Russian avant

[Wladzislaw]

Maybe someone knows if there is in private hands of the Casimir (Constantine) Medunetskogo, I found work in the market? Known to me work is published in the book: The Museum in the museum. Russian Avant-Garde from the Collection of the Museum of Artistic Culture in the Collection of the State Russian Museum. SPb., 1998. S. 178.

Not that I would like to buy now, rather know the situation, ask the price, if possible.

[Маруся]

Сообщение от qwerty

At this exhibition, the exhibitors were: Larionov, Goncharova, Larionov, Ivan - brother of Michael, a very talented, incidentally, W. Barth, S. Bobrov,

Here's the article about Ivan Larionov:
Gleb Pospelov. Seaman Ivan Larionov //Our Heritage. 2002. № 62
http://www.nasledie-rus.ru/podshivka/6207.php

Qwerty, C. Bobrov You are not singled out, it means something to know. Share, please, I am very interested in this surname.

[fross]

B. Markoff

Vladimir Markov (Voldemars Matvejs) 1877-1914
In 2002 there was an exhibition at the Museum of Private Collections in the IIC - "In Search of Art budeschego. Voldemars Matvejs, and the Union of Youth"

Voldemars Matvejs never been an artist. That is, he was engaged in painting, was exhibited and was even known to their peers. But love and love him not for it and not under this name: Vladimir Markov - one of the theorists of "new art" of the early XX century. As a theorist, and he knows it.

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As a painter, he was frankly bad. And the 16 paintings were brought to the exhibition of Latvia, is a convincing show. His "Seven Princesses" (1908-1910) - a bad version of art "Blue Rose". His "Reapers" (1910) - second-rate variation of the plot Millet. And the strange name of the exhibition - "In search of art of the future" - not adequately material: in their own canvases Matvejs clearly followed the already obsolete styles. If it were not for one "but" ...
Matvejs - undoubtedly apologist "poor art". The brightest feature of it - is its mediocrity. In the literal sense: gray paint on a gray background, he wrote his "Madonna" (1910). And to write it, traveled to the island of Gotland, where he studied medieval provincial sculpture. As an imitator epigones, he found something in his gradual liberation from the bright colors and multiple lines. And in this he did not understand his contemporaries and did not appreciate descendants. Although Matvejs go out into the daylight from the tomb somewhere in Moscow thirties, it would wear on the hands.
Major work Matvejs - it is his articles and books. Therefore, a small exhibition at MLK - more bibliographic than fiction. For example, a sample dembelskogo album - women's writing "Ensign Svyatoslav Alexandrovich Nagubnikovu, carefully pasted in a notebook with risunochkami. Ensign, incidentally, also had artistic inclinations. It can be expected in the Pushkin exhibition Nagubnikova. So to mice ...
But the main thing - it negros. For Markov that African sculpture, that the Goths, that Tver gingerbread horse - all may be one of interest as art "primitive." He studied it, and that following the French taste. Traveling through Europe, Markov photographed African statues in ethnographic museums. The new prints from old negatives, leave the most vivid impression of the exhibition: without knowing, Markov was a good photographer.
2002-09-19 /Michael Sidlin http://www.ng.ru/culture/2002-09-19/6_exhibitions.html

And one more exhibition was in RM in 2004

[Маруся]

While writing, Fross already answered ... but, hopefully, will not be superfluous.

Vladimir Ivanovich Markov - a pen name Woldemar Matthew (Voldemars (c) Hans Matthias (c) - a Latvian-style) (1877 - 1914) artist, art theorist, one of the active members of the Society of Artists' Union of Youth. Latvian by birth, a native of Riga, on arrival in St. Petersburg in the Russian manner, he was recommended by Vladimir Ivanovich Matveev, and appeared in print under the pseudonym V. Markov.

Matthew received his primary art education in Riga at the school drawing B. Blum, who graduated with honors. His thesis "Birches at sunset," was exhibited in Paris and in Rome, where she won a gold medal. In St. Petersburg, studied at the famous studio schedule and teacher Tsionglinskogo. From 1906 to 1914 he studied at the Imperial Academy of Arts, which is not finished, had died a month before the submission of a competitive final picture.
At the Academy he studied in the same year with Paul and Barbara Filonov Bubnov (which was his wife) - as, indeed, was in the Union of Youth.

In 2002 the Museum of Private Collections held his exhibition: In search of art of the future. Waldemars Matvejs and the Union of Youth "(for the 125 th anniversary of the artist).
After the exhibition, he immediately ceased to be an unknown artist:
The book is a series of avant-garde art 1910-1920-ies. Waldemar Matthew and the Union of Youth. M., 2005
Here's another article Irena Buzhinskaya. (Curator of exhibitions, the State Art Museum in Riga).
Voldemars Matthew and Coyuz Youth "
http://www.chagal-vitebsk.com/node/113

[fross]

S. Nagubnikov
Svyatoslav Alexandrovich Nagubnikov 1886-1921
He studied at the Art School in Penza (1902-1907) and the Academy in St.Petersburg, Russia (1907-1914) Participated in exhibitions combining the Youth League.
Three works of RM - Gypsy, Greyhound, and Portrait of a Lady

[Маруся]

This "Russian Gauguin ...

[Черномашенцев Владимир]

Discovers the exhibition publishing house, which professionally produces the series "Artists of the Russian emigration. Details - see the topic about 22 MIBF:

http://forum.artinvestment.ru/showth...005#post585005

Today acquired two Labas:

1) "Personal Labas. Alexander Labas in private collections." edition of "Cultural Revolution", 2007
2) Alexander Labas Arkadevich "publishing house" Inkombuk, 2006

3) the interest "Expressionism" Ashley Bassi, ed "BMM", 2007, which reflects the European artists he 1900-1910-1920 (Schiele, Kokoschka, Nolde, Marc, Kirchner, Gros, Dix, Beckmann, Klee, and Kandinsky and Jawlensky .
At that time, before the revolution, Europe and Russia were close enough.

[fross]

P. Potipaki
There are three references to:
1.Viktor Shklovsky. Hamburg by: articles, memoirs, essays 1914-1933.:

«Artist Potipaka do not know where he is now gone, lived in a room at the shoemaker, who believed him.»

2.OBSCHESTVO ARTISTS 'UNION OF YOUTH »
 April 1, 1912 
 June 2, 1912, 24 pp., [6] l. ill., 240h165, 42 pp., [6] l. ill., 245h165. 500 copies. (each) Lit.: Kn. l. 12552, 16753; Compton, 94; RAB 10-11.:

P. illustration Potipaki ( "Land»)

Deitch 3.Aleksandr "In the camp of discordant":

Why do they - the Neo-Futurists?
It turns out that they added a "neo" to distinguish themselves from the various I. Shkolnikov, E. Spandikov, P. Potipak, T. Schleifer, etc., etc.
It turns out a wild discordant concert.
Gribatnikov disowns Shkolnikov, Spandikov from Michelson Lentulov by Shleifer and Potipaki, probably from himself.
Thus, neo-futurists, with all the above simply futurists have different ways.

[color="# 666686"]Posted by 39 minutes[/color]
N. Rogovin

Nikolai Efimovitch Rogovin as an artist, now forgotten. He began his career in the years 1910-1911. participation in the exhibition Jack of Diamonds. In 1912 at the exhibition Donkey's tail is exhibited 12 works. From the catalog of this exhibition to store the address of Nicholas Rogovina in 1912: Moscow, Ostozhenka his house. In the same year he and Goncharova and Larionov illustrated book Mirskontsa "Velimir Khlebnikov (cover seen at MoMA). Participated in the exhibition "Target", 1913. Among the exhibitions of the Soviet time Rogovina not, but in 30-40-ies face made up of albums architectural uvrazhey, he participates in the creation of the first volumes of the General History of Architecture.
His father, an engineer-technologist Yefim Samoilovich Rogovin in 1905, bought in the Ryazan estate - 447 acres of land in the village of Leski Ekimovsky parish Ryazan district, and when the peasants have burned his house in 1908, sold off most of the estate. Later, in 1919, his son in the direction Narcompros come to Ryazan to be in the shops "left" direction:
"I find it necessary to acquaint students with the world painting instead of writing with students horsies ... General education for students not necessarily need to cultivate not mind, and spirit of the students'
"... personal taste are the artists: Leonardo, Cellini, Polayolo, Daumier, Cezanne, Corot and others, to any direction absented himself."

[qwerty]

Some illustrative material to the topic "1912."

[qwerty]

and yet a very little: