Russian avant

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I'd like to write about Tatlin. But the more I read about it, the more difficult for me to do it. Maybe someone can help and complement.

Here is an excerpt from the memoirs Khodasevich (early 1920):
"According to rumors, which have reached me, between Tatlin and Malevich scandal. Tatlin increasingly haunted the idea that someone from the artists will take advantage of his designs, and beat him. As far as I hammer him that he himself appreciates the little that is not easy to think and work as Tatlin! "That's the way it is, it's all the same ..." - he said tragically. ...
Worried that the long not seen molecule (Maria Heinz, Tatlin's common law wife and mother of his son) and little Volodya, I went to him. With all the aging molecule, weeping, said that terrible thing has happened, but she could not do anything: she went with her son in her arms in the area - stay on the light and air - and when she returned, she saw as over a stove in front of more flames. Fire? No, Tatlin with several students burned their beautiful drawings and paintings are exhibited. She rushed to extinguish the flames - he pushed her away. His condition was close to madness. He shouted:
- Now let the looks! Open the window!
I saw that the molecule is sick of this life, especially as Tatlin began to talk about building a model aircraft, to be called "Letatlin, and the first flight on him until he weighs a little more, his son Vladimir.
After conferring with Andrei Romanovich, we decided to drag the molecule to itself (we have already moved into the house Saltykova the Champ de Mars). She did not immediately, but gave up. Tatlin did not protest. By this time he walked away from the painting. They are wholly owned by the thought of designing for the benefit of mankind, a wide variety of items: clothing, overalls, shoes, etc.
In November 1922, leaving for Berlin at the invitation of Gorky's. Molecule with her son stayed with us. Further know the stories of sister molecules. Autumn of 1924 in Leningrad tremendous flood. In the midst of his Tatlin, putting a cap snuff and matches, made his way to St. Isaac's Square in the Palace Square to the waist in the water to the family. On the street Khalturina to the Field of Mars he had to swim, breaking the waves, and flow. He came to the family.
The molecule - as I learned later from her sister - decided to go to work as a doctor in a hospital of a deaf village under Arzamas, there lived with a forester, and bore him a son. Being a man and heroic and sacrificial, it is saving someone else's child, bolevshego defteritom, sucking mouth defteritnye film (no vaccine), became infected and died. Stayed forester with two children. Intervened sister Molecules and for a long time, brought up son Tatlin, Mr. Tatlin eventually took him to her in Moscow. Next - the war, took his son to the army, he was missing, and it took many years until Tatlin realized that Vlad killed, and very grieved. "

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Сообщение от Maroussia

I'd like to write about Evgrafovich Vladimir Tatlin. But the more I read about it, the more difficult for me to do it.

Maroussia, but the difficulty? What stops you?

[Маруся]

Well, all the same collect his thoughts and write, but do not be alarmed: half - quotes.

About Tatlin difficult to write because this great artist, in fact, - a man - the myth:

Genius painter, who, according to the memoirs of contemporaries, did not receive sketches - just finished work. "He has not obtained sketches from the model and a model, but quite complete, accurate calculated products - the monumental, compelling and beautiful in shape and color ... Ivory burning or soot, gas, and some ochres, sienna, umber and emerald greens - his favorite color. Looking at his work, it is impossible to guess how he managed to dispose of these unpretentious colors, contrasting them so that it seems a rich, multi-color palette. (Khodasevich). All of his paintings is dense - he burned his own built in stove.

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The brilliant innovator, who always accused of plagiarism: the idea he allegedly spied on a Picasso. From picturesque landscape - corner reliefs - kontrrelefov. From the name change - are not changed - it is the picture "tearing the plane and" throw-away "in the surrounding three-dimensional reality." Preserved, mostly only photographic reproduction in magazines and catalogs. Apparently, because the store in its original form was not possible. Even loyal fans Punin kept kontrrelef Tatlin "in parts of the closet.

