Tretyakov show graphics from the collection of avant-garde Larionov

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show Tretyakovka graphics from the collection of avant-garde Larionov

16/02/201017: 44

MOSCOW, February 16 - RIA Novosti. Exhibition "The whole world - theater," which displays works of art from the collection of avant-garde artist Mikhail Larionov, opened at the Tretyakov Gallery on Tuesday, RIA Novosti reported the press service of the museum.

The exhibition tells about collecting activities Larionov, who along with his wife Natalia Goncharova in 1915 left Russia joined the European tour in Diaghilev's ballet company, and always remained in Paris. Legacy of the couple got into the Tretyakov Gallery in 1989 as a bequest of the artist's second wife Alexandra Tomilin.

Organizers selected from numbering 10 thousand sheets of a collection of 300 works reflecting the artist's interest in the history of theater, dance, costume. All of them are presented in several sections.

The "Unusual travel" includes a poster middle of XVIII - early XX centuries from various countries. "The whole world - theater dedicated to the engraving of Western Europe began XVI - XVIII centuries, introduces the major European engraving techniques and reflects a theatrical, spectacular nature of European art at that time.

Section La vie parisienne presented scenes from the life of actors, artists and circus, frequenters of the opera boxes and slum backstage, and masked balls - all created by French authors. Russian as part of the collection shows the section "And the smoke of the fatherland," which displayed a variety of materials on the history lubok - from the popular images of over two centuries ago to copyright Lubkov beginning of XX century.

In addition, the show also includes sections on "In the rhythm of the dance," But the West is West, East is East ...", "... Under the cherry blossom" and "Happy New Year, the holiday of spring, where exhibited Chinese and Vietnamese New Year folk paintings.

All collected Larionov, in the end it was his source of inspiration for the design of the performance, so the thematic diversity of his collection is so large. In his collection of works by French engraver and painter of XVII century, Jacques Callot, or master of Japanese classical Utamaro prints side by side with the illustrations of the benefits of close combat, fencing or holding jousting, fashion illustrations and examples of industrial design.

For the public exhibition will run from February 17 to 26 September 2010.
http://www.rian.ru/culture/20100216/209499734.html

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An flea market

In the halls of the Tretyakov Gallery in graphics Lavrushinsky Lane opened an exhibition of engravings from the collection of the great Russian avant-garde artist Mikhail Larionov, "The whole world - the theater ...". In the backstage theater larionovskogo penetrated Anna Tolstova.

Of the masterpieces of the world of proprietary printed graphics - is that "Fifty-three stations Tokaido" Utagawa Hiroshige yes "Beggars" Jacques Callot. And, of course, Kallotov same "View of New Street in Nancy: she choked with crowds rotozeev because the center is a joust, to the left moves the triumphal procession with the centaurs, harnessed to the chariot, which adorn the characters and the captives of the Turks and the right - somersault acrobats on a trampoline. The whole world, who would have argued, the theater, but because any sign of the carnival life, captured in the prints - from the scenes in the gay neighborhoods of Kyoto to a baroque funeral procession, worthy to be transferred to these theaters.

In 1915, Mikhail Larionov and Natalia Goncharova left Russia to work for Diaghilev's seasons, and never returned to their homeland. In 1989, all of their legacy was transferred to the Tretyakov Gallery: works, archives, library and vast collection larionovskaya. It contains over 10 thousand units of storage: engraving in Russia, Europe, Asia and the Americas since the beginning of XVI century until the mid XX. It could be even more: gathering Larionov sick in ten years, as soon as he arrived in Moscow from Tiraspol and opening a valve, as Suharevka, but that the first part of the collection remained in Russia and vanished after the revolution. Larionovsky fund, which is stored in the Tretyakov Gallery, is that easy come already in exile and in many respects is connected with the theater.

First impression - that you get in cabinet of curiosities, full of all sorts kuriozitetov. Like engraved in Germany in the XVIII century flat puppets "Grinder", which can move the pen with a dagger and a leg on the pedal. Or Japanese catagen, paper stencils for drawing the ornaments on the fabric - from their air laces, it seems, went Goncharivske painting since the art deco. Or lubok Chinese people, werewolves, evolving into the crayfish, dragonflies, bats and just riding astride a hare. Or a portrait of the Dutch painter Cornelis eccentric Ketele of Gaudi, who, according to Karel van Mander, writing directly to get the hang of hands, without hands, and then completely switched to painting his feet - presumably, the ideologues of "Donkey's Tail", this style was similar.

And at the same time, it is remarkably coherent in its eclectic collection, compiled by an anthropologist, which is interesting all: costumes, dance, gestures, manners and customs, ceremonies, spectacular culture in all its manifestations - from street jugglers to castrates in the Teatro San Carlo. Great place here is splint, and not only Russian, European and Japanese - that at the end of XIX and early XX century, many were carried away. Orientalists say that colored woodcuts with congratulations and icons, amulets from China and Vietnam in the collection Larionova truly unique.

Curators Tretyakov strive to bring some structure all this artistic diversity. That poster - and it is not limited to Toulouse-lotrekovskimi silhouettes of dancers at the Folies-Bergère "with a poster by Jules Cheret. Here and French magicians, and Kabuki theater, and etching the XVIII century, boomer statement "women-rubber, with promising picture and the slogan" Can you see it, in that it is impossible to believe. " And the dancers of the Cambodian King Norodom First: in 1906 the Khmer Royal Ballet tour in Paris - the so Auguste Rodin traveled with the troupe until Marseilles, all sketched motion. Speaking of dance: dances at the Hotel de Ville, the eternal rival of Marie Taglioni and Fanny Elsler, Spanish segedilya, dancing natives of New South Wales, ritual whirling dervishes. Here is an illustration of the manual on unarmed combat Dutch athlete Nicholas Petter, published in Amsterdam in 1674: two cavaliers in doublets, embracing, as in the tango, mercilessly mutuzyat each other. Here are unknown polichinelles and bust of the famous mime Paul Legrand, surrounded by dozens of images he created Pierrot, that kabuki actors, and the brave tamer Madame Labarer, crinoline which barely squeezed into a cage with lions and bears. Here's a collection of types and costumes: Geisha, Moors, Janissaries and planter from the island of Suriname. This type of cities, which in case it is possible to use as a theatrical backdrop. Especially good in "The Big Square in St. Petersburg" of some European visionary end of the XVIII century: what sort of have not yet built the Kazan Cathedral is a kind has not yet laid Architect Rossi Street. Other types of Mexico City, Cadiz and London are different, apparently, the same degree of certainty. And the most plausible - Italian comic XVII century "Description of the country's loafers, where he lives well, who does not work."

It is inconceivable that such a collection assembled one of the St. Petersburg aesthetes-miriskusnikov. No, they are also valued splints about Aniko warrior and ukiyo-e, but to such an omnivorous and lowbrow (Larionov was not averse and penny photolithography with publications Rovinsky) would never have fallen. And partly so no Alexander Benois, nor his colleagues had not come to the forefront of Russian art.

http://www.kommersant.ru/doc.aspx?DocsID=1323105

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avant-garde curiosity shop

Text: Michael Bode /Infox.ru

The exhibition of "Paris heritage Mikhail Larionov, which opened in the Tretyakov Gallery in Lavrushinsky, no futurism, or" Rayonism "or sketches for Diaghilev's productions. Another behind the scenes, Larionov - frequenter of Parisian booksellers and junkman, collector of prints and Lubkov all times and peoples. Small part (300 pages) of his huge collection tretyakovtsy combined under titer "The whole world - the theater ...".
The artist-collector - a special type of collector. Of course, in this industry it is driven by artistic taste, but it was his own, quite original, but that happens and capricious. And, of course, a practical interest. For instance, Rembrandt bought the precious utensils, armor and oriental fabric, which, before going to the creditors, were on his paintings. Van Gogh collecting Japanese prints ukiyo-e and it studied the methods of contour drawing and decorative letters. It is not the academics, Rodin, however, collecting antiques, however, later they were all fakes. However, in collecting the artist's most important - not authentic and not the pursuit of masterpieces, and, so to speak, find food for the eyes. This, if not food, exactly closet artist. If you continue with this analogy, we can say that for each forthcoming Wallpapers recruited its own basket, which folded in such a case the necessary products.

On his arrival in Moscow from Tiraspol, Mikhail Larionov began to walk on the collapse of the famous Sukharevka, where you can cheaply buy splints, wooden gingerbread printed boards and other folk crafts. As we know, this storehouse of folklore served him a visual aid when creating a Battle of Kosovo opus. However, he was not fond of one "grass-roots culture: many of his colleagues on a" Jack of Diamonds "and" Donkey's tail then looked at the "Cezanne" and "Matisse", then on street signs, the antediluvian handbills booths and circuses and those same splints. Leaving in 1915, along with Natalia Goncharova for Diaghilev's first engagements in Switzerland and then France, Larionov left Russia in his collection, which then disappeared. Clearly, presented at the current exhibition - the artist is the catch on the banks of the Seine, the fact that he was able to pick up over the years with second-hand book stalls and antique shops.

Big fishes in his basket nearly there: Is that three or four masters of engraving by Jacques Callot and several woodcuts Utamaro and Hirosige. However, Larionov for them and not pursue - and the funds are not allowed, and interests are special and unique. With skill hunter with Sukharevka he catches everything that one way or another had to do with spectacles - whether the cancan at the Folies-Bergère "(poster by Jules Cheret), posters or prints of Kabuki theater with Cambodian dancers. Theatrical Veduta XVIII century, boldly and carelessly painted a trader for a better distribution, side by side in his meeting with Dutch engraving tool to combat the XVII century, lubok Malevich during World War II and the Chinese and Vietnamese "people's pictures." However, Larionov - not Bakhrushin, and it is not collected for the museum's theater, and, most likely, for practical purposes: in 1920 he and Goncharova, continued to cooperate with the Russian Ballet. And really how the collected art ingredients transformed into his creative cuisine in the sketches for Diaghilev's productions, said no one can - recipes knew only one artist.

Of course, not everything in the collection Larionov due to his professional work. For purely personal pleasure, he, like the monarchs of the Baroque period, collecting a kind of cabinet of curiosities. This engraved gallery of curiosities and original typecasting and monsters were like Edward Bright, the very fat man in England of XVIII century (300 kg), and Dutch painter chudik Joos van Cleve, who wrote his feet, and the first swallow of feminism, Anna Maria von Schurman -- - only in the XVII century woman - a student of the University of Utrecht.

Surprisingly, the avant-garde, that is "left" artist, Larionov in a foreign land suddenly imbued with the charm of the monarchy. And the exhibition organizers, who invented its many parts subtitles ( "Parisian Life", "In the rhythm of the dance", "Under the cherry blossoms," etc.) would cost to start and this section as "God Save the Tsar". There could be incorporated and to French splint c Cossack and the text of the hymn «Dieu, protege-nous le Tsar», and an engraved portrait of the King of Cambodia Idalkanena, and a series of woodcuts with lavish ceremony of the Japanese Emperor Meiji. Although perhaps all this can be attributed to the dramatized, mock monarchism artist-exile.

http://www.infox.ru/afisha/show/2010...larionov.phtml

Добавлено через 3 минуты
More pictures from the exhibition:

[Тютчев]

avant-garde curiosity shop

Text: Michael Bode /Infox.ru

The exhibition of "Paris heritage Mikhail Larionov, which opened in the Tretyakov Gallery in Lavrushinsky, no futurism, or" Rayonism "or sketches for Diaghilev's productions. Another behind the scenes, Larionov - frequenter of Parisian booksellers and junkman, collector of prints and Lubkov all times and peoples. Small part (300 pages) of his huge collection tretyakovtsy combined under titer "The whole world - the theater ...".
The artist-collector - a special type of collector. Of course, in this industry it is driven by artistic taste, but it was his own, quite original, but that happens and capricious. And, of course, a practical interest. For instance, Rembrandt bought the precious utensils, armor and oriental fabric, which, before going to the creditors, were on his paintings. Van Gogh collecting Japanese prints ukiyo-e and it studied the methods of contour drawing and decorative letters. It is not the academics, Rodin, however, collecting antiques, however, later they were all fakes. However, in collecting the artist's most important - not authentic and not the pursuit of masterpieces, and, so to speak, find food for the eyes. This, if not food, exactly closet artist. If you continue with this analogy, we can say that for each forthcoming Wallpapers recruited its own basket, which folded in such a case the necessary products.

On his arrival in Moscow from Tiraspol, Mikhail Larionov began to walk on the collapse of the famous Sukharevka, where you can cheaply buy splints, wooden gingerbread printed boards and other folk crafts. As we know, this storehouse of folklore served him a visual aid when creating a Battle of Kosovo opus. However, he was not fond of one "grass-roots culture: many of his colleagues on a" Jack of Diamonds "and" Donkey's tail then looked at the "Cezanne" and "Matisse", then on street signs, the antediluvian handbills booths and circuses and those same splints. Leaving in 1915, along with Natalia Goncharova for Diaghilev's first engagements in Switzerland and then France, Larionov left Russia in his collection, which then disappeared. Clearly, presented at the current exhibition - the artist is the catch on the banks of the Seine, the fact that he was able to pick up over the years with second-hand book stalls and antique shops.

Big fishes in his basket nearly there: Is that three or four masters of engraving by Jacques Callot and several woodcuts Utamaro and Hirosige. However, Larionov for them and not pursue - and the funds are not allowed, and interests are special and unique. With skill hunter with Sukharevka he catches everything that one way or another had to do with spectacles - whether the cancan at the Folies-Bergère "(poster by Jules Cheret), posters or prints of Kabuki theater with Cambodian dancers. Theatrical Veduta XVIII century, boldly and carelessly painted a trader for a better distribution, side by side in his meeting with Dutch engraving tool to combat the XVII century, lubok Malevich during World War II and the Chinese and Vietnamese "people's pictures." However, Larionov - not Bakhrushin, and it is not collected for the museum's theater, and, most likely, for practical purposes: in 1920 he and Goncharova, continued to cooperate with the Russian Ballet. And really how the collected art ingredients transformed into his creative cuisine in the sketches for Diaghilev's productions, said no one can - recipes knew only one artist.

Of course, not everything in the collection Larionov due to his professional work. For purely personal pleasure, he, like the monarchs of the Baroque period, collecting a kind of cabinet of curiosities. This engraved gallery of curiosities and original typecasting and monsters were like Edward Bright, the very fat man in England of XVIII century (300 kg), and Dutch painter chudik Joos van Cleve, who wrote his feet, and the first swallow of feminism, Anna Maria von Schurman -- - only in the XVII century woman - a student of the University of Utrecht.

Surprisingly, the avant-garde, that is "left" artist, Larionov in a foreign land suddenly imbued with the charm of the monarchy. And the exhibition organizers, who invented its many parts subtitles ( "Parisian Life", "In the rhythm of the dance", "Under the cherry blossoms," etc.) would cost to start and this section as "God Save the Tsar". There could be incorporated and to French splint c Cossack and the text of the hymn «Dieu, protege-nous le Tsar», and an engraved portrait of the King of Cambodia Idalkanena, and a series of woodcuts with lavish ceremony of the Japanese Emperor Meiji. Although perhaps all this can be attributed to the dramatized, mock monarchism artist-exile.

http://www.infox.ru/afisha/show/2010...larionov.phtml

[Тютчев]

More pictures from the exhibition:

[Тютчев]

For the public exhibition will run from February 17 to September 26, 2010.

Very interesting to look into the "kitchen" genius Larionova, but surprised the duration of the exhibition! Seven months! More than half the images are interesting, mostly because they collected and they have inspired Larionov? I do not understand why so long?! Overkill! Is GTG has nothing to show!?