Association of South Russian Artists

[Вивьен]

vyadem, thanks to huge, so you for it one more Stilianudi

[ВЯЧЕСЛАВ]

Сообщение от vyadem

Vyacheslav, thank you! Very interesting story. I Fraerman very much, although I had seen nothing at all of his work. Here's one somehow slipped in the auction. Yes, and look at the portrait of Theophilus Borisovich. I do not know how others, but I think that was a very positive person, like his paintings!

Thank Nahum Pelz write a story, a memory.
Leo Mezhberg recalls T.B.Fraermane -
"Theophilus B. was a member of the Paris Salon, he was like a bridge thrown out of Europe in Odessa. Of course, we reverence toward him, but we did not realize that among us live the present, a great artist. I remember him well from the class register in the corridor of the school, with slightly elongated nose and powerfully connected to the back of his head back, medium height, with smiling lips. Sometimes he allowed (I then studied at the Children's Art. school) to come to him on the course. My sketches from nature produced a great impression on students and teachers, so I had access to the shrine seniors. First of all, as DM Frumin, TB Fraerman taught art, he talked a lot about Paris, the French artist. He himself wrote a small work, it was all built on local relationships, whether with his hat still life, portrait or landscape, but these local relations have been so validated, so divine, so harmonious, that you fell completely under the spell of his power, he used a black stroke, very fond of different materials. It was a phenomenon not less than, say, Mark Rothko. But who knows now that he lived and worked and created such a wonderful artist? After his death, the work had gone, his widow there to sell these things. Just a few years in Odessa Frayerman remembered and forgotten. His work very fond of a talented artist Shurik Richter, who lives now in Farrakovey. I believe that the time will come and pereotkroyut. "
Completely You can read here http://209.85.135.132/search?q=cache... & gl = ua

And I would like to think of another artist Odessa. Peter Panteleimonovich Parhet (in 1907 - 1986), painter and graphic artist. Teacher of the Odessa Art Institute and Art uchilischa.Ego pupil-known painter from Odessa S. Albin Gavdzinsky.
Portfolio PP Parheta rare. Here is a small watercolor - sketch from Odessa beach ...

[Tana]

From the article Accord. In search of a sound mind. Wassily Kandinsky and Gabriele Munter. (Excerpts impressions - Part 2) Elena Anan

http://www.odessapage.com/new/ru/node/1384

Odessa, 1901

And now it's almost a house with balconies, galleries, shingles, Odessa around a typical courtyard, where he lived while Vasily Kandinsky. The long-awaited and with great difficulty "punched" through the Soviet obstacles plaque on the house, finally, reminds us of this. In the center of Odessa on the famous Deribasovskaya Street (where the famous sweet shop in "Gourmet" on the corner of the former Karl Marx, now Catherine), appeared a memorial plaque and bas-relief of the great abstractionist tireless efforts of Natalie Iosifovna Kaskiv, while director of the Odessa Art Museum, an active follower and advocate for outstanding artists.
Odessa became the mother-the cradle of many talents of world culture. Odessa tradition, musicianship and melody seaside south, voluntary motives and attitudes of young Basil showed his first path: music! No music can not be any direction of art. His first profession - the musical performances. Here he plays the piano and cello.
It is easy to imagine how these musical streams of melodies and emotions visible in colorful landscapes in his mind. It seems the perfect backdrop, appearing behind the scenes all sorts of silhouettes. It seems, Vasili simply could not begin to paint. In his first works appeared such innovative combinations of colors and shapes, sounds so poignant note ... He explained to his youthful observation that "the color of their unconventional lives, mysterious, free life." Hence, from Odessa boulevards, fragrant acacias and algae, came the mysterious concept of an exclusive color. His all-pervasive importance in the other organs of perception. As if all the Muses gathered together and ruled the ball! Each color has a special place, and if the couples whirl, waltz, creating an absolute figure of the dance. Later, this concept will be presented in the book "On the Spiritual in Art", where the sounds and colors become their flowcharts.