The brilliant designer of unrealized projects:
Monument III International - Tatlinskaya tower.
Even if most have seen photos of models, very few people that, in fact, was to represent themselves from this "monument". Here is an excerpt from the brochure, which speaks for itself:
N. Punin. Monument III International. Petersburg, 1920
In 1919, the Division of Fine Arts of the People's Commissariat of Education was charged thin. VE Tatlin to draft a memorial III International. Artist Tatlin immediately started to work and performed the project. Then artists VE Tatlin, IA Meerzon, MP Vinogradov, and TM Shapiro, united in a "creative collective", detailed the project and built the model. (In fairness, it should be noted that the glass work performed S. Dymshits-Fat).
The main idea of the monument was formed on the basis of the principles of organic synthesis of architecture, sculpture and paintings, and had to give a new type of monumental structures, which combine the purely artistic form with a form of utilitarian. In agreement with this idea of design of the monument consists of three large glass room constructed on an elaborate system of vertical rods and spirals. These facilities are located one above the other and placed in various harmonically related forms. Thanks to a special kind of mechanisms, nor should be in motion various speeds. Bottom area (A), introducing in its form a cube moves around Svay axis at a rate of one revolution per year and is intended for legal purposes. It can happen International Conference, meetings of international congresses and other major legislative assembly. The next room (B), in the form of a pyramid, rotates on an axis at a rate of one full fight in a month and is intended for the purposes of the executive (the International Board, the secretariat and other administrative and executive bodies). Finally, the upper cylinder (C), rotating at a speed of one revolution per day, has in mind centers information purposes: information bureau, newspapers, leaflets, pamphlets and manifestos, in short, all the diversity of a widespread awareness of the international proletariat, such as the telegraph, the projection lights for the big screen, are placed on the axes of the spherical segment (A1 - B1), and for the sake of masts which rise above the monument. No need to specify the scope of equipment and all facilities; details of the project does not provide, they can be discussed and selected for further development of the monument. Should be pointed out that, according to the artist Tatlin, glass rooms designed for double wall with vacuum (thermos), so it will be easy to keep the temperature inside the room. Some parts of the monument, as well as all the buildings will be connected to the ground and between them extremely complex design with electric lifts, adapted to different rotational velocities of the premises. These are the technical basis of the project.

Another "Letatlin" - the same unfinished project, but some constructive ideas Tatlin interest of aircraft and something they have been used in the design of aircraft. Tatlin even received money for it. There have been several attempts to make a real test "Letatlina. However, for various reasons, the test never took place.
"Letatlin" exhibited in the Pushkin Museum of Art and the Museum of the history of aviation, Monino, Moscow region.

Nikolai Punin, great admirer of Tatlin, tried to link it with the new Renaissance of art. Paradoxically, but after 100 years Tatlin really be compared to Leonardo: by how little was left of his creative offspring. I can only hope that after many years of his paintings and constructive ideas will be implemented yet ...

[Allena]

Got an interesting material. Go on, in order not to lose.

Anton Uspensky

Vera Ermolaeva and Nicholas Suetin: parallel and perpendicular
(edited version of the text published in the journal "New Art World" № 4, 2008)
 
The picture from June 1922 - Group UNOVIS (affirmative new art). Near Kazimir Malevich - his followers, students, colleagues, among them very young Nicholas Suetin and a little older than him, Vera Ermolaeva. A month ago Suetin, graduated from the Vitebsk Practical Art Institute, received a diploma "for the title of a freelance artist and university instructor" signed by the Rector of the Institute Ermolayeva and chairman of the board of professors of Malevich. Here, in the interiors of the Vitebsk workshops, crossed their creative trajectory. This example - one of many meetings, confirmed by visible and documented. One recent example - the exhibition in the Benois Wing of the Russian Museum.

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In 1922 Suetin discharged, on the other photos of that time he was in a military overcoat with a square badge on the sleeve - a sign UNOVIS. In the army he was called to the First World, there engaging in decoration craft, and from 1918 comes in the People's Vitebsk art school, created by Marc Chagall. In the summer of 1919 in Vitebsk on the initiative of Marc Chagall arrives Lazar Lissitzky, already, however, ready to embark on the path of Suprematism. Suetin recorded in the studio Lisitsky, who, according to Marc Chagall, "came another God, whom he soon gave up and left also. Lissitzky agree with the rector of Faith Ermolayeva invitation "his god" - Malevich and leads negotiations with him about moving from Moscow to Vitebsk.
 
We Suetina and before he met Malevich was interested in a hollow form, it is now possible for practical work - he is involved in the decorative design of Vitebsk on May 1, creates thumbnails of signboards, designs dining and shopping. Often binding theory of Suprematism to the real problem becomes stylized, a set of geometric techniques. Lev Yudin in diaries repeatedly mentions the work respectfully Suetina, quoted him as saying: "The artist must be in force, but not in the effort." Ibid: "In [ere] M [ihaylovne Ermolayeva] terribly hard to get rid of aestheticism ... The deliberate crudeness of execution - Much more spice! Not at all rescues ... Suetin is true ... Suetin - fellow. For the first time felt the white material (probably white model).
  
Vera Ermolaeva in Vitebsk was sent on assignment Narcompros Division of Fine Arts in April 1919 the artistic education she began in the famous St Petersburg workshop M. Bernstein, continued it in Paris, was a volunteer at the Archaeological Institute (where studied B. Mathew, M. Le Dante AN Lapshin). In 1914, in a circle "bloodless murder, she participated in the design of similar collections, the most" Ermolaevsky "of which was Assyro-Babylonian edition, which appeared in March 1916. "Bloodless murderer" wrote the play, set and designed for them shows, creating art parties, debate at meetings, ironically calling themselves "cream of genius. Since the summer of 1918 Ermolaeva engaged in the design of books typographic Artel "Today", which became the Union of Writers and Artists. The artist made prints for the "Pioneers" Walt Whitman and several books of Nathan Vengrova. Artel staged "living journal", which were attended by Anna Akhmatova, Mikhail Kuzmin, E. Zamyatin, Osip Brik, Viktor Shklovsky, Vladimir Mayakovsky. In the same year, Ermolaeva works in the Museum of the City and (in collaboration with N. Kogan and N. Liubavin) gathers a collection of pictorial signs, then disappearing under the onslaught of fashion power of advertising.
   (thanks for the illustration - http://vash-pasha.livejournal.com)
Based on this artistic experience, Ermolaeva enthusiastically starts in Vitebsk, and is considered to be in college "senior Cubist. It is involved in set design, wrote theoretical articles and prepares second edition of the famous futurist opera "Victory over the Sun". However, since the early 1920's financing Vitebsk institution ceases, Ermolaeva returned to Petrograd, and participates in the organization of the State Institute of Artistic Culture (Ginhuka), where he continued studying sezannizma and Cubism. After Malevich, his disciples and L. I. Chashnikov Khidekel, autumn 1922 in Petrograd comes Suetin.
  
UNOVIS no longer exists, but some artists who were part of a group, continue to work side by side, in Ginhuke. Only Suetin and continue Chashniky UNOVIS case, the dispute, then connecting with the work of Malevich. Ermolaeva and Yudin represent a group with other interests. The separation is scheduled to be back in Vitebsk. It did not prevent the close friendly relations and Ermolayeva Suyetin. Malevich united all. By and large, all activities Suprematists and new young artists who joined him, was a logical development of ideas and methods of Malevich. At the same time Suetin starts working at the State Porcelain Factory, where he wrote, deals with the composition "Suprematist forms to apply it to the form of paintings and porcelain," which meant (we now know it) a new era. Suetin engaged in a new landmark ornament and raises questions in the cult proportions, it Suprematist porcelain, saying today's language, it is - art objects, have received international recognition.
  
In Ginhuke Suetin listed in the department of common ideology and formal theoretical division, which constitute the core Ermolaeva, Chashniky and Yudin. Like other state institutions, Ginhuk should not contradict the general principles of scientific and artistic institutions that did not align with the ideology of the new art, temporary conflicts are difficult to avoid, they become a constant backdrop. Vera Ermolaeva recognizes the special role in Suetina Suprematic and documented in her diary conflicts associated "with the sprouting of H [ikolaya] C [uetina] of gray numbers in the face. Suetin wants to create in the institute "internal autonomous organization of scientific staff. Ginhuk active, under threat of closure and being in the organizational and economic crisis - "promise to pay tomorrow, 9 rubles - the first year and a half of work!" - Ermolaeva writes in his diary in January 1925 th. In December 1926 the first departments of Malevich, Suetina Laboratory, Department Matyushina infused into the State Institute of Art History, where he organized the Committee for the Study of Modern Art. Malevich - artist-experimenter, Suetin - his assistant, along with work Ermolaeva and student Matyushina M. Ender.
 
Vera Ermolaeva talks in 1926 in a letter to Mikhail Larionov, who lives in Paris, the most important: the mutual obligations of the artist and the state, the content and form of harmony and control. Definition of "irrelevance" it used the synonym for emptiness, that quality that does not allow the authorities not objective artist for "exhaustion of raw plot" modernity. "We argue that the nature of artistic culture is not dependent on political, religious and personal ideas, that the essence of pictorial culture aimless, meaningless and unprincipled, that the artist would cover up the color of that face, which podsunet his life, but life is playing with a bad game, and makes serve themselves, their politics, religion and way of life.
 
From notebooks with notes and drawings Suetina on August 5, 1924: "Painting, revealing in the process of movement, came to the negation of the content and the end result gave the assertion that the scenic quality of the stands, regardless of any content and exists only as a clutch elements. The shape, color, texture - and they are (linked in rhythmic unity and allowing space) - the content of painting. Denial of content also provides content, but only through negation, a new concept. "
  
Ermolaeva wrote about his work in Ginhuke: "... we roemsya inside painting and color, color patterns, the color fields in the structure of forms, in all that specific, what distinguishes the artist from photographs and film, advertising, newspapers, books and other carriers walking ideas. We have to figure out for the first time that painting as such has its own orbit and that its culture, before reaching the stage II of Cubism, ended forever and can only go backwards from Corot to Cezanne, softer and vyalee that 100%of it have already been achieved and the present will only work in color, and all the plastic arts movement in architecture goes, what will end classicism era. Although it is not soon. " Suetin signs below the figure of 3 December 1924: "Art can not move at all, since moving only the circumstances arising from elements of economic and social conditions. So the question of our time put Suprematism quite specific: to be or not to be painting.
  
Ermolaeva talked about reaching its peak in painting and, turning it "back from Corot to Cezanne," led it almost on negative selection. But in art there is no progress and achieve 100%production objectivistic measurements came from the alchemical Philosopher's Stone to identify problems or dry residue in the subjective sphere of aesthetics. On the other hand, "from Corot to Cezanne" - a way of forerunners of cubism to the precursor of Impressionism, which corresponds to the general (and personal Ermolaevsky) focus on impressionism in painting those years. The art of plastic, ie formotvorchestvo Ermolaeva sends to the future architecture (architecture paper 1970?), and color, free from forms, remains in the present, which only they and will work. Analysis of individual formal elements really helps to see the dynamics of the whole language of painting - in 1923, perhaps the only critic D. Arkin diagnosed - the elimination of Cubist reception followed by a shift in dramatic changes the content component. "Following the approval of the subject clearly planned to present the return of the plot - but not in the sense of" literary content "pictures, as was the case until the process of differentiation." It has been nearly ten years and a new plot point moved its reliance on formal and stylistic categories of painting (suetinskoe: "To be or not be a picture").
 
After closing Ginhuka around Ermolayeva formed a small company called "group of plastic-pictorial realism," the center of which were L. Yudin, AK Rozhdestvensky, V. Sterligov, K. and M. Ender. Yudin defined the tasks of the group: "What characterizes the new period? It is based on the desire to establish identity for some quick, specific balance between themselves and reality, based solely on their plastic money. Individual search Ermolayeva helped her travel to the Barents Sea (1928) and White (1930) Sea and in situ work in the summer of 1932 and 1933, when she was with his students of the Kazan and M. V. kovich lived in Pudosti at Gatchina. These works are far from plenerizma, the integrity of the paintings was conceived framework, "which opens the way to comprehend the inner meaning of every phenomenon of nature, to transfer the most expressive of her life, and excited by it human feelings, thoughts and feelings."
 
In postginhukovskoe time Suetin working on Suprematist design and architectonics, a lot of draws, writes paintings on canvas and on the boards. In his painting Ermolaeva sees "the combination of the picturesque and Suprematist color sensations. December 26, 1927 Suetin wrote: "I was brought up three of Russian art. Icon. Shishkin. Malevich. From today's point of view, it is this triumvirate and headed Russian art in the face of the rest of the world. Suetin seeks to synthesis, its practical activities is very wide: he sketched the Pskov church, photographs of peasants in the field, wrote a new type of non-figurative painting, taking export orders Suprematist porcelain, made the unusual frame associated with the color scale paintings. Ermolaeva continues to work as an artist book, illustrated by N. Aseeva, E. Schwartz, "oberiutov", she comes up with picture books and, together with L. Yudin books, toys. In the early 1930's, she is drawn to the Russian classics - Krylov's fables and tales M. Saltykov-Shchedrin. Separate works in themselves have gouaches in explanation of the poem Lucretius Kara "On the nature of things", the theme song of "Don Quixote" and Cervantes' poem "Reynard".
  
Among students Ermolayeva occupies a special place Mary of Kazan. It stands out and the artistic temperament, and acuteness biographical lines. For the family born in St. Petersburg intellectuals, surrounded by fellow artists, "the question of choice of profession did not stand (on the memoirs of the younger sister). After school, Kazan was not forthcoming in the Academy of Fine Arts - in 1931 there was no reception, and began taking lessons from Vera Ermolaeva. Education was going on methods Ginhuka - the basis for lessons in painting there were studies of the five stylistic systems: Impressionism, sezannizma, Cubism, Futurism and Suprematism, as well as copying the masterpieces of the French school. When Kazan went on to work independently, she chose an emotionally close to her Fauvism, with the color impulsive, nervous line and composition, built on the primacy of spots - the way "fearless artist" (A. Rusakov). Ermolaeva taught to move from general to specific, from space to the volume of the medium to the subject. On the back of the sketch of still life is preserved (one of many) Methodological note: "bouquet should be understood as an array, rather than from the branches and flowers, located on different levels." Education did not last long, about three years until December 1934, when Kazan was arrested in the case Ermolaeva, as the party of counter-revolutionary group trying to establish a clandestine relationship with foreign countries and a leading anti-Soviet propaganda among others. In March 1935, "investigation against Mikhail B. Kazan was discontinued because the guilt in the process of investigation has not been established. Vera Ermolaeva was sentenced to three years in the camps and in September 1937 shot in Karlag. In the same year 23-year-old Maria Kazan left classes in painting, and in 1942 died in besieged Leningrad.
 
