About the exhibition of Russian art in Brussels in 1928

[Евгений]

NA Avdyusheva-Lecomte

In May 1928 in Brussels Inauguration of the Palace of Fine Arts - the first in Europe, multi-purpose cultural center that united music, theater, cinema and plastic arts. Opening of the Palace for many years ahead of the construction of similar cultural centers in Europe. On the occasion of this event under the festive program was organized and hosted "The exhibition of old and new Russian art" - the largest demonstration of art of the Russian emigration interwar period.

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Researchers Russian culture abroad, turning in his works to this exhibition is based, as a rule, at its directory1 and published two years later, an aide knigu2, but as it turned out, both editions contain errors or inaccuracies. Unpublished documents of the Palace of Fine Arts, stored in the Belgian archives - Archives PBA (Brussels), allowed the author to clarify the true composition of the exhibition and the names of the artists represented in the exhibition and once again make sure the scale, high status and value of exhibitions for cultural history of Belgium and the Russian diaspora.

After the First World War, despite the severe physical calamities which befell Belgium, the mayor of Brussels, Adolphe Max (Adolf Max) returned to the issue of creating a cultural center. However, the construction required a significant financial investment, but the country needed, especially in the reconstruction of the destroyed economy, so in 1921 the Senate refused to grant a loan. The situation has saved private initiative. Max came to the aid of Henri Le Bef (Henri Le Bњuf) - Belgian banker, philanthropist, a brilliant musician, who headed the association for public purposes, called the "Palace of Fine Arts, which has assumed all costs for construction and operation of the Palace. The state's role is now confined only to mediate in obtaining multimillion-dollar loan for sixty-five years.

Europe's first Palace of Arts was to attract not only Belgians, but also talented representatives throughout Europe. Le Bef attached the greatest importance to international exchanges. He emphasized that they provide an opportunity to meet representatives of different peoples and to understand each other using the language of artistic expression. His intentions Le Bef implemented in the preparation of the festive opening of the Palace of the program, inviting her to participate in the European countries. However, for various reasons, participated in the celebrations, in addition to Belgium, only three countries: France, Russia and Switzerland.

The most interesting were the exhibition "The old and the new Russian art," won the audience not only "scenery by Bakst and Benois to plays Chaliapin, Nijinsky and Diaghilev works from Western museums and private collections, but also a retrospective of icons and ancient art to Catherine the Great, <... > creativity in exile group "World of Art from its founding Benois, Bilibin, Luba, Dobuzhinsky to fashion now in Paris of representatives of the last generation, together with Alexander Yakovlev, Shuhaevym, Grigoriev, Goncharova, Hanoi Orlova and Annenkov" 3.

According to art historian S. Makovsky, "the Russian Front was organized privately funded several Belgians who love the old Russia." "The invitation came from them, and even the choice of exhibits produced with the direct participation of the Belgian Committee. But the soul was, of course, VS Naryshkin (nee Witte), and her closest staff Zharnovsky II. Honor and glory to both "- wrote Makovskiy4.

Belgians who love "old Russia", Henri Le Bef - Head of Association of the Palace of Fine Arts and Pierre Bote - the keeper of the Royal Museum of Fine Arts of Belgium, the initiator of the organization of the exhibition "World of Art" in 1923 in Bryussele5. Both had a clear idea about the achievements of Russian culture and have been personally acquainted with its representatives.

From the first Russian to plans for future exhibitions were devoted to a close friend of Le Befa Vera S. Naryshkina6 and artist-exile, Prince Alexander K. Shervashidze, who found the idea attractive exhibitions, but because of employment in the private theatrical Diaghilev their participation in realizing this idea, has limited only presence at the meetings of the Paris Committee.

All the preparatory work for the exhibition from Russia led by Vera Naryshkin, pick out, on the advice of Le Befa competent assistants. Patron emphasizes the great responsibility of the organizers, assuming that the level of future exhibitions should be "very high", for "Brussels and Europe are waiting for the opening of the Palace" 7.

In Paris was created Russian Art Committee (Comite Exclusif Russe), consisting of, but Naryshkina and Zharnovskogo, includes a writer and critic L. Dumont-Wilden, former consul of Belgium in Russia I. Charlier and artist Matie 8. The Committee decided all the practical issues, including financial, transportation, insurance, etc. Le Bef placed at his disposal the postal address of his office on the Boulevard Oscmann in Paris.

Another "feature", a committee consisting of living in Paris of Russian artists, was intended to help the Belgians in the organization conceived of the "Russian exhibition. This Committee is entrusted with the selection of works for future exhibitions. Naryshkin and Zharnovsky become a link between the two committees. Zharnovsky, moreover, assumed the duty of the Secretary-Russian Committee ".

Retrospective exhibition of the first meeting had not been considered, it seemed impossible because of the impossibility of its acquisition, and incomplete exposure could distort the picture of the development of Russian art. However, thanks to the enthusiasm of the organizers, their initiative and personal contacts, in museums, private collections, homes and families of Belgian aristocratic Russian émigrés were identified works of art, antique furniture, antiques and religious objects, thereby establishing a department of ancient Russian art and the art of XVIII-XIX cc.

At the first general meeting, held at the Paris apartment of M. Dobuzhinsky (Boulevard Murat, House 122) 9, when discussing the program of the exhibition organizers were confronted with a dilemma: to limit exposure of artists, immigrants, or to extend it by Soviet artists? In the latter case, expected to turn to the Soviet artists who participated in this time in American shows, with a request for products. However, it soon became clear that things from the Soviet Union and limitrophe States to deliver difficult and they may get lost, passing through a number of countries and customs. The works of Soviet artists decided to search the Parizhe10. For the Russian artists caught up in the U.S., the obstacle was the cost of transport, although artists such as Sorin and S. Sudeikin expressed their willingness to submit their works.

The concept of the exhibition of contemporary Russian art was to "start with" pillars "- artists of the" World of Art "(Benois, Somov, Dobuzhinsky, Bilibin, Yakovlev, Shukhaiev, etc.) and finish the avant-garde artists (Chagall, etc. ). Later it was decided not to invite the group and individual hudozhnikov11. Among the documents were found two significantly different list of exhibitors. One was a small list of Russian hudozhnikov12. Another was more complete and almost identical to the final composition of the participants. Probably, he became the main working dokumentom13.

The organizers have the support of prominent exiles - Grand Duchess Maria Pavlovna, President of the Society "Icon" V. Ryabushinsky, President of the Society of Russian bibliophiles M. Apostol (Paris) and Princess M. Vasilchikova (Jessen-Darmstadt). Bote enlisted the support of Belgian ambassadors in Paris and London, that "in particularly difficult cases, the collectors' Naryshkin and Zharnovsky could resort to their mediation. Thus, the importance of Russian exhibitions for the upcoming celebrations.

The training plan of the exhibition every day gaining increasing momentum. The plan, for example, that the exhibition will be accompanied by a series of lectures on the history of Russian art, chamber music concerts, dance performances with the participation of A. Pavlova, T. Karsavina, I. Rubinstein. Organizers sought to "strengthen Russian atmosphere, so that visitors can better appreciate all aspects of Russian art.

The true adornment of the opening of the Palace of Arts program was a grandiose spectacle of the Russian ballet Diaghilev "arranged in the hall of sculpture, decorated on the project MVDobuzhinsky. The performances were also shown at the Royal Opera House - in the Theater de la Monnaie.

Exposition of the exhibition of Russian art housed in the halls of the Palace, affiliated to the rotunda, with access to the park and the Royal Palace. Interiors based on sketches Mstislav Dobuzhinsky and Dmitry Stelletskii engaged in the Brussels Enterprise «Innovation». "It is reasonable conceived and skillfully implemented" in color "vibrant and soft at the same time, these halls enthralled visitors. Works of art, placed in the interior of the chapel re-created or tastefully arranged secular salon, formed a harmonious atmosphere of the era, "the atmosphere of the novels of Tolstoy and Dostoyevsky, old St. Petersburg 1800-1880 period".

Small gaps in the retrospective section did not prevent the development of a unified ensemble, and, thanks to the joint efforts of the organizers, the exposition has gained quite complete. It consisted of the following divisions: ancient art, art of XVIII-XIX centuries., Decorative art and contemporary art, including painting, sculpture, graphics.

Exhibits department of ancient Russian art - icons XV-XVII centuries. Moscow, Novgorod, Pskov and Yaroslavl school, gold and silver church plates, ancient manuscripts, carved wood and brass crosses, reliquaries - more than a hundred names were provided by the Parisian trade house «A la vieille Russie». These included the icons "Tenderness Mother of God" (the beginning of XV century.) "Protection of the Virgin" school Dionysius (about 1550), "The Virgin of Tikhvin» (XV cent.) Belonging to Mr. Vidal from Paris. Especially valuable item was "Reims Gospel - Gospel manuscript from the treasury of Reims Cathedral, belonged to the daughter of Yaroslav the Wise and wife of King Henry I of France Anne Yaroslavna, which brought him to Paris in 1051 Beginning with Philip I, on the day of the coronation oath in this gospel all the kings of France.

The exhibition department of art XVIII-XIX centuries. includes gems of Russian art - paintings F. Rokotov, D. Levitsky, V. Borovikovsky, K. Brullov, P. Fedotov, watercolor G. Gagarin (all owned by private individuals in Belgium and France), O. Kiprensky self-portrait from the Uffizi Gallery (Florence) as well as portraits of Russian czars and nobles, enforcement of foreign artists. These are portraits of Catherine I and Empress Elizabeth of L. Caravaque, a portrait of Empress Catherine II brush JB Lampi (all from private collections). C. Makovsky noted with regret: "The impression we would obtain a full, but there is a gap <...> years in thirty or forty, - neither academics nor Wanderers second half of last century are not represented at all. The explanation is simple: abroad not to find good canvases Perov, Kramskoy, Savrasov, Polenova, Ge, Surikov, Repin, etc. "14

Organizers of the exhibition managed to find items of decorative art from nielloed silver produced in Russia in the pre-Petrine era, characterized by "extraordinary elegance and sophistication, carved wooden boxes, crystal ware, antique furniture, lacquer boxes factory VP Lukutin and much more. The efforts of the organizers of the exhibition were awarded the Belgian criticism: "All that is gathered, curious, and is presented exclusively in a surprising manner. Here you can enjoy the things that are not for anything you will not find anywhere else, because they are in private homes of fans who know their value. <...> It is these things are most interesting and make the show attractive. Russian aristocracy in exile and wealthy collectors showed impeccable politeness and sent to the exhibition all the most valuable thing they have. Thanks to their kindness and noble zeal, we can learn and appreciate our little-known Russian art, because you need to know its originality, the characteristics, traditions, names of old and modern masters. This art we can discuss or criticize, but must recognize its power, lyricism and admire 15.

Exposition of the department of contemporary art consists of works of over sixty artists. Ten of them lived in the Soviet Rossii16; geography of the remaining participants in the Russian exhibition can be viewed as emigre scattering cross-section: Belgium (2), Germany (1), Italy (1), Estonia (1), United States (4) and France (34 from 37 artists living in Paris), representing 82%of the total number of participants.

The exhibition includes about five hundred works of painting, sculpture and graphics. In painting, the critics pointed out above all preserving the traditions of the Russian school of figure, "the accuracy of performance, reverence, respect to the line and form, whether it is" a bit dry and reserved, intellectual painting "G. Shiltyana, refined lines and colors" K. Somov, "powerful emotion and the drama" Boris Grigoryev, "the novelty and freshness" of paintings Z. Serebryakova or skillfully made "paintings V. Shuhaeva.

Special emphasis on theater. Calculation of the organizers to exhibit theatrical sketches prove to be correct, as Europe became acquainted with contemporary Russian art due primarily to productions of the Russian Ballet Diaghilev. Not accidentally, in the preface to the exhibition catalog Dumont-Wilden said was of great importance for the world contributed by Sergei Diaghilev, Alexandre Benois and other artists of the World of Art in updating theatrical decorative iskusstva17. The exhibition presents sketches of sets and costumes by L. Bakst to non-repertory Diaghilev ballet "Scheherazade" to music by Rimsky-Korsakov (1910), belonging to the Paris Museum of Decorative Arts (Musee des Arts Decoratifs), Alexander Benois designs for the play C. Goldoni "Fan "for the Bolshoi Drama Theater in St. Petersburg (1924), sketches of ballet costumes, performed by I. Bilibin for Anna Pavlova, M. Dobuzhinsky sketches of scenery for the opera of Tchaikovsky's" Pique Dame ", for the National Opera House in Kaunas (1925), and etc.

A special section was devoted to the art of book graphics. In its creation participated led by P. apostle Parisian Society of Friends of Russian books. According to the book catalog to the exhibition provided the National Library in Paris, Le collectors Beth, the Apostle, Naryshkin, Arbuzov, Dobuzhinsky, Povolotsky, Shifrin (Paris). Exposition made more than fifty books of Russian and foreign writers and poets: N. Gogol, Leskov, A. Block, A. de Regnier, A. Maurois. Published in Russia and abroad, they were illustrated mainly miriskusnikami. This, for example, pre-revolutionary publications: a Russian folk tale "Vasilisa the Beautiful", illustrated by I. Bilibin (1902), Pushkin's "Queen of Spades" with illustrations by Alexander Benois (1911), "fables" with illustrations by G. Narbut (1912), and well-known lovers of Russian art of the book B. Grigoriev "scat" (St. Petersburg, Berlin, 1921) and "Faces of Russia" (Paris, 1923) and published in Paris albums Yakovlev "Drawings and paintings of the Far East" ( 1922) and "Drawings and paintings of Africa" (1927). The writer and critic Charles Bernard singled out among the exhibits woodcut Soviet artist Alexander Kravchenko and IISH Spies, who lived in Hanover.

Paying attention to contemporary sculpture, the critics always mention the work Akop Gyurjyan, author of "The heads of a Russian girl," calling him "one of the first sculptors of our time." Meanwhile, his work today, little is known both in Russia and abroad. The exhibition presented works of sculpture such as "Saint George" Gleb Deryuzhinskogo, "Seated Woman" Hana Orlov, head of Chinese ", a young sculptor Dora Gordin, whose name is erroneously given in the catalog as Nora.

Within two months, until the show lasted about her writing regularly for nearly twenty Belgian newspapers and magazines printed more than forty reviews, in which the Russian exposition was recognized as the most interesting.

The success of the exhibition and its members recognized, as evidenced by letters and memories Benoit, Dobuzhinsky, Luba and other contemporaries. "I'm not exaggerating, this event for us, emigration. The success of the exhibition, really big here as it coincides with the victory of a more general, with foreign artistic triumph throughout our culture <...>. Organizers of the exhibition was able to show to foreigners is something very significant - not just a group of artists, but in general the tradition of Russian artistry of Peter the Great, and even, to some extent, the tradition of pre-Petrine, ikonopisnuju "- wrote Sergei Makovskiy18. Konstantin Somov wrote American friend June 8, 1928: "I see, you talked about our success in Brussels. Он, действительно, был и, к тому же, достаточно большим как в моральном, так и в финансовом отношении. Будучи причастен к нему, я поправил свое финансовое положение»19 . Отметим, что письмо отправлено за три недели до закрытия выставки, когда продажи еще продолжались.

На выставке были проданы произведения В. Андрусова, А. Белобородова, Д. Бушена, Б. Григорьева, А. Гюрджяна, З. Серебряковой, Д. Стеллецкого и других русских художников, все экземпляры гравюр А. Алексеева «Портрет Чарли Чаплина» (№ 501) и «Пейзаж Таити» (№ 504). Еще до открытия выставки у А. Яковлева купили картину «Обнаженная» (№ 727 по каталогу).

В комитет выставки поступали просьбы любителей русского искусства о встречах с художниками. Это позволяет предположить, что, по всей видимости, немало заказов русские художники выполнили и в последующие годы. Более восьмидесяти произведений современного искусства приобрели с выставки бельгийцы. Они в основном пополнили частные коллекции, но три работы — картина Шилтяна «Обнаженная», мраморная скульптура Гюрджяна «Сиамская кошка» и деревянная скульптура Стеллецкого «Всадник» вошли в государственные собрания Бельгии.

Таким образом, брюссельская «Выставка старого и нового русского искусства» 1928 г. подвела своеобразный итог истории искусства русской эмиграции. Ее комплектование позволило обозреть часть национального достояния, оказавшегося за пределами России в музейных и частных собраниях, и продемонстрировало расширившуюся географию пребывания русских художников на карте мира.

Соприкосновение с искусством Западной Европы, а в некоторых случаях и процесс ассимиляции способствовали развитию русского искусства в условиях эмиграции. Учитывая неподдельный интерес к выставке американских критиков, можно считать, что ее масштаб и значение перешагнули границы Европы.

Ядро экспозиции составили работы мирискусников трех поколений. Именно в Брюсселе, по оценке искусствоведа А. Толстого, прошла передача творческой эстафеты одного поколения русских художников другому20 . Произведения русских художников-эмигрантов не только вошли в государственные и частные собрания Европы, но и обогатили мировой художественный рынок.

Нельзя обойти вниманием и психологический фактор. Совместная работа по организации выставки дала возможность эмигрантам из разных стран объединить усилия во имя решения общей задачи — получить удовлетворение от ее блестящей реализации и почувствовать гордость за свою Родину, за ее культурное наследие, частью которого являлось и их творчество. Такие моменты в жизни изгнанников случались нечасто. Павел Муратов позднее писал: «<…> Может, еще более странным было видеть хорошо знакомые русские лица в залах брюссельского Дворца изящных искусств, чем произведения русского искусства здесь. Вопреки самим себе, мы перенеслись на 15 лет назад, в Россию. И, скорее, в Петербург, чем в Москву. <…> В залах, заполненных нашим художественным наследием, мы чувствовали себя более у себя дома, как нигде заграницей, и это благодаря волшебству общих усилий»21 .

Notes
1 Palais des Beaux-Arts. Art russe ancien et moderne. Bruxelles, Inauguration des salles d’exposition. Mai-juin: Catalogue. Bruxelles, 1928.

2 L’Art russe, souvenir de l’exposition d’Art russe. Palais des Beaux-Arts de Bruxelles, mai-juin 1928 /Ed.: Cahiers de Belgique. Bruxelles, 1930.

3 Le Matin. 1928. 5 Mai.

4Маковский С. Победа русского искусства: Письмо из Брюсселя. Автограф статьи //РГАЛИ, ф. 1447, оп. 2, ед. Mts. 25.

5 Благодаря инициативе П. Ботье картина А. Е. Яковлева «Обнаженная» поступила в Королевский музей изящных искусств в Брюсселе. Подробнее см.: Авдюшева-Лекомт Н. Александр Яковлев в Бельгии //Зарубежная Россия, 1917–1945. SPb., 2004. Kn. 3. С. 354–360.

6 Витте, Вера Сергеевна, в замужестве Нарышкина (1883, Санкт-Петербург — ?). Эмигрировала в Бельгию в 1920 г.

7 Письмо Лe Бeфа к В. С. Нарышкиной от 17 ноября 1927 г. //Арх. РВА.

8 Письмо P. Bautier a Baron de Gaiffier d’Hestroy от 24 января 1928 г. //Арх. РВА. № C/1547.

9 Присутствовали П. Ботье, П. Жанле, В. Нарышкина, А. Бенуа, М. Добужинский, А. Яковлев, К. Сомов, И. Жарновский. См. протокол собрания от 8 октября 1927 г. //Арх. РВА.

10 Вероятно, частным образом, «на свой страх и риск», картины из России были отправлены самими художниками. Сохранилось письмо за подписью Василия Яковлева (Москва, ул. Маркса и Энгельса, 19): «<…> По приглашению, переданному мне Шухаевым, выслал на выставку картину “Овощи” разм. 3,8 м x 2,57 м». Далее художник поясняет, как, не повредив, снять холст и выслать в Москву. Имя Василия Яковлева внесено в черновой список участников от руки //Арх. РВА.

11 Протокол собрания от 30 октября 1927 г. //Арх. РВА.

12 «Artistes russes: Алексеев, Анненков, Бабий, Александр Бенуа, Николай Бенуа, Билибин, Бушен, Белобородов, М. Добужинский, Р. Добужинский, Гончарова, Григорьев, Акоп Гюрджян, Леон Зак, Зилотти, Исаев, Исцеленов, Коровин, Ларионов, О. Мещанинов, Миллиоти, Сарьян, Сомов, Стеллецкий, Ольга Сахарова, Серебрякова, Сутин, Фалилеев, Черкесов, М. Шагал, Шапиро, Щекатихина А. Шервашидзе, Г. Шилтян, В. Шухаев, А. Яковлев». Дата 20/XI //Арх. РВА.

13 «Artistes exposants: А. Алексеев, В. Андрусов, Ю. Анненков, И. Бабий, А. Белобородов, Альберт Бенуа, Александр Бенуа, Николай Бенуа, И. Билибин, Д. Бушен, Н. Гончарова, Д. Гордина, А. Грищенко, А. Гюрджян, Г. Дерюжинский, М. Добужинский, Л. Зак, А. Зилотти, Н. Исаев, Н. Исцеленов, Г. Кирста, К. Коровин, А. Кравченко, А. Лагорио, М. Лагорио, Е. Лансере, М. Ларионов, Ф. Малявин, Н. Миллиоти, Д. Митрохин, О. Обольянинова, Х. Орлова, К. Петров-Водкин, И. Пуни, Н. Ремизов, З. Серебрякова, К. Сомов, Д. Стеллецкий, С. Судейкин, В. Фалилеев, А. Чеко-Потоцка (Щекатихина-Потоцкая), Ю. Черкесов, С. Чехонин, А. Шервашидзе, Г. Шилтян, В. Шухаев, А. Яковлев, М. Яковлев». Отдельной строкой после основного списка записаны следующие фамилии: Л. Бакст, Г. Нарбут, Б. Кустодиев, В. Серов. От руки разным почерком внесены добавления: К. Богаевский, А. Головин, Б. Григорьев, А. Остроумова-Лебедева, К. Юон, Владимир Яковлев. Без даты //Арх. РВА.

14 Цит. по: Алексинская Т. Выставка русского искусства в Брюсселе //Возрождение. («La Renaissance»). 1958. Апр. Temp. 76. С. 53–56.

15Boxus Robert. Au Palais des beaux-Arts //La Province de Namur. 1928. 31 Мai.

16 К. Богаевский, Г. Верейский, А. Головин, В. Конашевич, А. Кравченко, Е. Лансере, Д. Митрохин, А. Остроумова-Лебедева, К. Петров-Водкин, К. Юон.

17Dumont-Wilden L. L’Art Russe //Palais des Beaux-Arts. Art russe ancien et moderne. Bruxelles, Inauguration des salles d’exposition. Mai-juin: Catalogue. Bruxelles, 1928. Р. 11.

18 Цит. по: Алексинская Т. Выставка русского искусства в Брюсселе.

19 Письма К. А. Сомова к К. М. Животовской (1925–1938) /Подг. текстов, вступ. Art. Т. С. Царьковой; коммент. и биогр. справка Е. П. Яковлевой; пер. from English. Е. А. Тереховой //Ежегодник Рукописного отдела Пушкинского Дома на 2002 год. SPb., 2006. С. 482.

20Толстой А. В. Художники русской эмиграции. M., 2005. S. 161.

21 Цит. по: L’Art russe, souvenir de l’exposition d’Art russe.