[Евгений]

Volodya, let us about "Lianozovo school" Honor, there are many interesting things:
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«Lianozovsky school» - the code name by late fifties of XX century the friendly circle of poets and artists, a center who was an artist and poet, Eugene L. Kropiwnicki (1893-1978), and which included the poets Henry Sapgir (1928 -1999), Igor Holin (1920-1999), Jan Satunovsky (1913-1982), Vsevolod Nekrasov (b. 1934), as well as artists Oscar Rabin (b. 1928), Nicholas Vechtomov (1923-2007), Lydia Masterkova ( 1929-2008), Vladimir Nemukhin (b. 1925), artist and poet Lev Kropiwnicki (1922-1994), son of EL Kropivnitskogo.
http://www.ruthenia.ru/moskva/encycl/l/lian_sch.htm
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the code name by late fifties of XX century the friendly circle of poets and artists, a center who was an artist and poet, Eugene L. Kropiwnicki (1893-1978), and which included the poets Henry Sapgir (1928-1999), Igor Holin (1920-1999), Jan Satunovsky (1913-1982), Vsevolod Nekrasov (b. 1934), as well as artists Oscar Rabin (b. 1928), Nicholas Vechtomov (b. 1923), Lydia Masterkova (b. 1929) Vladimir Nemukhin (b. 1925), artist and poet Lev Kropiwnicki (1922-1994), son of EL Kropivnitskogo. This circle was formed gradually and spontaneously, at first singles was getting into good friendly communication, and then the friendship, and creativity in the foreground is not any single aesthetic canons or aspirations, and the total of all the desire to build a new poetry and express themselves with the greatest fullness: "... was not a group, not a manifesto, as it happens, the concrete. Although united by the authors ultimately something similar ... "(Vs. Nekrasov). For poets and artists, "lianozovtsev" characterized by an increased interest in the quest companions and mutual support.

Decisive role in the formation of "school", at least initially, played EL Kropiwnicki, who became a spiritual teacher for I. Choline and G. Sapgir. Man, generously endowed by nature, the artist (in 1911 he graduated from the Stroganov School), musician (his opera "Kiribeevich" was highly appreciated by composer Alexander Glazunov), poet (before the revolution, published in periodicals), he was also a large, distinctive person, kind, organically combines lyricism and skepticism, a born teacher, who taught not anything, but gradually - in conversation or in passing through this evaluation delivshiysya knowledge with the student, awakens the dormant talent, help students understand their own nature. Ultimately, the influence exerted and life teacher who, in the words of G. Sapgir, there was like antique or ancient Chinese philosopher, is extremely modest, even ascetic, but he lived an intense spiritual life.
 
EL Kropiwnicki was directly linked to the culture of the "silver age" among his friends and close friends - a poet and translator Arseny Alving (1885-1942) was actively promoted poetry IF Annenskogo and parses the file after the death of the master, poet and translator Yuri Verkhovsky (1878-1956), engaged, in addition, as a historian of literature, XIX century, the poet Filaret Chernov (1877-1940). Close friends or associates in the paintings were the artists Pavel Kuznetsov (1878-1968), Robert Falk (1886-1958), Alexander Tyshler (1898-1980).

All this, of course, reflected in the picturesque aesthetics EL Kropivnitskogo, and his poetics. Refusing in 1930 from his previous literary manner, he destroyed most of the written to the point of verses (composed in his collection, which was released in 1977 abroad, EL Kropiwnicki included only the poems written after 1937).

He emphasized called himself a "poet margin and burgess houses. His poems, the maximum specified, however rich, like redundant detail, depicting the life of this most suburbs, where nothing is hidden from neighbors' eyes, but no one and does not hide, where everyone and everything about each other know enough to look over the fence or any of the windows:

The fence is a prostitute.
The girl blond.
The house has 9 - eating a duck
And the sour cabbage.

She would fall asleep on the bed
A pair of newlyweds.
In the 112th Artel
Life was homely.

   At these "low" and even "sordid" by the standards of the previous "high" poetry scene, EL Kropyvnytskyi looks a little ironic, but with obvious warmth and compassion. The contrast in his poems of the Cosmos and the human-plaguing bytya turns clearly not in favor of the first:

   There are light stellar horror
Blushing red Mars
And here the lights and the people
And on the stage farce.

   Mocking words of the "depths of the world" and "star empty expanse, and quite honestly acceptance of the" earthly ", as though small it may be:

   There horrors of the rotation
In stars of the sky the entire set
Here vodka, refreshments --
And we cozier here.

