She found an interesting article on the website of the Yaroslavl Art Museum. Go on, that was not lost.
Mikhail Sokolov: stubborn images
Marina Polyvyanaya Magazine "New Art World" № 3, 2004
"I want ... forever! Ridiculous. Do not you think?" Oh I am so eager now to life to all living things ... How I'd like to share with you this passion for life, so that you understand all the charm of life, its indisputable ... "''
MK Sokolov (From a letter NV Verescagino-Rozanova. 1947)
Held recently in Moscow and Yaroslavl exhibition Xenofontovich Mikhail Sokolov, organized by the State exhibition hall "Ark" and the Yaroslavl Art Museum, the owner of the main part of the heritage of the artist, presented his work 1910-40-ies from private collections in Moscow, St. Petersburg and Yaroslavl museum collections. Many of the audience saw the first time.
The legacy of Mikhail Sokolov has more than one thousand works, however, during his life he lost much thought. "I have until 1923 all that I have created - I have also destroyed ... if that survived in any of donated me." Surprisingly, this period of the exhibition presented a large number of previously unknown Graphic - St. Petersburg sketches, still life and compositions with a slightly kubizirovannoy form, concise portraits of real and imaginary characters. The artist was generous with gifts to your friends, and being grateful retained these gifts in private and museum collections.
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Born in Yaroslavl in 1885, the Cooper family, our hero was a "Frenchman" in the art. The name of this "lonely dreamer," the apostle of beauty "does not meet a list of art associations in the first half of XX century: not overly, no part - although not remain indifferent. "He lived an ascetic life in a literal sense, if we exclude his" novel. "He despised the petty-being and for him never to sacrifice their freedom ... He was an artist and an aristocrat-esthete in art, but the real barbarian in life" - recalled the close friend, art historian and biographer of the artist's first Nicolai Tarabukin. "... Obsessed with its picturesque dream, he bears a stubborn romantic images of landscapes, whimsical Golgotha, vintage women's hats mannered. It rests on your imagination and does not recognize the becoming of the day" - so wrote about it in 1920 Dmitry Nedovich. "Let me take the way I have - awkward, an inveterate dreamer and romantic - all the senses-deep in" non-existent, unreal, "- to recognize an artist, fine ladies and Passion." He surely was out of step with his time, and this is led by their heroes.
Remembered handwriting Sokolova - light, swift, elegant. So he himself remained in the memoirs of contemporaries: "... a slender, blue-eyed, with a charming smile, he did not go, and literally flew on her favorite Arbat. Extraordinary beauty was in his gait - the rapid, easy, if not even man quickly walked through the streets, and raced some spirit in their elegant patent leather shoes. "Extravagant appearance, he has constantly drawn the attention, brought to life, noisy and somewhat disturbing cheerfulness" . His character is called a "volcano", it was living a mad thirst for life, even at the end of it, having his "Calvary Road", he declared a passionate desire in the works to remain young until the last day. "
In 1904, after graduating from the Municipal drawing classes, Sokolov against the wishes of his father, the means of a patron, went to study at the Stroganov Art School, but school has brought only disappointment: "... I had to overcome the fact that it imposed." His "universities" have become museum collections in Moscow and St. Petersburg. "Our teachers in art and aesthetics was a generation of Alexander Benois and Vyacheslav Ivanov," - wrote Nicholas Tarabukin. He said "contamination" Sokolova at the end of 1900's Vrubel, which was "one of the most powerful and long-term illnesses Sokolova" other art "... The artist went to his" Sokolovsky "style on the road, which is typical for many artists of the early XX century: a Impressionism, Cubism, Futurism, Suprematism ... "non-figurative design" is likely to have not survived, but remained in the memory of friends. "We went into the yard and picking out pieces of rusty iron, sometimes taking them with him, if it is liked the texture. Further, they "build in" in suprematic "things" in any kind of "relief" and "kontrrelefy" - recalled NM Tarabukin. Anecdote describes Yaroslavl fan of the artist Nicholas Mal'gin: "Once I found Michael Xenofontovich at work on the still-life. As depicted on the canvas? From the corner to corner diagonally pictures were stretched and attached to the violin string, just below the edge of the canvas glued to a piece of crumpled newspaper and Two cigarette butts, the strings female black glove. It made me stunned. Especially since I first saw at the Sokolova work of this kind. "Well, Niko, how?" - said Michael Ksenofontovich. His eyes were burning, the whole view expressed enthusiasm, and I realized that the argument is dangerous. timidly said that this had something, but do not understand these tricks. What is there to set up! word, then we strongly quarreled, while Sokolov did not come to Yaroslavl. When I arrived once again , the storm if it never happened. MK confessed that he too clever by half, and soon threw quite similar tricks. And that story with a still life and strife, both remembered with a smile. "
Passion "leftism" as a passing fashion was akin to the very artistic appearance Sokolova, with youth indifferent to the costumes: "I like to be well dressed, but I did not embarrass and bast shoes (if there is no patent leather shoes)." Sometimes the artist, buy the regular canvas and with the help of black lacquer turned them in patent leather boots, which "made him more mysterious to outsiders." They said that sometimes in the absence of socks he painted legs ...
Aptly described this period Dmitry Nedovich: "With great ease of changing direction, trying different approaches, as if trying on different clothes - what more to a person, it is still internally fission and true to himself, is constant in his vagrancy, others looking for myself ..." In 1916-1917 gg. Mikhail Sokolov's drawings were exhibited in St. Petersburg and Moscow in exhibition "World of Art". In the northern capital, he made the acquaintance with the critic Nikolai Punin, and soon in "Apollo" an article "Images of several young," where he writes about Sokolow, as the last day of Impressionism "and, noting the" brilliant technique, beautiful style and intense literariness "predicted the emergence of special" Sokolovsky "style:" All the fleeting, random and aesthetically lives in Sokolow, even if weak and outgoing life, but with great perseverance - that it is best shown by the one line that separates the two worlds, two art world : it - fading Impressionist aestheticism and it is - alive, in anticipation of which he Sokolov seems more powerful and more perfect "...
From the first days of February 1917 Sokolov became the epicenter of the revolution. "It was alarming and joyful. Giddy, like a precipice" - Tarabukin saw his friend in the office, in a leather armchair, who ordered confident, powerfully and efficiently. On the table lay a revolver. The artist was obsessed with the revolution. In the days of the July uprising, he - a recognized leader among the Bolshevik-minded sailors. In the autumn he came out strong conversation with Kerensky, was threatened with arrest. "This meeting Sokolov recalled with indignation and resentment." He suddenly lost interest in everything. " The revolutionary experience was the first break in the creative destiny.
In 1918 Michael Ksenofontovich arrived in Yaroslavl - Yaroslavl Art Society has allocated to it at its own exhibition hall, where Sokolov presented the work of the past six years, causing a profound misunderstanding of our countrymen. Despite the cold reception, MK Sokolov participates in the organization of free art workshops. His class is considered futuristic.
It is significant that at this time born Sokolova cycle "Saint Sebastian". The popular image of the Renaissance takes new meaning in graphic sheets and collections of poetry Sokolov, an artist, connecting the freedom and passion of a revolutionary and a brilliant draftsman. Former is arrows nudity does not seem defenseless, there a lot of energy, strength and youth. Kubizirovannye form perfectly match the rhythm of poetry and the artist, musical ringing alliteration:
Booms, boom, boom
OS sharper
Kiss the body
Arrows
Years, rise --
Zealously, smashing evil whistle
The Nanny! ZZZ! ZZZ! ZZZ!
ZZZZZZZZZZZZZ!
He sings his Sebastian, the tragic hero of XX century. The image of Sebastian artist, has passed through the temptation of romantic rebellion, he reflected in a mirror, anticipate the fate of his generation.
"We were far left -" Futuro ", did" picturesque landscape "and the other on the situation at that time. It was my great foolishness, but as it was good!" There was so much faith in the truth of all isms, "- he wrote later, the artist . Teaching in a spirit of avant-garde movements in the Yaroslavl and Tver was hampered by the provincial opposition to new artistic forms. In 1923, Mikhail Sokolov moved to Moscow to work in the Fine Arts Proletkult workshop, which was then a stronghold of the Left. "
A search in a cubist figures, through the poetry of symbolism evolved individual style of Mikhail Sokolov. The destruction of works of the early period is not crossed out lessons learned from the masters and the "Hermitage", and the avant-garde anymore. Artist rose above himself and reality, set new goals in the coordinates "supra-temporal culture." Saint Sebastian became the forerunner of the theme of the Passion, which came to mid-1920 a special place: "Images" Passion ", which I treasure and love, and without them would be a significant gap in my artistic heritage, with the formal parties also believe that is the most powerful of all I did. " Executed expressive pen and black ink, sanguine, charcoal and pastel, the cycle includes about 500 sheets, gave her hand a brilliant improviser, has applied to the eternal themes that have always stirred the great masters. What is more frightening and ruthless was the reality, so subtle, surreal images became Michael Sokolov. His endless "beautiful lady" and "Imaginary Portrait" - a perfect illustration of the beloved Blok's "The Stranger". Ladies Sokolova if woven of air and light. Drawings "Bathers" early 20-ies are imbued languor, tenderness, transparency. They look like ghosts of former ... to his dream of ideal beauty, overlooking the reality, he turned over the entire creative way. Search the eternal ideal for many years, returned it to the series "The French Revolution", "Musicians", "Circus," "Horsemen" ... restrained, pearl scale, iridescent pearl-gray tones was precisely his beautiful melody. "... In his orchestra - subtly and precisely the writer Vladimir Lidin - only strings but still a flute or clarinet with their almost human in its sounding voice." He lived in Moscow on the Arbat. He was often seen on the boulevard, sitting on a bench, or wandering through the old streets and alleys. With him he carried a notebook for full-scale sketches - worked on a picturesque cycle "Leaving Moscow. These landscapes breathe blue-gray fog, they hear the silence of vanishing Moscow. For the artist it was most important "experience" - he wanted to portray the feeling that felt, coming into contact with the paintings of the old city. His high 'stubborn images "continued to live in the new Moscow, vigorously and do change people.
In the late 20's twice in Moscow, he held discussions with the exhibition, the works were acquired Tretyakov Gallery. In matters of creativity Sokolov was uncompromising. He does not want to be dependent on the reality. He did not work to order. For advice about earnings replied: "... you do not understand the point, that there were no opportunities there, and not because I do not want, but because I have nothing to do, what they pay, will not be able, as well as I did - not need. He taught and by the mid 30's has grown to master not only has his own style, but his "school". He tirelessly walked to the goal - "to learn the secrets of painting."
In 1934, Michael Ksenofontovich joined in organizing the Moscow Union of Artists, but it has not lost his inherent creative identity. When the artists of the Soviet Union Sokolov shifted to reflect the socialist reality, Sokolov, more and more left in his individual world, which gave rise to conflict with reality. With the directness of the provincial romance he could quit in the face of repertoire that are more expensive than the belly of art: "You know - I have everything open, with a bang, and not whisper" ... in 1936, held a landmark exhibition for the wizard. The works occupy a separate room and stood out. Along with congratulations, the press has charged that his art "is alien to the Soviet reality." MOSH concluded Sokolov has no right to raise the artistic staff, as ideologically harmful formalist. He then taught at the Institute for Advanced Studies of artists and designers in Moscow. His resignation was not accepted. In one letter he wrote: "Art Moscow is now living two camps - my friends and my enemies. It was seen on a production meeting. The battle was hot. This is a" meeting "will go down in history as a great shift from a dead standstill in recent years. I talked the last one. When it comes to "the place of the speaker, then, by the remark of one of my friends, my view was kind of a man walking to the gallows to" its inevitable ", - the only difference is that going to the applause, as a fashionable tenor ..."
The problems this time, intertwined with the issue of allocation of the workshop. MOSH refused. One of the friends of the artist wrote a letter to Stalin, and in 1938, Mikhail Sokolov received the keys to the workshop. But this happiness was illusory.
October 25 MK Sokolov was arrested, according to Art. 58 He was sentenced to 7 years in prison and exiled to the camp to the station "Taiga". The letters were to him, gulps air, to support life. Friends send art magazines, newspapers, poems, his favorite poets. He made mental walk through the halls of museums, exhibitions of interest, was eager to work. In his letters to the suffering neighbors with high creative thought: on art, poetry, music. The most excruciating pain was incomplete understanding of his creative path: "How sad is my fate, I found a solution to the picturesque tasks that can be done only I - the catastrophe, and it all must die with me. The heavy mind!" Camp forced to seek new artistic techniques. Astonishing inventiveness wizard. Instead of using a light pen that has acquired the necessary background texture, paper smoking scratched with a sharp object, or soaked and loosen it. Rubbing pencil crayons and mixed them with chalk or tooth powder, and thus received material capable of expressive means to replace the bed. There was a kind of miniature camp. The most accurate estimate of a match this label works was given a pupil Sokolova, Nicholas Lehmann: "This - a little-big painting in which the artist enters into a duel with the material, each time leaving a brilliant winner." Over thousands of miniatures, he sent for the five years of exile to their friends and loved ones celebrating the transformation of the artist. "The sufferings were the crucible in which perekipela life" - says NM Tarabukin.
In 1943 the artist due to illness earlier released. His condition was critical, but "victorious spirit body." Not being able to return to Moscow, he lived in Rybinsk. Friends, students, loved the ladies once again become his eyes in the world, he sent them to their miniatures and poems. The artist returned to the cycle of illustrations (Pushkin, Gogol, Dickens, Maupassant), easel graphics and paintings. Have a beautiful cycle of still lifes with flowers, fish and birds. In their experience and wisdom of the masters, past his "Calvary Road" and has not lost faith in the beauty: "And do not be a lot simpler life, and even its horrors (Suffice it to recall the war that brought it), if there is a beauty, and can be and should. And my "Hosanna" life justified the beauty of art. "
In 1944, the friends have made to restore the Moscow Union member. In 1947, he was able to meet with Moscow in the hope that he could finally get the capital registration. This happened only two months after the death.
Эти 9 пользователя(ей) сказали Спасибо Allena за это полезное сообщение:
Mikhail Sokolov Ksenofontovich ( in 1885 - one thousand nine hundred forty-seven )
30 years ago I had occasion to visit the home of Elena Dmitrievna Tannenberg - the artist- animator , stunning the narrator , and in general - a wonderful man. Yelena was a close friend of his wife Sokolova, and after her death, kept a large folder of drawings and sketches of the camp of Michael Xenofontovich (probably later transferred to Yaroslavl Museum). Absolutely masterly drawings made of burnt match on the barn klochochke books or chalk on a piece of blue envelope, pencil stub , or God knows what. The miracle is that when in '43 Michael Xenofontovich from the camp " saktirovali " (translated to human - have thrown out to die from scurvy, pellagra , and tuberculosis ), then allowed to pick up those scraps . So many years have passed , and the pictures are before the eyes . Gentle , precise , brilliant.
Heaven Michael Ksenofontovich . Heaven Elena Dmitrievna.
Эти 6 пользователя(ей) сказали Спасибо Дилетант за это полезное сообщение:
21.09.2009, 15:49
Mikhail Sokolov Ksenofontovich (1885 - 1947)
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