Belutin, Ely Mikhailovich (b. 1925), Russian painter and art theorist. Born in Moscow on June 10, 1925 in the family of the writer who belonged to the unification of the Divide. Graduated from the Moscow Art Institute Surikov, where in 1942-1947 he studied at the AV Lentulova, PV Kuznetsov, and LA Bruni.
In an effort to revive the art of the avant-garde, in 1948 established his own studio, which became the basis of artistic direction of "new reality". First-underground apartment, and since 1964 has placed at his dacha in Belutin Abramtzevo studio was unique for its time, was unique and the scope of the independent unions (in total, through him, it took several hundred artists and architects). In 1962 Belyutin organized one of the first public exhibitions of new art, displaced in the Central Exhibition Hall (Manege), the exhibition was subjected to the ideological defeat of the CPSU Central Committee and personally to Khrushchev, that was one of the dramatic symptoms of the completion of a "thaw". The huge exhibition "belyutintsev", which has become like a triumphant conquest Manege ", was held here in 1991, during the adjustment period.
Underlying Belyutin education system lay his "theory of universal contact" (the second book published in 1991), treating art as a primary means of spiritual compensation rights in conflict with the environment. Own work has evolved from the master of the picturesque expressionism (Lenin's funeral, 1962, Tretyakov Gallery) towards greater abstraction, entirely remote from objectivity in the later "pictures-modules".
Belyutin created a number of capital works on the history of Russian art pedagogy 18 - early 20 centuries., Often performed his co-author husband, art NM Moleva.
Nina Moleva, professor, doctor of historical sciences, Ph.D.,
Member of the Commission on monumental art in the Moscow City Duma
Manege, which nobody saw
About Manege know everything. About Manege know everything. Regardless of age and occupation. No event in the history of art and culture of the twentieth century - the Soviet and world - has not received a very warm response. Khrushchev's visit to some not too clear exhibition. Extra-parliamentary behavior and the more vocabulary the head of the Communist Party and also prime minister of a great power. The subsequent massacre of artists and unprecedented in its scope, seized by "working people" campaign against the "abstract and formalism, extended to all arts - from film, starting with Andrei Tarkovsky, symphonic music, is strictly prohibited, jazz, architecture to" overrule the people "songs Okudzhava, and all kinds of design.
In the art of sacred covenants remain in our days. On the question of the author of the Moscow Artists' Union Vasily Bubnov, no matter whether he thinks professional conscience to return to the Soviet Union ejected from it in a campaign 60-ies masters, followed by a categorical response: "Khrushev's abstract art - never!"
Principled any position can be given for granted. But under one condition - if it is based on facts. The fact that the very "explosive", Manege exhibition never seen in nature, nor any other person in the reproductions of the author, no one else from among artists, critics, art historians, declared experts on contemporary art, journalists, writers, even the party managers - the following members of the Politburo and Central Committee secretaries.
Was exposed at the request of the Ideological Commission of the Central Committee of the night before visiting her Khrushchev - in the hanging was attended by Minister of Culture, EA Furtseva and Head of the Department of Culture CC DA Polikarpov, work undertaken at the author's house and delivered to staff MANEZHA Transport Ministry of Culture. Immediately after the visit of Khrushchev, which lasted about 25 minutes (11.40-12.05), the exposure is secured and sealed Director MANEZHA NN Schmidt. Within hours the pictures were taken about a year in custody and returned to the unsettled. Among those who could not wait for his works, was a great painter Marina Telesnin.
The next day, December 2, 62-year, immediately after leaving the newspaper Pravda with a government communique, the crowds of Muscovites, who threw themselves in the Manege, to see about the "supreme rage", and found not a trace of the exposition, on the second floor. By the way, were removed from the exposition of the first floor - with the exhibition "30 years MOSKh" themselves as the leaders of the Moscow branch of Khrushchev berated paintings R. Falk, A. Drevin, D. Shterenberg, V. Tatlin, and others. The author, in those years working as a consultant on the art of the ideological department of the CPSU Central Committee, has been criticized for not being able to see the vanished exposition GP Konyakhin, Head. every sector of the Party Central Committee, Head. management culture of the Council of Ministers of the RSFSR AV Kiselev, instructor every sector of the Central Committee the next Doctor of Arts Vadim Field. The mystery was too high and fundamentally important. But why?
These "why?" Raises a lot, and none is at once a response. Why in the face of the party and the state found it necessary to visit does not match his rank city exhibition "30 years MOSKh", to which was attached exhibition Studios Professor Elia Belutin or, otherwise, the mass of artistic direction of "new reality"? Such a practice, Khrushchev did not happen, and it is worth remembering that the party leaders did not attend even the All-Union Art Exhibition. In addition to the designated address issues of culture member of the Politburo, which was, for example, KE Voroshilov. This procedure established with the light hand of Stalin, the first and last visit to an art exhibition - AHRRa - in 1928 and left in the guest book rather ironic, if not ironically, the record.
Have long been available to researchers of the minutes secretary general of days, according to which the visit was not planned at all MOSKh premier in advance a record of it, appeared on Nov. 29, 1962 in connection with the decision of the Ideological Commission to recognize the "new reality".
The second "why" associated with unparliamentary conduct of general secretary. Why did Khrushchev allowed himself vocabulary at the level of abuse in the communal kitchen, which is strictly not allowed in respect of party leaders at all levels? What has caused such a demonstration?
Finally, another "why?" - Black out the exhibition. Why it had to be concealed, while concealing the participants, a list of which was never published and exhibited work then not a subject of research of art historians (on the principle of "do not wake up a sleeping dog")? And that's 63 artists and 200 works.
As a result - alleged members of the crowd, absolutely fantastic stories about the behavior of Khrushchev and of his own "discussions" with him. Any invention, is caught by the media, and, as a precondition, a distortion of reality.
But today, when the 40 th anniversary of "foyer events in Moscow, many magazines began to publish not only the facts, but also part of the exhibition" new reality "of work, it's time to reveal the actual circumstances of those distant days. Expand because it depends on termination of falsification of our art, not to mention justice for the artists, many of whom - to the shame of those who are now trying to rewrite history - is no longer alive.
August 1961-th. Journal "Soviet literature in foreign languages" (chief editor - V. Azhaev, Editorial Board: Chukovski, Fedin, S. Kirsanov), sketch writer Anne Roller "Studio enthusiasts, dozens of illustrations. The author is in the 60 th year spent several weeks with the studio of Professor E. Belutin in the Red camp, near Mozhaisk. Homely holiday home of one of Moscow enterprises - "Dorhimzavoda. Steep bank of the Moskva River. The centuries-old pine. Village. Paul. And two hundred and fifty professional artists with the etudes and easels, working every day from dawn to dusk.
Normal work outdoors? No. A. Roller describes in detail the events: "... fringe. Morning. Foliage, full sun light. The younger group gets the next task: the appropriate color schemes to convey the feeling of singing birds. There is both real and unreal image of the forest.
Noon, heat ... New task: to convey the feeling of the scorching sun and heat. The colors of the sky and the land can be strengthened, if only to achieve precise and expressive solutions.
Exercises such scores. They are taught to understand and recreate the object of more focused in terms of feelings and thoughts that the artist wants to convey. Realize not only what the artist sees, but how he sees. Thus, the approach to the nature of the painter becomes more creative, relationship to the means of drawing and painting - more than the individual, "his" to equally express, and some specific features of the model, as well as the personal nature of her perception.
For more advanced artists of a certain task complicated by the emotional plot. The same timber can hide the happiness of the lovers and the barracks of Auschwitz. If the artist is able to survive and find a visual means of expressing their emotions. System Belutin is the author, as this will say, and many later investigators, close the system of Stanislavsky. However, there should specify: If the system decides the ratio of the Stanislavsky actor-role Belutin method involves the formation of the creative personality of the artist, one of his unique personality, which, as a goal, was suppressed by the principles of socialist realism: what to see, as it should, and certainly different. They really looked revelation among the usual Soviet graphic: "Girl" Anna Kurochkin, "Portrait of a Woman" by Natalia Borisova, "Farmer" Elena Lebedeva, or landscape of the Marina Telesnin "Metro bridge in Moscow", "Old Tallinn" V. Galati.
And here is another one might wonder "why?": Is the future of abstractionist had worked so hard and selflessly he studied nature? Meanwhile, two hundred and fifty artists came to the Red Mill in only one shift. Total number of artists "new reality" soared to 62-th year has reached two thousand. For Red camp followed by the famous studio steamers filled by some artists, and over two hundred and fifty men in one run for two weeks - on the Moscow River, the Oka, Volga - the memory of them remained in full-length documentary "Aelius Belyutin and Abramtsevo Brotherhood , removed in 1992 at the studio "Tsentrnauchfilm. The ships were on "Belyutin schedule", referring to the day in the most interesting places to work and changing the parking lot at night.
By this time the work of the Professor E. Belutin acquire international fame. In 1957, the forum of the book in Poland, said his illustrations for "Crime and Punishment" FM Dostoevsky. Higher Diploma observed front-drawn sketches by the artist in Moscow in December 1941. In 1961, hosting the first overseas solo exhibition in the gallery "Świętojańska", where a number of works transferred to the National Art Museum of Poland (Warsaw). Almost immediately E. Belutin included in the permanent collection of the Parisian gallery Lambert, where in connection with the Paris Biennale is his personal exhibition. The pronounced creative personality helps the professor to make the fullest possible disclosure of personal capabilities in contact with his pedagogical method artists.
This "new reality" Academy of Arts, and in particular Boris Johanson, recommends to participate in the art department of the World Festival of Youth and Students held in Moscow in 1957. And receive a waiver. The answer was negative, and surprisingly candid in those days. Minister of Culture, EA Furtseva declares BV Johansson, in his own words, that the composition of those who intended to work side by side with the foreign guests, not within the competence nor the Ministry of Culture, nor the Department of Culture of the Central Committee - his form bodies according to their principles and considerations. "New Reality" will be able to exhibit in the same pavilion CPKiO them. Gorky year later. Independently.
Exhibitions "new reality" followed one another. They are held in the Central House of Writers, the House of Scientists, the Literary Institute. Gorky (in Tver Boulevard). One of the biggest organized the April 62 th at the Cinema House, which occupied the building at the time of the current theater actor. Vernissage, invites a "new reality", filmmakers have combined with the premier showing of "Ivan's Childhood". It was a general holiday and a general sense of internal man's liberation from dogmatic Stalinist years.
Together with filmmakers "new reality" supports scientists of the Academy of Sciences Research Institute, in particular nuclear scientists, and very actively - Union of Soviet Writers.
Such support is all the more necessary that the growing artistic trend begins to face increasingly tough pressure from the Union of Soviet Artists, more precisely - actually MOSKh. The reason was very simple. Entry into the Union in connection with all manner of ideological requirements, as well as formal - strict adherence to the principles of socialist realism - for graduates of art schools is very difficult. It is much more liberal in respect of its members favor emerged even before the city committee of the Great Patriotic Union of artists books and schedules, membership as it also protects them from nit-picking, and every government bodies. Artistic youth with its creative research is focused around him. This also translates Studio Professor E. Belutin originally organized under the All-Union Institute of Continuous Education in the printing industry and aimed at the three-year program of studies. The success of the show is a kind of concern studios and professional jealousy in Moschus, which has become a widely used reinforced by the censorship law and the relevant prohibitions.
In any event, exhibition studios after the regular steamship travel in the summer of 1962 the first organized at the initiative of academicians physicists NN Semenova, PL Kapitza, IE Tamm for young researchers led by their institutions. It is located in a room where it took place more than one year of the creative class "new reality" - to the Great Communist Street, 9, and receives title from Taganskaya. At its opened on 26 ноября 62 th can not come specifically from Warsaw, the head of the Union of Polish artists to Professor Raymond rural and a group of critics. Ministry of Culture gives permission to the presence of foreign correspondents, and in the morning the next day - and to hold a press conference. Television feature on the opening day takes place on Eurovision. Participate in the exhibition of the artist 63 "new reality", including E. Unknown.
However, after the press conference, the artists invited to analyze their work to their homes. No explanations were given. Nevertheless, on November 30 to Professor E. Belutin appeals Head of the Department of Culture of the Central Committee DA Polikarpov, and on behalf of the newly created Ideological Commission requests to restore Taganskaya exhibition at full strength in a specially prepared room on the second floor of the Manege, where else on November 10 opened an exhibition dedicated to the 30 th anniversary of Moscow Union. Any objections are useless: the Ministry of Culture machines have already left for the first addresses for the artists paintings.
Explanation DA Polikarpov was extremely simple: the first meeting of the Ideological Commission, has taken the decision to include Taganskaya moshovskoy exhibition in the exhibition (the more so because a large proportion of participants had been members of the Union) and thus expand the concept itself of socialist realism, returning all the tendencies of development of Soviet art in the single channel. Just his words: "The party can not listen to the show yourself brilliantly trends in painting the postwar years. Visit the exhibition members of the Ideological Commission of the exhibition is formally decide standing issue.
Made for the night exhibition was approved by EA Furtseva together with the most amiable parting her words. At 10 am on Dec. 1 at the threshold of MANEZHA appeared Khrushchev. And his first question: "Where is your righteous, where the sinners?" - As if left undetected. Far more important was the fact that some premier figure rose MA Suslov, who had just suspended from duties spichraytora that several days earlier went to the chairman of the Ideological Commission, LF Ilyichev. Suslov also vacated the seat for the elbow Secretary General Secretary of the Union of Soviet artist Vladimir Serov, famous for its soap operas pictures of Lenin. Program Suslov, Serov was launched from the outset of the motorcade.
The first and main trump Serov's paintings have become masters of the 20-ies. Bad hanged, worse still lit, they were presented to Khrushchev as a "scribble", for which the museums are paying unbelievable money (working!). Recently passed a monetary reform, and Serov operated on the old course, referring to some astronomical price. None of the attending artists - BV Johanson, SV Gerasimov, Mochalsky - not amended. As no one had told the Prime Minister that those painters whom he was going to be deported from the country and issue them a ticket to the border - Falk, Tatlin, Alexander Drevin, others have long passed away. Thunder and lightning darted over the corpses. From the living Serov suggested only the names of young, aspiring to the leadership of the Union. It is they Khrushchev began to "plant", once again, on thicker polygonal interspersing it with words.
Today, not only ours, but American historians became apparent background "explosion" of Khrushchev. Only that - in October 62 th - he had to withdraw from Cuba with nuclear warheads. In the eyes of the orthodox party was the defeat of the Soviet Communist party and the victory of the "rotten West." To compensate for such a "failure", Khrushchev decided to take revenge on the new stage of the Cold War and ideological reaction inside the Soviet Union. By the time Manege was the most intimate and convenient platform for the announcement of a new course. Khrushchev had hoped to regain the support of the orthodox, but at the same time realized how many former supporters of his course he will lose. His nerves were stretched to the limit. Rudeness was to strengthen the courage, which in fact prime experienced.
Attempt to leave the Manege, without going to the second floor that housed "The New Reality", failed: the way firmly barred Suslov. And the first words of the Prime Minister, addressed to the artists of "new reality" (Belyutin was allowed to take 12 members of the studio): "Thank you for your kind words, but they say that you have a scribble, and I agree with them" - a nod in the direction of Suslov.
Next question: "Where is here? Where Mr. Belyutin? "- Hung in the air. On the walls were "incomprehensible" painting. Portraits, streets of provincial towns, the family dinner, work on a sand quarry, regatta, landscapes, plants in a mist of toxic emissions, the unexpected appearance of the Kremlin wall with Zamoskvorechie away. Could not agree with the sonority of color decisions, the exigencies of building tracks, the ruthlessness of the picture ... Khrushchev had THREE TIMES bypass big enough room to turn with the first specific issue. Personal. On the social origin of each of those present. Yesterday's front-line soldiers - officers and soldiers, graduates of art schools. Unfortunately, none of them could not be classified as a "former" class-alien elements. The usual formula probuksovala.
The solution was suggested by Suslov: why not traced the teeth on the Kremlin wall, why the factory "Red Proletarian" in Volsk written three pipes instead of two, why not manifested in the face of "Portrait of Father"? Questions poured like peas, and in vain, struggling to restrain himself, E. Belyutin talked about the right artist for the emotional decision to create an image effect on the audience, and studiets Leonid Rabichev tried to say that the studio sessions are very important for professional work. There was no battle, but Khrushchev said almost in a calm voice: "I, as chairman of the Council of Ministers, saying that this art does not need the Soviet people." The explosion occurred in a nearby 14-meter back room, where a table was placed a few small sculptures E. Unknown. Khrushchev noticed that they are made of the scarce raw material - copper. The question "where copper?" Followed by a deliberately mocking response: "buy a plumbing faucets. Wrath of the Entity, Khrushchev was entirely predictable. When the sculptor, trying to say that he knows how to work and otherwise - in quite a realistic manner (in the exposition of the first floor was his infamous "Stalevar") and held in a close room for the premiere of the sleeve, followed by hysterical screams: "Queer unhappy! All forbid! "Stay in the room with the sculpture lasted no more than fifteen minutes. Khrushchev was literally flying down the stairs to the exit. And after him came another, but exultant cry hysterically, V. Serov, addressed to the Secretary of the Union E. Belashova: "Katya! Incredible happened! We won! "
Really unbelievable, because a few minutes before members of the Politburo, AP Kirilenko and DS Polansky said E. Belutin and the Studio, that despite the "paternal criticism" premiere, 60-70 their works will be included in moshovskuyu exposure. And already been recruited New Year's issue of the magazine "Soviet Union" for America with reproduction were part of the exhibition works. I was ready to leave issue of the newspaper "Soviet Culture" with a "round table" dedicated to "new reality". And included in the band of Pravda and Izvestia about increasing exposure MOSKh listing the names of some of the Studio - participants of the exposition.
Suslov regained the position spichraytora. Ideological Commission ceased to exist. And the exhibition - it had to immediately hide, because it does not fit any of the allegations made by Suslov theoretical. Abstractions there was not one. Falsification demanded victims.
But this one does not exhaust the meaning of fraud. No less important was to conceal the existence of a mass trend towards the emancipation of the creative artist - the natural development of the hopes and aspirations for the legal and economic change in government after winning a war. Stalin with an iron hand repress their ordinances in 1946 and 1948 in literature, drama, theater, cinema, music. One can only speculate why the case had not gone to the fine arts, which, however, the Great Leader "is simply not tolerated. Follower of the principles of the ideology of the Stalinist Suslov had the opportunity to finish the job. For Khrushchev, the same, according to his adoptive granddaughter Julia Khrushchev, it was a "Group sex", for which he showed a genuine democracy, not a switch on the path of criminal repression. And incidentally, that this turnover is expected Ilya Ehrenburg, sharing their concerns with E. Belutin. To avoid the need to respond to the "Group sex", an exhibition of "new reality" ought to securely hide.
The only thing not taken into account zealous performers - on the initiative of Tamm made slides of all Taganskaya, and consequently, the Manege exhibition, one of the kits are Academy helped smuggle the founder and director of the National Museum of Modern Art of France Jean Cass. Only the 40-th anniversary of the events appeared to begin publication of a continuous exposure, and with it, and the list of participants, which acquired a special value for objective historians.
How Not to mention the role of art which have stood in the face of Suslov guidance, like a rabbit in front of a boa. No one tried to restore one of the exhibition, to understand the reasons for its unusual fate, simply to meet only its organizers - Prof. E. Belutin and continues to work Abramtsevo throughout the forty participants. The main trend of development of our art was also excluded from its history, as more recently ruled out the whole "silver age, modern monuments, the more eclectic, finally, Vrubel and Korovin. On the other hand can be called art critics, who tried to buy for next to nothing in secret work of artists from their heirs.
For more reliable destruction of the very memory of the existence of the country of the victorious communist movement of independent artists beginning to materialize the plan to nominate scattered, nothing unrelated people involved "kontrsotsrealizmom. The very next day after the foyer of events in the apartment of Professor E. Belutin appears in full group lianozovtsev: Oscar Rabin and his son and his wife Valentina Kropiwnicki, Kropiwnicki, Jr. (brother of Valentina) and his wife, later chief curator of the Museum of Art serf artists. Their proposal was simple. E. Belutin should give artists from all the "new reality" ( "too many for the art market!") And reunite with the "lianozovtsami", go to the "clandestine regime. Visiting foreign buyers and journalists Rabin guaranteed. He referred to the assurances "from above" for banned at the time the law contacts with foreigners and possession of currency. Time has proved that: he was not exaggerating. Refusal E. Belutin caused genuine surprise.
As evidenced in his book "The KGB and power" the former head of the 5-th control of the State Committee a special study of "dissidents", FD Bobkov, "introduced" in itself the notion of the past, as "underground" - work in the underground, advertised among foreigners primarily Intourist and the Institute of translators, who received the lists of permitted by the State Committee addresses artists. In principle, it was considered important to convince the West to the very possibility of existence in the Soviet Union, opposition to the State in any form (certificate of freedom!), But that "working people" were, in general alien to such "sorties". According to professor at Warsaw University, many years head of the center of the interaction of "Eastern bloc" Michal Dobrochinskogo (magazine "World Museum", 2002, № 6), anti-Soviet plot structure, for which any art worker once fell under the sword of Damocles of repressive measures, in this case strongly encouraged. The result is close to those proposed by the Third Reich: "abnormal" art can produce only abnormal people or enemies of the state and nation. This postulate was especially convenient because you can easily inspired street. In the Soviet Union to this are added and "anti-imperialism": the indispensable link of an unusual art from the "corrupting" the West ".
So, the list of participants Manege Exhibition: Eugene Batir, Henrietta Bodrov, Natalia Borisova, Peter Valyus, Yuri Veresov, Lydia and Igor Vinogradov, Tamara Volkova, Taisiya Volovik, Eugene Volosnova, Nikolai Vorobiev, Lucian Gribkov, Dmitry Groman, Sophia Elinson, Vladimir Grishchenko Nicholas Zarin, Alla Iozefovich Boris Zhutovski, Guyana Kazhdan, Elena Kiverina, Alex Collie, Love Kosinova, Valeriy Krasilnikov, Neonilla Kumm, Ella Kusso, Anatoly Lebedev, Natalya Levyant, Arkady Lerman, Mark Lisnevsky, Elena Lebedeva, Tatyana Kiseleva, Nicholas Krylov, Victor Mironov, Natalya Mishchenko, Leonid Rabichev, Elena Radkevich, Lilia Ratner, Rima Reznikov, Abram Remennik, Erdzhima Rinchino Alexei Rossal Vera Preobrazhenskaya, Valentin Okorokov, Leonid Mechnikov, Tamara Ter-Ghevondyan-Sablin, Mikhail Sapozhnikov, Anatoliy Safohin Anna Kurochkin, Igor Snegur, Marina Telesnin, Igor Trofimov, Galina Falchevskaya, Joseph Friedman, Agde Shor, Vladimir Shors, Hedda Yanovskaya, Galina Petushkova, Yullo Sooster Vladimir Yankilevsky, Yuri Sobolev, Ernst Unknown, Maya Filippov, Inna Shmelev.
Everyone expected the same test: either to renounce any connection with the "new reality" and follow-up study with Professor E. Belutin - or lose the membership card of the Union of Artists and the Municipal Committee and all the associated benefits - from the creative workshop to help, work orders, materials and others. Each handled the matter as far as their human and civil courage. A case study of and treatment of artists represented in MOSKh conversation activist campaign - art critic and last wife of the sculptor E. Vucheticha Sarah Valerius Leonid Rabichevym.
"You are an abstract?" - "No, I'm not an abstract". - "How? So you do not agree with the point of view, Nikita Sergeyevich? "-" No, I agree with the position of Nikita Sergeyevich. - "But he said that you - an abstract. So, an abstract or not you? "-" So, an abstract. In E. Unknown, everything turned out differently. He hastened to write a letter to Khrushchev (published in the Proceedings of the CPSU Central Committee "), thanks for the" fatherly care "," kindness "and vowing never to change Socialist Realism.
But those who organized the show Taganskaya exhibitions in the Manege, made another attempt to "reconcile" with Khrushchev's obstinate professor, not waived either publicly or in writing of its principles. E. Belutin was invited to the New Year in the Kremlin on Dec. 31, 1963-go, where they held a short conversation with Khrushchev, and was followed by good wishes of the last "your comrades." In the 1964-m "new reality" began to work in Abramtsevo through which to the present day has passed, about 600 artists, including the traditional artistic centers in Russia, like Palekh, Kholui, Gus-Crystal, Dulevo, Dmitrov, Sergiev Posad, Yegorievsk.
In 2001, the anniversary of Professor E. Belutin decree of the President of Russia Vladimir Putin for "many years of fruitful work in the field of culture and art, a great contribution to strengthening friendship and cooperation between peoples" was awarded the Medal of Honor. In a telegram to the government, there are lines like: "you have created the independent studio artists" new reality "united around a hundred followers, and is a unique media art school for young wizards. Well, the final verdict is always the history. Now turn to art historians to establish the completeness of the truth.
Эти 13 пользователя(ей) сказали Спасибо Евгений за это полезное сообщение:
Evidence eyewitnesses always interesting, and especially his wife and fellow member of Elia Belutin! Drama degrees of events was so high that the different artists in different ways were remembered and later wrote about this show and all prorabotochnoy company after it, even the same cues are reproduced in different ways. For example, in his book "Hemorrhage in MOSKh Yuri Gerchuk brings memories Rabicheva unknown and contrite statement Belutin MOSKh at the final meeting on the subject. I actually wanted to ask: could you give the source of this text Molev? Thanks in advance.
Эти 4 пользователя(ей) сказали Спасибо Мунк за это полезное сообщение:
Moleva Nina Mikhailovna (born in 1929), Doctor of History, Art History Ph.D., professor, taught at MSU and in the Gorky Literary Institute.
She has taught in Poland, Italy, France, the United States. In 1960-1980-x This annual - a member of the Presidium of the Board of IHO VOOPIK, chairman of methodical council IHO. One of the organizers and theorist opposing the tenets of Socialist Realism in the Soviet mass artistic direction of "new reality". The creator of a new theatrical genre - the scenic stories about artistic studies with the participation of actors of the Maly and Bolshoi theaters (EN Gogoleva, MI Tsarev, BV Telegin, Edward Martsevich, Georgi Kulikov, etc.). She worked in archives and museums.
The author of books on EM Belutin, D. Levitsky, K. Korovin, PP Chistyakov, for foreign art: "The school of Anton Aschbe. On the question of artistic and cultural ties between Russia and Western Europe Х1Х at the turn of the twentieth-century ", 1958," Sculpture. Essays on the History and Theory of Western European sculpture. A series of "Sketches of Foreign Art", 1974, essays on ancient architecture, "Our region of Moscow, 1997," Farm Moscow, 1998, "Moscow - to the horns of art. XVII Century - XXth Century", 2000, "Farm near Moscow," 2003 and dr.proizvedeny fiction - novels, Catherine Dashkova, 1996, "Alexei Orlov-Chesmensky, 2000," Platon Zubov, 2002, Anna Petrovna, 2004 and dr.A also the author of over 400 publications in the periodical press ( "Questions of History", "Military History" magazine, "Art", "New World", "Moscow", "Peace Museum", "Our Heritage", "Oriental Horizon", etc.)
Keys: Moleva NM "Moscow secrets: palaces, mansions, destiny."
Эти 5 пользователя(ей) сказали Спасибо Евгений за это полезное сообщение:
"For a more reliable memory of the destruction of the very existence of the country's victorious communist movement of independent artists beginning to materialize the plan of separate nomination, anything unrelated people involved" kontrsotsrealizmom. "Literally the day after the foyer of events in the apartment of Professor E. Belutin appears in full the group "lianozovtsev: Oscar Rabin and his son and his wife Valentina Kropiwnicki, Kropiwnicki, Jr. (brother of Valentina) and his wife, later chief curator of the Museum of Art serf artists. Their proposal was simple. E. Belutin should refuse from all the artists" The new reality "(" too many of them for the art market! ") and reunite with the" lianozovtsami, go to the "clandestine regime." tour of foreign buyers and journalists Rabin guaranteed. He referred to the assurances "from above" for banned at the time the law contacts foreigners and possession of currency. Time has proved that: he was not exaggerating. Refusal E. Belutin caused sincere bewilderment "(quote from the text Molev).
For me, this "recruitment session" - a real invention. Everything in this passage sounds insincere. For example, Sasha Rabin at that time was no more than 15 years, so you need to choose: either it was a family trip to visit with children and the daughter (though judging from the description, no sympathy from the owners of Rabin's family did not cause), or it was business visit.
I am well aware of Oscar and Valya, well known and Yevgeny Leonidovich and Leo - not what "assurances from the top" and there could be no. Currencies Oscar had never been, for all the paintings he was paid only in rubles.
In general, Moleva practices common at the time a method of struggle with rivals - want to "kill" a competitor - say that it was cooperating with authorities. Sad.
Эти 7 пользователя(ей) сказали Спасибо LCR за это полезное сообщение: