Ironically, Yuri Nagibin one sentence noted the features in the shape of Solomon Shuster, which was estimated by contemporaries as pizhonstvo or, at best, as dandyism Soviet bringeth. Here it should be noted that, differing from the others, Shuster in this still was not alone. The crowd at the premiere in Leningrad in the foyer of the House of Cinema has always been the association with extras Fellini and only then on certain features forced to recall the registration. But appearances Schuster and then was "too much" and had already pulled on dual spiritual citizenship.
Suede jacket, unhurried gait. Stoop and a clear hypertrophy of the chest made him look like a violinist with a picture of Yakovlev; tight starch expensive shirts, colored butterfly - not vulgar "Chaldean" STAR-kisom on an elastic band, and collected a complex and generous host, who has taught the art of tying Schuster old collector Bloch . Some unimaginable bostonovye suits and beaver coats, tweed jackets and lion that existed outside the Soviet ideas about fashion and therefore fall outside it, as some gimaty.
Alexander Benois once wrote on his business card - "servant of Apollo. There was less reason to do something similar and by Solomon Shuster is certainly the case for collecting very seriously. It is difficult to reconstruct the beginning of his collecting ways. What was on this road all the familiar counter parental values, inspires a sense of how much gain new, inaccessible to his father horizons. Undoubtedly, this problem - the hidden rivalries and at the same time continuing the family tradition - there. This also proves the sign for the pragmatic act of donation Shuster to the Hermitage of the best things of his father's congregation, and the constant controversy that sounded in his utterances and writings with respect to the classical models.
This coexistence with the classics became clear to anyone who crossed the threshold shusterovskoy apartment - suite of several rooms, once amputated from a large landowner and the emerging body of thirty-five years of municipal hell, and then to restore the illusion of sovereignty through a chain of unequal exchanges. By the way, once as a surcharge involved money received from the Russian Museum for a textbook, nearly three-meter, Mashkovskiy "Self-portrait with the portrait Konchalovsky. (Interestingly, some mansions could now raise the money from this picture?)
All interested parties in Moscow and Leningrad Solomon Shuster was known as a collector of Russian figurative painting of the twentieth century "to the left of the World of Art". But the first thing the visitor saw in his bedroom (which is reached directly from the hallway!), Was huge, prohibitive, even in the eyes of Madonna of the Bolognese school of colossal black carved frame. Surrounded by a host of angels, The Penitent Magdalene, Herodias and Judith with the severed head in his hands and serves painting marked the origin, the beginning shusterovskoy collection. That, and he was pushed off and what all to the end of his days retained baby respect. The same was said has always been a place of honor dress portrait of Ignatius Schuster brush Vladimir Makovsky. It was the only painting from the collection Ignatievitch Abraham, the father of Solomon, have been privileged to visit with the owner of the evacuation of the besieged city and return safely back.
This piety, this attention to the family, memorial, historical, or, if you will, the literary side of the focus is one of the most important features shusterovskoy collection. It existed in a vacuum, in contrast, was surrounded by not less important collections Okunev, Chudnovsky, Bloch, Paleeva, Loitsyansky, Ezrahi, Rybakova ... But attention to the history and existence of things, its correct attribution of the image the person - if it was a portrait -- by Shuster was exceptional. While in most cases the meeting - like the astonishing quality collection Chudnovsky - hung on the walls, then Shuster on display was visible, only one hundredth part of the iceberg. Everything else was kind of a creative laboratory, where stood the hypothesis to confirm or deny authorship, in search of references overturned mountains of literature. To some extent, collectors' professionalism Shuster manifested just in dealing with "incomprehensible" and rejected works. This is the meaning of his almost daily detours stores and little shops perestroika Leningrad, where regular social conflict was washed into the market quite a lot of interesting things. In the same and his amazing attention to an interested interlocutor (let even a youngster), in which Shuster always saw a colleague and comrade for "high disease" - collecting. Demonstration paintings of his collection is always accompanied by questions about what the audience thinks of as a painting on the model, the time of painting. Professionalism attributable to study the origin of his paintings, correspondence with museums and private individuals, shtudirovanie phone books and departmental handbooks, the endless view of multi-editions, anthologies and collections.
The commonplace view is always a collector or a misfit, ignoring the value of his time and knows that winning the Hamburg account, or a pragmatic businessman, investing in art. For Solomon Schuster These considerations obviously wrong. Certainly, the first thing he adopted - is the aesthetic criteria. Equally clearly, that these criteria, at least initially, were largely shestidesyatnicheskimi, a little superficial and naive, built on the exclusion of representations which are old nauseam about the "Russian realism."
Equally clearly, that since his "sensual aestheticism" came into conflict with his love of the true history and with the desire for an orderly systematic collection of objects, the search for roots. This attention to the masters of the second plan, to their biographies, not so much to acquisitions, many failures and losses. By the fate of a failed, forgotten names, trampled lives. Shuster could sit for hours in any room communal apartment in Leningrad, vysprashivaya a forgetful child long dead artist features biography of his ancestor, or rush to the village where the attic waiting for all the forgotten archives of Hope Lermontov.
In the same plane and is a keen interest Shuster to the artists of the Russian emigration. Not only to well-known name and stable reputation, but also to the almost unknown at that time figures. Even before any change in the political situation, he managed to find relatives in Moscow, St. Paul Chelishchev granted after the death of the painter of his legacy. As soon as an opportunity, he became one of the first Russian to actively buy things abroad. And not only at auctions and at dealers, but also directly in the offspring, in anticipation of "feats" of the new Russian gallerists.
There is no doubt that in addition to understanding the material, a prestigious and aesthetic status of the collection, he realized the general cultural value of their hobbies. That is why, as soon as an opportunity, he was involved in working at the Cultural Foundation in organizing exhibitions of private collections. This, perhaps, was determined and its relatively late arisen a need to record the history of their discoveries. Part he published them in a friendly mood to his magazine "Our Heritage", the rest is written in the table. What not fall on the paper, said by some to infinity grinding in an oral retelling, each time finding new details and more.
It is not alien to the joys of life, a lover of maps, good tobacco, wine, and comfort, Shuster seemed the embodiment of hedonism. His friends, communication, addiction, some special rootedness in the world of things, knowledge, even "znatochestvo" items, diluted it with metaphysics, did not appropriate any conversations with him on this subject. But he was gone, and much of his activity was suddenly take on volume, depth and significance. Some surface reflection and finds Schuster ten years have grown fanciful interpretations, evaluation and attribution for someone to have become almost standard, and the everyday life of the Leningrad-Moscow collector gradually turns the object of almost academic study. It becomes clear that he Shuster knew about all this, and if he did not know, then guess, trying to preserve for others something that could save it alone. When he died, one of the relatives expressed a bit paradoxical idea of his fate after death, suggesting that beyond the objective environment it is likely to be "infinitely boring". After ten years, would like to think that this is not so. Probably, "there," Solomon Abramovich Schuster, coming into contact with ideas of things "and the prototype of the pictures, finally acquired the knowledge of the past.
http://www.iskusstvo-info.ru/2005/5/06_66_73.htm
By topic: the book by S. Shuster "Profession collector"
http://forum.artinvestment.ru/showpo...mp;postcount=2
26.01.2009, 09:00
NOTE ON hunter stuff
Древовидный вид