At the 1934th Suetin unsuccessfully trying to help a seriously ill Malevich, to arrange for medical treatment abroad. In the last months of life Suetin teacher makes a series of photographs, and in 1935 at the funeral, he and K. Christmas is Suprematist coffin, produces the urn for the ashes, and later brings a gift to the Russian museum death mask and cast of the artist's hand. In the same year, Ermolaeva condemned as socially dangerous element in the case of the group of plastic realism "and sent to the camp.
Suetin and survived the Stalin era and the leader himself. He was the chief artist of the Soviet pavilion at the World Exhibition of 1937 in Paris and 1939 in New York. In 1948th it for some reason (or for no reason) was excluded from the lists for "Leningrad affair" - the machine of repression has been deprived of the sequence, making it even more frightening. From 1944 to 1949 he was the chief designer of the Museum of Defense of Leningrad and the rest of his life in the 1954th headed the creative team of the porcelain factory.
 
Malevich is no less great, because come to the forefront of his contemporaries and associates. They actually do not go, changing the lighting and our assessment of the actors. We are aware that the name "artists of the second plan" is given to those who look at the performance of the social pit, and the definition of "Malevich's pupils - both for actors mimansa - we also can not be arranged. Influx. Close-up. Freeze frame.

http://uspensky.narod.ru/ermolaeva-suetin.html

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And another picture:

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And pictures

[Allena]

And another picture:

[Allena]

And pictures

[Кирилл Сызранский]

Сообщение от Allena

Anton Uspensky
Vera Ermolaeva and Nicholas Suetin: parallel and perpendicular
(edited version of the text published in the journal "New Art World" № 4, 2008)

Good material, thanks.

Malevich is no less great, because come to the forefront of his contemporaries and associates. They actually do not go, changing the lighting and our assessment of the actors. We are aware that the name "artists of the second plan" is given to those who look at the performance of the social pit, and the definition of "Malevich's pupils - both for actors mimansa - we also can not be arranged. Influx. Close-up. Freeze frame.

[Allena]

And here's another article - not to lose.


RUSSIAN radistki help "GENES OF"
March 23, 2006


Autograph from Alaska

In 1926, Bank of America on the Neva came modest postcard with the address: "Miss Walid Delakroa. Vasilevsky Island, 4. Russia. Leningrad. Return address: "Nom. Alaska."
One day in May 1926 the first name of this small village in northern Alaska, traveled around the world! It is here completed a nonstop flight from Europe via the North Pole to America on the airship "Norge" expedition of the famous polar explorer Roald Amundsen. Here is the text of the message: "After the end of the polar flight sending best regards to you and your mother ... your grateful disciple Finn Malmgren.
Reported by the famous researcher, whose name in those years was thundering like almost half a century later, the names of the first cosmonauts. And to whom? No one has driven a girl from Leningrad Walid Delakroa. Why?

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"Norway" in Gatchina

... April 1926. Audience geographical faculty of Leningrad University. It honors the crew of the airship "Norge".
In the hall there are members of the expedition led by Riesser Larsen, Vice Amundsen. On behalf of all present Amundsen sent a congratulatory telegram. And then start talking. And so the expedition meteorologist Finn Malmgren said that his work (as well as the success of the case) depends on the weather forecasts, which take on the radio. A young Walid Delakroa, radio operator by profession, just a lively interest in radio communications in flight conditions. The conversation got going, where they found a common language (German) and the overall theme that worried both - the upcoming flight.
And a few days Walid Delakroa with Finn Malmgren examines the unique at the time the airship "Norge", standing in Trotsky (since then called Gatchina).
Malmgren shows and radio - compactly mounted in a small radio room and its equipment has been very perfect.
The expedition was a radio operator known Russian polar explorer Gennady Olonkin. But transpolar flight to constantly be uninterrupted radio, needed a professional, experienced in a multilingual radioobmene. And Malmgren suggested Walid to become a member of the expedition as a radio operator.
Being the first in a new, undiscovered? Where there is not any man will rise!
But it is in its nature! And this has already happened. Even in 1923, the Maritime Register of the USSR held the first state certification of all signalers. Certificate radioman first class with the right to serve, as stated therein, "to the courts, bearing the Russian flag," the first among the women was just Walid Delakroa. It was her then twenty-two years ...

Telegrapher for pedigree

The fate of Waleed decided, as she herself said, "genes communication ...
Father Vladimir Walid Wittenburg in Warsaw and Lodz in charge of the telegraph stations. After the defeat in 1864, the tsarist troops of the Polish uprising of his exiled to Siberia for settlement. And in 1877 appointed telegrapher first class in Vladivostok.
In the family of her grandfather, Vladimir Wittenburg and his wife, Maria Ivanovna had nine children. The eldest daughter, Elena Wittenburg before marriage also worked as a telegrapher. In 1891, she married a Frenchman Ernest Delakroa - also an employee of telegraph. In 1904, Ernest Delakroa arrived in St. Petersburg.
But a decisive role in choosing a profession played, probably, still older brother Walid Vladimir Delakroa. After graduating from a technical school in 1910, he joined the Electrical Department (Department) Electrotechnical Institute. Alexander III. From the first days of the revolution worked in radiootdele Commissariat of Posts and Telegraphs, first in Petrograd, then in Moscow. Participated in the installation and trial operation of the first in our country phototelegraphic apparatus for communication with Berlin, as well as highways connecting Moscow to Leningrad, Sverdlovsk, Tashkent and other cities of the USSR.
The summer of 1942 Vladimir Delakroa arrested and convicted under the infamous Article 58. In 1943, he died in the East-Urallage. In 1957 it completely rehabilitated due to "lack of evidence" ...

First appointment

Immediately after high school Walid completed the first professional school of the Moscow Radio personnel, was assigned to the Volga to Kazan. Initially as a trainee, understudy to the military field radios learned to encrypt. The next "step" radioraboty was interesting, exciting, or something. We had to catch big (like it was in those days) rate - more than 100 characters per minute. In the new duties include reception and press these "whales" of the international radio as they were German, French, Scandinavian and other wireless operators.
And Walid became involved in painting. Began to be engaged in the artist Pavel Mansurov. It is this passion led her to the sea ...
It all started with a meeting of old friends - talented young artists Pavel Mansurov, and Vladimir Tatlin. In the past, Tatlin was a sailor and a friend, first mate of the ship "Karl Marx", he knew that in Petrograd the port are seagoing vessels that can not go to sea because of lack of radio operators. Learning from Mansurova that Delakroa on the main profession radioman, Tatlin had recommended her to work in Baltmortran (both formerly known as the Baltic Shipping Company).
But was not forgotten and the second love - painting. In 1922 Walid Delakroa became a student of the Academy of Fine Arts in Petrograd, and four years later, having finished their studies - a professional artist.

No room for error

But the sea was still in the first place. Flights to distant lands: first, Europe - Germany, England, Scotland, Denmark, and then America and overseas Asian countries. Walid Delakroa went on such vessels as "Karl Marx" (before the revolution - "Diana"). By the way, the captain of her from 1899 to 1903 was the legendary Peter P. Schmidt. Then - on "Kamo" led by "accident-free captain AP Smirnova, with whom was a friend of many years. In addition, its record number and "Karl Liebknecht", and "Decembrist" (formerly "Anadyr", in the Russian-Japanese War took part in the Battle of Tsushima).
In these flights young wireless-operator was an excellent school, moreover, in a very difficult international environment. The slightest error in the radio could lead to serious political complications.
... Offer Finn Malmgren to become a member of the team Amundsen Walid, alas, failed to take advantage. The reason was purely personal - seriously ill mother. Soon after she died ...
But life went on. And once it became clear that an excellent knowledge of French, English and German languages is not enough. Walid ordered to urgently learn Italian. Later it became known that he was talking about the case of national importance: the biggest in the Baltic cargo-passenger ship "Transbalt" preparing to carry out special assignments. It should have been delivered to an international conference in Genoa, our diplomatic mission, headed by Lenin.
However, fearing an attempt on the head of government, in Genoa, it was decided to send George Chicherina, and not by sea. The flight did not take place, but yet another recognition of our heroine, in my opinion, obviously.
In the late 1920 Walid Ernestovna was on for a new pedagogical endeavors. In Petrograd the first time in the country opened up the sea of radio at college. Delakroa invited to conduct classes on practical radio.
But not everyone was clear the role of radio in the sea. "Swam without a century, radio, and live there now," - said very experienced sailors. And not only them. And in 1925 in college unexpectedly to all come under strict orders from Moscow: "Exchange close! As useless!"
The initiative to restore the rates assumed Walid Ernestovna. In Moscow, she was able to achieve and more: it was allowed to open a special radio department of the Leningrad naval college. Half a century later, after World War II, it became a base for the opening of Radio Engineering Faculty of the Higher Marine Engineering College of. Admiral Makarov.
... By flying, but the memory of the pioneers - the first women who have conquered a man's true profession - still alive today. In 1972 Walid Ernestovna Delakroa (in marriage Nesmelova) is not. In 1999, it was noted
100 th anniversary of her birth. Holy preserves the memory of his mother's son, Nikita Sergeyevich Nesmelov. It organizes exhibitions of paintings and graphic works, published articles and memories, creating videos.

In honor of an amazing woman named passenger boat Radist Nesmelova. And on the Radio Engineering Department Naval Academy. Admiral Makarov hangs a marble plaque: "the first female radio operator of the USSR on seagoing ships" ...

//Alla SOKOLOVSKY

http://www.nvspb.ru/stories/russkoj_..._pomogali_genu

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Сообщение от Allena

In 1922 Walid Delakroa became a student of the Academy of Arts in Petrograd, and four years later, having finished their studies - a professional artist.

Studied at the Academy of Fine Arts in Studio of spatial realism in prof. MV Matyushina.

[qwerty]

Generally speaking, the forum has about Lisitskaya written more than once, I want to tell more about the publication, which I finally had the good fortune to obtain. This seven-volume (!!!), released a limited-edition in 2004 Authors: Alexander Kantsedikas and Zoya Yargin, Publishing - New Hermitage - One ".
The first volume is devoted to the early period of creativity El Lissitzky, associated with the formation in Russia of Jewish national art in the early twentieth century.

1-62. Memories of Ravenna. 1914. Engraving. 32,8 h36, 6. Van Abbe Museum, Eindhoven.
1-68. King Solomon. Illustration by H. Bialik's poem "King Solomon". Journal SHTIL », № 6-7, 1917, Moscow.
1-86. Book Cover Mani Leib "Yingl Tsingl-grip" (mischievous boy), 1919, Kiev.
1 95.Illyustratsiya to the book "Had Gadya, 1919, Kiev. Lithograph.
1-107. Skripachok. Illustration for the book "Vaysrusishe folksmayses" (Belarusian People's tales), 1922. Berlin.

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The second volume is devoted entirely to, perhaps, the most famous section of the artist's work - PROUNI (PROUNI - approval of a new project). This avant-garde work of El Lissitzky, resulting from active creative interaction with Malevich and Suprematism constitute a particular direction.

2-85. Proun. Sketch panel "Rosa Luxemburg", 1919-20, pencil, gouache, 52h50, Van Abbe Museum, Eindhoven.
2-89. Proun 23 (option), 1919-20, oil on cardboard, 45,5 x65, private collection.
2-97. Proun 12e, 1923 (?), Oil on canvas, 57,1 x42, 5, Bush-Reisinger Museum at Harvard University.
2-108. Proun 190. Beginning. 1920, plywood, canvas, mixed technique, collage, 97,5 h97, 5, Museum of Modern Art, New York.
2-112. Proun with celluloid triangle (option PROUNI G7). Ok. 1922, canvas, watercolor, charcoal, collage, 47,9 x39, Stedeliyk Museum, Amsterdam.