[vyadem]

Another artistic life, another artistic creativity completed and is now facing us, as something enclosed in itself. Nothing is more to it does not add. Meanwhile, with respect to this art - the art Grigoryeva - so feel the need for some more future development. Miraculous in its exceptional art talent, but so, koim it is now, it turns out to be unsaid. Have missed, however, only the second part of this creative tale, what art Grigorieva became after the master left home and was God's will without the possibility of return in foreign lands ...

The first part of the creative Grigorieva naturally united under the name of one of his most remarkable works, the word "race". A number of works related to this Part, was created as something at once. In any case, within a relatively short time - in one continuous burst of inspiration when Grigoriev was after several years of stay abroad back home. Something then struck him so much, so "twisted his soul" that he almost immediately found ways to pour experienced in the form of some kind of poem poluoblichitelnogo nature.

In those days it was impregnated with a Parisian air - air that pre-war Paris, which could breathe so easily, which could still hear the echoes of laughter romantic grizetok and students, which was so sweet and carefree caress. Artistic manner of expression Grigoryeva brought up not so much different samples of famous works, how it is that most air-Monpar NASA and Montmartre, "which allowed the artist to remain quite distinctive, even after he was filled with the peculiarities of Parisian culture. Other Russian artists, getting to Paris, were infected with common hobbies moment, trying to assimilate the last cry, to join the very latest developments. Some chose their leadership in Cezanne and others - Picasso, etc. But Grigoryev had little to do with all this, he went his own way. I drew it "horrible and how horrible", and only one seemed to him at this important - this is grasping at every captured prisoner subject, whether human fig ra, a scene in the bistro, the animal in a zoo, a single tree or a landscape motif, the same for This image typical.

The first thing I saw from the work Grigorieva, were just such imported from Paris, drawings, and most of all I have to hit them incredibly high accuracy and specificity ... A different time it seemed that they had discovered a dangerous tendency to mannerism that "the system" Grigorieva, consisting of alternating thin and flexible lines with completely tinted stroke (obtained from a plane placed on the paper, a pencil) that this system is a frivolous gimmick worked out by the artist on manufacture of satirical illustrations, which he threw a one stroke and not reflecting on their finish (Grigoriev, as Yakovlev, started its operations, cooperating in the "Satyricon"). Instead, I received a very different impression from all Grigor'ev drawings, to me they seemed not only brilliant, but also impressive, astonished at their maturity, then. that they had so much acute observation, related to the perfect obedience of the hands of the eye. And then I immediately believed in Grigorieva, waited in the future miracles from him.

These miracles were quick to declare. But they were completely different kind than those that would involve his first work. The last thing they found no allusions "Parisian air, and most of them turned out to be something original Russian, something that struck his uncanny resemblance to that our environment that we ourselves, probably due to the habit of perceived with far less severity than he, tenderfoot.

When the exhibition at the Art Academy under the giant copies of Raphael's appeared on public trial, a series of his sketches kartinopodobnyh surrounding the main product Grigorieva, called "race", while many embraced with enthusiasm from a clear talent and kind of horror. Before aesthetes, completely unaccustomed to the time deducted from the paintings any lessons and prophetic edification, presented itself like a "head of the Gorgon" (...).