Sovkom November 2, 2010

[Кирилл Сызранский]

Сообщение от lazycat

you have to dig for someone in the circle Kotarbinski.

Yes, about Kotarbinski immediately recollect.

[I-V]

Сообщение от Cyril Syzransky; 1349051"

A picture is, again, interesting.

And what is depicted in the picture? Icon (Mother?) Is seen in the ruins of the lantern (lamp?) Is lit, and the top slot ... the stork? And what kind of boat? And who gave the painting is a title: "The Meadowlands"?

All this is somehow mysteriously, and maybe someone knows the answer?

[Сима]

Сообщение от IV

Brad, of course, but the feeling is somewhat similar to Pre-Raphaelite (eg, Hunt))

Сообщение от IV

What kind of boat?

It is not nonsense.
My analogy is even more radical.
A boat for the island are where the same should be stored?

[I-V]

Сообщение от Cyril Syzransky; 1349051"

A picture is, again, interesting.

There is still interesting that before the revolution the name of Yuri is quite rare, christened with the name George, and name. How many can remember in the 19 early. 20 centuries. known Yuriev, including artists? But Georgiev indefinitely. If this is Julius (Iuly), the artists of that name, too, perhaps, not so much. Especially Juvenal (Iuvenaliev). This is hardly an artist or Julia Junia. Again, Julia and Yunii were Iuliyami and Iuniyami respectively.

The painting, of course, very curious. A similar pattern seems to me that could have been written, and 30-40 years before that date.

"We have the name of Yuri became fashionable after the revolution. In fact, until 1917 it was an unofficial version of the name George, but George was baptized, and Yuri was called home. And after the revolution began quietly Yuriev recorded on the birth certificate, and in 1920 got a very many small Yurochek. Up to that on a small patch where we lived - in Moscow, in the middle of the 2 nd Meschanskoy - there were three of the Jura. " http://www.ogoniok.com/4898/15/
  
"This name evolved from the name of George through the dialectal variants Gürgen Yury. Delimitation of the names of George and Yuri in the official paperwork there has been before the Revolution of 1917 at this point to cases of introducing forms of Yuri in the Orthodox parish registers. In the town of Verny this form is attested once on sections 1882-1886, 1892-1896 and 1902-1906 years. Reasons to use this option, then at the baptism in general, were, as the name of Yuri in the Orthodox calendar has been put in brackets as the second name of the Holy Prince George Vsevolodovich. After the Revolution imyadateley interest to the name of Yuri immediately began to grow (obviously fertile ground for this was prepared before the revolution), and the name of George fall. According to the well-known researcher anthroponymy VA Nikonov, isolation of the name of Yuri George is prolonged and at different times: 20 years of XX century in the towns they were already different names, and in the village - even the shape of one, recorded the baptismal name - George. " http://planeta-imen.narod.ru/imena/jurij.html

[Кирилл Сызранский]

Сообщение от "IV

If that Julius, the artists of that name, too, perhaps, not so much.
It is unlikely that this artist Julia.
Again, Julia was Iuliyami.

I-V, Julius can be.
Clover was even Yul'evich.

And the author could be from the Western Region, a Pole, for example.

[I-V]

Сообщение от Cyril Syzransky

Yes, and the author could be from the Western Region, a Pole, for example.

Yes, in the case of Great Russia, this incident with the names of the circle narrows the search somewhat still, but in the case of the Western region extends, of course, incredibly

Want nothing less than to cry out: Why, what and who is it, anyway?

Small but interesting essay:

Larissa Savitskaya

National Technical University "KPI"
Ukraine, Kharkiv

Polish artists in the artistic life of Kiev.
End of XIX - XX centuries

We consider the participation of Polish artists in the life of art in Kiev kontseHIH and early twentieth centuries, their role in the development of innovations in the Ukrainian school of painting, the influence of Polish symbolism in the process of aesthetic reorientation of Ukrainian art.

Polish art, Kiev, the Ukrainian School of Arts, symbolism

By virtue of his exhibition fate Kiev better than other cities of Ukraine was familiar with the Polish art of hope, a landmark time. Exhibition of Polish artists from Krakow, Warsaw and St. Petersburg were held here since 1880. And in 1893, Polish artists are an essential part of artistic forces in Kiev, Kiev became the founders of the Association of Art Exhibitions. Among them - L. Vychulkovsky, V. Galimsky, E. Vzhesch, L. Kowalski, P. and A. Svedomsky, V. Kotarbinski.

With the organization in 1900 of a permanent "Art Salon" A. Zamaraev, place of Polish art in the artistic life of Kiev becomes even more noticeable. Recall that a journalist Alexander Zamaraev fellow Polish newspaper "The Edge", organized partnership, shareholders of which were made by Polish aristocrats - a graph. Potocki, princes Sangushko, Lyubomirsky, Stadnytsky and others. "Salon", becoming mostly the brainchild of the Association, has exhibited and sold many works by Russian and Ukrainian artists, but the Polish masters in his collection was dominated. The "Salon" Zmaraeva exhibited Wojciech Gerson and Frantisek Zmurko, representatives of academic late, writing historical canvases and sentimental domestic picture, K. and L. Stabrovskaya Stroynovsky depicting mystical and visionary scene, the Symbolists Vlastilin Hoffman and Edward Okun, striking unusual stories, landscape and F portraitists. Rushits, K. Shihulsky, S. Batovsky, W DEMBITSKY and many other artists. Stylistic range of Polish painting was wide - from realism and salon academism to Art Nouveau and Symbolism. In 1900-ies. during the period of ideological and aesthetic reorientation of Ukrainian art of peredvizhnicheskih ideals to postrealisticheskim values, the influence of Polish art, under the more rapid rate of development, particularly noticeable.

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Note that often the Polish painters exhibited in St. Petersburg, Moscow or Kiev, carrying in his paintings to view the intrinsic value of art. During the rule of realism-wing populist such an orientation was perceived hostile to the problem of public ministry of the artist. That is why, as you know, Mr. Semiradzki for Stasov was the main enemy of values peredvizhnicheskogo sense that the great critic defended. But in Ukraine the situation with the adoption of both of academic and critical realism was different. For the development of traditional academic subjects here had no social or cultural grounds. Range of academic admirers - the urban intelligentsia, wealthy burghers - was small, and public opinion, formed an all-powerful populist ideology, encouraged to see in the academic style alien to the national consciousness landlord art. As for Peredvizhnichestvo, it should be recognized - the socio-critical realism trend in the national school of art development has not received. The most fruitful direction was populist romanticism, expressed in the lyrical and poetic model of the landscape and the landscape genre. This model becomes a kind of criterion by which the Ukrainian school has taken or rejects a new aesthetic information. Path exploring innovations in the early 1900's. - Exhibitions of Western art in the Russian capital, falling in a shortened form, mainly in Kharkov and Kiev, as well as books on art materials that have become an integral part of the artistic life of hope, a landmark time. One of the important bridge through which in Western Europe in the Russian part of the country were trafficked art news, a Lviv. There were exhibitions of paintings and graphics Mucha, F. Rops, E. Munch, M. Klinger, F. Hodler, J. Tooropa initiated Ya Bolokhov - Antonevich (chairman of the Lviv Association of Fine Arts in 1901-1903.). Engaged in promoting the innovations I. Trush. On the pages of Lviv journals Buduchnіst and Literary Naukova DSFA he expounded the essence of artistic impressionism plenerizma, symbolism, thought about the phenomenon of decadence using to illustrate their findings product of Polish artists. In Ukraine, unlike in Poland, direct acquaintance with the listed innovations just beginning. Polish cultural figures in this familiarity often found themselves in the role Enlighteners artistic consciousness.

In the spring of 1903 in Kiev (on the way from Moscow to Lvov) comes the great Polish poet, a representative of the first generation of the association "Young Poland" Jan Kasprowicz with the report of the symbolism and decadence. Addressing a public lecture Kasprowicz, described the decadence and symbolism as the two qualitatively different stages of artistic development. Decadence - the lowest level, the analyzing, but not creating new, but the symbolism - the highest level. It is based on the activities of the soul, representing what was born in the darkest depths of the spirit "[1]. An original presentations made by the Polish poet can not be named, for his emotional and poetic phraseology aligned assessment, firmly entrenched in the Western literary and aesthetic thought, linking artistic innovations of Romanticism, his outlook and philosophy. However, in situations of moral abandonment in Ukraine, all that is not consistent with the ideals of populism, performance Kasprowicz should recognize highly topical, especially in the part where the poet was talking about decadence, as a necessary stage of artistic development. In the public mind a decadent turn of the century could be almost anyone who has expressed opposition to the tradition. And I must say that among those who brought in the artistic life of the spirit of Ukraine's anti-values were often outdated Polish "decadent."

In 1903 in Kiev at the premiere of his play "Snow" comes one of the most popular in Russia then the authors ─ Stanislav Pshibyshevsky. The play put the troupe of traditional realistic theater, and symbolist play did not work, needed a theater, a different stage playing technique. Problem of updating the language of theatrical art were faced Kyivers clearly. Creating theater that can translate the meaning of a new vision of life engaged in Kherson V. Meyerhold. In search of his own creative path, he left the theater V. Komissarzhevskaya and organized in partnership Kherson new drama, where he staged one after another play Pshibyshevskogo "Golden Fleece" and "Snow." Its task group "New drama" Meyerhold saw in "the creation of such a theater, which moves in the ranks, vzburlivshih area of philosophy and art, would walk with them, overcome by thirst stood out in search of new forms to express the eternal mystery and meaning of our existence" [2]. "The Secret Meanings of being" seen in the works of Ibsen, K. Hauptmann, M. Maeterlinck, S. Pshibyshevskogo that formed repertory troupes Meyerhold Theatre Kiev N. Sinelnikova, which staged the play innovators K. Mardzhanov. These names of playwrights and directors of the new art gradually makes its way into theaters in Kiev, Odessa and Kharkiv.


Along with the Polish playwright, a possible way of creative renewal showed exhibitions of Polish art. Especially memorable were the exhibition of artistic associations "Zero" and society "Stuck" (1908 and 1910) caused by the Kiev press stream of publications. Audacious painting called performance artists Krakow N. Murashko not preminuvshy emphasize his tendency cute Polish artists to "use paint at all" [3]. A painter and critic G. Burdanov, without hiding the strong emotional experiences, he wrote about J. Malczewski as a mighty pillar of Polish art, expressing his fame and spirit of the identity [4]. One of the organizers of the exhibition association "Stuck" was the painter and graphic L. Kowalski, who helped Vrubel in the Vladimir Cathedral. Later he went to study painting in Paris, and to return to Kiev, he joined the friends of youth. Bound by memories of working with Vrubel, L. Kowalski, B. Zamirailo, T. Burdanov, S. Yaremich, G. Zolotov, composer Boris Yanovsky and journalist who joined them Filippov act with a number of important initiatives. They create a journal in the art world, which becomes the body of the popularization of artistic innovation, mostly Art Nouveau and Symbolism. In the pages of L. Kowalski, "explained in Love" by A. Beardsley: Beardsley - master of line and only line. He may express it absolutely everything, that neither wants ...",- artist wrote [5]. In his own work Kowalski displayed a omnivorous, wrote realistic and grotesque genre scenes, society portraits and paintings in the spirit of melancholy painting Borisov-Musatov. A leading critic of Kiev E. Kuzmin noted the work of Kowalski among the most remarkable works of local exhibitions. Not be superfluous to note that the artistic level of Kiev exhibitions often asked works of Polish artists, whose work features new trends in art has already received expression. Basically, they were masters, who have mastered the technique of Impressionist plein-air and separate the stroke, such as B. Galimsky, L. Vychulkovsky, E. Vzhesch, comes over to Kiev Jan Stanislavsky, almost spoke as well as writing of his contemporaries, with the light [6]. In Poland itself, according to Polish art, impressionism as a period of not taken place, but the perception of its formal tools was an important impetus to the mastery of light, color, expressive power of the invoice. [7]. Experience of the Polish landscape in this area was extremely important for the Ukrainian art, evolving in time of hope, a landmark folk images to express dynamic and intense world view of the townspeople. Actually, the movement from painting to landscapes Vasilkovskaja Manevich and Burachek and expressed the transformation of the artistic consciousness that enabled the Ukrainian landscape enter the space of European art. Painting and teaching activities of Jan Stanislavsky was one of the components of this process. Therefore. D. Antonovich considered Polish artist none other than the founder of the Ukrainian school of landscape, assuming that the Stanislavsky discovered a previously close the intimate poetic Ukrainian scenery "[8].

However, the glory of Polish painting hope, a landmark time still was not impressionistic landscape-wing, and Symbolist painting. That Symbolist artists formed the core of the "Young Poland" - J. Mehoffer, V. Podkovinsky, J. Malczewski, S. Vyspyansky. The perception of these great masters of art could be a significant impetus to the development of Ukrainian artists aesthetics associated with modernism and its spiritual nerve - symbolism. Symbolist works of Polish artists, we see on the pages of periodicals Kiev. The magazine "In the world of arts publishes reproductions of paintings by K. Zhelegovskogo, sozdavashego vision, filled with elements of silent fear and dread. ("Lights," "Horror"), After the exhibition of the sculptor Begasa held in Kiev in 1905, reproductions of his frighteningly strange animals and figures, preceded in the same journal published stories Andreev, after the solo exhibition of B. Kotarbinski as postcards were published reproductions of his works performed in the spirit of the salon symbolism. Nature of the imagery of Polish symbolism answered acute needs of the audience in a mythological reflection as a way of explaining and experiencing misunderstood and tense today.

And yet, realizing resistant to changing national picture of the world, the Ukrainian art school did not take a mystical, visionary, dramatic, something that was essential feature of Polish symbolism. Such art has not produced a fruitful germs in the soil of local art. No matter how admired I. Trush V. Podkovinskogo painting, a symbolic figure for the Polish art in his work, he interpreted the symbolist ideas according to a completely different aesthetic and ethical dimensions. When the Polish artists who worked in Ukraine, began to cultivate a mystical motives, just as it did, for example, V. Kotarbinski, writing often paintings, filled with ominous mysticism ("flower on the grave of a suicide), the Ukrainian art of the body they found themselves alien. On the other hand, the romantic sensitivity, lyricism, as typical of Polish art, by contrast, were perceived as the orientation in tune with the tone of the national school of figurative painting. Why so much was the role of John the Stanislavsky in Ukrainian painting.

We can say that the basic "ground" to test and develop the newest style in Ukrainian painting remained a traditional rural landscape and home picture. And here the experience of Polish painters and those who developed the Ukrainian motives, was closest, and therefore internalized. Colorful peasant types and stages public festivals Theodore Aksentovicha, Vladislav Tetmayera, Frederick Petch, landscapes Leon Vychulkovskogo, Casimir and Yana Shihulskogo Stanislavsky, akin to life-affirming vision of Ukrainian school of painting. This circumstance conditioned the place of Polish painters in the art of Ukraine.

Notes:

1. Kievlyanin.-1903.-March 21.

2. Alexei Remizov. Fellowship of the New Drama. Letter from Kherson. /Vesy.-1904. - № 4 .- C 36.

3. Old teacher. Exhibition of artists at the Museum of Krakow. //Kievlyanin.-1908 .- October 25.

4. Kiev mysl.-1910 .- Feb. 5.

5. In the art world .- 1907. -1 March. - C.7.

6. Joseph Megoffer. Jan Stanislavsky. //Art and printed delo.-1910 .- 360.

7. See this in the book.: Stopczyk Stanislaw. Malarstwo polskie impresionizm .- Warszawa: Krajowa Agenga Wyalawneza .- 1987

8. Syayvo .- 1913 .- March .-- p.86.

Source:
(Warning: site is the abstract images suggestive
http://librar.org.ua/sections_load.php?s=art&id=738)

[vyadem]

[QUOTE="sergejnowo; 1307081]Goryushkin-Sorokopudov rare artist.[/QUOTE]

Here's another work [URL="http://www.magnumars.ru/art/940/"]Goryushkina-Sorokopudova[/URL] at auction Magnum Ars.

[Кирилл Сызранский]

Сообщение от vyadem

Here is another work Goryushkina-Sorokopudova at auction Magnum Ars.

Good temperature Portrait of young woman in ancient dress.
Even in the hands of Ivan katseyu Muscles drawn.
Also a sketch, apparently, to a picture of Russian life, the XVII century, the same 10-ies. Twentieth century.
But in my opinion sovkomovskaya interesting for collectors, killing three birds with one stone: and from the XVII century. scene, and the things a sketch of the museum, and in the investment plan gruppavaya story composition Winning seen.

See: the most expensive thing Goryushkina-Sorokopudova "Boyars on the road" (x /m, 53,3 x21, 6) was sold at Christies, New York 18.04.2007lot 19 per 336,000 USD (estimate at 100 000 - 150 000 USD)-genre scene,
and the most expensive picture of him, "Russian Beauty" (board, gouache, pastel, 75,5 x45, 5) at Sotheby's, London 31.05.2006 Lot 99 for 24,000 GBP (estimate at 20,000 - 30 000 GBP).
 

By the way, this beauty was in the hands of another attribute-Old Believer lestovka.

[Владислав]

Sovkomovsky Goryushkin-cardboard, but I think this is already the owners of the cardboard canvas prikleeli and somehow weak on canvas telepaetsya there, as I recall, it can be easily separated.
I'd have asked restorer to do and then bring the edges, pull on the stretcher and we would have a full x /m. Frame to replace, and there own nameplate, old, it is, of course, to leave.

[SergeiSK]

Sold 100 lots of 162. Unsold lots: 2,3,9,13,17,27,30,32,33,34,37,44,45,46,47,48,53, 57,61,62,65,68,69,70 , 71,72,73,74,76,77,78,79,83, 86,88,91,93,98,99,108,109,110,115,123,124,125, 126,133,134,137,141,144,150,151,152,153,154,155, 156,157,159,161.
Offer to buy you can make up to November 3, 2010.
Dear lots are selling well - Grabar, Zankovsky, Zhukovsky, Germashev, drawings Ilya Repin, the picture of his son, Yu Repin, Ryazhsky Crimea, Romas, Saryan, all of P. Radimov, Lentulov, graphics Chubarov, as well as a picture Rylova, Lot 43. Yes, and the auction went well.