***
Began to develop a new art in the city by the sea, solar Odessa. The port city, open to all winds, trends, innovations, could not cultivate on his fertile cultural space modernistic art. Here in the beginning of the century active in Association of South Russian Artists (TYURH). Odessa fascinating exhibitions, concerts, lounges. Press replete with new definitions of modernistic findings: "spinach with fried eggs," scrambled eggs with onions "- excelled Odessa humorists, journalists on the first show - the Spring Salon, which was attended, as" modernists "Wassily Kandinsky. At this special attention. Subsequently, the artists created their group were also represented in the diverse collective exhibitions. One can only imagine the wave of rejection of the new public art!
But who, if not the artist, his asceticism leads the audience to accept the new standards, new trends, leads the way for the experiment? Opportunity to go along with the Creator on the rocky path in search of his Pegasus. Open new horizons of spirituality and self-improvement ...
In the next joint exhibition in Odessa, opened Dec. 4, 1909, is the first work of "phalanx" Kandinsky - soon went down in the New Munich Kunstverein ", organized in 1910. This international exhibition of paintings, sculptures, prints and drawings was organized by Vladimir Izdebski in the house of Prince Gagarin Str. Lanzheronovskaya 2. Now in this building Literary Museum, with a group of art which I was fortunate enough to work and make it a show of new generation of artists from the 90's I organized the group "Golden Wizard of Odessa. Perhaps because so close to me, this topic appeared in the performance of such passion conceived.
In the first international exhibition, which lasted until 24 January 1910, but work has already been submitted paintings by Kandinsky, Gabriele Munter, Marianne Verevkina, Alexei Yavlensky and others. The "Odessa Revue" on October 27, 1909 in anticipation of this event, noted that "the exhibition will be one of the greatest in Russia in its diversity and completeness of the exhibited works of international contemporary art, presented by well-known artists in all areas." Could not resist the pleasure to cite a few excerpts from the citations on the opening of the Salon on the materials of the newspaper Odessa News from December 4, 1909: "Some orgy of beauty and power, waste, carried away and confused ..." "There is a special room, already dubbed: Room horrors! .. Nerve and the ladies in an interesting situation here is very risky to enter "- writes in the same edition of the stranger. Or there is the same: "Finally, finally, these dead people, these dim Odessa's minds, these moth-eaten by worms and hearts ... excited, began to argue, got carried away ... Do not sleep, no sleep, no sleep," - calling Lohengrin to "Zigzag "December 8, TG
Cultural life began to seethe, zapestrela appeals "to give young priests of the art high road to the implementation of the cherished ideas!" They are called "revolutionary art", oppose "lovers mertvechinki". Their quest in spite of yesterday's art, the art of "weak-willed slaves of nature." It "has got now a dispassionate and relentless broom of death." And: "Salon VA Izdebsky same Salon of madness, as the tragedy of creativity." The search itself, " mortal combat, a painful, touching the walk has not yet revealed the strength and talent. But the future with you. "Your madness - our hope," - writes Burd-Sunrise in "Odessa News on 9 February 1911 his" Hymn to the madness. "
Published catalog of the first salons and exhibitions, and already the second international exhibition on February 6 - April 3, 1911 on the streets of Kherson, 11 with the same participation "Munich" article by Wassily Kandinsky "The content and form." He has also been made cover catalog. Could Kandinsky - ardent apologist, a theorist of abstract art - not to say their words in a multi-voiced chorus of supporters and opponents of the new method. As they say, the words of the song can not throw, I quote: "Every new beauty seems ugly, if you look at it a measure of the image of the past, it is ugly. Because something always hate those who are destined to seek and find a new beauty, the beauty of "tomorrow"=mess yesterday. (V. Kandinsky. "Where is the new art", "Odessa News, 1911, 9 February).
Creatively Odessa Wassily Kandinsky was associated for nearly 45 years.

[Деко]

Krihatsky Vladimir Gavrilovich, 1877-1942gg.
After graduating from the University of Novorossiysk Krihatsky visits Odessa drawing school. He took lessons in painting at the IG Turtsevich and V.v.Naake.
First exhibited as an artist took place in 1909. in TYURH, immediately sold two paintings of five.
In 1913. becomes a member of the Society "United", and then "independent" artists who challenged the TYURH.
Krihatsky was elected as a board member, secretary and treasurer of the society "independent", was chaired by MK Gershfeld.
Critics at the time were told that the degree of interest in prizvedeniyam "independent" in no way inferior to unite "Jack of Diamonds" and even the artists of the Western schools.
He died in Odessa during the air raid of a heart attack.

[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: