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Старый 28.07.2008, 05:48 Язык оригинала: Русский       #1
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По умолчанию Rene Guerra: "Culture - this is what is left!"



Alexander Chatsky.
----------------------------
Вложение 17305 Mr. Rene Guerra Yulianovich (France)
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The story of Rene Guerra, I'll start with his hometown - Nice, which in the second half of the XIX century chosen by the Russian imperial family, and after 1917 - the Russian emigres.
"Nice - the Russian city outside of Russia", - says R. Guerra. Before joining France in 1860, Nice, part of the Kingdom of Sardinia, was a favorite vacation spot of the Russian nobility. These often come Empress Alexandra Feodorovna (wife of Nicholas I). So Nice called "winter capital" of Russia's ruling house.
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In 1857, Russia and the Kingdom of Sardinia signed an agreement to open next door to the town of Nice Villefranche-sur-Mer, in a former prison, coal-go storage for Russian ships. Tsarist government funded the construction of the road from Nice to Villefranche, which opened Alexandra. Russia fleet base existed for 20 years. In 1997, Academician DS Likhachev was opened in Villefranche bronze bust of the Empress. And in a city park, which goes on the Avenue of the Empress Alexandra Feodorovna, there are two statues of the Orlov brothers, who were here at the end of XVIII century, and the bust of Admiral Ushakov.
In Nice, was built by Russian library out Russian-language newspapers ( "The Russian-French Journal" and "Voice of the Riviera"), hence went direct train to St. Petersburg.
In 1865 in Nice, the Villa Bermon died heir to the throne Nicholas, son of Alexander II.
In Nice there were Gogol and Saltykov-Shchedrin (stayed at the hotel "Oasis", which was then called "Russian-board"). Herzen bequeathed to bury him in Nice, and today the town cemetery - a bronze monument to the publisher's Bells.
Having bought in the northern part of Nice deserted park Valroz a dozen acres, Russian industrialist Paul von Dervis built a palace. In Chateau Valroz was an open theater with 400 seats, for which Dervis had its own symphony orchestra and choir. It was here on Jan. 5, 1879 premiere was Glinka's opera Life for the Tsar. In 1881 th patron slew the tragic death of his daughter, and the estate began to decline.
Today the chateau Valroz - the administrative building of the University of Nice, where Rene Guerra headed the Department of Slavic Studies. Peasant hut, which Dervis moved here for a log of his estate of Odessa, turned into a cafeteria, a bronze sculpture of a horse by Paolo Trubetskoy painted in yellow and green colors.
In Nice and other cities in the south of France for long lived Bunin, Rachmaninov, Merezhkovsky and Gippius, Berberova Khodasevich, Georgi Ivanov, Mark Aldanov.
In 1911, the Russian colony in Nice, there were more than 3 thousand people.
There is a "Russian" Cemetery (land belongs to the Russian community and can not be alienated, in contrast to Saint Genevieve de Bois, near Paris, which is simply a "municipal" and now this necropolis at risk of "dissolution" there are many graves of the French). In Nice on the "Russian" cemetery lie the remains of General Yudenich, who led the white guard on a revolutionary Petrograd. Here are Nick Leo and Alexander Rajewski, artist Philip Malyavin, critic Georgy Adamovich.
But back to our hero. Who was Rene Gera, and he wondered?
He was born in Nice in 1946. After 10 years the family moved to the resort town of Cannes, where his mother Rene was the place the headmaster.
Once turned to her elderly modestly dressed woman with a request to give her granddaughter extra lessons in mathematics. Instead, she proposed to teach any of the Guerra family of the Russian language. So the two boys Guerra, Allen and Rene began to walk on the lessons of Russian. But the senior, Allen, soon from these lessons refused, because in schools they studied Latin, English and German languages, and Rene continued his studies (in pre-revolutionary ABC).
The lady was a talented teacher and an extraordinary personality. Her name was Valentina Rassudovskaya, previously it was from Kiev. A year later, a second teacher was a former Kharkovchanka Ekaterina Tauber, poet, poetry by writing Khodasevich, Bunin, Adamovich (many years later, R. Guerra issued two of its volume). Lessons held at Ekaterina at home, often going the Russian immigrants, and they at that time, only in Cannes, lived a few thousand people.
Before Rene Guerra has opened the world of pre-revolutionary Russia. Many of the emigrants in poverty, but dignity is not lost. For Rene, they were representatives of a great country with which the disaster struck.
Russian "old" (and they were just under 60) going to someone's apartment and remembered the past - the pre-revolutionary life, the civil war. On the shelves were lying Russian edition - Contemporary Annals, "Revival", "Russian note. The air was permeated with Russian culture. Rene grew up in its atmosphere, and Ekaterina became his spiritual teacher.
Each year in Cannes feast of Russian culture, and Rene took part in it. His number was the role of corona Falsdmitry in the scene meeting with Marina Mnishek a fountain of "Boris Godunov".
Today, the question of what attracted his Russian immigrants, Rene Guerra says: "It was charming, intelligent, touching people. After the great crash, they lived outside of time and hoped to return. Well, I was just curious child." Honest French boy with a soul, open to all good, was outraged at the injustice committed against these Russian. "I could not understand why these lovely people were not needed in Russia."
After graduating from high school Rene was in Paris. First, he entered the Institute of Oriental languages, but then moved to the Faculty of Slavic Studies at the Sorbonne University. Here his interest in Russia has gained clear outline - R. Guerra became professionally engaged in Silver Age of Russian literature. There are people who not only in love with a certain era, but to devote her life. These were Heinrich Schliemann, who found Troy, Bernard Berenson - a connoisseur of Italian Renaissance. This category of people belonged to Rene Guerra.
Another student, in 1966, Rene first arrived in the USSR. "Six weeks in Moscow and St. Petersburg was enough to chase everything that they told me in Paris", - says R. Guerra.
After graduation in 1967, Rene decided to write a master's thesis on "the last Russian classics" Boris Zaitsev, and wrote him this letter. "It Zaitsev, apparently flattered, and he kindly answered me. He was already 85 years old, and he was glad that the first time in more than forty years of living in a foreign country (since 1922) It has expressed an interest in French philologist."
In the West, to Russian immigrants and their culture was regarded as something of a relic. Ignored, slighted. The then-professors (with some exceptions) was set up very pro-Soviet. Rene was the only student of Slavic studies, which not only kept aloof from "the old Russian", but was drawn to him. At the Sorbonne, this was not accepted: should write about the great dead, and not about the little-known exile still alive. Some of the professors even considered that Zaitsev - a fictional writer. Rene insisted, and the topic was approved.
Rene wrote a thesis. In it he defended the thesis that the Silver Age of Russian literature is not completed in 1917, and was continued in the work of Russian emigres in France until the outbreak of the Second World War.
He challenged the thesis of Soviet literature, according to which the Russian writer or an artist, being abroad, inevitably becomes a victim of creative sterility. (Although, for example, "dark alleys" Bunin, "The sun of the dead" Shmelev, "The house in Passy," Zaitseva been established in France.)
Friendship with BK Zaitsev has meant that the last four years of life of the writer Rene was his literary secretary.
In 1968, Boris Zaitsev received an offer from Moscow - to put on their homeland.
R. Guerra dissuaded him: "Because there is always the author of the foreword, which necessarily obolzhet you. You spoil your image." And he was right: when he left a collection of A. Remizov, in the preface to his Leningrad professor Yury Andreyev reported that they found themselves in exile, Remizov was de creatively barren, that collection of leaving a hard time to select a small number of standing works that out 40 books of the writer almost nothing is of no value ..., etc.
"Once abroad, the Russian writers did not write worse - says R. Guerra. - In Soviet Russia, they could not create anything like it.
Any emigration - a tragedy, but for them it was luck. His artistic legacy, they were proven right, the correctness of their choice ...
Now we see their revenge, however, post-mortem ... Culture - this is what is left! "(R. Guerra, May 1999, St. Petersburg).
Well-known Russian emigre writers had no access to the French audience. Rene Guerra has written about it, and began to defame him in the press. We Guerra difficulties: in French universities have been strongly influenced by leftist ideas, and Slavic studies avoided the emigrants did not want to irritate Moscow. With departments lectured about Gorky, Fadeeva, Damien poor. As a result, Rene Guerra was forced to lead a double life as a Soviet dissident. His mastery of the Russian language, even gave rise to rumors: "Rene Guerra - a Roman Gerasimov, a KGB agent."
Even in his youth R. Guerra began to collect postcards from Russia. In Paris, began to seek out and buy the newspapers, books published in Russian in Prague, Belgrade, Harbin, Paris. They came with tiny circulations and are now a rarity.
Collection - a matter of life R. Guerra, and not the rich man's pastime. Much he bought at auctions, traded. There are things that gave him, because he was friends with many artists - with Annenkov, Andreyenko Sarsuns (about which he wrote a monograph), with the abstractionist Lansky, a colleague of Malevich - Mansurov. "They understand and appreciate the fact I am a Frenchman, gave himself a mission to preserve, not to allow spray to light, and then divide the great monuments of culture. Someone is because of this, even jokingly called me Ivan Kalita ... None of my collection I do not sell, although the proposals come regularly ... I'm not just a collector and collector-curator. I gather together what has lasting value, provides access to the anonymous stratum of Russian culture of the twentieth century. At the same time I was doing my duty to close in spirit to the Russian people have entrusted me with the most expensive .
At this gathering, I look, not as archivist, and as a scientist, researcher and witness the lost world peopled by invisible giant ".

In 1968, as a graduate student, in the framework of cultural exchanges R. Guerra studied at Moscow University in Moscow and was searching for traces of remaining in Paris Russian friends. Behind him was installed surveillance, were unequivocal threat, and finally, expulsion from the USSR.
The customs office at the Rene Guerra confiscated records of conversations with Korney Chukovsky and Yuri Trifonov. Pursuit of incriminating articles have been published, in which he was to label "ideological saboteurs" and "double-dyed anti-Soviet." At thirteen years R. Guerra was "unwelcome. In France, it failed in competitions, called "friend belobanditov", penned in his denunciations. Rene Guerra, meanwhile, worked as a translator, taught the very least made a scientific career.

"In France, my colleagues treat me with suspicion. France was the country's pro ... I despised the Romain Rolland and Louis Aragon, who did not hide their communist convictions and openly assisted the secret police and their wives were agents of the GPU. And they did it solely from self-interest, because their books were published in the USSR huge editions ...
The famous French painter of Russian origin, Sergei Sarsuns, who was my great friend, left a will in which the bulk of their heritage bequeathed to Russia. I, as his executor, the will of the deceased friend, and through the Russian embassy in Paris sent the picture in the USSR in 1975. And what do you think: they are still gathering dust in the vaults! 15 years lay in the basement of the embassy, the remaining 15 years - in the cellars of the Tretyakov Gallery. Not so long ago, the representative of the Tretyakov Gallery, contacted me with the suggestion that I gave money to the frame for the paintings, then canvas Sarsuns will be shown to the people. But I found it, sorry, rudeness. The artist gives his paintings worth tens of millions of dollars, and the state for 30 years can not find the money to frame them! "
Made by Rene Guerra seems pure fiction.
The young Frenchman was not only a pioneer but also a seer: when in his native France, the world of Russian emigration existed on the margins, he almost single-handedly started a great job of studying its spiritual treasures, getting access to them at first hand.
Hundreds of letters Bunin, Tsvetaeva, Gippius, Merezhkovsky, Remizov, Balmont, archives of Russian writers were rescued them from destruction and oblivion.
Starting in the 1960's collecting and research work, he still has it with an incredible pace, personal funds replenish its Russian archives.
This legendary man was able to do that, it seems, can not afford a single person.
Having been recently at an exhibition of portraits from the collection of R. Guerra, a famous conductor Gennady Rozhdestvensky (himself a well-known art collector and connoisseur of the fine) said: "I am shocked to find no other word can not." Even my three-quarters of the exhibits were generally unknown. It seemed as if we already know very well what height reached in exile, the art of Russian emigrants. But there is much we still do not know. This collection simply has no value ".
"Willy hung from floor to ceiling in all rooms of the house Guerra, in the hall, stairs, paintings and drawings represent the Silver Age Russia: Korovin, Kustodiyev, Malyavin, Bilibin, Dobuzhinsky, Konchalovsky, Goncharova, Larionov, Benois, Somov, Bakst, Serebryakov, Grigoriev, Sudeikin Chekhonin, Alexander Yakovlev, Yuri Annenkov - my head is spinning when you see all this as exhibits to museum rooms, a private house in the quiet Paris suburb, the interior of conventional dwellings. One need only look into the eyes of Yevgeny Zamyatin Kustodiev work on the portrait hanging on the staircase between the first and second floors, to feel like a beating heart! "- wrote Arkady Vaksberg. - There are artists from the proud tribe of emigrants, we have almost unknown: Serge Sarsuns, Michael Andreenko, Dmitry Bushen, Andrew Lanskoy, Alexander Zinoviev, Lev Zak ...
There are almost 40 thousand volumes of Russian book rarity - in large part with the words of authors and donors. "heir to the Russian culture abroad" - written in the Sergey Lifar donated by Rene of Paris edition of Pushkin's letters.
There are a countless number of folders with precious manuscripts, letters, autographs of Pushkin and Gogol, Turgenev and Leo Tolstoy, Gorky, Bunin, Severyanin, Pasternak, Tsvetaeva, only autographs Alexei Remizov, more than four ".

In addition, Rene Guerra has created a Paris publishing house Albatros. "Why do I suddenly became a self-publisher? - Writes Rene Guerra. - Why did the Frenchman in the seventies began to publish a book in Paris in Russian?" For whom and for what? ". In the late 1960's almost all Russian publishing houses were closed, and R. Guerra decided to contribute to the publication of books, publishing the works of authors close to him. He collected the poems, literally, "scraped" them from the pages of the emigre journals over the past half century.
R. Guerra was not only artistic, but also the technical editor, and even a proofreader.
When in the late 1970's started to revive Russian emigre publishing, the publishers were in the orbit of the writers "third wave" and the "first wave" forgotten. Again Rene Guerra had, without any assistance and grants to continue a non-profit publishing work, struggling with forgetfulness. All 1980, he worked on the creation of "Russian almanac.
Rene Guerra published 36 books. They actually sold, and heard, because there was nowhere to sell them. Books R. Guerra, not very willingly accepted even at the commission ...
Great excitement of last year was an auction of works by the artist M. Dobuzhinsky. There had been an incredible rise in prices for works of Russian artists.
"Everything that was estimated at 300 thousand euros from a small, lasted nearly four million - said R. Guerra. - Lot thousand euros went for 10, 15, 20 thousand. It was a sensation, I bought all the illustrations of the" White night "Dostoevsky (it was my dream), bought all the illustrations for" Poor Liza "Karamzin.
All the money I inherited after my mother died, were spent. Five years ago I would have bought them for half the total offered for sale. Today it was only a small part. Although I was very desirable and expensive.
I love Dobuzhinsky. I knew his son Rostislav Mstislavovich. He died in 2000, he was 97 years. He never sold the work of his father, he lived modestly. Russia could buy everything at once for half a million euros. The negotiations are going, and I was sure that some type of oligarch Vekselberg buy up everything on the vine.
I Rostislav Mstislavovich nothing to sell, but made several priceless gifts. For example, a portrait of Nabokov's work in 1937. I brought it to the 95-meters in Russia (on exhibition at the Tretyakov Gallery - A. Ch), and then he disappeared, along with some other work (lost 22 works).

Dobuzhinsky - one of the founders of the World of Art ". It (the auction) have been working since 1907 and until his death, including the fact that he did in America. All creative way of a man - a unique collection of all genuine. It's like, for example, would sell the whole collection Serov! They sold the original drawings for "The Three Fat Men" Yuri Olesha. I wanted to buy them - they are made in the early 1930's, in exile. All images were evaluated in a thousand euros. For me, this is also a lot of money, but the figures have gone to 40 thousand. I reached 25 thousand and stopped, despite the boldness. Still need to get into debt and be in debt.
Changes in Russia also affected the disgraced professor: his reputation restored in 2004, Rene Guerra was elected honorary member of the Russia Academy of Arts, his name is listed in the "Golden Book" of St. Petersburg. R. Guerra now divides his time between Paris, Nice and Moscow. He met with whom she wants and goes where he wants: in Elec and Voronezh, Orel and Vologda, in Surgut and Tyumen.
In 1992, Rene, along with his elder brother Alain (professor of Germanic retired) established in Nice, the Association for the preservation of Russian cultural heritage in France. Its subsidiary - Franco-Russian house in the village of Ber-les-Alpilles, near Nice, where the brothers are invited to work Guerra Russian artists and writers. "This is not the Soviet house of creativity, - says Rene - and something like that Voloshin's house in Koktebel. There already visited more than 60 people. The initiative of the House held numerous exhibitions. Through the efforts of brothers Guerra on the facade of the Hotel Oasis in Nice, where he lived Chekhov, memorial panels depicting the writer (here, Chekhov wrote two acts of "The Three Sisters," here Osip Braz created a portrait of Chekhov, which is now exhibited in the Tretyakov Gallery).
In conclusion, quoting a correspondent of the Literary Gazette in Paris Arcadia Vaksberg:
"Renaissance art and literature of the Russian diaspora need, above all, a new generation. We need not only their homeland but also far beyond its borders, for the true talents belong to all mankind. Exiles themselves in any official recognition was no longer needed. For them speak and will speak of their work. And yet - such enthusiasts are passionate ambassadors of the Russian culture, as Rene Guerra.
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Старый 28.07.2008, 08:16 Язык оригинала: Русский       #2
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Eugene, thanks! From article?



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Старый 28.07.2008, 09:16 Язык оригинала: Русский       #3
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Article http://tikva.odessa.ua/newspaper/?nu...42&page=12



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Старый 28.07.2008, 09:37 Язык оригинала: Русский       #4
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I think this interview on the forum has not yet been http://www.god.dvoinik.ru/genkat/842.htm

Igor Shevelev

PROFESSOR RENE GUERRA - RUSSIAN FRENCH

When you start talking about the literary and artistic collection of French Slavist Rene Guerra, on the first wave of Russian emigration, then you either do not believe, either from yourself is not enough words to tell you what it is. Several thousands of pictures of Alexander Benois, Annenkov, Chekhonin, Bakst, Sarsuns and others. Tens of thousands of books, of which thousands of personal signatures of the sponsors, hundreds of letters to Bunin, Tsvetaeva, Gippius Merezhkovsky, Remizov, thousands of letters Balmont. Many of the archives of prominent cultural figures kept by the Russian emigre Guerra entirely. Tens of thousands of priceless items, the language of archivists. That can not be either the imagination, nor, unfortunately, the methodological description, because the master-hand at all lacking, and may not be enough - the work here at a research institute. A master in the spirit of his favorite Russian early twentieth century, wrote by hand, computers, scanners and transmission over the Internet yet and does not smell.

Вложение 17315

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- Rene, your fabulous collection of art archives of the Russian emigration of the first wave known better than yourself. Tell us about yourself. You're quite a young man to engage in such relative "antiquity", and even, as I understand it, getting it firsthand.

- I was born in 1946, by profession Slavic, almost thirty years of teaching the Russian language. But above all, of course, I'm a collector. Born and raised on the Cote d'Azur, where the fate and pushed me to the Russian emigration. I was ten years old when I became a grandmother to give lessons in Russian language. Because she did not speak French, they were special lessons. She taught me to read and write Russian, and, on the pre-revolutionary alphabet with the old spelling. And she gave me a love of all things Russian. In twelve years, I already knew by heart, not all, of course, realizing the set of poems by Pushkin, Lermontov. Because of this, I would say that I have uterine, emotional attitude toward Russia. I have not studied Russian at the Lyceum, and the Institute of Oriental Languages, where I have the honor to teach with 75 years. It's part of my personal life, part biography.

- And how do you then become Secretary of the writer Boris Zaitsev?

- To the dismay of his parents, who wanted me to become a doctor or a lawyer, I received in 1963, secondary school diploma, went to Paris to learn Russian next. They quickly graduated from the Institute of Oriental Languages, the Sorbonne, and, having decided to write a master's thesis on the Russian immigrants, chose Boris Zaitsev. It was a double-daring to write about a living author, and the emigrant. I was discouraged. Going forward, when in 1981 I wrote about him a doctoral dissertation at the Sorbonne, told me that it's very nice to write about a nonexistent writer. It was the centenary of his birth, and Russia does not add any mention of it. "Are you crazy?" - Told me in Paris, those who thought that the Soviet authorities no end. So my only merit, that I understood the value of Russian foreign culture. When the 67-th year, I came to Boris Konstantinovich Zaytsev and then five years as his secretary and, I hope, friend, it gave me a vital connection with the culture of its direct participants and witnesses. This was the last communication with the patriarch of Russian classical literature. Moreover, in these years I can say, made friends with Yuri Pavlovich Annenkov, with Georgy Adamovich, Vladimir Vasilyevich Weidle, Yuri Terapiano, Irina Odoevtsevoy, with a remarkable writer and artist Sergei Ivanovich Sarsuns - it was a whole galaxy. And they then anyone in France were not needed. In the late 60's, when they were alive and sane, a visiting any Soviet literaturovedishke immediately gave at the Sorbonne, the audience, they also were not invited even once! Neither Weidle, nor Adamovich, nor Zaitseva, who had a book about Turgenev, Zhukovsky. Never!

- Now your collection is truly cyclopean dimensions, as related to museum collections, with state archives. And their first purchase, remember?

- Books I began to collect, while still a student, beginning with the 60-ies. A picture of becoming a teacher, since the early 70's. The first picture was acquired, the original illustrations for the book Andre Maurois works by Alexander Benois. Much later I found the book itself, a rare, at posh Japanese paper.

- Renee, with past our meeting in Moscow four years have passed. Then you say that your collection is a living organism, which must evolve. As this organism is now getting on and develop?

- Yes, the collection develops, there a lot of things were added, and it's not the quantity, as well as acquisitions. I managed to get dozens of wonderful works, including, Annenkov and Chekhonin, my favorite artists.

- And what is the general machinery acquisition of Russian artists in Paris?

- If interested, I can tell you about Yuri Annenkov. For many years I collected books with illustrations by Russian artists-emigrants. It's one of the important parts of my collection. Somehow accidentally went into one bookshop near the Luxembourg Gardens and ask if they have books with illustrations Somov, Annenkov, Larionov, Goncharova, Alekseeva, and so on. The lady in the store was a little bit in the course. She knew their names, especially Bilibin, books with illustrations of which is listed in Paris. Moreover, not only the Russian edition, but the French, have become a rarity. She said, you know, now I have not been Bakst, but the book left. I will note that the book was magnificent, plus the original, which itself would cost 10 or 15 thousand dollars, and she sold it all together for the price of one book. But not the essence. And now, said a senior official left here in the folder any work. And, I must say, this is a bookstore with a certain bias in erotica. In the erotic high class end of the XIX century. He left two works on the exchange. Not for sale, because the money is not needed, but in exchange, if I find a book that is worth 3 or 4 thousand dollars.

- It opens the folder, and there is ...

- And there are two gouaches approximately one meter on the magnitude - Yuri Annenkov. Heavenly Beauty steep erotica. Authorship of it, I would define the eye. One was signed by J. A. - Georges Annenkov, and the other has not been signed. Thick paper 30-ies, and the work I would define as made in the late 40's. Few people know that Annenkov in Paris came two erotic books, sold out from under the floor immediately after the liberation of France in 1945-46, respectively. And, apparently, after the appearance of these books - they were painted pictures of individual lithographs - he had received orders for a series of steep eroticism.

- Oral description be?

- A lot of work - is a woman, whose face close-decaying forward hair, she poluobnazhena, lace bodice and panties, and she pees. We see her intimate place and pot. And standing next to a man and a wanker. His face can be seen, this is Yuri Annenkov, self-portrait. But these works are not sold, they are on commission.

After a month or two I get a call from the store, the work can be bought, but one owner took them back. Just this one, with pissing girl. The lady asked if I knew that there is even a special French term in French for those sexually concerned people who may be brought only in the form of such a scene? I say no, sorry, did not know. And here I come, there are two works. Inexpensive, frankly.

- How about?

- Every thousand dollars. Penny. I was offered ten thousand, but I naturally refused. Then, a few months, the new party. Again, this was not a pot. Then three more. And in early July, just before his departure for Moscow, I was able to buy the latest, the lady did not disappoint. Although the price is gradually rising, - one thousand, two, three, and the latter was six thousand dollars. And now I have eight works in this series. If they dig, that is a lot of work, the whole exhibition. Several months ago I was Director of Russian museum visiting. When I showed them this, they are just not gone mad. This, I think its a great find.

- Life is a collector, in fact, probably, the entire sum of these disturbing episodes of blood?

- The last adventure was not entirely successful. Two months ago I first went to England to train under the Channel Tunnel. At Sotheby's had put up the remnants of the workshop Annenkov. Another twenty-five years ago I could buy it all, but that there was no money, you do not have time to go after them in the province. When he died Yuri Annenkov, left his widow, Madeleine, a Frenchwoman, who was 30 years his junior. She offered him work, stay home, the French museums. They said that this stuff they are not interested, she can throw it in the trash. She tried to sell, nobody was buying it. I bought something, but all I can not buy. Because nothing is selling, and I have no turnover. After the death of the widow of her cousin, Colonel of the French Air Force took it to the province. I bought a part of the library Annenkov, and paintings he did not want to sell, because there was work Zadkine and other famous artists, which cost more money, and the Colonel was afraid that he have trouble with tax authorities. Apparently, now that the Colonel died, and his heirs kept it all in a kind of barn, because some simply rotted. And suddenly I read that all that is left is sold at Sotheby's. Portrait of Anna Akhmatova, by which I drank tea, and everything else. I went before, to be previewed on the exhibition. You would not believe, but they were put all my cards and letters in envelopes Annenkov and photos of 1969, when I was a student in a dormitory, and he came to me to paint my portrait. I could not buy this lot, which was entirely gone for 20 thousand dollars, and it would be ridiculous to buy your own photos and letters.

- A failure in what?

- I could not buy what he wanted. Portrait of Anna Akhmatova, is understandable. He went for 150 thousand dollars. He tried to buy two of my friends, but reached only 50 thousand, and then gut turned out to be thin. I bought some Englishman. There were many people from Russia, but did not show any interest. But Konchalovsky went for 400 thousand dollars. And I wanted to buy his portraits Pilnyak, Vsevolod Ivanov, Andre Gide, - already the Paris period, - ten portraits. Even took the money, I had 20 thousand dollars. But they went for 40 thousand. Four thousand of the work - not too expensive, but all along I was not pulled. From grief bought 27 graphic works, good, semi-abstract, two self-portraits, all for 12 thousand dollars. I knew he was doing them for the book, which was released in early 1950 - "Dressing movie stars." I would say, rather, "undressing movie stars." This book came from him in French. Because only a small folder, removed his portrait of Trotsky, who, moreover, he did not from nature, and already in France, and this портретик went for 40 thousand dollars.

- So much for Annenkov. A promised Chekhonin?

- I call middleman and offers work Chekhonin for two thousand dollars. Graphic large format. I go back home and give myself 10 minutes to find where I saw her. I opened the monograph Efros 24-year Sergey Chekhonin. I have it in English, French, German, and so on. There. I picked up a large catalog of the exhibition in Leipzig in 1914. No. I picked up the first issue of "Firebird. This is the best art magazine of the twentieth century, which came out in Berlin in 1921. By some miracle, I bought in Paris, the original cover. Sold Frenchman. It seemed to me that this is a collection of Sergei Yaroslavovych Ernst. Two roses and butterflies, watercolor. I come and ask: how much? The sheet of the work itself, and sketches to her at the edges. He said: "Two thousand dollars." I give money. He said: "Why do not you trading?" I say: "You ask for two thousand, here they are, nalom. If I were a trader, I could have it in the same day to sell for 20 thousand, 40 thousand dollars. This level of the Tretyakov Gallery or the Russian Museum. And in the same issue of "The Firebird" first big movie - this work in 1912, which I bought several months ago. Fate.


- The hunter and the beast running.

- In French there is a more accurate expression: premium connoisseur. But recently, referring to Yuri Annenkov. Finding century. The fact that I subconsciously searching for thirty years. One of twelve copies of "The Twelve" Bloc - on special paper and painted entirely by hand by the artist himself. Twenty watercolors of Yuri Annenkov. The new vision of the famous "Twelve." Perhaps to the 300 anniversary of St. Petersburg, we will publish it here. I am now negotiating with the Russian Museum. When I bought it, I have some people show it. People pale, green, and they began to shake hands. One man, who was at my house offered me 35 thousand dollars.

- And for how much you bought it?

- I will not say it does not matter. I told him no. He said: "A 70 thousand dollars you're happy?" I say: "Stop, I'll have you put up, and I for one million dollars are not selling." Moreover, I have a collection of copies - a copy of Radlov with inscriptions of the Bloc, Alyanskaya and Annenkov, where the latter Radlov thanks for the font. This should be issued in a case - 100 numbered copies, of which I am taking a 30, and 50 names, of which my - ten. This must be paid back with interest. The book is fantastic, there's even a fingerprint of the Annenkov.

- And the rest is painted copies?

- Was known for only one instance, the block itself. He is in the Pushkin House. Only two pages are painted - "Constituent Assembly" and "Koko." From a new magazine "Antiques" it became clear that in Russia found an instance where 6 figures. And I have all the pictures painted entirely Annenkov. Even the publisher mark "Albatross" is painted. In fact, this brand new book - the old background, of course. Moreover, all on special paper, not a mere publication. Besides that Russia first edition of "The Twelve" in 1918, for a total third edition of the poem, but the first with illustrations by Annenkov, worth an average of about $ 500, depending on preservation. Often they are circumcised, because the large format. This is also my recent discovery, this year. Then I could tell before the end of the day.

 

Secrets of handwritten records.

- I want to change the subject slightly. I know that you have archives of many famous figures of Russian culture. Including, Galina Kuznetsova, the poet, the last love of Ivan Bunin, author of "Grasskogo diary.

- If in a nutshell, I was familiar with her, met several times during the life of Margay Feodorovna Stepun, with which they lived together. They then moved from New York to Munich. I had a good recommendation - a letter Boris Konstantinovich Zaytsev with kind words about me. In the end, she bequeathed to me his archive. When she died, I was told about it, and, abandoning all cases, I rushed to Munich. It was all sealed. Since I had all the necessary papers, I entered. It turned out that prior to my arrival, at night, someone there all a break. This man has already died, I did not name, not caught, not a thief.

- German, French?

- No, Russian. I do not know for whom he worked. It was the 76-th year, while the Soviet authorities were hunting for this backup. In short, I loaded up the car, which I had, leaving only a place for the driver. All that I found, I took it. There was "Grassky Diary", a lot more published. There were all amateur photographs Galina - chronicles her life near Bunin in the south, in Grasse. She rented a very touching their walks through the neighborhood. Much of it is sent here, when preparing for that "Literary Heritage", but many remain. There were many letters to her, for example, letters from Khodasevich and by Zaitsev. In addition, I inherited all of the library, there are plenty of books Bunin, Remizov, Zaitseva, Khodasevich with inscriptions to her. All this is kept by me, as a whole.

- Materials of the future Buninskaya Museum in Grasse?

- Yes, it would be a great idea, buy a house preserved in Grasse, where he lived and worked Bunin. I have the materials to several museums. But the problem is, who's there will be a guard, who will support all this. I am a professor, not a millionaire. But Buninskaya archive I have a very rich. As for the relationship between Galina and Margo I, as their legal representative, I can not speak. This is a personal relationship.

- And how do you feel about the film by Alexei Uchitel "His Wife's Diary"?

- If in a nutshell, this movie I absolutely did not like. I watched it on tape, which I brought from Russia. I have great respect Andrei Smirnov, who is familiar with for many years and who was I long before the end of Soviet power. He is a true connoisseur and admirer of the works of Ivan Bunin. I am familiar with his daughter Dunya Smirnova. At one time they offered me to take part in the film as a consultant. I refused, and rightly so. The film I categorically did not like.

- Too scrupulous theme?

- Yes. Of the five characters in the film, I knew close to three. Galina, Margot, and I knew Leonid Fedorovich Zurov, who met in the house of Boris Zaitsev, and who has been a guest when he lived in the flat of the deceased Bunin.

- Well, of course. You have a personal obligation to the memory of these people?

- Yes, these people had confidence in me, I owe it to them. I showed then, but did not give dozens of unpublished photographs of intimate Bunin. Again, in this film, more or less worthy to receive Bunin performed Smirnova. The rest - nonsense. Small detail. Bunin was very fond of the south of France, my homeland, which became his family and for him. The nature of the Cote d'Azur is a great role for him, much in the film takes place on the beach, it pedaliruetsya. But they were filming on the Black Sea, ostensibly because of lack of money. But there's nothing to do with the Mediterranean Sea - another form of pebbles, and other plants. And the result is nonsense. It's like a film shoot in Siberia in the north of France. It turns out false, which in the texts, and in all. For me, knowing the context, it is a bad movie. Especially, I repeat, sorry Andrei Smirnov, a clever man, educated, a true admirer Buninskaya talent.

- But can you imagine how many people have learned and Bunin and Bunin something that not even represented, but what happened? ..

- Well, it's better read his books, read "Grassky Diary" Galina Kuznetsova. A diary of his wife .... " You see, the theme itself is slippery. All there is too thin. Indeed, they lived four. But Vera Bunin, - I have her unpublished portrait of those years, the end of 1920, work Stelletskii - she pretends to be a pupil of Galina Bunin and all. And I have all the love letters Galina Bunin, who returned to her after the break. I have all this correspondence, unpublished, but I can not publish, this case is sensitive, and not my business. I did not read them, so looked into. But Vera is a decent man, that has proved by writing "Life Bunin." Of course, it seems inconceivable today - under one roof live four. No less difficult was the relationship of Vera Nikolaevna and Zurov. How would a son. And he was mad, bad man. I have letters from the time of occupation - he beat with a stick Ivan Alekseevich, already an old man. Because it was crazy. Therefore, speaking in Russian: do not touch it, and then zavonyaet. No, the film received some cheap.

- And the last question: your impressions of today's Russia?

- You know, since 1993, I spent every summer in Russia, making up for the fact that twenty years had been banned entry here. Since 1998, the summer did not come only in winter for two weeks of Christmas and New Year, and then only to Peter. I'm glad that now revived the tradition. Travel across the country that gives me great pleasure, because I feel there is not a tourist, and partly at home. My main purpose of this visit - to be here for no purpose, just to communicate with people. I am a Russian speech brings indescribable pleasure. All that seemed impossible before, - and, in a positive and a negative sense - has become real. What I said eight years ago remains true today: in this country much has changed, and virtually nothing has changed. People remain the same, from Sov psychology nowhere to go. But there is life there is movement. And I am for life and against stagnation.
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Эти 5 пользователя(ей) сказали Спасибо fross за это полезное сообщение:
Admin (28.07.2008), dedulya37 (29.07.2008), iside (14.05.2011), LCR (28.07.2008), Евгений (28.07.2008)
Старый 28.07.2008, 09:56 Язык оригинала: Русский       #5
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fross, Thank you very much ..



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Старый 28.07.2008, 10:46 Язык оригинала: Русский       #6
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Spasmibo you both, very interesting.
Frosik might be better to lay out the text of the interview? And then they remove it on your site, and here they too will disappear.

Eugene, and you do not want to move or duplicate in this topic first interview with Guerra, who you put on the forum? Will be completely gerroysky plot



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Старый 28.07.2008, 11:08 Язык оригинала: Русский       #7
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I understand Guerra, a young man ... but where all this go away after his death?
and yet I did not like the time about how he gave an exhibition in the Tretyakov Gallery of work and they then disappeared? quite wildness ..



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Старый 28.07.2008, 11:11 Язык оригинала: Русский       #8
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Цитата:
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Eugene, and you do not want to move or duplicate
Rene Guerra ... "They have taken with them Russia" ...
-------------------------------------------------- --
From the topic: Christina Krasnianskaya: "Good taste - is the ability to choose"

Вложение 17325

In his two private homes located very rich, is not unparalleled in the world, a museum of Russian emigration. There are three main sections: approximately 5 thousand paintings, about 40 thousand volumes of books, of which one-third - from inskriptami, that is autographed by the authors, dedications, notes, and finally, 20 thousand items of archival, never published until now manuscripts . No less impressive are present in the collection of names: Bunin, Zaitsev, Shmelev, Remizov, Nabokov, Balmont, Pasternak, Tsvetaeva, Odoevtseva, Ivanov, Adamovich, Annenkov, Chekhonin, Dobuzhinsky, Malyavin, Korovin, Serov, Somov, Benois, Sarsuns, Serebryakov, Goncharova, Larionov ... To make at least a rough impression of the value of the exhibits of this museum, it is sufficient to say that there is kept unpublished love letters Nabokov, about 2 thousand unknown letters Balmont, virtually the entire archive of close to Bunin Rights - Galina Kuznetsova, who after his death, she left Rene Guerra .. .

Читать дальше... 
In addition, the collection contains, in the words of the Guerra, a brilliant master of the Russian language, a few "chepushinok" - a unique collection of the first Russian illustrated cards, a collection of pre-revolutionary bottles, mostly beer, and before the Revolution the chemists bubbles with recipes and a collection of Russian podduzhnyh bells ...
"Prohlazhdayas," Mr. Guerra has kindly accepted the invitation "WP" to answer questions from our readers and journalists.

- The first question, they say, arises: How, Mr. Guerra, you are 100 percent French, born and raised on the Cote d'Azur, "came to such a life," as came into the world of Russian emigration?

- Indeed, in the little child that has promised me a future. But once in our house knocked on the woman, who asked my mother, a teacher, in addition enjoy a workout with her child. Instead, the visitor who said she had no money, offered to teach the Russian language one of the sons of Mrs. Guerra. The choice fell on me, what I am, however, does not regret. Then life pushed me to the other representatives of the Russian emigration, I loved them, and language, and continued their education in Paris at the Sorbonne. Posted on own initiative thesis of Boris Zaitsev, phoned him, asked for a meeting and not only saw the living classic of Russian literature, and received from him a proposal to work literary secretary. So I went in a different world of Russian emigration - Paris, intellectual. I lived then in a Paris suburb of Meudon, where he regularly collect Russian writers, artists, poets. These meetings were called "medonskih evenings" on them in some detail Irina Odoevtseva wrote in his memoirs "On the banks of the Seine." By the way, I have survived all the tapes of those wonderful evenings, often degenerating into just a party with jokes, songs, but be sure - with the reading of new poems, stories and discussion.
At the same time began to form my collection, which gave many of the artists donated their works. I think they saw in me, a young Frenchman who fell in love with Russian art, a man who may live to the time when the art will be in demand in Russia. And I am happy that the time has come.

- How do you now intend to dispose of all these values? Will they publicly accessible?

- Collection is already available. After 1991, in my house, or rather, in my house visited by more than a thousand representatives of Russia's intellectuals - artists, poets, writers and museum professionals. Very proud that I was visited by Dmitry Likhachev, who, in particular, has written an introductory article to the directory of my exhibition in the Tretyakov Gallery in 1995.
But this, of course, is not enough. Yes, and private housing are simply unable to accommodate all comers. I am ready to dialogue. I think it worthwhile to publish some guide to the collection, so that people at least know what it is. Further, the issue would be the creation on the basis of my collection center of Russian emigre art in Paris, where professionals, amateurs and just might work with a unique archive. But here we must bear in mind one simple thing: in itself such a center will not arise, the French authorities had no special interest to the fact that, though created in their territory, but belongs to a different culture. And do not bother me about it. Hence, the initiative for the Russians. If it is high enough to raise the issue, then the French partners, I am sure will show interest and sympathy. The problem here is not financial, but political will.

- But even when it is available to process this vast array requires considerable effort. You, as far as we know, not very much like to admit to their archives of strangers.

- Indeed, it is necessary to hold a serious systematize the collection. I - a conservative man, but has been bought for this purpose computer on stage - a scanner. But time is regularly engaged in this work is desperately short. I continued to teach, and in addition, the collection - a living organism, it is constantly replenished. We Oleshi is the book "Not a day without a line," and I am acting on the principle of "a day without discovery."
As for the assistants, I do not refuse their services. However, the case be complicated, it is not for amateurs and enthusiasts, and professionals. If, say, it is decided to publish the catalog, of course, I pick up a small team for a detailed description of the collection. Yes, and I'm a very energetic, you might say, obsessed.

- It's no secret that the fate of your collection of concern to many in our country. Opinions differ. Some believe that it should in one form or another to stay in Paris, others say that it all belongs to Russia.

- It's true. I was recently in St. Petersburg, where a presentation of my book, "They have taken with them Russia" - a collection of articles, essays, memoirs. And then director of Russia's big library asked me: "And when you shall give us all things?" On the question of such discretion guest I will not speak. In some confusion, I said to him: first sort out their deposits, all that is gathering dust, and then - let's see. On a cool head I would say this: each of us wants to leave his mark on this earth. I am not an artist and writer. Therefore, understand perfectly well that would be ideal to make in life, not fish or cut bait, catalog or guide to the collection.
But even if this plan is not realized, I'm not going to sit on the values of the dog in the manger. I want to start with the publication of Russian emigre poetry. I have a huge collection - a few thousand books, 80 percent of them with inscriptions. There Collected Poems by Nabokov, Ivanov, Sergey Makovsky, Georgi Ivanov, Odoevtsevoy ... Often the same book I have 5-10 copies. Not because I'm a maniac, no. The matter in the inscriptions on which you can set the social circle of poets and writers, their relationships. Would be, sure, a very interesting book.
But just ask: why and for whom such a catalog? Let us not deceive ourselves. In France, and indeed in the West are very few people interested. Maybe there is a 100-150 American, Japanese, German, French researchers. I can, of course, he released a publication with this edition. But first, I think that issue itself is not very ethical. And most importantly, I believe that this is the case of Russia, we are talking about her culture. You now goes a lot of interesting books. He went into the lobby of your editorial on the tray and saw a book by Boris Poplavskiy, of which 15 years ago no one here knew, and if anyone knew, he could not speak aloud.
So, someone is needed. So I want to be issued a catalog of the manuscript department or department of the book collection. I would say that it is my duty to the great writers, many of which I have found and he knew personally.
At that light no one will. I collected all this not for France and not for Soviet Russia. Now everything is easier, and thank God, I do sincerely happy. But I understood the value of the art 30 years ago, when nobody was interested in them, neither here nor there. I felt queer when I say that such a vast country like Russia, can not sooner or later is not interested in their cultural heritage, this layer of culture, which proved to be abroad. Now is it time? See. I'm still at that light is not going to, although we are all in God's hands, as they say in Russian. The only thing I have done - took action to disperse the collection is not, because it is valuable as a whole. And the rest, as I have said, depends largely on Russia.

- Does France not interested in the creativity of people whom she sheltered in?

- You know, the French intelligentsia was and remains left. With the mood. She believes that Russia has summed it, because it failed to implement a left-wing ideas. Here is one example. To the 300 anniversary of St. Petersburg I wanted to do in Paris, in Montmartre, an exhibition of "The Great Petersburgians in exile. Spend on this project a lot of time and effort. Some time later the curator of the museum in Montmartre told me that he does not want to figured the word "immigration" and offered to call the exhibition "Russian artists from 1910 to 1960. He had not known what Russian art, who are Goncharova or Larionov, just wanted to make a career. I refused to participate in the exposition. And what happened? There, for example, exhibited works Konchalovsky, who in Paris, it was passing through. That is, wanted to present everything, so that some Russian artists were in Paris, and why and how, to clarify it is not necessary.
Another example. In 1995, I organized the exhibition in the Senate. Some people are warped. Somov? Dobuzhinsky? Benoit? It's all day yesterday, such things retro, we need the Soviet avant-garde - Rodchenko, and others. Yes, and who they are, all these "miriskussniki? Nobody expelled, they themselves have left Russia ...
In other words, everything connected with the Russian emigration in France has a bad aftertaste. One time, when Russia began emigrant boom, and appeared on the shelves of books Georgi Ivanov, Khodasevich Gazdanov, interest seems to arise, but dismissed it as extremely fashion. "Fashion", however, kept for 15 years. Frankly, I did not expect such a revenge.

- Who do you take revenge?

- First of all, it is the revenge of the Russian writers, poets, artists, who were in exile and were written off that the Soviets that the Western left-wing intellectuals in the "garbage of history."
Although, of course, this is my revenge. You have to understand that in the same French Slavic Studies was, and remains largely in the hands of the Communist Party. So my classes are not very welcome. Things went so far that at one time I failed in the competition for private-docent for the bad Russian language and wrong accent. While the figures themselves are not able to connect two words in Russian.

And little has changed. Last denunciation from colleagues at me, purely Soviet-style, came in last April. But as France - the rule of law, I learned about this, moreover, they showed me a copy. It says that Guerra is engaged in a culture that does not exist. That is, immigrants - not a real Russian literature, but Guerra - chudik and frivolous type.

- Demonstrate whether Russia's power, or any other public institutions interested in your collection after the 91-year? Does the question of assistance to your collecting?

- In general, no. Some contacts are in this visit I met with several high ranking officials. While all at the level of conversation, which I hope, when something will go into action. I think prevents psychology. In Russia, much has changed, but people change more difficult and longer. Someone treats me with jealousy, someone - with envy, someone, as I said, believes that it all belongs to Russia ...

- What do you see the ideal scheme of relations with Russia?

- I have already said: the creation of a Paris-based collections research center on the heritage of Russian culture abroad. That would be the highest form of service to Russia.

- Posted on whether any of your files?

- Something, but a small part of them. Not because I'm the king Koschey that was over with gold languishes. Just for any publication takes time. To this was at a professional level, every letter or document to a few days. I am not able to master it all. You know, when I arrive in Russia's provinces, I am amazed that in a small museum of 10 officers guarding the 20 paintings. How would they be useful for me for a great, not ashamed loud words, the preservation of the art of Russian emigration. For example, I have all the pre-revolutionary archives Balmont - there are thousands and thousands of letters. Can you imagine what labor to process and publish them?
I am currently preparing the publication of two letters to Tsvetaeva in Petersburg magazine. This month's work - a luxury that I can not always afford. That's why need a center.

- In the Soviet era in our country could collect icons in the best case - the brand. Collector professionals in general, was not. We got some money and people who are trying to collect some of the collection. What qualities can be a collector with a capital letter?

- I do not quite agree. In the Soviet Union were collectors, but in varying degrees, they were associated with bodies. I have not talked with them, because they were under the cap. And some people for their gathering had to sit out for several years.
Now back to the main. I do not consider myself just a collector. Fate so ordered that I entered the world of the Russian emigration of more than 35 years ago. And I realized that my destiny - at least something to keep out of this world for future generations. I realized that before me were a unique people. Here Yuri Annenkov, by illustrations of Blok's "Twelve", and in Paris at him no one is paying attention - well, some old man. So I gathered all with some anger. This was the reaction and the indifference of the French, and an aggressive rejection of these artists the Soviet Union, where I was "unwelcome. I'm luck to all of you will engage in this art and will collect that even in Paris, many Russian emigres thrown in the trash. And keep it all. That's why I always emphasize that I am - not a collector, and collector. Excuse my indiscretion, edakii Ivan Kalita. They took with them to Russia, but I like the keeper of the Russia.

- Collectors usually do not want fame - the more publicity, the less security.

- It depends on the purpose of the collection. As for me, no diamonds, gold or silver. Thus, any books, papers, which in France very few people need. Now if I collected the Impressionists ... People usually wonder why I have two houses on one street, and the fact that in these houses treasures, they do not understand. And thank God! The works, which previously cost $ 100 today in London or New York, sold for 10 thousand dollars. I am from this, as you say, not cold and not hot, because I never sell. I repeat: I do not profitable investments and the Russia-gatherers who lived emigrants who left from it.

- Where did you get such a good knowledge of modern Russian language?

- Thanks for the compliment. Until 1992, my language was a little different, the language of Chekhov. Then I began to go here often. And since 1992, held in your country, a total of about three years. And, above all the pleasure that I get here - from the language of communication with ordinary people. And that I, as you now say, kicks, and trudge. Russian language - my passion.

- Is it true that you are erotic letters Bunin?

- I would not call them so. They say so, playful. Bunin was not shy in expressions. Is there and drawings by his hand. Not very convenient to publicly quoted what he wrote Ivan, but you probably guessed. The master can afford it.
There is his letter to the postwar period, when Paris came Konstantin Simonov, to convince Bunin return to the USSR. There Ivan exclusively mat-perematom expressed about Stalin and Soviet authorities.

- What, in your opinion, a reasonable period, after which you can publish the private correspondence of the great?

- I think, at least 30 years. Because even after the death of the author are people of whom may be involved in the correspondence. In addition, we should pity the children, relatives. I have an unpublished love letters from Nabokov, but the son is still alive, how can they make public?

- Who can be the owner of the archive? Only a person who buys it? Do it any right to the relatives, the state?

- Take the same letter Nabokov to his mistress. I chased them for 20 years. And one day caught a Frenchman, who knew the woman, who had these letters. After the death of Nabokov's ladies, she took possession of them. I knew this woman, but we were not very good relations. Then I put on my hat, shaved his beard and went to her with the Frenchman. The letters I got a solid money, although today they are much more expensive. And I think that they are not just my property. I saved them, because they can spray, if this woman has sold several buyers.
About two years ago bought all the originals of illustrations by Alexander Benois for the book "Sinner", Henri de Regnier, who did not come out in the French publishing house. These were two folders, buying that, I sat on a potato. But I am very pleased acquisition, because, again, did not give this work dissipated.
And with this state? This is mine, this is private property, which the West, it must be admitted, is protected by very strict.

- Are there many sensations in your collection?

- A - of letters Nabokov, which can be found in the embryo, many of his works - I have already said. There are, of course, and others. Handwritten book Remizov dedicated Somov. A huge archive of Bunin's writing Zaitseva. From unpublished - mostly letters. Almost all published manuscripts, but there can find discrepancies, options, notes in the margins. This is material for historians and academic publications.

- What a sad story ended with the loss of 22 paintings from your exhibition in the Tretyakov Gallery in 1995?

- I do not want to talk about it, but if you ask me ... Nothing has not ended. The Ministry of Culture had an obligation to ensure the safety of all exhibits, but not guaranteed. So little of what brought no apology, even spread the rumor that I myself have a stole these works. Precipitate remained unpleasant, but life goes forward, will not be about sad. The Ministry of Culture, I have maintained contacts, relations in general, normal. If missing pictures somewhere surfaced, I finally most of them would give.
I have a dream - to arrange a major exhibition on the theme "Russian emigre artists, and the book. I'm working on it for several years. I can offer 66 artists, from 350 to 400 books and the same number of original illustrations. Make this exhibition, of course, would have to be in Moscow and St. Petersburg. But I can not decide, because there is no guarantee that all bring back.

- You know the Russian language and very good feel to Russia, you know her past, including Soviet. According to your feelings, how seriously changed the country? Is it ready psychologically to take today emigre art? There was a merger of the Russian "mainland" and "insular" culture, in the words of Dmitry Likhachev?

- To someone else's happiness and someone's unfortunately, the Soviet Union no longer exists. Today's Russia - is not the Soviet Union and tsarist Russia, but something else. Certainly, much has changed. The hardest thing to change the psychology of people. We must wait for the new generations, those who are now 20-25 years old and who already knows no Lenin, no Stalin.
As to the "mainland" and "insular" culture. I think in 15 years much has been done, so they were united. There is a Russian word "odvukon", this means a spare horse. So, post-Soviet, post-communist Russia has found a spare horse - all that was created over 70 years abroad. This process is not yet completed, but begun. For 15 years, issued not hundreds, but thousands of books, produced several tens of thousands of articles about Russian foreign culture. Today's Russia was, in general, at a height. I am not saying this to flatter you. But there is still a lot of discoveries. It is true that I winced, that the same people who persecuted emigrant culture, at once became her best friends. But it is not so bad - time-servers are everywhere.
You know without me, Russia - a country of extremes. Now, let's say, have become fashionable white generals, who at one time hung and shot. As a historian, I believe that this is positive. In the end, this part of your history. People finally realized that Denikin, Kolchak, Kutepov, Wrangel were neither monsters nor the monsters that they are the sons of this land.
It is noteworthy that the first in Russia "forgiven" the first wave of immigrants: it was all a long time - the Civil War and so on. Then, a few years later, there was interest in the second wave, that is, to those who considered a traitor to the motherland. It was already turning.

- A third wave is not included in the terms of your interests?

- Well, yes and no. I have not seen the birth of the first and second waves, can judge them only according to witnesses, memories. A third wave of emigrants "rolled up" to the West is already on my eyes. I went to their meetings, and I have initially appeared suspicious attitude. The fact that my "heroes" have left Russia with love for this country, with the hope that this hard times, Bolshevism will end. A third emigration often left with a hatred for their country. I do not blame her, but these people are much more fortunate than their predecessors. Their well-staged, gave the money home. A simple example. Representatives of the first wave never bought in France, housing, because they lived "on the suitcase, hoping that is about to return to Russia. They thought so before the war, and some - and after the war. And all the time remained refugees.
Bunin, Shmelev, Zaitseva France considered not concordant age of renegades as they neither understood nor accepted the October Revolution. The third wave of emigrants came to the West as heroes, settled here a long time, buying an apartment, got the post, they fed the various funds, the CIA, etc.

Of course, one can not generalize. Everything is much more complicated. Among them are decent people, I myself published in the "Continent" by Vladimir Maximov. I knew them all, many well-regarded, the other - neutral. And I am glad that they were lucky.
But all three waves of emigration could not understand each other and could not understand. In the mid-70's was an attempt to organize a meeting of the three emigration, and it ended in complete failure. "Docking" will not happen, because everyone was busy with his own problems. Is that the exception was my neighbor Platonovich Viktor Nekrasov, who spoke with the first wave, was interested in their lives.
Source http://www.rg.ru/2003/08/18/370.html


According to head of the gallery " 'Eritazh" Christina Krasnyanskaya, "The main activity of our gallery is a work of brilliant, original and undervalued until recently in Russia, a galaxy of artists, the Russian diaspora." That such is not ignorant, names like Andre Lanskoy, Serge Sarsuns, Nicolas de Stael, Ivan Puni, Serge Poliakoff, Leopold Survage, George Pozhedaev, Konstantin Veschilov, and many others
__________________
Eugene (art dealer)

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and where all this go away after his death?
At the opening of the gallery Christina Krasnyanskaya seems attended Rene Guerra .. this is good.
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Эти 2 пользователя(ей) сказали Спасибо Евгений за это полезное сообщение:
iside (14.05.2011), LCR (28.07.2008)
Старый 28.07.2008, 11:51 Язык оригинала: Русский       #9
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Eugene, thanks for the interview. But if the assembly gets to Krasnyanskaya Guerra, I'm afraid it very quickly becomes ((



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Старый 28.07.2008, 11:56 Язык оригинала: Русский       #10
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I'm afraid it very quickly becomes ((
Why? You can open a museum: "the Russian diaspora," or ask the Alisher Usmanov, one more gift to Russia to do ..



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