Association of South Russian Artists

[serho]

Good day, and this album is no more early photographs 1880-1890 years?

[Вивьен]

Photos do not work.
Nilus early photographs too.
But they are in the publication of "Peter Nilus. Life and Work" Kiev, 2007, author-composer L.Eremina, edited A.Breya.
20 works of the Odessa period before emigrating.

[Allena]

This refers to the proceedings between Joseph I. Mormone (see about him: Barkovskaya M. Afanasiev VA Association of South artists: Bibliographic Guide. Odessa, 2000. Pp. 179 - 180), Italian-born sculptor who taught the Odessa Art School, and artist Mikhail Isaakovich Solomon (see about him there. S. 276 - 277). During the heated discussion of the case in the local newspaper found that a complex relationship with Odessa Mormone press had a long prehistory, has its roots in the end of XIX century.
   The immediate reason for the court to appeal Mormone Solomon served on the newspaper report last XXI Exhibition Association of South artists, which saw Mormone libel libelous his professional honor. Solomon wrote that "the statues and figurines, the Mormone - solid academic articles in which there is no drop of art, no soul sculptor, cold, indifferent to all that he sculpts. And he sculpts for the mechanical process of modeling, which can be seen on his figure women (Eurydice, 183), the entire cast, as well as many of his other pieces directly from the model (see the hand of his large figures) "(Odessa News. 1910. No 8235. Oct. 9. S. 3).
   Mormone protest letter to the editor: "I blame the fact that creativity substitutes craft, molding itself to the model their works (form where you need to do.) If the charge referred only to me, I would have ignored it. Nature of my work can be set art jury and witnesses of my work, which I call by name. Here it comes, not only me, but also corporations, to which I belong, and I was obliged to require Mr. Solomon to answer. believe that by checking the validity of my words, the Solomon considers his moral duty to refuse to print cocked unfair accusations at me. If Mr. Solomon for 3 weeks will not give me an adequate response, I invited him to the court of honor. If Mr. Solomon refuses the court of honor, I'll be forced to resort to the Crown Court "(Odessa News. 1910. No 8242. October 17. S. 4).
   Solomon, in turn, responded to the call Mormone letter entitled "Forced response," in which, among other things, said: "First of all - I did not accuse Mr. Mormone in something reprehensible, being able to touch his honor and dignity, as a man, but by sincere conviction, as an artist and critics, his work on the creative process, which is located purely mechanical, because, according to the figures exposed them, find them to cast directly from the model (eg <Imer> statue of "Eurydice" and hands, "Potter" and some others). <...> G. Mormone apparently believe that they can change their views and beliefs on the resolution of the court of honor, if not the court of honor, as he threatened, the fear of the Crown Court , hook as easily as he changes his incisors pressure gravity clay. Oh, que non! .. <Oh, if so! - French.>

Читать дальше... 

And then, give Mr. Mormone prove the validity of his words what he pleases means, for its part, is ready to give an explanation of the persons whom he designates as from further controversy in the media refuse "(Odessa News. 1910. No 8254. Oct. 31 . S. 5).
   The following letter to the editor Mormone demanded Solomon in two weeks to name two competent persons on his part to create a court of honor to settle their dispute (see Odessa leaf. 1910. No 288. 15 December. S. 3). Since Solomon, obviously, did not react to the ultimatum Mormone, he filed for a complaint to court for libel.
   Bunin, of course, was well aware of this fact, since the trial, held on February 29, 1912 to a packed hall of the Odessa Regional Court, including witnesses and experts were close friends he faces - the artists V. X. Sause, PA Nilus and writer A. Fedorov. Heard the opinions of expert witnesses and that in relation to the sculpture Mormone "Eurydice", a model for which the artist to use his own wife can not speak of "molding" (ie close to the casting model, which is considered among the artists shameful way to work tantamount to plagiarism), as this sculpture was first izleplena, and only then is cast, the court accepted the plaintiff's argument, confirmed the defamatory article Solomon and sentenced him to two weeks in detention at the police for slander Mormone in print (see: The Case of the offended sculptor: District Court //South thought. 1912. No 151. March 1. S. 5; Mormone case with Solomon //Odessa leaf. 1912. No 50. March 1. S. 5).
   This incident, however, is not exhausted. Odessa newspaper "Southern Thought" made comments to the sentence, openly calling Mormone untalented plagiarist resorting to the criminal court to silence criticism of the free (see Kamyshnikov LM attack on freedom of criticism //South thought. 1912. No 151. March 1. S. 3). The next day, the first part of the questionnaire on the subject, which was attended by Ivan Bunin, S. and P. Yushkevich Nilus (see No 8 of this paper.) Mormone said another letter to the editor (South thought. 1912. No 153. March 3. S. 3), which justified their actions. Among other things, he expressed regret that Solomon did not agree to his proposal to refer to arbitration. Next to this letter was printed newspaper continued questionnaire in which the artist VA Izdebsky testified that he tried in vain to persuade Mormone to arbitration. Commenting on this statement Izdebsky, Chief Editor of "South of thought" LM Kamyshnikov Mormone openly accused of lying.
   A day later, "Southern Thought" published the last part of the questionnaire, which included articles and reprinting journalist "Odessa leaf" N. Moskvich (Muscovite HH modest speech: Sculptor recidivist //Odessa leaf. 1912. No 52. March 3. C. 2 , South thought. 1912. No 154. March 4. S. 4). N. Moskvich Mormone recalled how in 1897 he incriminate sculptor in that head of his statue of Tchaikovsky was a rip-off of I. Ya Ginzburg (see Moskvitch HH Lean speech //Odessa leaf. 1897. No 52. February 25. S. 3). Mormone justified if the following letter to a newspaper: "I'm amazed at the audacity with which, the Muscovite claims that I stole the head of the composer Tchaikovsky, a sculptor Ilya Yakovlevich Ginzburg. Vzvodimogo absurdity of the charges on me makes me think that Mr. Moskvich wrote the note, or not thinking that writing, or on the suggestion of my detractors. G. Moskvich offends me not only as an artist but as an honest man. validity of what I did not kidnap the head of Tchaikovsky in Gunzburg, as boldly expressed, the Moskvich can confirm versed in the art of people who have seen me figure sculpted by Tchaikovsky. these persons -'s. Kishinev and Bosco. If Mr. Moskvich not tell me in person or in writing, from whom he got the false information about me, I am forced to I will bring him to justice in order to protect themselves from undue harassment "(Novorossiysk telegraph. 1897. No 7063. February 28. S. 3, see also: Moskvich HH Obessatirennaya morality //Odessa leaf. 1897. No 56. March 1. C. 3; Moskvich HH Week //Odessa leaf. 1897. No 64. March 9. C. 2 - 3).
   After recalling that old stories Mormone had to send another letter to the editor "Odessa leaf" and "South of thought" and explain his actions of 15 years ago referring to his own immaturity and order character of that time. In this Mormone admitted that he had indeed "held nature of Tchaikovsky's head Gunzburg" (Mormone II Open Letter, the Moskvich //South thought. 1912. No 157. March 8. C. 5), which 1897, he denied it.
   After such public shame Mormone group of artists, among them friends Bunin P. Nilus, E. Bukovetsky, V. Kurowski, K. Constand, found it necessary to send a joint letter to the editorial board of the Odessa newspaper with the assurance that Mormone "and as an artist and as man lost in our eyes the respect he enjoyed as an artist and a person to this sad case "(South thought. 1912. No 161. March 13. S. 5, Odessa leaf. 1912. No 60. March 13. C . 6). Kamyshnikov in his commentary on this collective letter acknowledged that it was time to leave Mormone alone, but added that a joint letter of artists produces "extremely unpleasant impression of the party and the narrowness of sectarian intolerance of the printed word, to free critical thought" (L. Kamyshnikov Defenders M. //South thought. 1912. No 161. March 13. S. 5).
   Court case Mormone - Solomon lasted until 1914, when it was rejected by the Senate last appeal Mormone and found that the article was not wearing Solomon libelous (see: Art Criticism: Case I. Mormone and M. Solomon //Odessa News. 1912. No 8839. Oct. 4. S. 5, the sculptor and artist J. Mormone <nick> M. Solomon (Court <ebnaya> Chamber) //Odessa News. 1913. No 9139. Oct. 1. S. 7; Case I. Mormone with M. Solomon //Odessa leaf. 1914. No 33. February 5. S. 5).
http://az.lib.ru/b/bunin_i_a/text_19..._bunina2.shtml

[раскатов]

Сообщение от Vivien

the work of many artists TYuRHa distinguish subtle sophisticated color schemes, seclusion, lyricism. The most popular genre - plein air landscape.

Here are two artists, one of them was a teacher, it Vaclav V. Naake. (1863 - 1938), and the other - his student Vladimir KRIHATSKY Gavrilovich (1877 - 1942).
Vladimir Krihatsky in 1902, he graduated Faculty of Mathematics and Novorossiysk University, and later became a professional painter. But for all his talents can be added and the studio to play the guitar. He studied under his father, a railroad employee, then at Constantinople, Greek Hadumoglu organized in Odessa orchestra of folk instruments. Great influence on the talented young man had a guitar virtuoso Goldberg, visited Odessa in 1890, and Baron George Klodt, students Decker, Shenk, who moved to South Palmyra from St. Petersburg in 1903
Two years Krihatsky played a duet with his teacher, but after the death of Baron in 1905 organized a circle of guitarists - first Odessa guitar school. In nototeke Vladimir Gavriilovich had many unpublished works by different authors. Most of them, he rewrote his own calligraphic handwriting, saving for posterity. Translated Bueka his book "Treatise on the guitar" contemporaries acquainted with the history of this tool in Europe.
The first two works of Vaclav Naake, the rest - Krihatskogo.

[Вивьен]

When I was a baby, and was still alive Vladimir Sinitsky (son K. Kostandi), in our family was a tradition: every summer evening at the cottage, which is located right on the beach, behind the monastery, a little further from 16 stations Great Fountain, the sound of ocean surf, we sang the song "Evening Bells ....".
   And every time, while singing in front of my eyes would get up one and the same picture, which, now I can watch for hours. This "Lilac" KK Kostandi.

   In 2002, in Odessa, came the publication of a circulation of 300 copies - priceless, illustrated with family photographs and works of his father, memories of a son, Michael Kiriakovich Kostandi. The book is designed for a very narrow circle of readers - this is art, artists, collectors, museum professionals and ordinary fans KK Kostandi.

Читать дальше... 

Michael Kiriakovich was the last of the ninth child in a large family Kostandi. Immediately after the 1917 revolution Kyriakos K. was appointed curator of the Art Museum and the family settled in the right wing of the building on a street. Sophia. When in 1921 his father died, Michael, at the age of twenty years, took office. In 1929, Michael Kostandi together with his wife left Odessa and went to work in Moscow. More than fifty years, having worked in Moscow and burying his wife in 1978, Michael Kiriakovich returned to Odessa, where the last ten years of his life dedicated work on the manuscript of "Memoirs of his father."
The manuscript was released by Andrei Nikolayevich Hrshanovskomu (Kostandi grandson, son of Lyubov Kiriakovny, daughter of the artist) and his wife Piotrovskaya Vikentievna Peacock, who are the guardians of the family archive.
Michael Kiriakovich hoping that time will come when the art of his father's will require a more careful and thorough study, and his memories will help future researchers to more in-depth, scientific study and understanding of his work.

  Kyriakos K. Kostandi born 3 (15) October 1852 near Odessa in the village Dofinovka. His father, Konstantin Vasilketi, a Greek by nationality, a native of the island Santarino, fled to Russia, fleeing the Turkish invaders of his homeland. In Dofinovke he married the daughter of a Greek fisherman with a Great Fountain - Fatima Filiolota. Kyriakos was the sixth child of nine children in the family spoke in Russian, although the father and mother had a poor command of Russian.
Sam Kyriakos K. wrote: "What actually triggered my love for painting is definitely hard to tell, but I think that the popular prints, who loved the family uveshivat wall.
At nine years old boy lost his father, former relative affluence of the family changed the need and Kyriakos was compelled to the service of "boy" in a grocery store, but the rare moments of rest he had time to drawing.
Images Kostandi attracted the attention of well-known at that time in Odessa photographer Billow, who took the future of the artist to his photo studio and asked him to retouching and coloring oils enlarged portraits.
In 1870, unable to get permission to attend the evening classes of a free school of drawing the Odessa Society of Fine Arts. The first teachers were: Iorini, Bauer and Mallmann, which Kyriakos K. retained brightest memories.
Modest and shy, he persisted in carrying out his cherished dream - the desire to continue their studies at the Academy of Fine Arts in St. Petersburg, which had left his comrades at the end of the school. And only a lucky chance helped to fulfill this dream. This is how the artist wrote in his autobiography: "At this time, passing through Odessa, was visiting his daughter OI Latri, IK Aivazovsky. Through the good Bertrand, owner of foundry, and the Greek Consul IY Vutchina, I was presented Aivazovsky, who spoke approvingly of my work, and this affected the IJ Vutchina who have given me the initial financial support. IK Aivazovsky wrote a letter to the conference secretary of the Academy of Fine Arts, PF Isaeva, requesting the latter to draw attention to the "works" ... a young man from Odessa Greeks Kirilo Kostandi of great ability. "
While still in the Academy Kostandi, on the advice of PP Chistyakov, a lot of copying the old masters in the Hermitage, including Titian and Rubens. Executed copy of the portrait painter Elena Fourmen Rubens, was subsequently acquired by the Odessa Museum of Western and Oriental art. In the years of Nazi occupation, she disappeared.
After leaving the Academy in late 1882, KK Kostandi more than two years he lived and worked in St. Petersburg, before 1885, when he received the post of senior lecturer in drawing school in Odessa and moved to Odessa.
The first pictures of Odessa - not "pure" landscape, and landscape, genre painting, which in 1880 became one of the leading trends in Russian art. The unique beauty of the suburbs of Odessa - Bolshoy Fontan - a source of inspiration coloristic gifts Kostandi. And with love and deep penetration depicted in his art, its modest, timid beauty. And do not be an exaggeration to judge one of the students Kyriakos Konstantinovich, artist AM Nuremberg - "Kostandi first discovered the subtle beauty of the hot Odessa landscape. And now all Odessa nature though bears the stamp of his wonderful light eyes, an emotional heart. "
In the last years of his life Kostandi often turned to the image of evening, imbued with subtle sadness, motives.
Kostandi not write still lifes. In the Russian art of that time were the predominant genres of history, home, and then - the landscape of home and landscape. Still life as an independent kind of painting did not attract artists.
In early 1920, the state Kyriakos Konstantinovicha significantly deteriorated and doctors advised him not to overload themselves with work and relax in the summer at the dacha. It was last summer, which the artist has at his dacha Great Fountain, the nature of which he loved, and so feelingly portrayed in his work. This summer, he wrote many sketches - it was summer landscapes. As usual, these sketches are written in small tablets - Kostandi favorite materials.

Autumn, Kostandi markedly strengthened, proceeded to their occupations. But not for long. Heavy feelings associated with the reform at the Art School, which he considered detrimental to the education of future artists, the complex political situation and material deprivation again sharply worsened his health.
He sent to a sanatorium in the French boulevard, where he wrote his last sketch-landscape garden with views of the building of the sanatorium, and in the evenings in his room, drawing pencil sketches of his small self-portrait.

Returning again to painting, the artist, perhaps hoping to force his inner passion for art and life, to overcome serious illness. He wanted to believe that as long creates - he seemed to brush aside the inevitable end. But the disease won, and after a sharp deterioration in health in autumn 1921 Kyriakos Konstantinovich died.

And I, like many of his disciples and admirers are this good and noble man, found myself on the fact that the blossoming gardens looking eyes Kostandi.

[Евгений]

Сообщение от Vivien

In 2002, in Odessa, came the publication of a circulation of 300 copies - priceless, illustrated with family photographs and works of his father, memories of a son, Michael Kiriakovich Kostandi.

Thanks for the interesting information.

[Вивьен]

I hope that the excerpts from the manuscripts Stilianudi Alexander Nikolaevich (1868-1948) of the Odessa drawing school will raise you up

  ... Garmanin impressed us, boys, their masterpieces.
He, incidentally, with friends, lovers used, the
shaft secret fixative for alcohol, stocking up for Iorini
fixing the images of his students and kept in the cupboard in the classroom.

... Another interesting type was the same overgrown, but the noble
HYDRATED poor-populist Dzerkovsky. He wore no underwear, and often
through the torn clothes came through to the impropriety of his sinful body ...
But he did not lose heart: a lot of philosophizing, a martyr to art, and ho -
Thee loved him to oblivion, but did not use any reciprocity.

... The most in school until the period of reform, it was Adolf Ost -
Romenskyi. I remember how nasty prank carried out by our pranksters:
leaving on vacation from the Academy, he left the fold of his canvases
with an artist's model for storage comrades. One of his comrades, done in canvas hole
where the mouth artist's model, went to a party for friends and academics,
among other jokes, showed live pictures. Two were kept on the sides
huge canvas depicting the naked artist's model, and the third, becoming a canvas,
slips through a hole in his tongue and spit them in different directions.

... Some of my colleagues at school were over-ripe maidens: Frevil, Bu -
nogradova, Boleslavsky. This last, our rake teased his -
mi pranks. Women in the still life class were engaged separately from
us, as it there were many, but during the transition to drawing with the female
nature they worked with us. And then our dummy, under the pretext that hot
began to drop their coats and exchanging suggestive jokes.
Of course, this all happened in the absence of the teacher.

... Loud were the evenings when they return home. There was a joker
(Sarpani): he suddenly, as if stumbling, falling under the feet of walkers
Deribasovskoy maidens and produced in their ranks in turmoil.

[Вивьен]

Few people know that Peter Alexandrovich Nilus (1869 - 1943) was the illegitimate son of burghers ML Slovetskii, with seven years he lived in Odessa and educated in the family of a nobleman Alexander Nilus, on a motion by imperial command, he was allowed to take the name of Nilus. In 1890, he joined the TYURH and until 1919 was involved in almost all the exhibitions of the partnership. In 1893, developed a new charter TYURH with Bukovetskim, became secretary of the board.
In Odessa, Nilus lived in the house at the Princely Bukovetskogo 27. A two-storey mansion Bukovetskogo inside was all trimmed with dark wood, with spacious playgrounds small door led to the balcony, next is a cozy living room and a huge studio - almost an entire wall windows on the north with his easel, frame, and several portraits. In this house was, and art gallery with works of master and local artists.
Being a wealthy man, with the active participation Bukovetsky Nilus, weekly, on Thursdays, arranged creative meetings. They visited their friends, artists, writers, musicians, artists, doctors. Whole circle keen antiques, antiques. Peter Alexandrovich Nilus was a collector and connoisseur of iconographic paintings. He was collecting Russian icons of Novgorod, Moscow and "Stroganov" letter.
The photo number 1 - 3 - Bukovetskogo house, yard and view of the courtyard through the arch.
The photo number 4 - Nilus with his parents, № 5 - Bukovetsky, Nilus, Lepetich, 1897, Odessa,
Number 6 - license Nilus (book by P. Nilus, life and creativity, Kiev - 2007, p. 14),
Number 7 - self-portrait Nilus, Paris, 1935
Number 8 - Nilus in Odessa
Number 9 - the book cover
Photo № 4-8 from the book Peter Nilus, life and work (author-compiler Eremina LA, ed. Bray, AV, published with the assistance of OOO "Antique Center", Kiev, 2007)

[Вивьен]

Creative way Nilus as a mature artist begins with 20y exhibition Wanderers, where he became evident chtor artist finds his calling in the genre. Work period 1890h period characterized by restraint of color, they are built on the contrast of black and white. Works Odessa period:

[Вивьен]

Over time Nilus departs from the realist genre and in his works begin appearing romantic landscapes.
From an interview with the artist's newspaper "Today" at number 29 dated 6 February 1927:
".... You know, to me there was a huge change. I started with Peredvizhnichestvo was desperate realist, lovingly subscribed to the smallest detail, and, if the button on his coat was taken ill - I was in despair. And then I was struck by Russian Romance and I realized that excludes romanticism realism ...."
Romantic Period: