Probably, Sandro, right. It is necessary to appreciate and deal with that ... there is so much left nezivestnogo that we have theoretically to the "if" hands must not reach ... And then if we go into the subjunctive mood, lose contact with real events ... .
__________________
До меня мир рисовали таким, как его видят. Я рисую так, как его мыслю. (с) Пикассо.
Эти 2 пользователя(ей) сказали Спасибо Meister за это полезное сообщение:
Qwerty: Thank you for your attention to my subject.
I looked at ARTinvestment.ru, data Alexander Konstantinov. His work, exhibited at the auction
something like my picture, but Konstantinov 1953g.rozhdeniya and could hardly in 1974godu have the skill execution. Unfortunately, I do zhudozhnike more found nothing.
I think you'll know by this artist.
Mysterious Petersburg artist who influenced Timur Novikov
I was told that Timur Novikov was influenced creativity piterstkogo artist who created the work inside the box from under the shoe. By the end of the life of an artist that has blinded himself by throwing himself on scalpels, set in a shoe box (vision in one eye doctors managed to save some). Died bezzvesnosti. His paintings, boxes, presumably, could stay in Novikov. Russian artist's name, possibly C. More I know nothing. Here's how to know the name of this mysterious artist and see his work?
Interesting article, a lot of useful information (EA)
-------------------------------------------------- --------
Author: Olga Musakova
Against the background of a broad panorama of art from the late 1910's - 1920's, which opened our exhibition activity of recent decades, creative practice of art associations mid-1920's, including, and "Circle of Artists" is seen today, compared with the bright innovations vanguard of the first post-revolutionary years, as a retreat, as the beginning of a steady descent into semi-official art 1930-X.1
In determining the aesthetic boundaries of the phenomenon of "socialist realism", formed in 1930, lasted more than 50 years and has become synonymous with ideologically partisan art, there is still no consensus. If the 1960-1970-s presence in the product of the 1920 - 1930 even minor symptoms warranting formal liberty to talk about his belonging to the vanguard, then starting from 1980, when the vanguard of the early twentieth century has been recognized and widely demonstrated at exhibitions and expositions, museums, chronological framework of his existence is adjusted in the direction of narrowing. This condemnation of the Stalinist epoch, as rightly noted critic V. Lenyashin, sometimes too straightforward transferred to the sphere of art, giving rise to many uncertainties in assessing the artistic merits of various works. The concept of socialist realism has discredited the very notion of "realism", while at the same time, the most perceptive researchers ascertain the existence of "third way", lies in the 20's - 30-s between the avant-garde and socialist realism. One of the phenomena of this third way, of course, was the work of combining "Circle of Artists.
Against the background of existing in Leningrad in the 1920's art associations: "The Community of Artists, Society of Artists, individualists" (they comprised the master of the older generation and neutral with respect to, as one would say now, "contemporary" art youth), " 4 Art "(emerged from the splinters of the" World of Art "," Blue Roses "and" Jack of Diamonds "), ZORVED and MAI (be groups, who united the students, respectively, M. Matiushin and Filonov), the Leningrad branch of the artists of Revolutionary Russia and the other" Circle of Artists "clearly showed the presence of an ideological program, and quite specific organizational principles that established the emerging process of mass" collectivization "of consciousness, and the penetration of elements of the Party of the Soviet bureaucracy in all spheres, including culture.
Читать дальше...
The creative and social activity of the Circle, "his desire to become a leader in contemporary art rather corresponded to the revolutionary element of Moscow, the capital's artistic life. Therefore, the first comparison that comes to mind - this is its comparison with the Moscow OST (Society of Easel, 1925-1932). The groups set themselves similar tasks, although the decision to exercise them at times in different ways.
In mid-1920's deployed widespread agitation for "a new socialist art", which finds an echo in a medium of creative youth. Declaration arose in those years of art associations imbued with pathos newspaper appeals, the ideological jargon of the time were such slogans as "everyday heroism", "collectivism", "socialist ideals". Official criticism of agitating artists focus on creating thematic picture, corresponding to "call time". Diktat yet, but since the mid 1920's in the press more often flashed the word "proletarian culture", "class character", insistent sounds formal requirement "optimism", which should be part of "proletarian art." In 1924, the People's Commissar of Education Lunacharskii formulate the party view on art: "The proletariat and the peasantry will require the classical art, which goes on the one hand, healthy, strong and convincing realism, on the other hand, in an eloquent transparent symbolism in decorative and monumental kind "1a. By Jubilee "Exhibition of art works to the 10 th anniversary of the October Revolution" (Moscow, 1928) K.Petrov-Vodkin write the painting "Death of Commissioner, Matveev create sculptural group" October ", V. Tabor - Prints" October "and "Civil War", a little later K. Malevich - painting "Red cavalry gallops ..." All this is quite different approaches to the theme of revolution.
On the pages of art magazines 1920 published articles containing discussions of a "new realism". Realism called political, synthetic, social aspirations, heroic, revolutionary-romantic ... In some cases, the concept of "realism" was associated only with the idea of the plot, in others - with a set of formal methods, in third - with the phenomena of ideological character.
Another has been a freedom of choice, and the generation of 1920, which came into the world of communist mythology, along with avant-garde, reflected in his work the whole mess is the transition time. At the same time conquering Lebensraum slogan "The Art of the masses" simply not consistent with the experiments and futures visions of innovators. In the early 1920's, many of those who in their time unconditionally accepted the revolution, are beginning to understand that in Soviet Russia there can be only formal art. Nevertheless, the vanguard, not noticing the political unfreedom, continues to "carry the banner of struggle for the art of the future". Star Time vanguard had passed, but the next generation of artists the 1920's still perceives it to his school, "classic", continues to inspire his zhiznestroitelnoy futurology, used as a form of self-affirmation of its slogans, manifestos, declarations.
The core association "Circle of Artists" begins to take shape as early as 1922-1923 years, as is the case with a knife and Ost, most of it accounted for young artists, past a school guard. Tatlin and Malevich were still idols, and in the orbit of their influence one way or another hit the vast majority of students. 'We - the former left-wing ... "- these words renouncing the vanguard of the avant-garde pupil after Moscow artists from KNIFE could repeat krugovtsy. Leader of the association S. Adlivankin later recalled that he and his comrade Ryazhskiy "... were" leftists ", Ryazhskiy got left hardened by Malevich, Tatlin and I have" 2. In 1919-1920 the more they create non-figurative compositions, but was soon convinced, "... that this art is no" moves "that it is doomed" 3, but the legacy of the avant-garde they do not renounce. Thus arises the idea of "... the possibility of creating a new form of realism on the basis of modern pictorial culture" left "art" 4. Memories of other krugovtsev, testified that from the first course, students were running across the river to the Museum of artistic culture, and then GINHUK. Of the former college Stieglitz and the former Academy of Arts, they came to seek an answer to the question, how will the new art, "... in empty rooms at home Myatlevo studied (students Vkhutemas-Vhutein. - OM) method of Cézanne and Picasso, to fathom the basis of Cubism, the geometrization Forms 5. At held shortly after the organization of the Museum of Cultural Art Exhibition "Combining the new trends" (1922), and then on "Show all trends in art" (1923) at the Art Academy participants are those who will soon be among the initiators of the association " Terms of artists.
The decision to create a society finally confirmed in March 1926, and in April of 18 painters and sculptors - V. Pakulin and A. Pakhomov, S. Kupreyanova, T. Gernet, M. Fedoricheva, D. Zagoskin, A. Poret, L. Britanishsky, I. Leezac, G. Lagzdyn, A. Rusakov, T. Kupervasser, Y. Shur, G. Kortikov, M. Gelman, E. Gaskevich, S. Chugunov, M. Verbov - turn to Glavnauka to approve the charter of association with the name The Circle of Artists. Initiators of the society were V. Pakulin, A. Pakhomov and DA Zagoskin. Soon they were joined by A. Samokhvalov, who played in the history of the association not less significant role. At the founding meeting of his association chairman is elected V. Pakulin, Secretary - S.Chugunov6.
In the broadcast of the Declaration young artists express the unity of views and a sense of collectivism, in which they see the success of the creative mortgage association. Being disciples of avant-garde, most artists of the Circle "enthusiastically responded to calls for a" modern thematic picture. It tries to combine advantages of pure art with Soviet themes generated at the time of extraordinary compromises, some of which have direct relevance to the history of the Circle of Artists ".
The Charter and the Declaration of the young association has expressed its negative attitude to work to "underline individualism, surface etyudizmu and literariness", the desire to reflect in the works of art the most significant phenomena of our time. Is convicted as "descendants of the Wanderers" and objectivists. Soon the circle of artists "to proclaim that the search for an adequate time" period style "in the forefront, he put" principle is a cohesive team, performing as a general artistic and ideological education of its members and the leadership of their practical work "7. Evaluating presented to participate in the exhibitions of work, union members gave fundamental "comradely criticism". Reports on the activities of the association, sent to the Commissariat, evidence of the numerous meetings, view thumbnails, reports, ie, the dominant teamwork in preparation for exhibitions. Repeatedly "circle" appears in the press, trying to make contact with other societies (with the OST, "4 Art", with "Society. AIKuindzhi," Community of Artists, and others) 8.
Standing room at the "Circle" was not, and, as in his time and filonovtsev, sheltered house printing (Fontanka, 21). Here krugovtsy held their meetings, sometimes jointly with filonovtsami decorations for the room to pass in the House version of literary and artistic evening. Note that among krugovtsev were direct disciples Filonov - A. Poret and V. merchants. In addition, the "circle of artists gathers its members in the House of Arts, and more often in the room student dormitory on the avenue Valadarski (Foundry, etc., 15, Apt. 35), where at that time were the initiators of the association Pakulin and Pakhomov. Sometimes the meetings were held on the Petrograd side, in an apartment AI Rusakov on Grand Avenue.
Many documentary materials company (minutes of meetings and debates, reporting to Narcompros, etc.) reflects the desire of the youth association "to have his face, only his inherent stylistic features that, as shown by the future, even with the active opposition by many members of the dictatorship" of the collective method , was achieved. The very existence of the Circle of Artists "in fact was a demonstrative desire to overcome the age-old antagonism between the team and the creative personality, set a historical necessity in terms of coexistence. All the activities of association implemented in two forms: one - in the declarations of collectivism, the other - in the works of its members.
One of the main installations of the Circle "was the rejection of a number of art associations in the first place - artists of Revolutionary Russia (Association of Artists of Revolutionary Russia). It can be assumed that the active promotion of the media artists of Revolutionary Russia exhibition "Way of Life of the Soviet peoples," which opened in May 1926, and the unfolding around her discussion of "the protocol realism" and "synthetic realism", to a large extent was a base for declarative statements " Circle "and gave them openly oppositional tone.
At the same time, following the experience of artists of Revolutionary Russia, "Circle of Artists" has a vision of its existence, in direct cooperation with the Soviet authorities, with particular emphasis on "... relation to the Soviet public, and participation in daily activities from the cultural construction of" 9.
Charter Association, his declaration repeated by varying, the main provisions: "... on the basis of collective leadership ... ... going through now, as a concrete expression of (an image, a means of organizing life) to create a painting and sculpture, the style of" ... as opposed to amateurism and careless work, individualschine and subjectivism, retrospectivism and philistinism, vkusikam napravlenchestv, isms, etc. 10. Among the key aesthetic terms, developed "around" - "kvintformatsiya" (by analogy with the quintessence), the fifth selection of the form ", which was introduced krugovtsami, according to A. Samokhvalova versus insensitive protocol and photographic form, on the one hand, and The older term "strain" and "idealization" that is, decay and embellishment of form - with the other, that we note evidence of acquaintance with the theoretical conceptions of Malevich.
Today can not cut the ear Marxist rhetoric and maximalist prescriptive theoretical line of the Circle ", but in the real space of the 1920's they were a tribute to the time. Most of the provincial youth, dropouts, but incredibly active in the event of a complete collapse of the art market and the emerging censorship of art by the State, sought to survive and be in demand. Declaration of the First Circle, as close in form and meaning of the Platform remains were a way of self-assertion and, like all slogans, not always lead to real creative achievement.
The three main exhibitions of the Circle of Artists "held in the halls of the Russian Museum in 1927, 1928, 1929, in the framework of the recently organized its Division of the latest trends, which was headed by renowned art historian, formerly an active promoter of avant-garde art, Nikolai Punin. Time was when he noticed a group of talented young artists at the graduation exhibition in 1925 at the Academy of Fine Arts (Vhuteine), later united in a "circle", and two years later launched the exhibition association in the Russian Museum. In addition, work krugovtsev exhibited in 1927 at the House of educators, in 1929 - the club factory "Red Triangle" in the exhibition "Modern Leningrad artistic groups" (1928-1929) in the Moscow-Narva culture house. The result of the existence of association was an exhibition of paintings by artists "Circle" in Kiev (1930). Artworks krugovtsev different years were presented at the first city-wide exhibition of Fine Arts in Leningrad (1930) and at the exhibition "Artists of the RSFSR XV Years" (1932). Culmination of the creative activity of the society became 2-nd show, which was visited Lunacharskii.
At their shows krugovtsy guided tours, lectures, organized debates. Repeatedly "circle of artists took part in the decoration of the city for the October holidays.
Over the entire period of activity "Circle" brings together more than 50 members.
At the forefront of the search of the Circle of Artists "were undoubtedly painters. Comparing the works of many union members and noting the diversity of their handwriting, however, convinced and certain of their inherent generality. This desire for tipazhnosti images, and the predominance of peasant themes in the understanding of who said the experience of direct and indirect teachers - Petrov-Vodkin and Malevich (although the second and third shows the theme of sports, the revolutionary events and festivals, in interpreting close Ost, but there were equal) - and visible trend in the monumental easel painting, derived from the declared search for "style era. New Age meets only the art of "grand style", an analogy which can be found in the traditions of ancient Russia and Renaissance art - This is the opinion of one krugovtsev, the other with no less conviction, attempted to reconcile the urgent need to establish a "modern Soviet paintings" with the achievements of modern French painting. Are One, they were probably only in the negation of the creative artists of Revolutionary Russia installations. Like any creative community, "Circle" was raznorechiv in its composition, were among krugovtsev "leading" and "followers", which is clearly manifested in the very beginning of the association.
The first exhibition of "Circle", exhibited at the Russian Museum from April to May 1927, according to the joint Jacob Alex, in the creative plan was perhaps the most elemental of exhibitions of society, although she, like everyone else followed, preceded by a fairly rapid "Discussion review the quality of the exhibited items. Judging by the memories were presented with such vehemence that happened, someone "threw" together with his pictures. "The collective method of leadership" Ivan Orekhov forced to paint over his face "Girls" (1927) - "because it is too specific and contrary to the relentless struggle by the" Circle "is a manifestation bytovizma.
Control of the driven products to the height of the classical things, "proclaimed the rule of the Circle" 11, carried out mainly Vyacheslav Pakulin - his authority was unquestioned. I remember that he often "dragged out" of their comrades. Even in years of study was Pakulin troublemaker and organizer of the noisy student debates at the Academy of Arts. His thesis - "Change (Heroic realism)" (1925, RM) - in its time and was struck by its size and its intricate symbolism. The title clearly oppose the main motto of the creative artists of Revolutionary Russia ("heroic realism"), but stylistically, in the opinion of the contemporary artist's Valentine Kurdova, showed a "mural in the style of Cubo-Futurists 12.
The period of the Pakulin and as an artist and as a person fell on the first post-revolutionary years. He, like many of his peers, had to combine their studies with direct creative work. Since 1918 he works as a theater artist, is engaged in a course of stage productions, organized by V. Meyerhold, tried himself as a circus clown, leads izokruzhok club RKSM Narva-Peterhof district, writes poems. Among the friends of the young artists were poets I. Sadofyev and SE Neldihen, writer VM Sayanov. "It was in him something Burlats'ke - recalls PI Basmanov, who was a friend of krugovtsami and participated in many of his endeavors - he, like many of us came from the people, a culture of trying to really , ran for those who could he anything to 13. By the time he led the "Circle of Artists", he was 26 years old, but he already has great creative experience. Years of the association became his final period of the formation of personality, quick-change enthusiasm, brilliant achievements.
Excellent organizer and soul of the team, Pakulin often acted as the mouthpiece of the creative units of the Circle. For example, at the back of the canvas of his painting "reaper" (1926-1927, RM), which the artist presented the first exhibition of the association and to which he gave a programmatic nature, he published a text in which elaborately explained the aim set before him, creating a picture : "Symbol of gravity - the power of labor in the picturesque plastic perception of nature. The premise for formally topical solution picture - removal times (domestic), passively contemplative and the active introduction of moments, timeless ... "That is vision - the creation of a symbolic image of - forces the artist to abandon any specificity in the depiction of the model, although as evidenced by graphic Pakulin heritage, monumental "reaper" was preceded by numerous sketches from nature. Chosen artist reception testifies to his fascination with the fresco, and the expressive contrasts of planes and the deformation of volumes characterize him as a talented pupil of Malevich and Picasso. Susceptible nature of the artist exposes the creative testing a variety of schools of modern art: in conjunction with "reaper" Pakulin creates landscapes, reminiscent of association with the works of Cezanne and Matisse, as influenced by Renoir wrote "Lady with a Fan" (1927). Chamber in its sound, it is expressive of his musical picturesque and opens Pakulin gift colorist. The next exhibition "Circle" was presented Pakulin stylistically close "reaper" work "Woman with buckets" (1928, RM) "Sailor (in pub)" (1928, RM) and "Woman in a red hat" (1927, RM).
Near Pakulin on the right is another original painter of the Circle ", at the time his friend and sympathizer Alexey Pakhomov. It also attracts the world of big ideas, a monumental structure, the beauty and harmony, but which I saw in the very nature and not invented or deleted from the current routine. Especially close to the artist sees art of ancient Russia and the Early Renaissance (especially Giotto). "A spiritual elation and height of thoughts - that <...> have in common is an ancient art of our time" 14, - later wrote the artist. Most of the characters pictures Pakhomov - ordinary people, his work inspired peasant - Pakhomov grew up in the countryside.
By painting a realistic, with a clear focus on neoclassicism, the artist asked not immediately. In the early 1920's under the leadership of V. Lebedev he was still mastering the principles of cubism works in Petrograd "windows of growth" and several magazines, and from 1922, thanks to the support of their teachers - N. Stipa, V. Lebedev, and N. Lapshin - actively cooperates with Detgiz. Even on a competitive exhibition at the Academy of Fine Arts N. Punin said Pakhomov as "distinctive and original painter, an artist of great culture and one of the best young artists of" 15.Chtoby to join the newest trends, both he and his friend Pakulin, after classes at the Art Academy visits GINHUK where comprehends the basis of a new art Tatlin its Counter-artist then drew a whole, whereas the influence of Malevich will manifest itself later in the works krugovskogo period. There was a biography Pakhomov and intermittent treatment of easel paintings, which he says: "I went to the Palace of Labor and enthusiastically talked about the idea of merging art with the production asking to send me to the factory. Head to listen to me ... and determined to learn metalwork, the Baltic Plant <...> is no way to implement the arts in the production, no amount of watching, in the environment I have not seen. On the contrary, in the factory I was approached with a request to write a banner with the figures of workers and Red Army "16. About the same time the artist began work on the monumental painting "The Red oath" (1923) for the military barracks in Petrograd.
