Russian artists in Yugoslavia

[Allena]

WORLD PAINTING
 
Gray birds fly days
One after another
As they return to me leave?
The darkness and smoke.
 
Smoky mist dressed capital
In the evenings
Cry, encased in a cage tit,
The song is old.
 
Strunke trembling, the word forgotten,
Pasión ...
How do I call that tormented, neizbytoe,
And do not divide ...
 
                  Olga K.
 
 
Saving work, creativity, convulsively squeezed brush, chisel, pencil ...
 
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The first art studio started as with Gallipoli. There, in the "Armenian shack" worked "art studio 1-Third Army Corps, which later revived in Belgrade in 1922 as" Studio of Russian artists "in the walls of Russian officers' mess.
In 1928 this group organized the first Russian art exhibition, opened May 3 at the Officers' Meeting Pavilion South Slavic army and navy with the help of other Russian artists chief Cabinet War Department, Colonel S. Todorovic. It was attended by 28 Russian artists, sculptors, architects, exhibited about 300 works.
It was then decided to found the Society of Russian Artists in Yugoslavia, marked the beginning of its activities to 12 June 1928 In September of that year in connection with the Congress of Russian scientists, writers and journalists in Belgrade was "arranged a small exhibition, titled" The Yugoslavia in the image of Russian artists "[1]. Then Russian artists, sculptors, masters of applied art, organized his group K.R.U.G. of: Bykovskii, A. Verbitsky, V. Zhedrinsky, V. Zagorodniuk, Kovalevskaya-Rykk, V. Lukomski, V. Predaevich, I. Rykk [2].
In April 1930, they opened their first exhibition, in March 1931 made a second [3].
 

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Belgrade has absorbed a few professional artists, the majority preferred to Paris - the capital of world art. Maybe it was and naturally, otherwise the main city of the Kingdom "burst" would be from an overabundance of the same artists, quarreling because of the clientele. And whom can be called from the "academics" and fans?
Initially, a few names and fates.
Academician painting Stepan Fedorovich Kolesnikov (11. 07. 1879, Andreanopol, Ekaterinoslavskaya gub.-1955, Belgrade). The peasant's son received his first lessons in painting from the masters-of icon. Then there were the years of study at an art school in Odessa GL Ladyzhenskaya and K. Kostandi (in other data: the AA Popov [4]), in St. Petersburg Imperial Academy of Arts by Ilya Repin (1903 -1909 gg.). There followed the first awards at home and abroad.
  There were trips to Europe and Turkestan.
Became a member of the Paris International Art Society "Leonardo da Vinci.
In 1912, SF Kolesnikov organized his expedition to Asia, Turkestan and Mongolia for art, ethnographic and archaeological purposes. After two years he returned to St. Petersburg, bringing a wealth of material, and organized two large on the number of the exhibited paintings exhibition in both capitals. Most of the paintings sold to museums and private collections. Lovers of fine art, does not have sufficient resources, could be content with reproductions of the cost of the whole of Russia "Cornfield".
In 1914 g.on became an academician of painting.
   His paintings reflected and the Great War.
  Since 1920 in the Kingdom. Here Kolesnikov quickly gained fame, came into vogue. In January 1922, residents of Belgrade have been able to visit an exhibition of paintings Kolesnikova. They exhibited paintings by unpretentious titles as "Village Vsekhsvyatskoj", "Market day on the Volga", "spill", "Tomatoes," "Melting Snow". Exhibited and portraits, for example, Ms. Yureneva. At the review were presented to the public and the pictures otherwise: "The Last Supper" paintings with images of saints in full growth for the church in Letnavatse (architect Androsov), 80 km from Belgrade. Particularly noted the media image of St. Nicholas. At the time of opening of the exhibition, he wrote in Serbia, about 100 paintings and 20 had already managed to sell during its work [5]. Could not enjoy popularity with the recent inhabitants of Russia and the builders have their Greater Serbia Belgrade triptych painting: on the left side of Russia under the Bolsheviks, on the right - the flourishing Kingdom of Serbs, Croats and Slovenes, in the center - the future resurrection of the Slavs. In November 1925 took place award visit the royal couple, regular exhibition Kolesnikova, versatility nature. Here and in pictures, stories which are linked to the recent fighting past the Serbs, such as a sheet "for the fatherland in kaimak-Chalane" with their unaffected life and beauty of nature - "On the road Sarajevo - Mostar", "Y Prilep", "Autumn near Lukova "(near Zajecar). Were presented and the Central Asian memoirs: "The tiger in the mountains Tyanshana", "Turkestan Sarthe, in Turkestan." The indispensable and pictures were devoted to the bygone Russia: "rivals" - a scene from malorossiyskoy life, "Mills", "Morning", "fisherman", "Kursk Province", "In the Vilna province," We the church wall "[6].
For his canvases fought all the best in Belgrade home. The price of his paintings soared even higher when he painted the ceiling - a composition of "Goddess Thalia on Quadriga" - in an updated folk theater. Became Belgrade Marc Chagall, which Paris has the honor to do the same [7].
  Pictures prolific artist decorated the palace of King, Metropolitan Hotel "Palace", pleased patients Municipal Hospital, he was the creator of art songs in the Export Bank. Being a fashion designer, had an extensive customer base, invest in a "picture properties". In his paintings were not only traditional Russian motifs with the churches, but the scenery and Serbian, Serbian saints, sketches of the Balkan nature.
Many of his paintings were "scattered" about the world, something is left for Belgrade to present the XXI century. And get acquainted with creativity Kolesnikova is very simple, it is enough to raise my eyes to the ceiling in the People's Theater ...
  Elena Andreyevna Bilimovich (28. 10. 1878, Voronezh-08. 07. 1974, Belgrade), happy people and bitter fate. She was born in a family of real high school mathematics teacher Andrei Kiselev, author of the famous textbook of mathematics, and his wife Mary E. (maiden name - Schulz). In 1890, the girl went to school once the second class, finishing it with a gold medal. In 1897 he left for St. Petersburg and entered the Mathematics Department Bestuzhev courses. Then she caught typhoid and doctors ordered mental exercises. Since mathematics was over. Then there is a new passion - painting. Autumn 1898 was admitted to the Imperial Academy of Arts. Graduated in 1907 from the class of Ilya Repin. In 1908 he went to Paris for an internship.
Cheerful and free-love Lutetia cost her husband (Nicholas Black-Perevertanny) who married a certain Russian ballerina, but the friendship remained.
After two years of EA Bilimovich returned to Russia. She continued her painting in the tradition of "Wanderers" and "miriskusnikov.
During the war with Germany, arrived in Odessa, I met the famous mathematician zhitomirtsa Anton Beach-Bilimovicha Bil'in, which tied his life. In 1920 she and her son leave Odessa and come to Serbia.
The feeling of gratitude for the hospitality and sympathy for the brothers, the Serbs was reflected in the figure Kiseleva. Amid a panorama of Belgrade swarthy young Serbian farmer with a hooked nose dressed in traditional heart reaches out to Russian, which clung to the blonde girl with pigtails.
September 4, 1923 after divorcing her first husband, she was married and took the second name of her husband's surname, becoming Kiseleva-Bilimovich. A Sept. 25 priest and deacon Peter Belovidov Vladislav Nekludov baptized their son.
There remained time for the beloved painting, participation in exhibitions with paintings "Portrait of Madame Kowalewski, Portrait of the poetess Zhuravskaya," "Portrait of Peter Struve," etc. She practiced and iconography: mention "Nesterovsky face" of Jesus Christ against the background of the Russian landscape.
Yet more information about the secular painting. So, I found a review of "Modern Times" about the works of Elena Kiseleva-Bilimovich exposed in May 1928 on the joint exhibition of Russian artists:
"Charming" peasant girl "Kiseleva. Russian North is looking from the picture in all the freshness of their coloring. Sitting on a bench in a number of rustic beauty in red skirts, and each - his face and movement. Something "malyavinskoe", but softened, pacified and issued.
It seemed that life will only be happy. Son married. Could give more time to painting, but stepped in World War II began. It's time of suffering. The son of Arseny and his wife in 1942 were taken away to Germany.
Back in 1944, Arseniy seriously ill and died. The mother then decided to bid farewell to his joy, throwing painting. The final figure was "Sin in odori" ( "Son of bed"), who until his death held in his room. During the cremation was burned and the latter figure.
Her husband died in 1970
  Itself, condemning themselves to eternal silence, finding joy in the garden with roses, passed away a few years, bequeathing his paintings native Voronezh [8].
Can recall and icon painters, decorating built in 1924, the Russian Church of the Holy Trinity (in the new church was placed miracle-working Kursk-Root Icon of the Mother of God). The first icon of the prince wrote to Mikhail Putjatin. Later - much later - the future Archbishop Antony (Andrew G. Bartoshevich, 1910, St. Petersburg - 02. 10. 1993, Geneva).
For this noble boy began with the emigration of Germany (1924), then move to the Kingdom of C x C. In 1931 he graduated from the 1 st Russian-Serbian school. After three years of study at the Technical Faculty of Belgrade University came to the theological faculty, who graduated in 1939
In 1941 he was tonsured. Since February 1942 was in Russian scribes them. Grand Duke Konstantin Konstantinovich Cadet Corps in the town of White Church. Since September 1944 over the state assigned to the Holy Trinity Orthodox Church in Belgrade.
  Posted by a series of icons, in particular, for the Iberian Chapel "Descent into Hell", the Apostle John the Theologian.
In 1945, during a visit to Belgrade church delegation from Moscow headed by Bishop Sergius (Larin) was adopted in communion with the Moscow Patriarchate. (As is known, the Russian Orthodox Church Abroad, where both parishes in Yugoslavia, was outside the canonical communion with the Moscow Patriarchate.) [9]
Hoped to return to their homeland. Parish chiefs recommended Patriarch Alexy I use the painter's talent for organizing schools for local painters. However, the consent of "competent bodies" had been received late.
In 1949 he left for Switzerland. Then he served at parishes in France, Belgium, Holland, Luxembourg. His mastery iconographer confirmed working on the iconostasis of the Orthodox Church in Salzburg. In 1957, consecrated bishop. Since 1965 - Archbishop of Geneva and Western Europe [10].
  The temple of the Holy Trinity and the name relates the remarkable icon-painter Pimen Maksimovic Sofronova (9. 09. 1898. E Tihotka Pskov Province. - 16. 05. 1973, Melville, Long Island, USA). His fate is remarkable and surprising. He was so talented student Old Believer Gabriel Yefimovich Frolova, that they soon became together to create icons, paint and restore the church. Then there was an independent work, his own studio and students in Riga, where P. Sofronov was invited to the Old Believers circle "Zealots of antiquity. Traveled to Belgium, France, Czechoslovakia, where he taught, organized courses of ancient Russian painting, restored the icons [11].

In 1934 he went to Yugoslavia, where his name, as indeed in many countries around the world know and respect.
  "Sofronov - as noted by one of the judges of his work - has become as an intermediary between the religious paintings of Russia, Serbia, Bulgaria. He seemed to be crossed centuries-old tradition of religious art of these peoples, putting himself to the revival of Byzantine and Old Slavonic traditions in the new times "[12].
They were written and restored many icons for Russian, Ukrainian, Bulgarian, Serbian, Greek churches. For the mentioned Holy Trinity Church, he created several icons - St. George and the Protection of the Holy Virgin, as well as the image Aksay Mother of God, written on the fiftieth anniversary of the priesthood Hammers Ekaterinoslav Hermogenes (Maximova) [13].
His way forward was also connected with the Vatican, where "was invited to Rome, where Sofronov had to write 56 icons for the five-tier iconostasis for the chapel at the World Exhibition in 1942, however, because of the hostilities exhibition never took place.
Then, in 1947, he arrived in the U.S. on a tourist visa, do not give the right of residence. "This required a special act, carried out in his favor in the House of Representatives.
On American soil Sofronov painted temples in different jurisdictions: the Russian Orthodox Church Outside Russia, the Orthodox Church in America, Old Believer, Catholic. In particular, it was painted tomb of Archbishop John (Maximovich). Pimen Sofronov "deservedly considered the most prominent Russian and Slavic iconographer XX century, has preserved the technique and style of ancient benevolent letters, inherited from the Byzantine Empire" [14].
From a professional icon-painter move on to another wonderful personality.
Boris Litvinov Nilovich (18. 10. 1872, Kostroma-to 09. 1951, USSR), Major General, Corresponding Member of the Imperial Academy of Arts (since 1895). By studying the performance need Turkestan, collected materials on the history and geography of this region. Member of war with Germany. He was awarded the St. George Arms and the Order of St. George. He fought in the Army. In exile settled in Belgrade [15].
He painted icons.
Art historian Helen Mejinschi, considering the creation of icon-lovers, including Litvinov, noted that in these icons, "in spite of small artistic value ... there is a strong religious feeling and emotion [16].
But on the icon-painter Litvinov, little is known. More preserved evidence of its secular painting.
Banal-worn, but still brilliant - "Not for Sale inspiration, but you can sell a manuscript!" Litvinova experiments were approved by the already known Constantine Shumlevichem. After visiting the exhibition closed on 55 send gouache paintings, a journalist noted in "New Times, that" the picture painted with the finest finishing details and resemble miniature ". Looking at them, could be seen as someone to remember Russian East - Turkestan and Bukhara, where the "blue southern sky, the eastern churches and minarets, with their delicate tracery architecture. Praised "the Dome of the great Tamerlane (XIV-XV cc.)" Poppies in Bloom "(Bukhara)," Along the shores of the Caspian Sea "(Krasnozavodsk Bay)," The ruins of the mountains. Merv "," Morning on the Afghan border "," Dawn in the Karakum desert "[17]. Litvinov was not forgotten and the Russian North - Sbitenschik "," a gray day, "Village", "Betulaceae road Arakcheeva", "Morning in Vologda and others [18]
Success seemed to be accompanied by the artist-General. After two exhibitions overseas, in Boston, Litvinov, arranged the exhibition closed in Belgrade in the Serbian officer's house. Paintings - Turkestan, Dubrovnik [19].
  But, apparently, painting still did not provide enough funds. Here is their role to play and competition and fashion. Central Asian subjects, probably did not enjoy success with the Serbs, whom they were strangers, and pictures with "gray Rus" was filled with the market.
Therefore, July 5, 1930 in New Times "came the announcement of the opening of new courses of painting, General Boris N. Litvinov (st. Hadji Prodanova, 11). Advertisement reported: "group grope painting - oil, watercolor and gouache. Groups of no more than 4-5 people. For Russian concessions "[20].
I do not know whether he was able to find the students during the world crisis? Information ends with him. It is known that in 1945 seventy-"White Guard" Litvinov was extradited to the USSR, where he died in the camp [21].
All this is sad, many of the country waited for the other. Reviewer "Modern Times", presenting a large exhibition of Russian artists in exile, arranged in March 1930, he wrote:
"This special, aching sadness enveloped the mood at this show. Wreath of sadness and joy, pride and sadness.
We are not in Russia, no, but it is she herself came to us in the weary guests.
And shouting with Malyavinskih cloths bright enthusiasm hefty Russian woman:
- Do not be afraid, not lost! Go-ka, knocking some sort!
And circled vihryanom the dance.
- Hey, Down with the devil! It will be back on our street party!
Terrible tale scares Bilibin, but fear utishayut calm faces of Boris and Gleb.
- Little did know the hardship and ancient Rus.
And shows Benoit slender column of the Alexander, proudly and confidently to the heavens heaving. And leads in St. Petersburg, fabulously beautiful capital city has grown up in the bog on the orders of the giant King.
Russia came to us from the canvases of all our artists.
At its expanse develop their talents, violent winds created temperament, blooming meadows and gardens, Dawn gave a flame from a palette of colors, the rustling forest, songs and stories of their people remembered the images of the soul.
Who said that Russia was the great-king's torture chamber, come and see.
Creativity dying in chains, and therefore - no artists in Red Russia.
Sisters standing next to the hostess and guests.
Air, as the song mandolin, watercolors Grand Duchess Olga Alexandrovna - unfinished cups of tea on a tablecloth-covered table, prosforka on a platter. White Easter and cake - all of us is familiar and all that is alive, now.
Knocking red hammers, bits rapping, killed beauty. It will rise again and again shine on Russia - a glorious galaxy of the creators of Russian Art will raise its breath of his talent, followed by the new shift, crimson with their sacred fire. And it will be soon. And in anticipation of sitting, as if alive, a Russian officer with the sad eyes on canvas portrait painter Baranovsky. Hear a trumpet - he would get up and go "[22].
   I should add that while Belgrade is already long before the opening of the exhibition expecting to see pictures of "the poet of the modern city" Dobuzhinsky, Korovin - father and son, Albert Benois, Alexandre Benois, Beloborodov, Shiltyana, brown Shuhaeva range of 42 paintings, Bogdanov-Belsky, Vinogradova from Riga Tereshkovich, Goncharova, Grigoriev, Lahovskogo, A. Yakovlev, Lanchevskuyu, Soutine, Chekhonin, Lapshin, Stelletskii, "naive" Larionov, Milliotti, R. Nilus, Shmarov, Serebryakov, Luba, Czecho-Potocki, Cherkesov, academician Veschilova, Alb. Al. Benoit Malyavina (not help myself, sorry!) With "broads", Lansky, Bilibin, Sologub, sculpture Aronson, Annenkov, Beklemisheva, Andrusov, Gyurdzhana, Chinese lacquers Sudbinin [23].
And May 9, 1930 he saw the color of Russian art. In the "Great Exhibition of Russian Art", hosted by Russian gold company in Belgrade, with the strong support of the Russian Cultural Committee, funded by the government, was represented in the exhibition hall of the Society of Friends Art Flowers Zuzorich over 400 exhibits. Along with Repin, Benois, Bilibin, Goncharova, Korovin, Somov, participated in the exhibition and the Russian residents of Belgrade: Kolesnikov, Verkhovsky, Elena Bilimovich et al [24] Within a month it was visited by more than 12 thousand people, which was a record for the Arts Belgrade [25].
Were organized public lectures on Russian art - Prof. Branko Popovic indoor exhibition, as well as arriving from Paris, the famous artist Alexander Benois - in the great hall of the Belgrade University, brought together "all the Belgrade" [26].
"New Era" also provided space for short entries about the artists: Shukhaiev - "a talented artist, but his talent is a heavyweight. Not, of course, heavy, that he exhibited "A nude woman and a naked woman in" Guessing "the two together weigh one hundred pounds, but because heavy to his letter and paint (completely agree. Brown gamma weights. - VK) author's portrait of Meyerhold Grigoriev, exhibited eight works, received comments that his work "a caricature of affectation lines", Goncharova - all works are deathly shade and so very boring "[27].
There were flattering words, for example, the Grand Duchess Olga Alexandrovna of her watercolors [28], for drawings, for example "1001 Nights" and for "their" Andric-Samonova [29].
Note that the exhibition - this kind of advertising, an opportunity to earn the authors. Therefore, the same Malyavin, who arrived in Belgrade, after the exhibition has received a number of orders: he wrote the Queen Mary, the family academician Belic et al [30]
In passing, I will add that in the National Museum in Belgrade stored 33 creations "miriskusnikov: Alexander Benois and Sergei Vinogradov, Boris Grigoriev, Mstislav Dobuzhinsky, Alexander Yakovlev, Vasily Kandinsky, Konstantin Korovin, Philip Malyavin, Nicholas Roerich, Ilya Repin, Zinaida Serebryakova, Basil Shukhaiev [31].
Pictures of many Russian masters are stored at the Military Museum, located on Kalemegdane. Even in distant 1938-1939. museum acquired paintings by Valentina Vasilyeva and Alexei Vasilyev, Vsevolod Gulevich, Pavel Kravchenko, Athanasius Sheloumova.
I will begin alphabetically. Alexey Vasiliev (1901, Rzhev-1991, Belgrade). In Khabarovsk, finished Cadet Corps, participated in the Civil War, and then briefly studied at the Naval Academy in Vladivostok. In the UK, arrived in 1920 from Dubrovnik came to the "promised" for many Belgrade. Then there was a new hobby which grew into the profession of the artist, architect. There was a study in art school, at the architectural department of Engineering Faculty of Belgrade University (1932). Already in 1922, was a member of the first exhibition of Russian artists. Collaborated with the architect Gregory Samoilov [32].
From 1936 to 1941, AA Vasiliev worked at the Military Museum: and was the architect and artist and master of artistic photography. He was engaged in copying the Serbian uniforms and banners, including banners and Gen. Mikhail G. Cherniaiev. Author of several watercolors depicting Serb soldiers and officers. From 1941 he worked in a museum in Belgrade. Participant of many exhibitions. The collection is stored 22 of his work [33].
  Were bought by the museum and six paintings by his wife, Valentina Vasilyeva (Odessa, 1904 - Belgrade, 1990). She arrived in Belgrade at about 1920, studied at the Art School Professor Luby Jovanovic. Exhibited. Her paintings were related mainly to Serbian history and its heroes. Before our time is preserved only ably written portrait of Montenegrin Prince Danilo, in a suit which oddly combines elements of Europe and Asia. Others - "ate" the war [34].
  Much good fortune reacted to creations graduate Crimean Cadet Corps Vsevolod Gulevich - 60 watercolors depicting Serb soldiers VI-XX centuries. in time corresponding to each of clothes and arms, which were used information Constantine VIII Porfirogeneta, frescoes of the ancient Serb monasteries, even the Russian Military Encyclopedia, published in St. Petersburg in 1867 [35]

Some impress with their colorful, expression, mood struggles, the other dressing.
From portraits of Gulevich reached us only four portraits 1939-1940.: Karageorgiœ leader, Milos Obrenovic, King Peter I, King Alexander I of Yugoslavia [36].
I was particularly impressed by a portrait of King Peter of 1912 in a gray overcoat against the backdrop of snow-capped mountains, he stands with his right arm over her side, lost in thought.
From 1935 to 1940 in the museum were paintings by Pavel Kravchenko Sergei Obrezkova, but unfortunately, they did not reach us. They were mostly portraits of the Serbian rulers, among them was the canvas with the image of Nicholas II [37].
The Military Museum is a watercolor and "Cossack" mandatory cartridge belts and woolen hat-known artist in exile Athanasius Sheloumova [38].
Unconditional interest is stored in a museum collection - Album of the Russian cavalry in 1939: 152 pictures are made with colored pencils. Their author Tsarist officer - Karim Beg Rataj, the artist-fan [39].
I managed to see some: they are impressed by the professionalism, thoroughness finishing details. Others I can now watch constantly gave me the album curator of the museum Ljubica Dabic. Some reproductions of my images are surprising style: so, looking at the Cossack, feel freebooters, delete, Eastern blood horse.
There are other riches in the museum associated with a Russian name, with the Russian army. They should be, rather than to describe. There need to go.
In many ways, only through exhibitions, information about them in the press can learn about the works of Russian artists, scattered throughout the cities of the Kingdom. Of course, most of them were in Belgrade. Consequently, more and exhibitions. The most common form of sales were exhibition markets, which sell various crafts Russian, exhibited there and pictures, icons.
In the spring exhibition-bazaar in May 1922, visitors could see the icons TM-finals: Feodorovskaya Mother of God, Chernigov Mother of God, St. Nicholas, St. Panteleimon, St. Seraphim of Sarov [40].
At the permanent exhibition-bazaar in September 1922 with the representation V. S. (st. Nemanina, 26) could enjoy an embroidered picture of Hoffman-Stepanova - "Walk on the boat" [41].
Each earned, as he could. You can call DP Mordvinova. In 1922 he completed a curious scene: "Inside the oval-shaped laurel wreath, decorated with the royal crown on top and the sides of the Serbian coat of arms is written in ink small but clear handwriting the entire pedigree dynasty Karageorgievich, in some places pedigree pressure of the pen is made somewhat stronger. As a result of fuel energy is obtained portrait-bust-size EV King Alexander. Resourceful artist asked the Ministry of Court for permission for the reproduction of a portrait [42].
But I do not know whether it was required. One thing is certain - the extraordinary painter. Unfortunately, his fate, I have no information.
He earned the portraits of local community and government leaders and George Ignatievich Grinkevych Sudnik-known fact that in 1914 led the artwork and he painted in Saint-Petersburg Sergievskij All Artillery Cathedral [43].
Arranged and traveling exhibitions, as it did in 1923, M. Kosenko and V. Obrazkov (Bitola, Prilep, Nis, Skopje, Belgrade). The most expensive - 5 thousand dinars, cheapest - 50 dinars, ie, one dollar. Belgrade are able to see and illustrations Kosenko to the Tale of Tsar Saltan "(14 pictures), images and Macedonian makedonki, which seemed not to have been in the Kingdom of Serbs, Croats and Slovenes. The audience can laugh, looking at his cartoons on the Soviet "Cut the audience" - Trotsky, Lenin, Chicherin Kollontai, etc. His friend S. Obrazkov staked on the portraits of public figures - the king and queen, Nikola Pasic, hoping to purchase them by the authorities to decorate the reception and other official premises. Was presented and a popular story "Prince Marko in front of the Sultan." Under Vasnetsov was worked painting "Mother of God". Fans of nudity, "the Europeans" could be considered with interest "an interesting novel," and "Good Morning" [44].
Is rich in the exhibition was in 1924.
At Easter week opened an exhibition Pastukhov brothers Victor and Boris.
First introduced to the public 16 paintings, mostly still lifes, which he managed better, such as "Flowers" [45].
Second - 72 paintings, including portraits of Vasa Lazarevic, his wife, Lydia Shunevich. There have excellent performance still lifes, such as composition with two clay cups and a plate with an egg. Less successful, according to a newspaper browser, were landscapes (Lake Bled and others). Display and nude, such as Carmen - Garden. (I do not know how receptive to this picture, Russian opera singer Elena Sadovaya, winner of the mezzo-soprano. - VK) [46]. I should add that in February 1928 he was held in the building of the Academy of Science Fair - a picturesque "report" on the visit to Italy and Venice. You could admire the paintings «S. Marko »,« The old facade "," Channel S. Apostoli », which, according to Constantine Shumlevicha, can be called" lilac channel "with perfectly written out water, solar channel« S. Giovanni e Paolo », the famous" House of the Doges. In his paintings "the dazzling brilliance of the sun striking the eye blue sky, bright reflections - from pale orange to crimson - the sunlight on the walls of houses, storozhaschih Venetian canals. There were also represented, and custom portraits of "Mrs. N. Rouge", "Mrs. Ana Novakovic," Ms. Tsana Tadic "[47], with the money from which he, perhaps, undertook a mission.
But what I'm all about the realist, Impressionist landscape painter, etc., etc. - were among the Russian artists and their avant-garde. I know El Lisitsky and other admirers of geometric curves, but to my shame I did not know of Belgrade Michael Petrov. Almost forgotten in Russia now, his name is closely connected with the revolutionary look at the painting. In 1924 his work in the compositions was presented at the first exhibition of avant-garde art in Belgrade. The name of Smith, who later became a founding member of the Academy of Applied Arts in Belgrade, is inseparable from the scandalous avant-garde journal "Zenit" (it proclaim the idea of LA Mitsicha of "Balkanization of Europe, the Balkan civilization, a Balkan culture, cultural emancipation of Europe"), in which edition acquainted with the works of his fans Petrova, in the style of anti-art-related bauhausovskim funtsionalizmom, with the power of the machine civilization, with postkubisticheskim decomposition form, with futuristic form of dynamism in the portrait of [48].
Returning to the weather and the principle of a realist-romantic, I would say that in July 1024 in Conference-Export Bank, which was a permanent exhibition of paintings from the collection of patron and collector of Russian paintings Danilo Popovic, were displayed 10 thumbnails MV Vinogradova: Surf "," Sunset "," Novorossiysk "," Elbrus "," Night ". "Volga", "sea view", miniatures with the Crimean species. Serbian motives were well represented in the "Castle on Ibra" [49].
In August 1924 at the second exhibition of Russian artists were seen works by young artists Nikolai Isayev, who was under the influence of St. Petersburg Shuhaeva and Yakovleva, and Ananias Verbitskogo. Yury Rakitin, tsenivshy painting, understood it, wrote in The New Times:
  "Despite the strong propensity (Yakovleva. - VK) to easel painting ... visible and decorative talent. Its a small thing "Hunger" is good composition. Nice and colorful sketches of Bosnia. Undoubtedly he is all in the spirit of St. Petersburg "World of Art", while juicy Hanani Verbitsky gravitates toward "the Moscow Union". His sketches for Khovanshchina, several portraits and drawing the curtain on the window, and mostly copies of ancient murals - all these things they say about the talent of the young artist "[50].
Ibid Belgrade are able to admire the sculptural group "Attack of the Cossacks" of living in Vrshtse Academician PA Samonova [51], the author of the famous monuments in Moscow and Peterhof.
   I'll try to recall at least one, the most famous. I'm talking about the monument "the white general" Mikhail Dmitrievich Skobelev, the hero of the liberation of the Balkan Bulgaria. It was erected in 1912 at Tverskaya Square, named Skobelevskaya. The sculptural ensemble included a horse statue of General, the careening into battle with sword held high. In 1918 the monument was demolished by the Bolsheviks. The area became known as the Soviet, which established a new monument - an obelisk Freedom, and in 1954 there appeared already to all the familiar monument to Yuri Dolgoruky.
In the summer of 1925 in the hotel "Paris" popularizing Russian painting Popovich opened an exhibition of paintings by Russian and Serbian artists. There was AI Sheloumov with pictures: "The Cossacks" (highway, the Cossacks are a hike), "The Tragedy of Russia - the beginning of the Civil War" (Russian murdered Russian). Almost unknown now, Varun-Sekret fielded "Sunny Garden", "Suburbs of Dubrovnik," Vinogradov "Entrance to the Dardanelles - a dark night, Marina, A. A. -" The motive from the tank. " Were there and B. Zielinski, and AP Sosnowski [52], who arrived in Belgrade from Cetinje, where he taught children in school drawing [53].
In the autumn followed by a tireless Popovich exhibition arranged at the Hotel Kleridzh "where you could see the marina Vinogradova, Zelinsky landscapes, battle scenes Sheloumova, sketches Litvinov, including his" Volga ", paintings by Varun-Sekret -" The last rays of the sun "," Winter in agony "," Hare in the field ", Sosnovsky" Bay in Dubrovnik, Anatolevicha "Road" picture of the "Neighborhood of the Crimea" AA Dolgov, general-lieutenant of artillery, became a professional artist, landscape painter [54].
1926 was particularly generous to the exhibition. I will mention two.
  Alexey Pletnev, State Councilor, son of PP Pletnev - a friend of Pushkin, which was dedicated to "Eugene Onegin", made a gift to women, putting 25 small paintings - types of Athos, where a female no entry [55].
Boris Pastukhov in May, has managed to arrange a personal exhibition of 114 paintings - landscape, still life, portrait and eye-catching appearance nue. In the press there were portraits of King Alexander and singer Lizaveta Ivanovna Popova in "Manon" [56], which will be discussed in due course.
             In the UK there were many monuments of the past, and a big role in getting acquainted with the inhabitants of the capital of his wealth was played again, Russian artists. They awakened a real interest in medieval art, especially murals. Theater artists Brailovsky, I repeat, the figures from the frescoes have borrowed their costumes for the staging of "foundling" Nušić that was a real sensation [57].
And in February 1927 in the building of the university opened an exhibition 36 copies of the frescoes of the medieval Serbian monasteries and V. A. Verbitskogo Predaevicha [58].
Perhaps they would be and more exposed, but ... prevented lovers purity belivshie used to over the dirty wall murals from the time the churches of the new Kingdom.
One of the Russian Belgrade, recounting a trip to Macedonia, which by then in his staff, wrote that they wanted to see the frescoes of the time of King Milutin in a temple near the village of Nagorichany, near Kumanovo valley, but on arriving there, they saw the wall, gleaming white, except for one . Caretaker sadly explained to them that lime was not enough, "but nothing for Christmas and this whitewashed. Everywhere is clean "[59].

Now a bit about women: they not only painted, but they themselves, as I said, knew how to hold a brush in his little white hands.
  In the same year in the South Slavic Club of Journalists (King of Milan, 43) an exhibition of paintings by the famous battle-granddaughter of Academician Pavel Osipovich Lyudmila Kovalevsky Rykk-Kovalevskaya [60].
About her paintings wrote that her "the most successful with the motive-afternoon light without the sun and the morning rays. Fabrics "Giordano", "Morning on the Sava," In Ertsegnovi "[61].
Two other Russian women Maria Nenadich and Alfred Markovic staged at the same time an exhibition of his paintings in the halls of the main school on the street of King Peter. The talented artist, wife of the royal diplomat Russophile Milan Nenadicha, philanthropist, one of the founders of the Russian home for elderly workers in tsarist Russia Nenadich (born Countess Nirod) Maria Adolfovna (? -10. 11. 1930, Belgrade) - all of it - has exposed "pretty picture" with the views of Aval, Topchidera, Kalemegdan, her paintings was topped with a mountain of Slovenia with the key-ruins, "thrilled" Adriatic, "pictured with its beauty" Dalmatia. Mrs. Alfred introduced several male and female portraits. Fascinated her copies of paintings by Frans Gals [62]. By the way, be a copyist is a very difficult, we must be equal to the skill of the artist, which is reproduced.
Late autumn held a personal exhibition Sosnovsky and his wife in an officer's house under the auspices of Yadranskoy guards (Society of Serbian patriots, promoting maritime future of the country). The pictures of a naval officer in exile, as always had a lot of the sea. True, the land was added to the sea in the film "Oleander". Excellent looked the picture of the Serbian military fleet in Boka bay under the shadow of the mountain Lovćen [63]. His wife created the unusual pattern of colored patches [64].
Note that pieces of the Russian Belgrade were not only pictures of them sewed variety, I would say stylish things, decorating life.
In 1928 popularizes Russian Art in Belgrade "New Time" drew the attention of readers and the talent icon painter Grigory Mikhailovich Semenov, who lived in Pancevo, near Belgrade. "In the icons Semenov - could read Russian residents of Belgrade - sparkling with the purity of the letter and affection colors - and Vasnetsov and Nesterov, and the ancient style of Kostroma and Vladimir monasteries, skillfully joined together. Peculiar selection circuits, achieved by means of burning and beautiful Byzantine ornamentirovki complement the beauty of his work. Job Semenova - a large crucifix with figures of the Virgin Mary and Mary Magdalene - is set in the right corner of the Belgrade church "[65].
For the church did a lot of artists. Only one name.
  Ivan Petrovich Wild (Wild) (08. 02. 1896, St.-Petersburg-18. 07. 1990, USA, St. Petersburg, USA) - a graduate of the Kharkiv Art College, author of mural paintings in the apse Mother of God Church in Belgrade, painted the chapel and дворец короля Александра Карагеоргиевича на Дединье (Белград), создавал иконы и фрески для нескольких сельских церквей вблизи столицы Королевства. He was one of those Russian artists who decorated the temple-mausoleum of Karageorgievich Oplentse - about him one of the Russian hierarchs of the Moscow Patriarchate, recalled: "Outside ... amazingly: all white marble, the doors to massive bas-reliefs. Inside - it is difficult to resist the rapture: the floor is laid in some beautiful marble, glowing, like glass. All the walls of the temple from top to bottom are covered with mosaic pictures and icons ... This temple of its kind - a museum of religious art. The idea of the temple belongs to the Russian emigre, artists, architects of this temple were entirely Russian emigres. Lighting in this remarkable temple. Instead of glass inserted into the fine marble of different colors, which throws light and colors all located in the temple of some special color rays "[66].
In May 1928, in the pavilion of the Serbian House of Officers opened, I repeat, First Russian Art Exhibition, which colorfully written in New Times:
   "A promising schedule Ms. Andrich-Samonova - illustrations for Oscar Wilde - with imagination and peculiar figure. Draftsman with the future "," Decorative painting is also represented by strong sketches - g. Frohman (Sadko, "Snow Maiden", "Boris Godunov"), Mr. Verbitsky - moderate "Cubist", a surprising richness of planes and knowing how to balance their clutter; "stand out landscapes Kowalewski, gentle tones of rich Perspective, architectural landscapes, the Rica, giving strong array tracks urban landscapes, the prolific Kuchinsky. Colorfully drawn heavily "Croat" Mrs. Varun-secret. With regard to the applied arts, in Russian it has no equal. The taste, the originality and sophistication. You look at the work of studio, Ms. A. - mountain intricately painted and embroidered cushions - as skillfully, exquisitely selected fabrics, some quaintness folds, ruffles how much real beauty in this smartly adorned pestryad "[67].
At this exhibition can be seen and the picture of Nikolai Dmitrievich Kuznetsov. He was born in the middle of the past century in southern Russia in the old and rich noble family. Up to 35 years had run on his estate, brought a new breed of "Kuznetsovsky" pigs, famed for the whole ship. Arriving for Odessa, visited the traveling art exhibition and "sick" painting.
  "Talent Kuznetsova - wrote N. Breshko-Breshkovskaya - was just as magnificent as bold thick black soil, nourished, cherished this hero, gnuvshego horseshoes and turns poker into pretzel.
His first landscapes, colored figures of people and animals. Posted about 50 portraits of his daughter, the famous singer, MN Kuznetsova.
In exile, he settled in the Kingdom of Serbs, Croats and Slovenes. Some of his paintings were purchased by King Alexander. For a long time he lived in Dubrovnik, where he was invited Dzhurdzhinoy Pasic to write a series of family portraits [68].
  If there is a high art, calculated on the elite, it must necessarily be low - for the masses, or, roughly speaking, the crowd. Art itself, however, remains as such, are not changing in its nature. Here the talented young Russian also contributed, speaking pioneers strip (comic book) in the metropolitan press. Fans of this new genre could regularly enjoy adventure stories, not only in engineering graphics, but also laugh at the exact features of urban life caught in the transfer of everyday situations.
The most well-known artists in this area, requiring a maximum of Expressionism with a minimum of means, were artists George Lobachev, Sergei Soloviev, Konstantin Kuznetsov, Nikolai Navoi, Ivan Shenshin Alexei Ranhner Vladimir Zhedrinsky which laid the foundation of the Serbian and Russian Strip.
In their work was well represented and the Russian theme.
Thus, through the perfected graphics picture Kuznetsov acquainted with the "Hadji Murat", "Queen of Spades", "Night Before Christmas", Zhedrinsky - from "Ruslan and Ludmilla.
This kind of adaptation of many masterpieces of Russian and world literature, probably served as the impetus for many of the original reading of classical works.
Lead was George Lobachev - an artist of exceptional style in its simplicity of talented, creative intuition. His style was distinguished by kindness, clarity and freshness. He understood the strip as a completely new artistic discipline, a new type of communication, integral art [69].
Authors of "strips" were grouped around the magazine "Mickey Mouse", which, thanks to them, became the leading publication in the field "novels in the strip." The first issue of this journal was published in 1936, initiated its publication became a Russian emigre Alexander Ivkovic, who married a Serb and who took her surname. He was the owner of the publishing and photo-etching "Rus". In 1937 he, together with L. Lusztig established company at Universal Press, which began to issue "strip novels.
And Konstantin Kuznetsov was the artist, which we can say, holding the magazine. From 1937 to 1941, he drew 25 strips. That he was "the main weapon in competition. In addition to the Russian classics, he painted strips "Countess Margot", "Baron Vampire", "Three Lives". In addition to the "Mickey Mouse" Kuznetsov published in the journals Zabavník "," Tarzan "," Politikin amusing. He studied and caricature. There was no stranger to advertising (the advertising artist in-store clothes "Matic"). Known as an illustrator: the books "1001 Nights", "Little Lord Fauntleroy."
On the eve of war, two days before the German bombing of Belgrade came out last issue of "Mickey Mouse". It is symbolic that this issue was an end to strip entitled "Printing of death"!
In the new times Kuznetsov paints posters, working studio chief for propaganda department "Southeastasia" the German command in Serbia. In his cartoons, Churchill, Stalin, Roosevelt, with the first two with red noses. The British Empire at it - the traditional decrepit lion, black America brought a furious bull, assault on the world map, the Soviet Union - a polar bear with a huge paw on the political map. Often, the theme for the cartoons were relations between the allies with the usual conclusion: London, leading a dirty game, cheated unfair policies of Washington and Moscow, as "although they have different star, but one goal - to achieve greater redistribution of the world, and behind them all stands Jew, a figure which should confirm the theory of Nazi anti-Semitism and the justification for racial struggle in the world.
In the historical archives in Belgrade and is now stored fifty posters Kuznetsova war years [70].
War's war, but life went on ... We organize regular art exhibitions.
In 1942, the exhibition still remember the "wall of Stepan Fedorovich Kolesnikov, highlighting the soft and at the same time of the call-cheerful colors of his canvases the entire exhibition hall, which is in the midst of this harmony combined sculpture Zagorodniuk" [71].
In June of next year with about the same composition opened an exhibition of Russian artists in the halls of art pavilion at Kalemegdane. Participants: Sosnovskij Arseny, Verbitsky Hanani - artist-designer, Alexey Vasiliev, Grebenshchikov Oleg, Anatoly Zolotarev, Zagorodniuk Vladimir, Kovalevskaya-Rykk Lyudmila, bulb-Seletskaya Olga, Sergey Kuchinsky, Reznikov Basil, Boyadjiev, Galina, Papkov Andrei Sakharov-Stojanovic, Tarasov, Sheloumov Athanasius, Viktor Shevtsov, Boris Shapovalov, Hrisogonov Michael. Over two hundred exhibits [72].
December 15, 1943 Russian artists staged in the Russian house of night, collection of which went to the winter assistance. needy Russian people, and there were many, freezing and starving. His paintings exhibited at the auction: Boyadjiev, Verbitsky, Zagorodniuk, Zolotarev, Kovalevskaya, Kolesnikov, Kolb-Seletskaya, Kuchinsky, Rykk, Sosnowski, Hrizogonov, Shramchenko. Was nobility and savagery was: when to help the poor "person with a large free trade earnings by 4 dinars and asked them to leave him alone" [73].
The war is over, and again for many artists started "running". Alexey Arseniev in his remarkable register name of Russian emigrants in Yugoslavia led a number of names: Ivan Rykk left for Argentina, Vladimir Zagorodniuk - in Australia, Michael Hrisogonov - Venezuela, Athanasius Sheloumov - in West Germany, Arseniy Sosnowski - in Sweden, Vladimir Predaevich - in Chile, Andrew Folder - in Argentina, Pastukhov Boris - in the UK ...

Of course, there were those who remained. Among them are Elena Kiseleva-Bilimovich, Alexei Vasiliev, Hanani Verbitsky, Alex Hansen, Stepan Kolesnikov, Sergey Kuchinsky, Alexander Lazhechnikov, Nicholas Navoi ...
Someone was arrested and taken to the camps, as Boris Litvinov, who died in the Gulag.
But whether the students from Russian artists? Certainly be answered in the affirmative. One of the students Michael Petrov in Belgrade Academy of Fine Arts was Mladen Srbinovich, since 1988 member of the Serbian Academy of Arts and Sciences, from 1997 - Macedonian Academy of Arts and Sciences. In December 2005, while in Belgrade, I visited his exhibition of paintings in the hall of the Academy of Knez Mihailova Street. Impressive phantasmagoria of colors. The simplification of lines is organically combined with the philosophy of his ideas.
We can not say that the Russian masters of their letter, which is characteristic for native art in the late XIX. And lightly touched by modernity, have had a great influence on the Serbian artistic environment, where the then dominant "Parisian School". But it should be noted that it is realistic, the treatment of subjects to the historical past, its traditions and heroes, it was organic to the society, which builds, trying to create life, not on the ruins of the past, but at its foundation.
 


________________________________________
[1] Russian Home ... 24-25.

[2] New time. 1930. 6. V. Number 2707. C. 2.

[3] Russian House ..., p. 27.

[4] unforgotten grave. M., 2001. T. 3. 383.

[5] New time. 1922. 3. I. Number 210. C. 3.

[6] Ibid. 1925. 26. XI. Number 1375. C. 3.

[7] S. Turlakov Ordinance. cit. P. 43.

[8] New time. 1928. 16. V. Number 2110. P. 3; Mejinschi J. Jelena Andrejevna Кисељов Bilimovich //Rus without Rusije ... S. 141-148; it is. Cases ðóñêèé umetnika have beogradskim kulturnim zbirkama /Rusca emigratsija ... 89-90.

[9] See in detail: Kosik VI Russian Church in Yugoslavia (20 - 40 years. XX century). M., 2000.

[10] See in detail: Ibid. S. 65, 164-165, 226; Колунџић D. Crkveni slikarstvo OD 1920 to 1970 godina /Spomenitsa about 50 годишњици васпостављања Srpske Patriarshije. Beograd, 1971. S. 388.

[11] A. Nesgovorov Artists //Russian American. 1997. Number 21. P. 144.

[12] Zavalishin Vyach. Best house painter of our time (the fifth anniversary of the death of Pimen Sofronova) //Russian revival. New York-Moscow-Paris. 1980. Number 12. S. 182.

[13] Archive of the author. Record memories AV Taraseva.

[14] A. Nesgovorov Ordinance. cit. S. 146-147.

[15] unforgotten grave. M., 2004. T. 4. 177.

[16] J. Mejinschi Things Russian umetnika ... 89-90.

[17] New time. 1927. 9. IV. Number 1783. C. 3.

[18] Ibid. 17. IV. Number 1790. C. 3.

[19] Ibid. 7. VII. Number 1851. C. 3.

[20] Ibid. 1930. 13. VII. Number 2763. C. 4.

[21] unforgotten grave. T. 4. 177.

[22] New time. 1930. 11. III. Number 2661. C. 4.

[23] Ibid. 28. I. Number 2625. C. 3.

[24] S. Turlakov Ordinance. cit. P. 43.

[25] Russian House ..., p. 26.

[26] Ibid. S. 27.

[27] New time. 1930. 15. III. Number 2665. C. 3.

[28] Ibid. 14. III. Number 2664. C. 3.

[29] Ibid. 16. III. Number 2666. C. 3.

[30] Mejinschi-Миловановић J. Cases slikara terms "light umetnosti" from Beogradskom national muzeju /Separat. Zbornik narodnog muzeja - Beograd. XVII /2. Istorija umetnosti. Beograd. Narodni muzej. S. 385.

[31] Ibid. S. 395-397.

[32] A. Арсењев Biografski imenik ðóñêèé emigranata. P. 238.

[33] Дабић ©. Ruski umetnitsi emigranti have Vojnom muzeju. Catalog изложбе. Beograd, 1996. S. 16, 24.

[34] Ibid. S. 17, 29.

[35] Ibid. S. 17, 30.

[36] Ibid. 17-18.

[37] Ibid. P. 18.

[38] Ibid.

[39] Ibid.

[40] New time. 1922. 24. V. Number 323. C. 3.

[41] Ibid. 17. IX. Number 418. C. 3.

[42] Ibid. 12. XI. Number 466. S. 5.

[43] Royal Gazette. 1934. 25. II. Number 385. C. 3.

[44] New time. 1923. 25. VII. Number 671. C. 3.

[45] Ibid. 1924. 4. V. Number 905. C. 3.

[46] Ibid.

[47] Ibid. 1928. 11. II. Number 2033. C. 3.

[48] I. Суботић front page изложба vanguard umetnosti in Beograd 1924 godina /Годишњак hail Beograd. 2002-2003. Књ. XLIX - L. S. 357, 359, 360.

[49] New time. 1924. 17. VII. Number 965. C. 3.

[50] Ibid. 28. VIII. Number 1000. S. 5.

[51] Ibid. 31. VIII. Number 1002. C. 3.

[52] Ibid. 1925. 16. VI. Number 1236. C. 3.

[53] A. Арсењев Biografski imenik ðóñêèé emigranata. S. 307.

[54] New time. 1925. 24. IX. Number 1321. P. 3; unforgotten grave. M,. 1999. T. 2. S. 398.

[55] New time. 1926. 17. III. Number 1464. P. 3; unforgotten grave. T. 5. S. 482.

[56] New time. 1926. 8. V. 1926. Number 1506. C. 2.

[57] S. Turlakov Ordinance. cit. P. 43.

[58] New time. 1927. 18. II. Number 1740. C. 3.

[59] Ibid. 1924. 24. VII. Number 971. 2-3.

[60] Ibid. 1927. 30. III. Number 1774. C. 4.

[61] Ibid. 7. IV. Number 1781. C. 2.

[62] Ibid. 19. X. Number 1940. P. 3; unforgotten grave. T. 5. 80.

[63] New time. 1927. 8. XI. Number 1957. C. 2.

[64] Ibid. C. 3.

[65] Ibid. 1928. 30. III. Number 2074. C. 3.

[66] JMP. 1946. Number 5. P. 44; Арсењев A. Biografski imenik ðóñêèé emigranata. P. 251.

[67] New time. 1928. 16. V. Number 2110. C. 3.

[68] Ibid. 1927. 12. V. Number 1807. S. 1-2.

[69] J. Богдановић. Ђорђе Lobachev or детињство koje not prolazi //Russia without Rusije ..., p. 152.

[70] B. Ракочевић services have strip and - okupatora //Politics. 1996. 9 VIII. C. 9.

[71] Russian business. 1943. 20. VI. № 3. S. 5.

[72] Ibid.

[73] Ibid. 5. XII. Number 27. P. 4.