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I think this interview on the forum has not yet been http://www.god.dvoinik.ru/genkat/842.htm

Igor Shevelev

PROFESSOR RENE GUERRA - RUSSIAN FRENCH

When you start talking about the literary and artistic collection of French Slavist Rene Guerra, on the first wave of Russian emigration, then you either do not believe, either from yourself is not enough words to tell you what it is. Several thousands of pictures of Alexander Benois, Annenkov, Chekhonin, Bakst, Sarsuns and others. Tens of thousands of books, of which thousands of personal signatures of the sponsors, hundreds of letters to Bunin, Tsvetaeva, Gippius Merezhkovsky, Remizov, thousands of letters Balmont. Many of the archives of prominent cultural figures kept by the Russian emigre Guerra entirely. Tens of thousands of priceless items, the language of archivists. That can not be either the imagination, nor, unfortunately, the methodological description, because the master-hand at all lacking, and may not be enough - the work here at a research institute. A master in the spirit of his favorite Russian early twentieth century, wrote by hand, computers, scanners and transmission over the Internet yet and does not smell.

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- Rene, your fabulous collection of art archives of the Russian emigration of the first wave known better than yourself. Tell us about yourself. You're quite a young man to engage in such relative "antiquity", and even, as I understand it, getting it firsthand.

- I was born in 1946, by profession Slavic, almost thirty years of teaching the Russian language. But above all, of course, I'm a collector. Born and raised on the Cote d'Azur, where the fate and pushed me to the Russian emigration. I was ten years old when I became a grandmother to give lessons in Russian language. Because she did not speak French, they were special lessons. She taught me to read and write Russian, and, on the pre-revolutionary alphabet with the old spelling. And she gave me a love of all things Russian. In twelve years, I already knew by heart, not all, of course, realizing the set of poems by Pushkin, Lermontov. Because of this, I would say that I have uterine, emotional attitude toward Russia. I have not studied Russian at the Lyceum, and the Institute of Oriental Languages, where I have the honor to teach with 75 years. It's part of my personal life, part biography.

- And how do you then become Secretary of the writer Boris Zaitsev?

- To the dismay of his parents, who wanted me to become a doctor or a lawyer, I received in 1963, secondary school diploma, went to Paris to learn Russian next. They quickly graduated from the Institute of Oriental Languages, the Sorbonne, and, having decided to write a master's thesis on the Russian immigrants, chose Boris Zaitsev. It was a double-daring to write about a living author, and the emigrant. I was discouraged. Going forward, when in 1981 I wrote about him a doctoral dissertation at the Sorbonne, told me that it's very nice to write about a nonexistent writer. It was the centenary of his birth, and Russia does not add any mention of it. "Are you crazy?" - Told me in Paris, those who thought that the Soviet authorities no end. So my only merit, that I understood the value of Russian foreign culture. When the 67-th year, I came to Boris Konstantinovich Zaytsev and then five years as his secretary and, I hope, friend, it gave me a vital connection with the culture of its direct participants and witnesses. This was the last communication with the patriarch of Russian classical literature. Moreover, in these years I can say, made friends with Yuri Pavlovich Annenkov, with Georgy Adamovich, Vladimir Vasilyevich Weidle, Yuri Terapiano, Irina Odoevtsevoy, with a remarkable writer and artist Sergei Ivanovich Sarsuns - it was a whole galaxy. And they then anyone in France were not needed. In the late 60's, when they were alive and sane, a visiting any Soviet literaturovedishke immediately gave at the Sorbonne, the audience, they also were not invited even once! Neither Weidle, nor Adamovich, nor Zaitseva, who had a book about Turgenev, Zhukovsky. Never!

- Now your collection is truly cyclopean dimensions, as related to museum collections, with state archives. And their first purchase, remember?

- Books I began to collect, while still a student, beginning with the 60-ies. A picture of becoming a teacher, since the early 70's. The first picture was acquired, the original illustrations for the book Andre Maurois works by Alexander Benois. Much later I found the book itself, a rare, at posh Japanese paper.

- Renee, with past our meeting in Moscow four years have passed. Then you say that your collection is a living organism, which must evolve. As this organism is now getting on and develop?

- Yes, the collection develops, there a lot of things were added, and it's not the quantity, as well as acquisitions. I managed to get dozens of wonderful works, including, Annenkov and Chekhonin, my favorite artists.

- And what is the general machinery acquisition of Russian artists in Paris?

