In the incident, if you wish, you can see many "meanings". But the essential - what is the value of the ongoing assembly of modern painting? It is likely that the existence of exhibition space assembly creates attraction and communication, as "communicative pipe" between people of different ages and professions, living and gone. It is also a kind of "diary" biography of the owner, stating the artistic outcome of private and professional "meetings and partings. Finally, it - the individual collector's version of artistic priorities generations. At the same time, the art collection - the usual daily routine, in which the painting exist, as they allow the living conditions, and the exhibitions look handsome as far as they "wash and combs.
Every meeting has its "face" that defines the identity of the owner. Mikhail Krasilin, as they say, is well known in artistic circles. Art critic, more than thirty years head of the sector expertise of the State Scientific Research Institute of Restoration, the researcher later iconography XVIII-XX centuries., Universal expert on Russian and Western European paintings, the author of about 100 publications. After graduating from MSU, in 1967, he began his professional career at the Museum-estate "Arkhangelsk, where he served nearly four years. This was the beginning of entering the profession - the acquisition of skills and the addition of the museum's own internal constitution. Then there was a short-term work in the Museum of Early Russian Art. Andrei Rublev. In 1973 he was invited to VNIIR Ivan Petrovich Gorin, his legendary director, the position of head of sector expertise.
History krasilinskoy collections of modern Russian painting of the second half of the twentieth century, and traditional, and not quite normal. Craving for collecting, swelling in childhood, was a common manifestation of curiosity, a form of self-learning and intelligent yet the desire to surround himself with the world of stable and close things. First there were postcards with reproductions of paintings, later - the plate, as "material" realization of personal musical preferences. After the acquaintance with the "living" art. "In a class with me, she studied the girl, and her father was an artist Terenin. And one day, having been invited to visit, I found myself in the "studio" - a small room in a communal apartment. For the first time I saw these tubes of paint, felt their living smell. Saw blood-stained hands, stretchers, paintings without frames, standing on the floor ... I felt everyday, material life of art. And there was a large French book on El Greco with luxury in those days in black and white reproductions ... "- says Krasilin. It was, of course, and visiting museums. Visual Arts, as a rule, "cultural" is more recognizable in museums, in direct contact with the works. "Museums are often - former private collections, which have become common for some time. Before that everything was someone at home ... This is intrigued - and why I also can not be a museum "- continues to Mikhail Mikhailovich.
The collection marked the meeting with the artist Belavin Nikolai Alexandrovich (1912-1993), with whom Krasilin met in 1969 when he worked in the Museum-estate "Arkhangelsk". He first saw the work, then the artist - and the impression of the work at the meeting fully coincided with the impression of the individual. His story - a German prisoner and Gulag past, sometimes tell them with a smile, from which numb, - was a stunning revelation. Touching charm of his art drew softly, and lifestyle surprised.
Krasilin recalls: "Belavin nowhere officially did not work, carried out jobs for the Society for Protection of Monuments, to which he lived - is unclear. Since 1956 - in Moscow, his mission - to get impressions. Oil almost did not write more watercolor or pencil - they are operating, it was necessary to quickly capture what he saw. " Every summer he went to travel around the country - from Lviv and Uzhgorod to Bukhara, Samarkand and Khiva (Central Asia was once - in 1968), from Solovki to the Crimea. I drew the temples and old architecture. Was on the Volga, in Pskov and Pechory, many worked in Moscow, in Pereslavl on, Dmitrov, Zvenigorod, Volokolamsk, New Jerusalem. Art Belavin, in a sense more kulturologichno than artistic, but no less valuable. His schedule has kept many kinds of architectural monuments, which are already there. In 1969 Krasilin arranged an exhibition of watercolors Belavin in "Archangel". Artist in gratitude made repeated watercolor "Anthony monastery in Novgorod," and gave it a beginning collector. Around the same time, he had the work of Nicholas Zakutalina "Moscow court yard" and several lithographs Anatolia Krynskogo.
Collection Krasilina happened largely due to his professional activities. The process of gathering was a unique form of professional and personal communication, a way of self-actualization of the collector by vocation. At first the picture came as a "coincidence". Developed concept collections, which were to be consistently implemented, as such, was not. Gradually the number of pictures was "volume" to be felt in the dimensions of a Moscow apartment. Some of them found their place on the walls, began to look differently. Delineated range of names of artists. By the end of 1980 came the realization that interested in collecting works of his contemporaries. Then there were thoughts about the exhibition - would like to see the picture as an integrated display in the exhibition room. Moreover, the exhibition, as an organized form of display products, is the realization of specific principles of combining them in an exhibit to some extent reflect the idea of the collection. We can say that thinking about the exhibition crossed out on the "mental" gathering, which existed up to now only in "practical" plane.
Core assembly MM Krasilina are the work of his friends and good friends - a personal "circle of friends. They - and the essence of the person meeting. "At the core of the collection of works of those artists with whom I got on a human being", - said M. Krasilin. Communication began sometimes accidentally, sometimes the meetings were held on the recommendation - if the artist was interesting, and personally acquainted with him was not a collector. Were there new connections, new relationships formed next, they were superimposed on each other, often overlap.
It happened that the artist Boris Mikhailov had been friends since the mid 1960's, since the club's "Homeland", well known in the sixties its focus on the conservation of monuments of national culture. There appeared artist Boris Mikhailov, who graduated in 1972, the Stroganov School. "Mikhailov, in essence, a metaphysical artist" - says Krasilin and leaves in the collection of some of his "metaphysical" works carried out in an unusual technique - acrylic on polukartone.
Three portraits M. Krasilina wrote Victor Kalinin - two are portrayed in the meeting. The most eloquent, capacious in understanding the individual, picturesquely shock - "yellow", 2003. Getting the collector with Victor Kalinin took place in his studio somewhere in the late 1990's. Knew about each other was mutual interest and, as they say, came together quickly. In the collection there are his other works - "Trinity" (1991) and "Family" (1984). Outwardly, little similar to painting, they echo the simplicity of its "deep clear" - the image of the Old Testament Trinity, soaring above the altar, is superimposed on a seemingly everyday family scene at the table, and she sees the Trinity. The exhibition in "our heritage" also exhibited naked - "Act-11" (1994), which represents another aspect of the picturesque talent Kalinin - his enthusiasm monumentalizirovannymi plastic forms, and work almost open color.
From the artist Marlen Spindler (1931-2003) Krasilin first met "through friends" at his house and remembers that "in his small two-room apartment were pictures in bulk, it was all in the pictures. Even in small-format "little thing" Spindler charms lush picturesque power, brutal power. The fantastic imagery of his work brings to mind the art of Marc Chagall. For unconstrained plastic Spindler characterized by a "limiting" or even "the beyond" - a simplified form, free dynamic drawing broad brush, "thinking" of color, while the use of open-forced color, complex stylistic. Scenes asserted in the work's title - "Palms. Vologda (1981), "Red Jew" (1980), "Zek with a cat on his shoulder" (1988) - seem to be common, but their unusual pictorial and plastic expression. In meeting Krasilina - small size work made on paper in gouache or tempera. Spindler legacy after his death, almost everything was in Switzerland, in the collection of Ursus Genero and Nadi Brykina. In the spring of 2006 in Zurich exhibition of works by Marlene, with a huge and gorgeous catalog, opens gallery Nadi Brykina.
Pictures came into the assembly Krasilina different ways. This is generally unpredictable process, though, buying things, the collector usually follows a simple rule - the picture should reflect the maximum extent possible the aesthetic credo of the artist, to be in some way to sign his work. Typically, the artists understood the idea of gathering Mikhail Mikhailovich and offered him to choose the work on his taste - the ability to choose "is the most" prized. Or gave what was considered most appropriate to their plastic language.
Andrew Krasulin, for example, offered a choice, and soon joined the collection of three of his works - "Stool" (2000), "Graduation" (2001) and "black stripe" (2001). Pictorial and plastic back to them very minimized and at the same time, it is extremely expressive. Each point of the painting surface "interpretation" - a white preparation with grooves on the bristle brush, the movement is well-read, the transparency of the liquid matte paint in vertical lines, kept in fine gradations of gray, peaceful blue on the edge of the painting ( "stool"). By education a sculptor, densely paint Krasulin began with the mid-1980, following the style of "non-objective asceticism. His plastic forms, whether painting or graphics, lapidary and arhitektonichny. They - the embodiment of the spontaneous, unconscious aestheticism.
Pictures Ossetian artist Gela Goyaeva Krasilin saw on the walls of the apartment of his friend Larisa Kashuk, famous art critic and art curator. An overwhelming impression from the White Horse on a blue background "- an unusual, original imagery and hue. We Goyaeva had two solo exhibitions in the capital and near it - in the Istra museum and gallery "Movie" in the early 1990's, yet creative life in the "extreme" Moscow, apparently not formed. As with regret Krasilin told me: "I personally have never seen him. Later, almost all the paintings went to private collections. Goyaev, apparently, returned to his homeland (in Tskhinvali, South Ossetia. - AS). No information about his present whereabouts and occupations there. But the collector for three of his works - "The Mountain" (1993), "Cow" (1993) and "Still Life on a blue background" (1994).
Paintings by Yuri Ruff - "Entry into Jerusalem" (1992) and "Son of the hours" (1992) - somewhat echoing the works Goyaeva, came to the collection, we can say, "the walls" GosNIIR. In this manner in the assembly there and watercolor Ivan Petrovich Gorin and Alexander Yablokov, a member of the Institute, the restorer of the highest category.
The canvas "Dance on the shore" (1979) Irene Lavrova, with which we started a story about meeting Krasilina, "game" style of painting in the "carnival of art" 1970, are mysteriously able to modulate the experience of people entering into contact with it. In her pictures of reality took shape beautifully fanciful sense of "extraordinary instantaneous" happy creative stay in Foros in 1979, when Irina and Igor Lavrov Pchelnikov worked to design the interior of the sanatorium "South".
As a professional art critic, in MM Krasilina has its own "team" of artists with whom he had to work - to write about them or to arrange exhibitions, large and small. He organized solo exhibitions of Nicholas Belavin in "Archangel" (1969), in Ferapontovo - exhibition graphics Nikolai Andronov (1999), Natalia Egorshina (2000), Mary Andronova (2001), painting and graphics Anatolia Slepysheva (2001). There have been numerous articles to directories and books of Victor Kalinin, Mikhail Ivanov, Annamuhameda Zaripova, Eugene Rastorgueva.
To the 75-year anniversary of the last in 1995 Krasilinym was prepared by a huge retrospective of the artist's work in the CHA. The exhibition showed all stages of the creative evolution of the master - from the realism of field sketches and "revolutionary romanticism" large paintings 1950 to the chamber "Gorodets paintings, which he began doing the 1970's. It was possible to "extract" from the funds of the State Tretyakov Gallery picture of "Youth" (1957), which has made the young Rastorgueva the ranks of significant Soviet artists.
Today the artist 86 years, but he continues to work actively. His meeting with Krasilinym in the late 1980's grew into a friendship, and we can say that available in the collection of things Rastorgueva - paintings and sketches, albeit fragmentary and incomplete, but still reflect the main stages of a long career of the wizard. In this sense, revealing even-card, which the artist had written and sent on the occasion of different festivals. Rastorguev also a wonderful ceramic artist, has kept "in the hands of the" folk tradition, "uncultivated" molding. Imagery of this "uncultivated" Ceramics lurks in the naive depiction of his game "Gorodets" pictures - "Time" (1996), "Feeding the rooster" (1998) or "Vertushechniki" (2001), who found his place in the meeting Krasilina.
The ethical moment in collecting activities Krasilina, which is closely in contact with a professional, always for him was significant. And collecting contemporary art had a certain ethic background. Krasilin, following, as he says, the museum's own internal constitution, believed that the museum staff can not be a collector. He deliberately and on principle refused to collect icons, because by virtue of their professional training to them had a direct relationship, studying later icons of XIX - beginning of XX century. They were widely circulated on the black market and in 1970, and in 1980 were a kind of "actual art."
According Krasilin, "almost every living artist needs not only material support but also moral." This support contemporary artists, sees them as important and always challenge his collecting activities, and he decides it purposefully. In the first place that seeks to promote the picture of him interesting artists in the museums. He gave the gallery "New Hermitage" pattern "Smokers" and "Panda" Eugene Rastorgueva, watercolor Anatolia Slepysheva "Sitting" in Yaroslavl Art Museum - the work of Nicholas Nasedkina "Mother. Porch black house "and Victor Kalinin's" Portrait of Father ". But the main task of the collector - to search for and introduction to the artistic revolution of young, still unknown, but interesting artists.
"Geographically," the core of the collection includes pictures of Moscow artists - because of their accessibility. "Of course, I would like to artistic geography of the meeting was much wider, but little has turned out, always work interfered with", - says Krasilin. Most "Moscow" artist - Mikhail Ivanov (1927-2000), with whom the collector tied warm and friendly relations, because "Michael Ivanov - the rare artist who has devoted himself one inexhaustible topic - Moscow, its hidden alleyways, architecture, and quietly disappear from our being. "Spring Street" (1985) is complicated by the color and texture of superimposed layers of paint. This picturesque "interest" is very typical for an individual artist's hand.
There is also the work of "Yaroslavl" - a few cheap popular, ironic paintings and watercolors by Helen Ovsyannikova died recently at the age of the centennial of the Faith-Kichigin Kuznetsova. Several sketches nizhegorodtsam Yuri Kuzmin, a master of fine lyric landscape associated with the Volga. Getting happened to him at Rastorgueva. Kuzmin in 1965, graduated from the Gorky Art School, together with Victor Kalinin, and subsequently, by the way, was a notable photographer. In meeting Krasilina is his wonderful, very expressive form of execution "Autumn Chapel" (1994) - from orange leaves, the perceived texture, letter, separate smear and scratching colorful pasta.
Interest in the artistic life of other parts of our once great country, and especially the Baltic republics, was present at Krasilina always, but, unfortunately, did not find the proper display of art in the collection.
Work, the specifics of which it was a very wide geographical range of missions, indirectly, contributed to collecting capacity, gave a lot of experience, knowledge, friends. In 1970-1980-ies sector expertise GosNIIR actively engaged in the survey of Orthodox (and the Old Believers) churches - from the Baltics to Moldavia and from the Urals to Kyrgyzstan and Tajikistan - to identify artistic values. Got into such unknown, surprising and incredibly hard to reach areas where you can get only once in his life and then to more luck. It was always a touch of the "other" side of life and culture. And, of course, in some incomprehensible way, indirectly affected in collecting activities, has played his perfunctory role in the design of a person "collection. Each expedition provided the opportunity to get acquainted with the museums and to meet with the artists. Ability to "visit" a new place took the form of practical purposeful action. In Riga, there was seemingly quite impossible meeting with Boris Berzin (1930-2002), an unusual Latvian artist, a master of public holidays, "Bacchic" paintings. From this meeting has remained a large lithograph "skirt" (1982). From Riga's friends attended the workshop Krasilin Artur Nikitin, energetic and very refined artist. And in Tallinn was a meeting with a good artist and a collector of Russian icon painting Nikolai Kormashovym.
Oriental theme "in collecting Mikhail Mikhailovich - soulful, with a long history. In Central Asia the first time he went alone in 1968. Journey "their way" lasted almost a month and started with Ashgabat. Then Uzbekistan - Samarkand, Bukhara, Khiva, Urgench wanted to get to, but failed. Much later, in 1980, were very interesting and wonderful trip to Kyrgyzstan, Tajikistan and Uzbekistan. But the collection has "east" of the Moscow artists - Nicholas Belavin, Mikhail Ivanov, Annamuhameda Zaripova. "As no one else, Zaripov succeeded in painting to express spicy beauty of the East, the personification of the streets of fabulous cities, by air and sparkling perry. These themes are inspired by his homeland - a borough Sakar-Chaga near the ancient Merv in Turkmenistan "(M. Krasilin). His works in the collection of a lot - "Evening Race" (1979), "Donkey" (1979), "Evening road, illuminated by the sun" (1979), "Evening in the village" (1981). All they really oriental composition whimsical and "twisted" color and a particular sense of space.
In the collection are the work of both advanced and for one reason or another, forgotten artists. As noted by the collector himself - "I try to focus still on the artists, who in the art relegated to the shadow or forgotten." Art becoming Sergei Sokolov was such - winding and long. A graduate of Moscow Aviation Institute, he worked in a very "serious" scientific institute, but felt that the main thing in his life - painting, left in 1976, the Tretyakov Gallery "working to relocate the museum values" in order to properly review the picture and see the funds in which it was "something" that then, in the late 1970's, it was impossible to watch. With Krasilinym he met at an auction «Sotheby's» in Moscow in July 1988, the second, the "landmark" event, when the world is actually first learned of contemporary Soviet artists - and the nonconformist, and some of the officially recognized.
Sergei Sokolov has worked in a predominantly "collage technique, with a marked attention to the texture. Understanding of abstract forms became much more clear when he met with Igor Vulokh, who "thought forms on the colorful surface. Krasilin begins to collect Sokolova, contributes to its participation in the exhibition "Abstraction in Russia. Twentieth century "in RM in 2001-2002, and then in the State Tretyakov Gallery - 2003-m. Several of his works included in the collection Timing and the Moscow Museum of Modern Art.
At the exhibition in "our heritage" were shown, so to speak, the cream of the collection. Exposure labeled a "chamber color, a small hall space, and the paintings on the walls looked almost" at home ". In a free "carpet" hanging were identified semantic units of the exhibition - in the "capsule" form, clearly articulate the aesthetic priorities Krasilina-collector, as he himself had conceived and that "everything was simple - on one wall" hung ", figuratively speaking, realists, on the another Conceptual, and on the front, near the entrance - abstractionists.
Quantitatively modest, but very high quality was, for example, is creativity Nikolai Andronov (1929-1998) and Natalia Egorshina. Classic links - Ferrapontov neighborhood - and the visual motif - the night and the lake - the small picture Andronov "winter. Night "(1986) and" North Lake "(1995), instantly recognizable around the picturesque handwriting and the highest level of mastery. A small picture Egorshina "Calf" (1983) - a kind of figurative paraphrase a very soulful, pensive tone, piercingly opened later in the film Andronov "to visit me came white colt ..." (1986).
Anatoly Slepyshev artist, in the words Krasilina, "hitting its elemental picturesque, powerful energy force, a color ungovernable mass" was a "show" picture "herd" (2004).
Igor Vulokh began to write an abstraction from 1965. His "Method" (1971) already mature work, though unusual classic. In it, he "thinks" exquisite color relationships colorful pasta dough on the surface of the canvas.
And Andrew Grositsky surprised by their attitude to the small world. He has an unusual focus sight. The exhibition in "our heritage" of his work "rumpled Vase" (1997) and "The Natural" (1999) is for the viewer's perception shaped diptych, pictorial and plastic diphthong. Clearly saw that the artist depicts not the subject, and almost mystically transformed image of the object, as if fashioned paint.
Red furnace "(2003) Nicholas Nasedkina, known for its commitment to the black color, it was red because the author felt her hot, and wrote fiery speaker.
Very attractively simple, as it were "naive" early work of Boris Mikhailov's "White House" (1989), not quite yet fit into the framework of "metaphysical series.
Adoption of the value of traditional easel painting - so it would be wise to formulate a general idea of gathering Mikhail Krasilina. His collection is united in the juxtaposition of dissimilar graphic trends. Figurative realist - Etudes Eugene Rastorgueva, Nicholas Belavin, Sergei Sofronova, Ivan Gorin and Alexander Yabolokova and works etyudnogo plan - Tatiana Gorchakova (1906-1988) "Yasnaya Polyana. In the apple orchard "(1955) and" yurts in the mountains. Issyk-Kul "(1970), where the form is filled with the freshness of realistic full-scale emotional experience. The abstract - works by Yuri Zlotnikov ( "Composition with Red Stripe", 2004), Anatoliy Zhigalova ( "White Composition", 1979), Andrew Krasulina, Igor Vulokh. And, finally, the conceptual in all its manifestations.
Today in Moscow there are several collections, corresponds to the names and composition of the paintings from the collection of M. Krasilina. There are, of course, minor differences (artistic and "ideological") in the artistic quality of assembly. But in general, they represent individual stratigraphy of Soviet Russia and the fine art of the late XX - early XXI century. This is a collection of A. Zaripov, M. Alshibaya, A. Mironov.
As we have said - a collection of Mikhail Mikhailovich Kraslina "unfinished", open, with the prospect. Today, it has its limits and composition, but the boundaries and guidelines for the collection of fluid. Paintings, "surviving" in his collection, "travel by" artistic weight. Likely a combination of exhibition space at future shows will probably see anew and to understand the work of different artists, attracted professional, friendly attention of an art-collector. For works of art becomes a full artistic life, only when it became public - available for a general overview and discussion of displays, catalogs and albums.
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03.02.2009, 16:23
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