The first exhibition has attracted the attention of his "Worker" ("Portrait in Blue" .1927, RM). The model for the portrait served as the painter's wife - the tobacco factory worker, and the product, according to the author, created specifically for the exhibition. This specificity is not accidental. In spite of the generalized solution, the characters Pakhomov never denied personality traits. Pakhomov set a task to combine monumentality and emotional, living like a interesting and uncommon. In a plastic incarnation is equivalent combination of sculptural volume and dynamics of the stroke, generalization, and the expressiveness of details.
At the same exhibition was "The young man in a black shirt" (1925, Tretyakov Gallery) and "Portrait of the artist, MN Butrovoy" (1925-1926, TG) "The boy on skates" (1927, TG), "Country Boy" and " Country Girl, "" Portrait of Sergei Lebedev, "and" Woman in a red coat "" In these works have attended some "earthiness", which was fighting the creative team of "Circle". More consistent ideology, professed in the union, as shown in the second exhibition "Circle" "arise Woman" (1928, Pushkin Museum of the Republic of Karelia, Petrozavodsk), and simultaneously her "reaper (Zhatva. 1928, RM).
Apparently oratorical passion and creativity asceticism advocated in krugovskom community were Pakhomov alien, what is indisputable evidence of purely picturesque dignity of his paintings of the 1920's, but over time it is more than obvious demonstrated books and graphic artist's easel.
On the contrary, Alexander Samokhvalov, who came in "Circle of Artists" at the beginning of 1927, later the first of eighteen members, all share the program and the pathos of its members: "We need a" new realism ", but the realism that would be based not only on the fixation of formal points - need a "creative synthesis" - a line from his unpublished book, dating from the mid 1920's, where he talks about the prospects of forming a new style of painting - that Michelangelo had found those strains that are revealing the tragic heroism of the images, freeing them of all life (and philistinism), keep them alive for the past five centuries, <...>. His images are not individualistic, it is - an active group <...> is not the similarity, but the idea of a great personality will be the main 17. The fact that among krugovtsev on this issue there complete unity, confirms the statement in the discussion of the exhibition "Circle" in 1928, one of the ideologists of the association, Vladimir Denisov: "Which film aspiration in a circle? By the monumental painting. Age of calls to the wall. We must prepare for "18.
At the first exhibition of the society Samokhvalov shows the painting "Schebenschiki" (1926, RM), and later, at the second exhibition - the famous "Spartakovku" (1927), "The conductor" (1928) and "Man with a scarf" (Avtoportret.1928, RM).
In the painting "Schebenschiki" artist, like many krugovtsy, turns to the topic of labor. Despite its relatively small size, the picture resembles a panel or fresco. In an effort to "express the symbolism of time in each stroke, the artist carefully selects details. Images of the characters totally united in a vast baggage of impressions collected during the artist's stay in the village of Staraya Ladoga and Navolok. Working as a conservator at the St. George's Cathedral for a long time aroused his interest in monumental painting and directly influenced the nature of painting techniques. But his long fascination with the art of ancient Russia was laid even a teacher - Petrov-Vodkin.
Striving for tipazhnosti images was common for artists of the Circle, but the most vivid and peculiar a quality realized in the work of Peter Osolodkova. The creative life Osolodkova started late. Proletarian, he enthusiastically created portraits of the heroes of modern times - the workers, miners, sailors. His portrait-types are impressive austere beauty. On an attempt to reach the maximum generalization indicate lines from the notes of the artist: "In the portrait I wanted to go for a" type "- is like cottage cheese, squeezed out of milk, is something fermented, something succinct 19. The artist gives his characters internal energy, captured in their appearance complex range of feelings and emotions. Plastic solution based on the image contrasts, sculpture fashioned volume combined with jerky, nervous brushstrokes.
Among the outstanding artists of the Circle "can not be called Alexander Rusakov. In the program orientation together on "monumental style" of his poetic creativity stands out. Creativity Rusakov not limited to the area of landscape and still life. During these years, he most often turned to genre painting and portraits. Among the most famous works, created by the artist in the "Circle" - "Port" (1927), "A woman with a baby carriage" (1927, RM), "Monter" (about 1928, RM), "Portrait of a director Stabovogo" (1928), "The game of skittles" (around 1931).
"Port" (or "Port types"; Perm MHC), presented at the first exhibition of the association, rather than landscape, and painting. It realized, perhaps not original, but rare in its kind fusion of French tradition with a clarity and purity of folk art and children's drawings, which were especially close Rusakov. In landscapes Rusakov much attraction to the artist's laconic and emotionally - "monumental and lyrical beginning," as aptly defined this feature author of a monograph on the artist Michael German20.
Rare scenic qualities characterized the work of Tatiana Kupervasser. Today, it is obvious that her talent was absolutely commensurate with the talent of her husband, AI Rusakov. As wife of VV Pakulin - Maria Fedoricheva, she pointed out as an artist himself pushed into the background. Student Osip Braz and Kuzma Petrov-Vodkin, it is equally owned and methods of generalization, and techniques of pure painting. Femininity and the heat made her boldly written still lifes, portraits and genre paintings particularly attractive.
The works of other exhibitors of the Circle "save some. Relying on the memoirs of contemporaries, it can be said about the proximity of the search for creative works of Michael Pakulin Werbowy, Sergei Chugunova, Erukhimov Zabrovskaya, Mary Fedorichevoy, partly - Basil Kuptsov and Leo Britanishsky. The works of Nicholas Svinenko clearly showed the impact of Samokhvalova. David Zagoskin, which, according to N. Punina, "some did not fit with the traditions of the Circle", combined in his work gravitated towards monumentality with the lessons Chagall. Plots close Ost (think "disabled veterans" Yuri Pimenov) chuvstvovalisv in emotional canvases of Israel Lizak. Restraint and philosophic inclination differed Pictures Vladimir Maugris. Short life is not possible to realize the fullness of his talent undoubtedly gifted artist Ekaterina Petrova-Trotsky.
To the tradition of landscape painting in Leningrad, laid down by the older generation of artists - Alex Karev, Osip Braz and later Nikolai Lapshin, gravitate works Nicky Ivanova-Leningrad (Karev), Alexander Vedernikov, the Honourable Alexei and Nikolai Emelyanov, George Traugot, Jacob Alex and Seraphim Kupreyanovoy. Simplified plastic language, proximity to the methods of naive painting showed Fedor Zaryans and Gregory Smith.
In the work of the most interesting sculptors of the Circle "- Boris Kaplyanskii, Abram Malahini, Leonid Mass, Michael Sutskevera and Naum Mogilev - emerged the affiliation to the school of Alexander Matveyev.
In the late 1920's Circle of artists ", like many other art associations, was sharply criticized for" formalism ". In response to accusations the union said "the strengthening of the method of collective leadership directly in the process of working member of society over the canvas, and in early 1929, in accordance with the spirit of the times, the" Terms "created the Office of control ideology (BYURKID). Board of society sends to all its members to policy letter. Naturally, such a control over creativity could not give rise to disagreements among members of the association. Several artists interpreted this as an unacceptable obstacle to the implementation of creative tasks, and in 1929, the eve of the third exhibition, a group of artists leaving the company. Samokhvalov Britanishsky, Noskov, Chugunov, Shangin and Schechtman in 1930 will come in "October", after some time in OMAHR go Verbier and Zagoskin. At the same time in the "Terms" enter the young artists, students or just graduated from art college, and by the end of 1929 almost half of the society is updated (in this case, the last of the men in "circles" in the exhibition of the association to participate have not yet). Thus begins the fourth, in fact last year of the association.
Artworks krugovtsev since 1930, exhibited at town fairs, community members participate in the activities izobrigad. Like all Soviet artists, in accordance with the program of "contracting", they go in the creative business trips to factories, collective farms, thereby responding to the state order for the picture on the "heroic working days of the Soviet people." I must say that by this time past the symbiotic relationship that existed among krugovtsev in the early years of the association was no longer there. Last collective performance of the society "Circle of Artists" was held in 1932 at the exhibition "Artists of the RSFSR XV years" in the Russian Museum.
Unclaimed and convicted, the legacy of the Circle of Artists "for many years was in oblivion, and aroused interest only in St. Petersburg" non-formals "1950-1970-x. The first publication, which after decades of silence recalled the "Circle", appeared in the late 1960's. This article was A.Samohvalova21. Published in the journal "Creativity" in the year celebrating the 50 anniversary of Soviet power, it is in a range of other materials publication marked the beginning of the process of rehabilitation of forgotten names and events of national culture. Samokhvalov was extremely cautious in their assessments of the achievements of the Circle of Artists ". An acknowledged master, he is still afraid of accusations of "formalism and political immaturity." While there later in the Manuscript Division of the Russian Museum draft of an article indicates that the adjustments were largely vynuzhdennymi22.
