932), in his sketches are pieces of furniture. An artist working on the trust unit of the Latvian pavilion at a number of exhibitions in the country and abroad. In 1936, he worked on the pavilion for the exhibition of Agriculture in Jelgava in 1937, settled in the first Latvian craft exhibition in Riga, in the same 1937 he was assigned to work on the design of the Latvian pavilion at World Expo in Parizhe.10 In 1939, R. Suta was the author of decorating the pavilion of Latvia at the International Fair in Leipzig.

Multilateral creative talent Suta found its expression in stage design. In 1920 - 1930 he created the sets and costumes for a variety of theater and ballet productions. The composition of scenery for the play "Princess Turandot" (1926) Suta builds on a combination of geometrical volumes, costumes also feature a constructive approach. In turn, the scenery for the play "Marriages are made in heaven" (1929) - an example illustrating the idea of ​​some of the above national and constructive style. The scenery for the ballet "Pulcinella" by Igor Stravinsky (Riga Opera House, 1933) also features a clear, precise composition. According to the artist, straight vertical and horizontal lines produced by the influence of static stress should have been on stage movement, dance plasticity. In turn bright color decoration conveys the general mood of the production.

While working in the field of decorative-applied graphics and scenography Suta continued to paint. In the painting of the second half of the 1920s - 1930s, he often uses the same motifs as in the paintings of porcelain (the "Village Festival", the end of 1920, "Hippodrome", 1933). During these years, Suta many draws. In his works, executed in ink, and opened all the skill of the artist's talent force ("Winter", 1927). The apparent ease, virtuosity of execution is achieved by creating countless variations of each song, from which the artist chooses the best.

For Alexandra BEĻCOVA 1920 - 1930 have also been very fruitful period of creativity. At this time, she frequently travels abroad, mainly in France. Healthy mountain air, mild climate and the French Riviera was just necessary for the treatment of exacerbated disease in those years. In almost all his trips Alexander stops in Vence. In landscapes of those years the artist gives in the Mediterranean charm of nature, the beauty of the city surrounded by mountains. Her work is distinguished by a special, bright, shimmering color.

In the second half and mid-1920s in the work BEĻCOVA appears a number of portraits and self portraits. Typical for these works picturesque manner of execution, static, motionless, a clear structure to the composition, a kind of general impression, stopped time, to associate these pictures with examples of style, a new reality - the direction that developed in Germany in the 1920s ("Tennis", 1927) .








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It remains to add that Sutu shot for a fake ration cards.
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