   Method EL Kropivnitskogo-artist, according to the same G. Sapgir can be defined as "minimalism" and "aestheticism" (characterized by the name of one pictorial cycles - "bleakness"). However, despite the fact that the subjects of his paintings are often anticipated the themes of poetry-poets "lianozovtsev" - here and landscapes of the outskirts, and portraits of the inhabitants of border regions, in particular, women - a picturesque vocalization and tone of these works are different kind of no conspicuous major, and in a sense, absence of conflict. The girls and women in the paintings, EL Kropivnitskogo longest continuously rotated or tilted neck (hence the picture overlap with paintings A. Modigliani) and firmly whipped squat shape. Nevertheless, the combination is not repellent, it is quite organically.

History "Lianozovo school" begins from a distance, the human connection, "lianozovtsev" occurred long before they became poets and artists. Before the war, G. Sapgir engaged in the literary circle, who was at the House of Art Education A. Alving (same literary studio and went to LA Kropiwnicki, but then they never met). In 1944, after returning from self-evacuation to Moscow, fifteen G. Sapgir went to the House of Art Education, hoping to meet friends, in addition, give the guys "working" meal ticket. There he met with EL Kropiwnicki, who was the artistic circle (A. Alvinga was no longer alive), but here he first saw and was engaged in the artistic circle O. Rabin, which soon became friends.

On the right of family members G. Sapgir lived in the house Yevgeny Leonidovich Kropivnitskogo and his wife, Olga Potapova Ananevny (1892-1971), also willed artist, at the station "Dolgoprudnaya" Savelovskaya railroad. In 1945, the returns from the front L. Kropiwnicki, but already in 1946, received a ten-year period, falls into the camp. In 1949 the house of EL appears Kropivnitskogo IV Holin, accidentally razminuvshiysya with G. Sapgir (the one from 1949 to 1952 he served in the army). In 1956, returns from prison L. Kropiwnicki. In 1959, after meeting with Rabin, within the same range of Sun Nekrasov, in 1961 there Satunovsky Ya, in 1967 - came from Kharkov Limonov.

Obviously, in this ever-widening circle, many were no longer direct disciples EL Kropivnitskogo, although experienced its effects, and have learned a lot from his poetics, translating learned in their own creativity. So Sun Nekrasov as his direct teacher, poet, NI Glazkov (1919-1979), J. Satunovsky came fully formed man, who has found his own original long poetics, which has not changed since.

Then, in the late fifties, a meeting of the house EL Kropivnitskogo actually moved in Lianozovo (the so-called settlement of the same Savelovskaya railroad, located a little closer to Moscow, now merged into the city). In Lianozovo was divided into apartments barracks where they lived Oscar Rabin and his wife, Valentina, daughter of EL Kropivnitskogo (there is a work of O. Rabin called "Valine hut, made in the 60's).

On Sundays, there were some sort of an exhibition, where it was possible to see other people's work, and show their own. It also recited poetry, talked about art, share their views and arguing. Among the regular visitors were scriptwriter SL Lungin with his wife, an ardent admirer of the new art of literature LE Pinsky. They came in Lianozovo poets BA Slutsky, LN Martynov, Nazim Hikmet. Visited one of the Sunday show IG Ehrenburg did not opt, however, directly his opinion about the pictures.

Meanwhile, the official reaction was sharply negative, published a series of newspaper articles, which names themselves - "The priests of a bin number 8", "My dear price lentil soup," "Loafers climb to Parnassus" - talk about their orientation. Organization of a certain "Lianozovo", among other things, the blame was placed in EL Kropiwnicki, in 1963, shortly after visiting NS Khrushchev's art exhibition at the Manege, expelled from the Union of Artists for "formalism". It was then sounded for the first time this phrase learned later art historians and literary critics.

It should be emphasized that "lianozovtsy (except J. Satunovskogo) was never interested in social issues. It would be wrong to relate the search for artists, "lianozovtsev" with "gritty" Soviet Artists 60-ies, and the search for an updated post-war poets of realism in literature. Staying in a single space and time, although they did not flee from the present, did not suffer for her interest. Since the first publication in the samizdat journal Ginzburg "syntax", which saw the light of the poem G. Sapgir, I. Choline and still refer to "Lianozovo" circle Sun Nekrasov, they were interested solely questions of poetics. Another matter, as perceived their work more. The very appearance in 1959, an independent magazine, what is the "syntax", the author and editor who agreed not to refer the policy has been elevated to political action, because their actions were interpreted as a desire to escape from under the oversight of the state.

Nevertheless, the social criticism is not characteristic of "lianozovtsam. The main and the only thing that was of interest to them - it is aesthetics, at the initial stage, perhaps, "antiestetika. But their chosen sites were outside the official culture.

Part borrowing themes from EL Kropivnitskogo, his disciples abandoned irony and lyricism characteristic of the poetry of their teachers. Restrained, bezemotsionalnaya "declare" intonation transformed "a lyrical sketch" in the "grotesque" (the subtitle of the first poetry book by Sapgir that existed in typing).

They also wrote about the life of the city suburbs, and about the life of its inhabitants. But the chosen themes, plus expressive, pointed sharp poetic techniques have caused an extremely negative attitude of the representatives of official culture. Drifts from social poets paradoxically became the critics' position in social life.

In the book of Howlin 'Living in the barracks, "written in the 50's and not in its entirety was published in 1989, and a large loop" shanty lyrics "represented by the exact observation literary V. Kulakov, the whole" epic "marginal life .

   Someone threw the mat,

Someone threw the slops,
On the fence someone's mug,
The inscription in chalk: "This is Zoe.

Two spores in the shed
And one really climbs into a fight ...
Output. The beginning of May.
Boring residents of the barracks.

   This and many dozens of such sketches are arranged into a coherent picture of the lone and everlasting peace.

Specification limit, until the street name, house number or institution - so when I. Choline was asked in later interviews, where the same is described by his hut, he mentioned the exact address: 1 st Dubrovskaya street Novosimonovskaya settlement - are not a simple statement facts, a kind of ethnographic or physiological essay or diary entry. This, apparently, "meticulous" approach has a downside, any particular fact, the incident (not an event - not the scale) elevated the poet to the rank of art. For poetry I. Choline this period is characterized by someone else, "quotational" word. Poet, as it were suspended from happening, but his poems were also voices of characters, the voices of the street. Significantly, that the first book G. Sapgir, composed of poems 1958-1962 period and, of course, did not see if the light is called "Voices". His early poems in many respects similar verses I. Choline. Fragments of street talk, as if by chance heard (lack of punctuation indicates a "chance", spontaneity), also depict the absurdity and futility of existence that, who says it can not be a real marginal, but certainly, certainly, people who are not in the center of life, ordinary people, "smoky sky":

   Had an abortion
The restaurant is pumped
Do not come to a concert

U accountant myocardial
Sentenced to ten years
Motrya and only he died
I myself love the ballet.

   I. Choline called himself a satirist, G. Sapgir, avoiding any definitions, however, said "delusional", "farce" of his early poems. But, be that as it may be, their poetry for a long time stuck definition of "shanty poetry."

However, despite different poetics, something similar can be found in verse Ya Satunovskogo. Speaking about his passions (a poem of his, the Observer G. Aigi, is a "replica", recorded on paper we are not heroes, but the poet himself - his dialogue with them), J. Satunovsky, again, calls the exact address:

   Until then I like naughty girls,
that publicly drayutsya in the river near the church,
so pop
with prayer
confuses "edrittvoyu.

Until then I enjoy local nature,
and the sons and daughters of the local people --
Monino
Zheleznodorozhnaya
Perov.

   It's the same shanty towns and stations, the same grotesque world where living is not grotesque people, no matter how bizarre they seemed to words and actions.

In the strict sense of the word "Lianozovo period" ended in 1965, when Rabin and V. Kropivnitskaya moved to Moscow. But friendships are not broken up, the meeting continued, although their address, as embodied in poems - house number 8, not far from the Transfiguration Square - has changed. With this in their literature search poets "lianozovtsy" has gone from each other. Artists from the outset to work in different manners, and even polemically to emphasize the problem, one of them once said: "We are united by only a lack of freedom, otherwise we would be enemies, so we have a different understanding of art and worldview."

Several attempts to link the poets' Lianozovo school "with one or another tradition. These attempts can not be considered successful, because a direct relationship with any artistic trend or direction simply does not exist. Of course, indirectly, through the influence of EL Kropivnitskogo (and G. Sapgir also thanks to communicate with A. Alvingom, who taught him the basics of poetic craft almost an iron ruler Brusovsky school), "lianozovtsy" Many viewed the experience of the "silver age". In all other cases, you should not speak about the connection, albeit indirect, but only an analogy. Experiments performed on the "lianozovtsami" history, if you use an expression borrowed from the exact sciences, absolutely "clean".

Creativity "oberiutov", with verses which made comparing the works of poets' Lianozovo school, in the forties and fifties, was unknown. In addition, such a comparison is inappropriate. Poetry and prose "oberiutov" should be regarded as a kind of treatise in verse and prose, the result of their philosophical Studies. "Lianozovo school" was not a philosophical school, not create a symbolic picture of the world and has not proposed expanded system of symbols, as it is a "oberiutov. The samples of "concrete poetry" "lianozovtsy" met on two small publications in the journal "Foreign literature" Then, when it came to self konkretizmu.

Poetry "lianozovtsev" much more productive to compare with the poetry of early Russian Futurism (D. Burliuk Kruchenykh), as well as with the poetry of German Expressionism (G. Benn, GA Heym, B. Brecht). According to the latest recognition of G. Sapgir, the value of Expressionism in the XX century can not be overstated: "Generally, I believe that XX century - a century expressionism. Not German, social, but expressionism as such expressions. Besides, one should recall that in the artistic experience "lianozovtsev" social stood out through the aesthetics, what exactly said I. Choline: "... how could I not vykrutasnichal that I did not invent the form, anyway, following the withdrawal realistic poetry. And he added - his remark is true for poetry G. Sapgir.

You can find many parallels in theme and poetics "lianozovtsev and such poets of the postwar" Leningrad avant-garde, "as Vladimir Uflyand, Gorbovsky Hleb, Oleg Grigoriev (which, while still very young, came to Lianozovo).

But stress is very significant for "lianozovtsev" desire for independence. Seeing that their work can not appear in print, they made no effort to placate the standards, or write a certain amount of "migratory" poems, in order to get into the literature. Poets "lianozovtsy" not considered a literary work, as a way of earning. For example, G. Sapgir spent eight years in the sculpture studio MOSKh, I. Choline was also a guard and a waiter, Ya Satunovsky until retirement was an engineer. But when in 1959 the opportunity to work in children's literature, "lianozovtsy" this opportunity was used. G. Sapgir has released 40 poetry books for children, has composed more than two dozen scripts for animated films, I. Holin, according to his own account, written over two hundred children's poems, published more than 20 children's books, poems for children written and J. Satunovsky.

However, the fate of "lianozovtsev" was not easy. Rabin, who participated in the "Bulldozer Exhibition", was after several years of harassment deprived of citizenship, that was the cause of emigration. Also emigrated and L. Masterkova. For the promotion of creative members of the literary group SMOG was expelled from the Writers' Union G. Sapgir, and after a large collection of his poems was published in the almanac Metropol, he could not for some time and published as a children's poet. Before the "adjustment" just nine - and not "adult" and "children" - has managed to publish the poems at home Sun Nekrasov (they came in made up of a collection of "Between Heaven and Earth", 1976).

Although the Lianozovsky school "or" group "as the union never existed (likewise, has never been the group" The specific "invented E. Limonov, who in 1977 declared it an illusory union, adding" lianozovtsam "V. Bahchanyana IN . Lena, E. Shchapova and myself), but because a mistake - put it in line with the group of L. Chertkov, disintegrated in 1957, and there were close in time and space smog, the name is left in the history of literature and art opening " lianozovtsev "were not only internalized but also appropriated, often without specifying the source. Conceptualism and konkretizm, which play such an important role in the recent literature, have been created in Russia and conceptualized IV Holin, J. Satunovskim and Sun Nekrasov, who leads a fierce and relentless struggle, defending the historical truth and proving in his articles and books, who should give the palm.

By "lianozovtsam" gradually came recognition. In the seventies and eighties of their poems and articles have appeared abroad, with the nineties, a publication devoted to "Lianozovo school", began to appear in Russia. In 1992 in Germany was carried out so-called "Lianozovo program": an exhibition of artists' lianozovtsev "exhibited in various cities, both spoke with verses IV Holin, G. Sapgir, Sun. Nekrasov, earlier, in 1991-1992, exhibition on display in Moscow, and performances took place in an expanded format. The book where the poem "lianozovtsev" given simultaneously in German and Russian languages. The collection also includes articles about 'Lianozovo School, reproductions of paintings "Lianozovsky" artists, it is attached to the tape, which recorded performances as a good health then the poets, and has already gone from the life of EL Kropivnitskogo and J. Satunovskogo.

   Literature:
E. Kropiwnicki. Sad smile. Paris, 1977.

E. Kropiwnicki. Earthly comfort. M., 1989.

Vsevolod Nekrasov. Verses from the magazine. M., 1989.

Vsevolod Nekrasov. Help. M., 1991.

Jan Satunovsky. Do I want to posthumous glory. M., 1992.

Henry Sapgir. Works in four volumes. T. 1. M.-Paris, 1999.

Igor Holin. Favorites. Poetry and poems. M., 1999.

Igor Holin. Selected Prose. M., 2000.

   Nekrasov. Lianozovo Chernukha. - In the book.: "Other Art". Moscow 1956-1976, a chronicle of the artistic life. T. 1. M., 1991.

And lordly pentameter, and bird calls. Henry Sapgir talks with Eugene Peremyshlevym. - "New Literary Review, 1992, № 1.

Lianozovo group. The origins and destiny. Collection of materials and a catalog of the exhibition at the Tretyakov Gallery. 10.3-10.4.98. M., 1998.

Vladislav Kulakov. Lianozovo. History of a poetry group. - In the book.: Vladislav Kulakov. Poetry as a fact. M., 1999.

Oscar Rabin - Val. Kropivnitskaya - Massimo Maurizio. "There is no underground painting we did not have ...". - "New Literary Review, 2004, № 65.