For the same reason, not all survivors krugovtsy willingly talked about the past. Due to various reasons a large number of artists, close to the "Terms", has survived - some were lost during the siege of Leningrad, others deliberately destroyed, and. Today can only be imagined creative portrait TE Gernet, GA Lagzdynya, G. Kortikova, BI Inozemtseva, A. Efimova (known only to work in the field of arts and crafts), LI Karateeva, M. Regel. Often the whole biography of the artist - one or two works, as in the case of MF Verbova, ES Zabrovskaya, IV Orekhov, E.M.Petrovoy-Trotsky, VP Maksimov (max) H . V.Ivanovoy-Leningrad, MV Noskov, ES Gaskevich, FI Zaryanovym, NV Svinenko. Miraculously, no deaths during the siege of the great artists and P. D. Zagoskina Osolodkova - rescued friends krugovtsy. Fortunately, not destroyed all of ND Emelyanova and GI Ivanov, repressed in 1930. In 1960, after the death of chairman of the society VV Pakulin, disappeared without a trace is stored at one of the Leningrad art critic archive of the Circle ", and, nevertheless, the losses have not dampened the significance of this phenomenon in the history of art.
Notes
1 Russian Museum has a unique collection of works by association "Circle of Artists". Its foundation was laid in the late 1920's - 1930's and finally prevailed in the past three decades. In the summer of 2007 in the halls of the Russian Museum exhibition on display this creative union. It was one of the central events of the exhibition season. It presents about 200 paintings, drawings and sculpture from the museum and also at the exhibition were sent to work from the Tretyakov Gallery, the Museum of History, St. Petersburg, regional museums and private collections from St. Petersburg and Moscow.
1a Lunacharsky AV From the literary heritage //New World. 1966. № 9. S.239.
2 Adlivankin. C. About "knife". Cit. By: The struggle for realism in Soviet art in 1920. Materials, documents, memories. M., 1962. Page 108.
3 Ibid. Page 108.
4 Ibid. Page 108.
5 Kurds VI Commemorative days and years. Notes of the Leningrad artist /Star. 1983. № 7. P.59.
6 Some time later the secretary of the society became MF Verbov, briefly served as Secretary AF Pakhomov. In addition to these eighteen in a society consisting of: AN Samokhvalov, A. Vedernikov, VA Denisov, AP honorable, PA Osolodkov, ES Zabrovskaya, GI Ivanov, T . N. Traugott, VV merchants, AD Zaitsev, L. Ya Timoshenko, AM Efimov, VP Kaluzhnin, GM Nemenova, VI Maugris, RZ . Frumak, N.V.Ivanova-Leningrad, MV Noskov, E.M.Petrova-Trotsky, IE Shangin, ND Emelyanov, FI Zaryans, BI Inozemtsev, H . Svinenko W., IV Orekhov, M. Regel, LI Volshteyn, Patrikeev, ES Buddha, AP Parosin, NV Zhyuvayskis, Kolosenok. Along with the painters of the "circle" included the sculptors: B. E. Kaplyanskiœ, AL Malahini, L. Mess, NI Khlestov, M. Sutskever, NS Mogilev, Kn . Demina, M. L. Shechtman, E., O.F.Ekkert, GB Pyankov, SG Kaplun, L. Ya Hortik, Kapitsisky, Rabinovich.
On formalizing the company announced the "Life of Art" (1926. № 40. C.22): Approved by the Charter of the new society "Circle of Artists", which places the task of unification of all the young forces of Leningrad and the work on the development of modern paintings by the collective elaboration of how those and scenic concerns. Opening is scheduled for October 10. Charter approved Glavnauka July 12, 1926, and subdivision of the administrative department of the regional executive committee - September 8, 1926
7 The Community Circle of Artists "at the House of print. 2 nd exhibition of paintings and sculptures. Russian Museum. Leningrad. 1928. Preface. Declaration. C.3.
8 In this work, and plans for the Circle "extends far beyond the limits of society: some of them related to streamlining and developing programs of artistic education, others - urgent need for a permanent exhibition in Leningrad base. In this regard, "Circle" held a joint meeting with the "Community of Artists, as well as with the Society. AIKuindzhi.
9 The Community Circle of Artists "at the Press House. 2 nd exhibition of paintings and sculptures. Russian Museum. Leningrad, 1928. Preface. Declaration. S. 4-5.
10 Ibid. C.4.
1911 Community Circle of Artists "at the House of print. 2 nd exhibition of paintings and sculptures. Preface. C.5.
12 Kurds V.I.Ukaz.soch. S.107.
13 Basmanov PI Memoirs. Archive of author of the article.
14 Pakhomov AF About his work. L., 1971. C.21.
1915 N. Punin Competition Exhibition at the Art Academy. Life is art. 1925. № 48. C.11.
16 Pakhomov AF About his work C.20.
17 The manuscript of the book "On the way to the portrait of Lenin." Not later than 1924 ORGRM. F. 32.Ed. khr. 153. L. 14.
18 OR RM. F. 127. Ed. khr. 69. L. 11. Open meeting of the Art of timing. 13. 05. 28. Report N. Punina on "The Exhibition of" Circle ". After the report - exchange of views. Transcript.
19 op. By: Rusakov A. Selected works of art critics. L., 2000. S.248.
20 Herman. M. Alexander Rusakov. M., 1989.
21 Samokhvalov AN The Community Circle of Artists "//Creativity. 1967. № 2. S. 14-16.
22 OR RM. F. 150. Ed. khr. 24. The manuscript AN Samokhvalova "Association of Artists' Circle".
1.2 Exhibition Society "circle of artists". 1928. Left to right: top row - A. Malahini. A. Samokhvalov, A. Pakhomov, Y. Shur, V. Denisov, D. Zagoskin, M. Verbov, A. Rusakov, T. Gernet, P. Osolodkov, L. Karateev, V. Maugris, the second row - M. Fedoricheva , G. Pyankov, T.Kupervasser-Rusakov, N.Ivanova-Leningrad, N. Mogilev, bottom row - G. Traugott, S. Chugunov, G. Ivanov, V. Pakulin, E. Zabrovskaya
2-5 Pictures.
Эти 9 пользователя(ей) сказали Спасибо Евгений за это полезное сообщение:
At the end of the life of an artist that has blinded himself by throwing himself on scalpels, set in a box from a shoe
Cherkasov Valery P. (1946, Leningrad - 1984, ibid)
His father - a railway engineer, mother - KGB employee. Studied 2 years at the Leningrad radiopolitehnikume, then the Faculty of Geography of Leningrad State University (1966 - 1971). From 1967 to 1976 - a musician, playing bass guitar until 1971, under "Gymnasium", then under "Za". He worked as a chauffeur, a musician in the Leningrad fashion house, playing in restaurants.
He was engaged in an all-pervasive creativity woven into the everyday life - experimenting with language, sound, equipment, items. He did the unusual photos, film microobjects - insects, different combinations of items. In 1976 he committed suicide in a special way: sent two scalpel in the eye and fell on their face, after which he was placed in a psychiatric hospital, has received a disability began to paint. left marker drawings, schematic outline of the most interesting abstraction. "Abstract image was covered not only the canvas, cardboard and paper, and objects around him life" (Novikov, T. A. Khlobystin Pathfinder /Pathfinder: In Memory of Valery Cherkasov. SPb: "Borey art center", 2003. P. 4) up to the painted each match in a box. Specificity - very small size. Kept his work in packs of cigarettes. His work is close to the graffiti. He worked in the style of all-over ("very often"), without the traditional songs when filled the entire surface as a homogeneous, without a top, bottom, center. Tuning the surface of different densities at times resembles soup with floating components. However, the start of ordering exists: in the color pace in a few with well-chosen colors, the uniformity of elements in each work - the nature and size of spots, the direction of stroke, intermittent spot-lines, vibrating belts, amoeboid forms. How would spontaneously ornaments. Sometimes the substance is enclosed in an irregular shape as in the frame, the cell wall or vessel. Were divided into sections, combined images, made in various ways on a single sheet. Of color makes this instinct, apparently spontaneous activity in the work of art. His work can withstand not only a strong increase, but at the same time becoming more credible. He made tens of thousands of drawings, there is still little. created countless objects that were lost after death. When life was known only to "new artist". (Gurevich Artists of the Leningrad underground. Biographical dictionary. St.Petersburg: Art - St. Petersburg, 2007. (Vanguard on the Neva).
Эти 14 пользователя(ей) сказали Спасибо Allena за это полезное сообщение:
Well, we've found, after a year and a half.
Allena, will razgovorivat with Vladimir Nikolayevich - tell him about Cherkasova, that we remembered the name of this artist.
Already mentioned once (you do not it?), As a connoisseur of art Rusakov.
Honestly, I did not know that the Roman Danilovich, to Petrograd sinks.
The main interest of Roman Babichev as a collector, this is just Leningrad artists 20-30-40-ies. At least it was when he and Yury Nosov as early as 2001 an exhibition at the Museum of Private Collections Pushkin Museum. Pushkin (held in the old building), "On the banks of the Neva. Paintings and Drawings by Leningrad artists 1920-1930-ies from Moscow private collections.
Exhibition was wonderful. That's when I truly learned and artists such as Vedernikov, Lapshin, Greenberg, Pakoulin. All were members of the Leningrad Society "Circle of Artists". It is difficult to overestimate the role of Roman and Yuri in the popularization of their creativity.
Последний раз редактировалось Тютчев; 25.09.2010 в 17:10.
Эти 4 пользователя(ей) сказали Спасибо Тютчев за это полезное сообщение:
Well, that was found, after a year and a half.
Allena, will razgovorivat Vladimir Nikolayevich - tell him about Cherkasova, we remembered the name of the artist.
11.01.2009, 10:28
Линейный вид
Похожие темы