Bruni, Lev Alexandrovich

[Тютчев]

got carried away by the art of Japan and China. In 1916 he worked with Tatlin. I created kontrrelefy who exhibited at "Store" in Moscow.

In 1916 he drafted for military service. In 1917, painted with other artists interiors Cafe Pittoresk "in Moscow. In the same year joined the association "Jack of Diamonds".

In 1919 he married the daughter of the poet KD Balmont Nina Balmont. For some time he lived in the southern Urals. In 1920 he returned to Petrograd. Created a number of non-objective compositions. He took part in a festive decoration of streets and squares of the city. In 1920-1921 he taught at the Higher workshops of arts and crafts (formerly School of Technical Drawing of Baron Alexander Stieglitz).

In the difficult moments of life Lev Bruni always met people who supported him. This was after the Revolution, when the artist escaped from Petrograd to Siberia. There he, along with an army of Kolchak moved from one place to another and drawing on brown paper. Then he helped return to the northern capital of Nikolai Punin - known art critic, the ideologue of the left art. Through recommendations Punina Russian Museum has purchased several dozen works of Lev Bruni. But in the Tretyakov graphics artist came after his death. This landscapes, still lifes, portraits of children and wives.

[Тютчев]

Some interesting material stored in the Rossiyskom State Archive of Literature and Art:

[Тютчев]

Black on white

Date: 01.10.2009 Yaroslavl Art Museum


Russian and Western European graphics XX century from the collection of the Yaroslavl Art Museum and private collections in Russia and France. The exhibition is open from October 3 to November 15, 2009. Yaroslavl, Volga embankment, 23. Vernissage on October 2 at 16.00.

Exhibition "Black on white" presents art masterpieces of Russian and Western European charts XX century from the collection of the Yaroslavl Art Museum and private collections in Russia and France. It shows the 150 sheets of high-grade graphics by famous artists of the twentieth century, Russia and France, including Pierre Bonnard, Lev Bruni, Natalia Goncharova, Andre Derain, Wassily Kandinsky, Myuis Kissling, Jean-Emile Laburer, Andre Masson, Peter Miturich Ernst Unknown, Kuzma Petrov -Vodkin, Alexander Rodchenko, Georges Rouault, Mikhail Sokolov, Leopold Survage, Vasily Chekrygin, Mikhail Shemyakin.

Art - a process that erodes national and political boundaries. Is especially clearly shows a black and white graphics, whose language is concise and polysemous simultaneously. In any artist - graphic, painter, sculptor - Russian or French - is a black and white work, in the form of original intent or the final product. Someone general recognizes only this color. Black and white graphics offers a wide range of expressive possibilities, depending on materials, techniques, methods, manners, styles, images, gives a food for the mind and heart that can meet the varying needs of the most demanding audience. Stylistically the image varies from abstraction, sign up to the full illusory. Harmony, elegance, expression, speculative formulas - the twentieth century is particularly rich in suggestions. In a combination of black and white is magic, philosophy, aesthetics, art, passion, logic.

The idea of the exhibition belongs to the Moscow gallery "2.36", for which the collection and publication of Russian and European charts is one of the main activities. The exhibition is under the patronage of the French cultural center in Moscow. Yaroslavl Art Museum is pleased to participate in this international project. The museum's collection provides an excellent opportunity to show black and white world of art. In the meeting of the Yaroslavl Art Museum 46 thousand works on paper. Two-thirds of them - black and white sheets. Some of them are organically integrated into the overall structure of the exhibition.

The project, which resulted from the partnership of private and public galleries of the museum, allowed to submit a black and white graphics of the twentieth century in all its manifold manifestations. Even more complete characterization is given in the catalog accompanying the exhibition. The publication is encyclopedic reference includes information about authors, forms, techniques and expressive possibilities of this extremely interesting phenomenon of art.

The curators of the exhibition:

Tatyana Lebedeva - Yaroslavl Art Museum,

Yuri Petukhov, Georgy Fedorovich - gallery "2.36", Moscow.

Yaroslavl, Volga embankment, 23. Phone: 727-838

http://mkrf.ru/news/regions/central/detail.php?id=77137

[Тютчев]

In 1920-1921 he taught at the Higher workshops of arts and crafts (formerly School of Technical Drawing of Baron Alexander Stieglitz). In 1923 he moved to Moscow. In 1923-1927 he taught at the Faculty of graphic VKhUTEMAS (from 1924 - professor), and in 1927-1930 - VHUTEINa. In the 1924-1925 term and the exponential association "Makovets", in 1925-1926 - "4 Art. In the 1930's while he taught at several institutions: in 1930-1933 - at the Moscow Textile Institute, in 1931-1938 - at the Moscow Institute of Fine Arts, in 1935-1938 - at the Moscow Polygraphic Institute. In 1935-1938 also led the studio of monumental painting at the Moscow Architectural Institute. Summer months in the 1920's - 1930's carried out in Optina Kaluga. These visits were for Bruni, an extremely fruitful in the creative respect: it was there was done much of the drawings and watercolors 1920 - 1930.

And he Bruni moved to Moscow at the invitation of V. Favorsky. With family went to Optina desert and lived there for a long time. It is in the 20 years in Optinoj artist creates his best stuff.
In his works, nothing happens, or rather, is the most important thing: they bend under the weight of wet snow, the first trees that glisten just washed with rain, the roof, the sunlight penetrates the forest thicket ... All are one, well, animation and brittle. This fragility and impermanence simply require that to be etched. The artist responds to a silent demand.
It operates continuously, life and art to it are tangled, twisted. Creativity highest test becomes part of everyday life, should be, because he was a carefree attitude to Mozart's already completed their work and their future.

The flowering of creativity Lev Bruni accounts for 1920 - 30-ies. He actively participates in exhibitions. Especially striking and significant in such iconic as "Makovets" and "4 Arts", which establishes the continuity of artistic tradition and the high professional quality of work - are the main goals and objectives, which Bruni followed all his life. In whatever genre it acted - in painting, drawing, book illustration, in the monumental and decorative art.

Starting as a painter, Lev Bruni finally comes mainly to watercolors and drawing as the most suitable to its own inner freedom.

But at the same or subsequent years Bruni tirelessly draws a light, precise pencil, people close to him in a relaxed pose, depicts dancers rehearsing (series "Ballet", 1925), wrote the tender and transparent nature of watercolor, artistically conveying its fluidity, trembling branches and leaves at wind. His brush is often cause for this in the paper fast vibrating strokes, which clearly shows the exact and the free movement of the hands of the artist. Such works are most relevant to impulsive nature Bruni, and determined, despite their apparent modesty, its further development.

[Тютчев]

In the 1924-1925 term and the exponential association "Makovets »...

Group of artists "Makovets" (Moscow: 1921-1926.)
In one "bundle" should be creative and exhibition activities of groups: the association "Union of Artists and Poets" Art-Life "(1921-1924), his conversion in 1924 in the" Group of Artists "Makovets, a reformed two years later in Society Way of Painting "(1926-1930).
Develop artist VN Chekrygin manifesto of the Union "Our Prologue" (1921), published in 1922 in the first issue of a new magazine Makovets. " History of the name - from the hill Makovets, which was erected Trinity-Sergius Lavra. Participation in the journal Poetry of Boris Pasternak, N. Aseeva, VV Khlebnikov, etc.
Analysis of the manifesto: to protect the "folk wisdom", "lead people to high culture, the continuity of the heritage of the past, etc. Creative tactics leading members of the Makovtsa - VN Chekrygin, SV Gerasimov, NM Chernysheva, MS Rodionova, who joined the group LA Bruni, VA Dmitriev, KN . Istomin, NP Krymov, VF Ryndina, AV Fonvizin etc.

OV Nemiro

"Makovets" (until 1924 - the Union of Artists and Poets "Art - Life)
- Association, founded in Moscow in 1921 on the initiative of young artists and writers, who defended the high spirituality of art, argued for the inheritance of classical traditions. The association includes members of the exhibitions "Moscow salon", "World of Art", part "Jack of Diamonds" as well as artistic youth: Amphion Rechetov (NN Baryutin), SV Gerasimov, LF Zhegin, I. F . Zavialov, EO Mashkevich, V.
E. Pestel, M. S. Rodionov, SM Romanovich, N. Rudin, PA Florensky, L. Bruni, VN Chekrygin, A. Chernyshev, AV Shevchenko et al

      Since 1922, members of the association magazine "Makovets" (edited by A. Chernyshev, came two rooms). The magazine reproduced the works of artists as well as published poems NN Aseeva PG Antokolsky, KA Bolshakov, Boris Pasternak, Vladimir Khlebnikov, and others Publication of the magazine was part of a planned extensive programs that should have been include the issuance
of poetry, works on the history and theory of art. Program nebyla implemented due to lack of funds. Mainly for this reason, the end of 1923 the writers have left the association "Art - life." Remaining therein artists transformed the organization into the traditional, exhibition, and gave it the name "Makovets." In addition to art exhibitions
held in April - May 1922, in Moscow's Museum of Fine Arts, the artists' Makovtsa "organized three separate exposition. In total, the association exhibitions attended by over thirty artists.

      The weakness of the association was the lack of unified creative installations that soon became the cause of its collapse. On the heterogeneity of positions included in the "Makovets" artists and critics have repeatedly pointed out, noting that "Makovets" is "not so much a group, the artistic
over how clean everyday, organized by the union. "Within the association there are two main areas. One of them submitted work Chekrygin, Zhegin, Romanovich, gravitated to cosmism high philosophical generalizations, using historical and literary allusions, biblical scenes. Other - Gerasimov Rodionov, Chernyshev, and others - on the contrary, was drawn to real life, perceived in the emotional,
lyrical vein, to the image of urban life and rural nature. And if the artists of the first groups to actively experimented in the field of formal solutions work, the artists of the second group used the traditional classical forms. By 1926 relations between groups have sharpened, part of the active members of the Makovtsa "left the association and its activities
stopped.


Makovets (1924 - Union of Artists and Poets "Art - Life
Moscow 1921 - 1926

List of participants:

Tatyana Aleksandrova
Babichev Peter P.
Bart Victor S.
Belyakov Ekaterina Mikhailovna
Bromirsky Peter Ignatievich
Bruni, Lev Alexandrovich
Gerasimov Sergey
Grigoriev NN
Grigoriev, Nikolai Mikhailovich
Zhegin (Shekhtel) Leu
Zavialov Ivan
Zefirov Konstantin Klaudianovich (Klavdianovich)
Istomin, Konstantin Nikolayevich
Kadlubinsky K.
Krymov Nikolai
Nikolay Maksimov Hristoforovich
Mashkevich Eugene Osipovich
Nikolaevtsev Ivan G.
Pestel Vera Efremovna
Rodionov Mikhail Semenovich
Sergei Mikhailovich Romanovich
Rindin Vadim Fedorovich
Simonovic-Efimova, Nina Yakovlevna
Sinezubov Nikolai
Sobolev I.
Fedorov, R. A.
Florenskaya Raisa
Fonvizin Arthur V.
Chekrygin Vasiliy
Nikolai Mikhailovich Chernyshev
Shevchenko Alexander
Yastrzhembsky (Yastrzhemsky) Anton S.

[Тютчев]

The painting "Rainbow" (1915) was created under the influence of ancient Russian icons and also one of the newest trends in European art - cubism. Sturdy, simple volumes, strictly balanced composition, the strong contrast of deep, rich colors - red and green, blue and yellow - all spoke about the desire of the artist not only convey a lively nature (a young peasant woman in the field), how to find a generalized image of serene grandeur and power .

[Allena]

Today Gallery G.O.S.T. opens the exhibition "Watercolors state. The Art of Leo Bruni and will be a presentation of the book A. Sarabyanova.
http://artinvestment.ru/news/exhibit...028_bruni.html

[color="# 666686"]Posted 12 minutes[/color]
We G.O.S.T. temporary problems with the site, so that probably, if anything, could be asked to "our" admins to help?

[Mikhail]

Separately, it must be said about the titanic work of Andrei Dmitrievich Sarabyanova: the book "A Biography of artist Lev Bruni," edition of 500 copies, which tells about the artist, bringing the audience to understand his work, and the exhibition "Watercolors state. The Art of Leo Bruni" live shows be printed in a book illustrate the artist's works.
Two floors of cozy "home Chekhov (Malaya Dmitrovka 29 p.4) placed on his show. After reviewing the exposure to go from exhibition nehotelos, each painting stopped at home, forcing himself to consider carefully. Pictures, like children in front of the audience tried to show all their talents and skills ... but here I have a red glow on the face of her daughter from her bright red dress ...", "... and a fascinating light on the walls of the temple of the Holy Mary of Egypt created white and look at going past the church father Pitirim through foliage, as if the artist hovers over the place shown in me ...".
  Thank G.O.S.T. Gallery for this holiday, went out like a children's party, happy for the wonderful concert.

[Тютчев]

The Moscow Chekhov's Cottage opened an exhibition avant-garde artist Lev Bruni
17:46, 29 October 2009

In Moscow opened an exhibition of the famous Petrograd avant-garde artists of the last century Lev Bruni. On the eve of the exhibition, which takes place in the so-called "Chekhov's Cottage, a presentation of a new book about the painter -" A Biography of the artist Lev Bruni.

The book, published especially for the 115 anniversary of his birth, contains about 500 color reproductions and photographs. A story about the creative ways the artist is based on documentary evidence from the family archive Bruni, as well as from the Department of Manuscripts of the Tretyakov Gallery and the oldest Russian archives and libraries, the press release.

In Russia, Lev Bruni, was known not only as a virtuoso watercolor painting, but also as a tireless inventor, as well as a host of legendary "Apartment number 5" - literary and artistic circle, which is visited by artists, and Chagall, Tatlin, poets, M., Balmont and Mayakovsky, composer Lurie et al

In addition, he played a party to such polar exhibit program as a "Shop" Tatlin and Makovets. " But for all its avant-garde graphic artist and architect, Bruni was the heir of the classical tradition - in his family had several generations watercolourists Sokolov and artists and architects Bruni. For the connection of such contradictory qualities of art historian Alexander Benois called Bruni "academic futurist.

The example of his biography can be traced almost all the crucial stage of development of Russian art of the past century. First - Academy, first Petersburg and then Paris. Then - infatuation "Charms of Mannerism," so naturally during the Silver Age. In addition, the artist deals with pleasure radical search for Cubism, experimenting with form and texture.

From the Revolution he went to Siberia, where, being "under Kolchak, openly express their anti-Bolshevik views. And then safely returned to Petrograd, and even some time working in the Department of Fine Arts Narcompros.

In the early 1920's Lev Bruni, with his family at the invitation Favorskogo moved to Moscow, where he headed the first graphic, and later monumental workshop VKhUTEMAS-VHUTEINa, which brought a galaxy of bright students.

As noted by critics, Bruni was able to penetrate the very essence of things, and so the circle of his subjects: childhood, motherhood, seascapes, nature - a circle of eternal existential fact deprived of pathos, but full of dignity and harmony. This should not reduce his work to a quiet "family" as well as innovative and experimental inherent temperament of the master himself, evident even in its rough outline. Thus, Bruni was one of the few artists who freely use the "dangerous" red paint without fear of the color activity violate the compositional balance or make any inaccuracy in the picture.

http://www.newsru.com/cinema/29oct2009/bruni.html

[Тютчев]

together with all and of itself

- 30.10.09 10:36 --

Velimir Moyst

This artist was fond of saying that instead of blood in his veins watercolor. About how the metaphor is not at odds with reality, can be judged on a personal exhibition "Watercolors state. Art Leo Bruni, which opened in the exhibition hall of "Chekhov's Cottage.


He became the heir and successor of several artistic dynasties: "Bruni, Briullov, Sokolova were my ancestors. He managed to turn to visit the academics, miriskusnikom, futurist, socialist realists. However, none of the incarnation is not decisive for his creativity. Lev Bruni all involved - and no that does not sink into his head, preferring to move on its own trajectory. Variability Role should not be misled: this figure - one of the most important in Russian art of the twentieth century. I achieved this status is not least thanks to the chamber genres - children's and family portraits, natural landscapes, book illustrations.


Samples of all listed and form the basis of the retrospective exhibition, hosted by the gallery "G.O.S.T.


The exhibition is dedicated to 115 anniversary of the author, and (not least) to leave a large monograph Andrew Sarabyanova "The Biography of the artist Lev Bruni. In this work not only sets out the curriculum vitae and played numerous pictures - probably the first creative way Leo Alexandrovich is not presented as a set of paradoxical turns of a career, but as a logical, due to domestic and external causes, evolution. Here are many living histories, documented family legends, excerpts from memoirs of contemporaries, and records of the main, perhaps, the commentator, the artist's life - his wife Nina Konstantinovny, daughter of the poet Balmont.


In a few words this long and fascinating history does not tell, so pay attention primarily to the exhibition.


It is assembled from private collections, but is dominated by works from the family archives. Numerous descendants of the clan Bruni has works no worse than those that are stored in museums. In any case, they can be adequately display the "general line", followed by the hero of the exhibition. This "silent poetry" is not so quiet, if you look: the serenity of the subjects lies the real author's drive. Lev Bruni did not spend long avant-garde, but those lessons never forgotten, though, and did not follow them literally.


Discarding ideology of changing the world, he moved deeper into the world familiar, as if all the familiar and even slightly overexposed - in order to re-make it interesting and important.


On this super-objective is to remember, looking at the portraits of the sleeping children, the types of Sudak, Zhizdra, Luga, Optina, the sketches of animals in a zoo or on illustrations for "Don Quixote". Do not deceive anyone idyllic veil: the artist is far from plants, for example, the German Biedermeier, designed to glorify the sentimental family comfort and beauty of nature. He has, rather, looked through the approval of some existential principles - such as family as a group of like-minded. Even the landscapes are internally conflicted, by harmonizing their serious efforts, visible only to the discerning eye.

Apparently, Bruni deliberately sacrificed many external effects, to demonstrate: the life - no sugar, of course, and not a carnival, but it was not nightmare. With it you can "cooperate", and find joy in it, to extract lessons from it. This nekazenny optimism born of a series of misfortunes and strokes of fate (see the monograph referred to), and was, perhaps, the principal, that the artist could and wanted to pass around

http://www.gazeta.ru/culture/2009/10/30/a_3278810.shtml