Russian avant

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1921 January. In Moscow, an exhibition, "constructivists", organized by the Stenberg brothers, and Medunetskim. 61 work was exhibited, issued a catalog outlining the principles of constructivism.
September. The Polytechnic Museum in Moscow opened an exhibition "5x5 = 25", which was attended by A. Vesnin (build color space for the power lines), Varst (Varvara Stepanova), Alexander Rodchenko, L. Popova (experiments pictorial power theories), and A . Exter (plane-color building).
October. Higher Art Alumni Group C. Adivankinym, A. Gluskin, Ryazhskaya create a new society of painters (VAW).
In Moscow hosted a regular exhibition "World of Art" (55 participants, 252 prizvedeniya) with Vesnina, Drevin, Zhegin, Kandinsky, Udaltsova, Falk.
December. In Berlin, the gallery "Der Sturm" held a personal exhibition of Ivan Puni.

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A little more about the exhibition Constructivists 1921 and organized its members of a pool OBMOHU: Society of Young Artists was formed in 1919 the first graduates of the First State. FREE. Hood. workshops - students AV Lentulov, Rodchenko and GB Yakulov. By the way, were masters of the society on an equal basis with their students. Work in easel painting, the spatial and sculptural members OBMOHU combined with the manufacture of stencils for the posters, badges, decoration of streets and squares for the holidays and design of theatrical productions.

The Society had about 20 people: N. Denisovsky, M. Jeremic, A. Zamoshkin, K. Johanson, B. Komardenkov, S. Kostin, A. Lentulov, K . Medunetsky, A. Naumov, Perekatov, A. Prusakov, N. Prusakov, A. Rodchenko, S. Svetlov, B. Stenberg, G. Stenberg, G. Yakulov.

During its existence the society has organized 4 separate exhibitions: 1919 (indoor b.. Stroganovka), 1920 (in a room at the corner shop OBMOHU Neglinnoy and Kuznetsk bridge), 1921 (B. Dmitrovka, 11), 1922 (to the Congress of the Comintern).

As for the exhibition 21 years, about which he wrote Qwerty, it is considered one of the significant events in the history of constructivism. Unfortunately, almost nothing of the famous sites and structures Rodchenko, Johanson, Medunetskogo, Stenberg has not survived. But in 2006 ( "for its 85 anniversary"), on the initiative of the State Tretyakov Gallery, the exhibition has been fully replicated and reconstructed from photographs. For those who missed - that ссылочка with pictures:
http://www.archi.ru/agency/news_current.html?nid=2211

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1922 April. Malevich moved with his disciples and followers (Suyetin, Chashnikov, Ermolaeva, Hidekilem) from Vitebsk in Petrograd, where they continue to develop ideas UNOVIS.
Autumn. In Van Diemen Gallery in Berlin opened "First Russian Art Exhibition", which was billed more than 750 works of innovative groupings (157 artists), in the spring of next year, the exhibition will move to Steydlik Museum in Amsterdam.
Getting the active cooperation of the Constructivist artists with the theaters. The theater of Meyerhold in Moscow A. Vesnin formalizes play "Phedre" (February), in the same theater Stepanova draws up a play "Death of Tarelkin" (April), and Popov here at this time makes the scenery and costumes for "The Magnificent Cuckold" Kromerlinka.
In New York, an exhibition of Goncharova and Larionov.

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SHEVCHENKO
Alexander

1883, Kharkov - 1948, Moscow
 

          AV Shevchenko - one of those artists who in 1910-ies. contributed to a radical change in the language of art, an apologist for the new forms (author of the pamphlet "Principles of Cubism and other modern trends" and "neo-primitivism. His theory. His features. His achievements, both 1913). And yet it can not be called a radical - a kind of softened the devil made present in them. Concern about the beauty and attraction to the quiet harmony, resulting in some cases to the salon decisions more likely to report his work hidden classical nature.

          Shevchenko received his education (1899 - 1909) at the Stroganov Art School (particularly highlighting the school for the professional) in MUZHVZ (KA Korovin) and in Paris - at the Academy Julian R. and E. Carriera workshop. In MUZHVZ he made friends with Mikhail Larionov, and inspired his theories (Rayonism - in part, neo-primitivism - seriously), participated in exhibitions "Donkey's Tail", "Target" and "№ 4 (1912-14). After the departure of Larionov in Paris, this passion took on a more traditional form: a written jointly with AV Gryshchenko manifesto for the exhibition "Tsvetodinamos and tectonic primitivism" (1919) proclaims Shevchenko return to the eternal values of art, however, before he insisted on that "there is no art old and new <...>, because it is timeless, and space." Latitude approach led to the versatility of his interests: in the 1920's. By actively participating in cultural and educational activities Narcompros and a lot of energy giving the teaching in Higher Art School, he also cooperated in the "left" INKhuK in GAHN, with its traditional academic manner, and is "Makovtse" (participant 1 st and 3 rd Exhibition, 1922, 1925). The focus on culture in the whole spectrum of its manifestations is the core activity of the artist - by this sign is the involvement of students in the life of the exhibition (in 1926, Shevchenko organizing of their students union "shop for painters) and the device Museum of Painterly Culture in Moscow and Leningrad. For him the same latitude was not eclecticism, but a conscious desire for synthesis.

          Such a desire is already perceptible in his early works. Sezannizm - the core and foundation constructions - corrected some light cubistic shifts, the primitivist simplified form, but not at the expense of harmonious beauty, classical repertory productions still life and landscapes with figures retains its classical nature due to the absolute sense of color and spatial equilibrium ( "Still Life with Apples" "Landscape with House", 1910, etc.). Images Shevchenko distinguishes enlightenment sometimes idyllic - he tends to be generalized monumental silhouettes of cantabile rhythms based on the repetition of circular movements to the nobility of a balanced composition of color and clarity ( "Musicians", "The Woman at the Mirror", both 1913, "Self Portrait" 1920, etc.). Monumental trend intensified in the works of the 1930's., Especially those related to Oriental subjects: in 1929 the artist was sent to Batumi to begin their discovery of the East - Ajaria, Dagestan, Azerbaijan; here Shevchenko found his ideal of a free and undisturbed existence and captured him in an epic-sounding paintings, lithographs and monotype.

          In the 1940's. it almost does not participate in the artistic life - affect disease, but he had written at the time the memories are vivid narratives about the ways and looking for Russian art.

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Yakulov George Bogdanovich (1884-1928)

GB Yakulov born into a family lawyer. After the death of his father's family Yakulov in 1893 moved to Moscow. Six years of the future artist spent in the walls Lazarev Institute of Oriental Languages, and in 1901 entered MUZHVZ, but two years later was expelled and was soon drafted into the army. He served in the Caucasus, took part in Russian-Japanese war.

Upon returning from Manchuria to the exhibition of the Moscow Association of Artists in 1906 Yakulov showed his painting "Horse Racing". It was a success. In this and other works Yakulov, rich in color, reflected the rhythms of our time, revived the life of city streets and cafes.

In 1906-07 gg. artist has developed his own theory of light and the origin of styles in art, called "Theory of colored suns.

Getting Yakulov in 1913 with R. and S. Delaunay in Paris showed that his search had been in line with the pursuit of modern European artists.

In the 1910's. artist turned to the decorative arts. He designed the balls and creative evenings, cabaret, interiors and art exhibitions. However Meyerhold created Yakulov Cafe Pittoresk "in Moscow -" constructive music hall, "as contemporaries called him, was decorated with the Moscow cafe poets Pegasus' Stall.

By this time is the beginning of his friendship with SAEsenin and poets Imagists.
In 1918, Talent Yakulov-decorator fully opened on the theatrical stage. He became an artist of the Moscow Chamber Theater, performed with the help of his best performances: "Princess Bram-Bill" E.-T.-A. Hoffmann and Zhirofle-Zhiroflya "C. Lecoq. Lotta fantasy Yakulov, successful use of the experience of constructivism have made him one of the most prominent theatrical figures of those years.

In the early 20's. he led the studio theater and decorative painting Higher Art. Do not leave Yakulov and their classes in painting, in 1920 it is written "Portrait AG UNC. At a 1925 Paris World Art and Industry show for making this performance "Zhirofle-Zhiroflya" C. Lecoq at the Chamber Theater and for the design of the monument of the 26 Baku commissars, developed in collaboration with the architect Vladimir Shuko in 1923, Yakulov received an honorary diploma. At the same SP Diaghilev invited the artist to draw the ballet "Le Pas d'acier" to the music of Prokofiev. This performance was staged in 1927, where he was an artist and author of the libretto. Ballet successfully went to Paris, London and Rome. In these years Yakulov continued to work for the theater in Moscow, Erevan and Tiflis.

He died in the prime of his powers. In 1967, almost forty years after his death in Paris on the initiative of artists and spouses Delaunay was organized by the Society of Friends of H. Yaku-fishing, which has set itself the aim of returning to his homeland the artist's works, went abroad.

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The artist, on which a lot of information on the Soviet period, but little over the period 1907-1920. Incidentally, he has participated in several exhibitions of the Golden Fleece, and his early work is very avant-garde.

Ulyanov Nikolay Pavlovich (1875-1949)


In the history of national art piece NP Ulyanov - as if in shadow. He belonged to art groups and kept away from innovative ways of painting. His gift - the gift is not a discoverer, but the successor and custodian; this role, he corresponded with the same dignity.

His first teacher in MUZHVZ (1889-1900) was NN Ge, who predicted the future of student historical painter (it came true in 1930-40-ies. "Pushkin series and the paintings" Lauriston in the rate of Kutuzov ").

But the stronger was the influence of Serov: Ulyanov became his friend and helper (in teaching in the Free workshop at school and in the studio EN Zvantseva, 1900-07), took the style of drawing and compositional "definability" portraits (A . Glagoleva S., 1911, VI Ivanov, 1920, - up to a portrait "Stanislavsky at work", 1947).

However, color saturation painting Ulyanov 1910-20-ies. and rhythmic acuity is far from Serov covenants. Artist finds metaphorical thinking - he is interested in compressed symbols of modern civilization, its transience and the phantom ( "Paris showcase," 1909-11; "Cafe", 1917; "Carousel" and "Swing" 1909-20-e gg.). Fondness for the sharp angles, the spatial intrigue - for example, the motive for the mirror repeat forms ( "Self-portrait with the hairdresser," 1919; "Pushkin and his wife at the court ball", 1937) - is associated with an important distinction to his theme of reality and visibility, real and imaginary. Attention to this issue brings Ulyanov with the terms of the Symbolist painters.

Ulyanov inherent connection symbolist symbolic images with natural realism was akin to the Moscow Art Theater program, hence the artist's long-term cooperation with Stanislavski - from the drama of life "K. Hamsun (1907) to pieces Bulgakov Days Turbin (1925 -- 26) and "Moliere" (1933-36). In Soviet times it was the theater and work on the manner of Alexander Pushkin (painting and graphic cycles, 1935-49) helped the artist to retain skills and cultural organics.

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1923. MAR. In Petrograd, on the basis of the Museum of Art (painting) culture was established the State Institute of Artistic Culture (Ginhuk). Director was appointed as Malevich, Tatlin divisions headed, Matyushin, Mansurov, Filonov. He will have to survive three and a half years.
May. In the halls Ginhuka Tatlin staged dramas V. Khlebnikov "Zangezi.
June. The Museum of decorative art in Moscow (B. Dmitrovka, 7), an exhibition, "Theater and decorative art in Moscow 1918-1923. It was the product of 60 exhibited 471 artists, including Lentulov, Popova, Rodchenko, Stepanova, Chagall, Exter, Yustitsky, Yakulov.
September. Exter, Stenberg brothers, Vesnin, Mukhina participated in the design of the first all-Russia agricultural and handicraft industrial exhibition.
In the halls of the Academy of Fine Arts in St. Petersburg opened a huge "exhibition of paintings by artists of all areas of the Petrograd 1919 - 1923.
The exhibit featured various factions, including UNOVIS Malevich, "Zorved" Matyushina, "With the new trends in art." A total of 1,621 product exhibited 263 artists, including L. Bruni, S.Dymshits-Fat, Mansurov, Matyushin, P. Miturich, P. Filonov, B. Ender, K. Ender, etc.
Under the exhibition in the magazine "Life Art» № 20 were published declaration Matyushina, Malevich, Mansurov and Filonov.
In New York the first exhibition of Kandinsky.
In Paris, Diaghilev staged Les Noces "by Stravinsky in the design Goncharova.

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This is the answer to erased the question:

Because I have known collections of Russian avant-garde, comparable with the collection of George Kostaki - just a collection of Boris Gribanova. Unique people - an engineer submariner, participant BOB, which, in spite of everything in 1968 was sentenced to ten years of speculation pictures! He is better known as a collector of Russian and Russian marine painters of portraits. Many works are now in Feodosia Museum of Aivazovsky, he found in the literal sense of the St. Petersburg bins, restored, and attributed to the award - not a single mention of the former owner (as, indeed, and with a gift Kostaki TG).
So, in the 50 years he collected an excellent collection of avant-garde, through acquaintance with Nicholas Suyetin. And this collection of him at the same time allowed to take out to relatives (or relatives) abroad, since this art no one was interested. Such works are destroyed by acts of reputable museums, signed by "respected academics". When I read archival material - I want to cry ...

[Кирилл Сызранский]

Сообщение от Maroussia

and as a reward - not a single mention of the former owner (as, indeed, and with the gift Costacis GTG).

I do not understand.
In the State Tretyakov Gallery, paintings by the same, "donated" Kogtaki worth mentioning: "Dar Costacis GD" .

[Кирилл Сызранский]

Сообщение от Maroussia

I'm still trying to draw attention to another collector - Boris Gribanova

All this is read, who to this topic followed.

Сообщение от Maroussia

And no-gu-gu ...

And who should "try-crow," I do not quite understand?
Participants of the forum or Ministry of Culture of Russia and Ukraine?