- If interested, I can tell you about Yuri Annenkov. For many years I collected books with illustrations by Russian artists-emigrants. It's one of the important parts of my collection. Somehow accidentally went into one bookshop near the Luxembourg Gardens and ask if they have books with illustrations Somov, Annenkov, Larionov, Goncharova, Alekseeva, and so on. The lady in the store was a little bit in the course. She knew their names, especially Bilibin, books with illustrations of which is listed in Paris. Moreover, not only the Russian edition, but the French, have become a rarity. She said, you know, now I have not been Bakst, but the book left. I will note that the book was magnificent, plus the original, which itself would cost 10 or 15 thousand dollars, and she sold it all together for the price of one book. But not the essence. And now, said a senior official left here in the folder any work. And, I must say, this is a bookstore with a certain bias in erotica. In the erotic high class end of the XIX century. He left two works on the exchange. Not for sale, because the money is not needed, but in exchange, if I find a book that is worth 3 or 4 thousand dollars.

- It opens the folder, and there is ...

- And there are two gouaches approximately one meter on the magnitude - Yuri Annenkov. Heavenly Beauty steep erotica. Authorship of it, I would define the eye. One was signed by J. A. - Georges Annenkov, and the other has not been signed. Thick paper 30-ies, and the work I would define as made in the late 40's. Few people know that Annenkov in Paris came two erotic books, sold out from under the floor immediately after the liberation of France in 1945-46, respectively. And, apparently, after the appearance of these books - they were painted pictures of individual lithographs - he had received orders for a series of steep eroticism.

- Oral description be?

- A lot of work - is a woman, whose face close-decaying forward hair, she poluobnazhena, lace bodice and panties, and she pees. We see her intimate place and pot. And standing next to a man and a wanker. His face can be seen, this is Yuri Annenkov, self-portrait. But these works are not sold, they are on commission.

After a month or two I get a call from the store, the work can be bought, but one owner took them back. Just this one, with pissing girl. The lady asked if I knew that there is even a special French term in French for those sexually concerned people who may be brought only in the form of such a scene? I say no, sorry, did not know. And here I come, there are two works. Inexpensive, frankly.

- How about?

- Every thousand dollars. Penny. I was offered ten thousand, but I naturally refused. Then, a few months, the new party. Again, this was not a pot. Then three more. And in early July, just before his departure for Moscow, I was able to buy the latest, the lady did not disappoint. Although the price is gradually rising, - one thousand, two, three, and the latter was six thousand dollars. And now I have eight works in this series. If they dig, that is a lot of work, the whole exhibition. Several months ago I was Director of Russian museum visiting. When I showed them this, they are just not gone mad. This, I think its a great find.

- Life is a collector, in fact, probably, the entire sum of these disturbing episodes of blood?

- The last adventure was not entirely successful. Two months ago I first went to England to train under the Channel Tunnel. At Sotheby's had put up the remnants of the workshop Annenkov. Another twenty-five years ago I could buy it all, but that there was no money, you do not have time to go after them in the province. When he died Yuri Annenkov, left his widow, Madeleine, a Frenchwoman, who was 30 years his junior. She offered him work, stay home, the French museums. They said that this stuff they are not interested, she can throw it in the trash. She tried to sell, nobody was buying it. I bought something, but all I can not buy. Because nothing is selling, and I have no turnover. After the death of the widow of her cousin, Colonel of the French Air Force took it to the province. I bought a part of the library Annenkov, and paintings he did not want to sell, because there was work Zadkine and other famous artists, which cost more money, and the Colonel was afraid that he have trouble with tax authorities. Apparently, now that the Colonel died, and his heirs kept it all in a kind of barn, because some simply rotted. And suddenly I read that all that is left is sold at Sotheby's. Portrait of Anna Akhmatova, by which I drank tea, and everything else. I went before, to be previewed on the exhibition. You would not believe, but they were put all my cards and letters in envelopes Annenkov and photos of 1969, when I was a student in a dormitory, and he came to me to paint my portrait. I could not buy this lot, which was entirely gone for 20 thousand dollars, and it would be ridiculous to buy your own photos and letters.

- A failure in what?

- I could not buy what he wanted. Portrait of Anna Akhmatova, is understandable. He went for 150 thousand dollars. He tried to buy two of my friends, but reached only 50 thousand, and then gut turned out to be thin. I bought some Englishman. There were many people from Russia, but did not show any interest. But Konchalovsky went for 400 thousand dollars. And I wanted to buy his portraits Pilnyak, Vsevolod Ivanov, Andre Gide, - already the Paris period, - ten portraits. Even took the money, I had 20 thousand dollars. But they went for 40 thousand. Four thousand of the work - not too expensive, but all along I was not pulled. From grief bought 27 graphic works, good, semi-abstract, two self-portraits, all for 12 thousand dollars. I knew he was doing them for the book, which was released in early 1950 - "Dressing movie stars." I would say, rather, "undressing movie stars." This book came from him in French. Because only a small folder, removed his portrait of Trotsky, who, moreover, he did not from nature, and already in France, and this портретик went for 40 thousand dollars.

- So much for Annenkov. A promised Chekhonin?

- I call middleman and offers work Chekhonin for two thousand dollars. Graphic large format. I go back home and give myself 10 minutes to find where I saw her. I opened the monograph Efros 24-year Sergey Chekhonin. I have it in English, French, German, and so on. There. I picked up a large catalog of the exhibition in Leipzig in 1914. No. I picked up the first issue of "Firebird. This is the best art magazine of the twentieth century, which came out in Berlin in 1921. By some miracle, I bought in Paris, the original cover. Sold Frenchman. It seemed to me that this is a collection of Sergei Yaroslavovych Ernst. Two roses and butterflies, watercolor. I come and ask: how much? The sheet of the work itself, and sketches to her at the edges. He said: "Two thousand dollars." I give money. He said: "Why do not you trading?" I say: "You ask for two thousand, here they are, nalom. If I were a trader, I could have it in the same day to sell for 20 thousand, 40 thousand dollars. This level of the Tretyakov Gallery or the Russian Museum. And in the same issue of "The Firebird" first big movie - this work in 1912, which I bought several months ago. Fate.


- The hunter and the beast running.

- In French there is a more accurate expression: premium connoisseur. But recently, referring to Yuri Annenkov. Finding century. The fact that I subconsciously searching for thirty years. One of twelve copies of "The Twelve" Bloc - on special paper and painted entirely by hand by the artist himself. Twenty watercolors of Yuri Annenkov. The new vision of the famous "Twelve." Perhaps to the 300 anniversary of St. Petersburg, we will publish it here. I am now negotiating with the Russian Museum. When I bought it, I have some people show it. People pale, green, and they began to shake hands. One man, who was at my house offered me 35 thousand dollars.

- And for how much you bought it?

- I will not say it does not matter. I told him no. He said: "A 70 thousand dollars you're happy?" I say: "Stop, I'll have you put up, and I for one million dollars are not selling." Moreover, I have a collection of copies - a copy of Radlov with inscriptions of the Bloc, Alyanskaya and Annenkov, where the latter Radlov thanks for the font. This should be issued in a case - 100 numbered copies, of which I am taking a 30, and 50 names, of which my - ten. This must be paid back with interest. The book is fantastic, there's even a fingerprint of the Annenkov.

- And the rest is painted copies?

- Was known for only one instance, the block itself. He is in the Pushkin House. Only two pages are painted - "Constituent Assembly" and "Koko." From a new magazine "Antiques" it became clear that in Russia found an instance where 6 figures. And I have all the pictures painted entirely Annenkov. Even the publisher mark "Albatross" is painted. In fact, this brand new book - the old background, of course. Moreover, all on special paper, not a mere publication. Besides that Russia first edition of "The Twelve" in 1918, for a total third edition of the poem, but the first with illustrations by Annenkov, worth an average of about $ 500, depending on preservation. Often they are circumcised, because the large format. This is also my recent discovery, this year. Then I could tell before the end of the day.

 

Secrets of handwritten records.

- I want to change the subject slightly. I know that you have archives of many famous figures of Russian culture. Including, Galina Kuznetsova, the poet, the last love of Ivan Bunin, author of "Grasskogo diary.

- If in a nutshell, I was familiar with her, met several times during the life of Margay Feodorovna Stepun, with which they lived together. They then moved from New York to Munich. I had a good recommendation - a letter Boris Konstantinovich Zaytsev with kind words about me. In the end, she bequeathed to me his archive. When she died, I was told about it, and, abandoning all cases, I rushed to Munich. It was all sealed. Since I had all the necessary papers, I entered. It turned out that prior to my arrival, at night, someone there all a break. This man has already died, I did not name, not caught, not a thief.

- German, French?

- No, Russian. I do not know for whom he worked. It was the 76-th year, while the Soviet authorities were hunting for this backup. In short, I loaded up the car, which I had, leaving only a place for the driver. All that I found, I took it. There was "Grassky Diary", a lot more published. There were all amateur photographs Galina - chronicles her life near Bunin in the south, in Grasse. She rented a very touching their walks through the neighborhood. Much of it is sent here, when preparing for that "Literary Heritage", but many remain. There were many letters to her, for example, letters from Khodasevich and by Zaitsev. In addition, I inherited all of the library, there are plenty of books Bunin, Remizov, Zaitseva, Khodasevich with inscriptions to her. All this is kept by me, as a whole.

- Materials of the future Buninskaya Museum in Grasse?

- Yes, it would be a great idea, buy a house preserved in Grasse, where he lived and worked Bunin. I have the materials to several museums. But the problem is, who's there will be a guard, who will support all this. I am a professor, not a millionaire. But Buninskaya archive I have a very rich. As for the relationship between Galina and Margo I, as their legal representative, I can not speak. This is a personal relationship.

- And how do you feel about the film by Alexei Uchitel "His Wife's Diary"?

- If in a nutshell, this movie I absolutely did not like. I watched it on tape, which I brought from Russia. I have great respect Andrei Smirnov, who is familiar with for many years and who was I long before the end of Soviet power. He is a true connoisseur and admirer of the works of Ivan Bunin. I am familiar with his daughter Dunya Smirnova. At one time they offered me to take part in the film as a consultant. I refused, and rightly so. The film I categorically did not like.

- Too scrupulous theme?

- Yes. Of the five characters in the film, I knew close to three. Galina, Margot, and I knew Leonid Fedorovich Zurov, who met in the house of Boris Zaitsev, and who has been a guest when he lived in the flat of the deceased Bunin.

- Well, of course. You have a personal obligation to the memory of these people?

- Yes, these people had confidence in me, I owe it to them. I showed then, but did not give dozens of unpublished photographs of intimate Bunin. Again, in this film, more or less worthy to receive Bunin performed Smirnova. The rest - nonsense. Small detail. Bunin was very fond of the south of France, my homeland, which became his family and for him. The nature of the Cote d'Azur is a great role for him, much in the film takes place on the beach, it pedaliruetsya. But they were filming on the Black Sea, ostensibly because of lack of money. But there's nothing to do with the Mediterranean Sea - another form of pebbles, and other plants. And the result is nonsense. It's like a film shoot in Siberia in the north of France. It turns out false, which in the texts, and in all. For me, knowing the context, it is a bad movie. Especially, I repeat, sorry Andrei Smirnov, a clever man, educated, a true admirer Buninskaya talent.

- But can you imagine how many people have learned and Bunin and Bunin something that not even represented, but what happened? ..

- Well, it's better read his books, read "Grassky Diary" Galina Kuznetsova. A diary of his wife .... " You see, the theme itself is slippery. All there is too thin. Indeed, they lived four. But Vera Bunin, - I have her unpublished portrait of those years, the end of 1920, work Stelletskii - she pretends to be a pupil of Galina Bunin and all. And I have all the love letters Galina Bunin, who returned to her after the break. I have all this correspondence, unpublished, but I can not publish, this case is sensitive, and not my business. I did not read them, so looked into. But Vera is a decent man, that has proved by writing "Life Bunin." Of course, it seems inconceivable today - under one roof live four. No less difficult was the relationship of Vera Nikolaevna and Zurov. How would a son. And he was mad, bad man. I have letters from the time of occupation - he beat with a stick Ivan Alekseevich, already an old man. Because it was crazy. Therefore, speaking in Russian: do not touch it, and then zavonyaet. No, the film received some cheap.

- And the last question: your impressions of today's Russia?

- You know, since 1993, I spent every summer in Russia, making up for the fact that twenty years had been banned entry here. Since 1998, the summer did not come only in winter for two weeks of Christmas and New Year, and then only to Peter. I'm glad that now revived the tradition. Travel across the country that gives me great pleasure, because I feel there is not a tourist, and partly at home. My main purpose of this visit - to be here for no purpose, just to communicate with people. I am a Russian speech brings indescribable pleasure. All that seemed impossible before, - and, in a positive and a negative sense - has become real. What I said eight years ago remains true today: in this country much has changed, and virtually nothing has changed. People remain the same, from Sov psychology nowhere to go. But there is life there is movement. And I am for life and against stagnation.
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