Boris Grigoriev: painting, drawing in TG

[Santa]

Boris Grigoriev. Paintings, graphics

Address: Moscow, State Tretyakov Gallery, the Corps of Engineers, Lavrushinsky lane, 12

The exhibition is open from September 14 to November 13, 2011


Boris Dmitrievich Grigoriev Exhibition (1886-1939), one of the most prominent artists of the early XX century, is dedicated to the 125th anniversary of his birth. A kind of chronicler of his time, careful and ruthless to him, Gregory was far from the idealization of nature. In the acute, sometimes grotesque manner, he painted portraits of famous contemporaries: Chaliapin (1918), Gorky (1926), N. Remizov (1932-33), as well as numerous unnamed character-types from everyday life that he gave apt title-labels "a man with a beard", "zhigan and prostitute", "oyster pickers", "concierge", "Marseille whore."
Curriculum Vitae BD Grigorieva conditionally fit in between the two world wars, when one after another in the arts appear bright artistic trends. Boris Grigoriev did not identify themselves through membership in some "ism", he was more artist-loner.
The debut of BD Grigoriev at the show in 1913, forced to speak of him as a brilliant draftsman. In the mid-1910s, the artist was seen as continuing the tradition of modernity of St. Petersburg - more precisely, the society "World of Art", with its cosmopolitan spirit, enthusiasm retrospective motives theatricality, irony and a penchant for the game. Stage effect, "staging" present in his famous "Portrait of Meyerhold" (1916).
Beginning in 1916, painting BD Grigoriev enhanced neoclassical features portraits characteristics become more strict and sober. In "Portrait of Fyodor Chaliapin" (1918) image of the great singer is devoid of any hint of idealization, and the scale of the individual is transferred exaggerated, sculptural modeling of the form.
In 1917-1918, Boris Grigoriev is experiencing a period of highest pitch. It creates two paintings and graphic cycle - «Intimite» and 'race', which became both the peak of his creativity, and most controversial, even shocking creations of his talent.
«Intimite» - exposing the myth of a beautiful lady, praised by the art of the Silver Age, a frank tale about a modern woman living in a world of coarse instincts, greed and indifference. The eroticism inherent in the era, gets new here, and sometimes ominous.
Even more unexpected and daring appeared in the 1918 cycle "race" - an epic wide, and at the same time, the documentary-live-image of the Russian countryside. In the painting "Peasant Land" (1917) turned to the viewer face full of deaf peasant hatred simmering discontent, ready to pour out a desperate, unpredictable effects. Cold, hammered the plastic language reinforces the tragic expression of images. The cycle of "race" gave rise to contemporaries compare BD Grigoriev Dostoyevsky than a lot of artist proud. It is possible that "race" has produced a shock in 1918, also because it draws a line under the XIX century, which was marked by a Utopian belief in a particular social and religious truth of the people, and the beginning of the twentieth century in this "truth" little faith.
Both series were published in the form of original publications - albums that will be presented at the exhibition, with texts of the artist and professional writers. In addition, these BD Grigoriev gave vent to his addiction to the art of words: we know that he was the author of the novel "The young Rays" (1912), wrote poetry, acted in the press with critical essays.
In 1919, Boris Grigoriev left Russia, settling first in Berlin and then in Paris. His emigre fate went well: personal exhibition held in Paris, Milan, Prague, New York, where Grigoriev as a portraitist was a great success. He has twice traveled to South America, and ended his days in the town of Cagnes-sur-Mer on the Cote d'Azur. During these years, BD Grigoriev particularly worried uniqueness of different national character and sense of self. In Brittany, Provence, Italy, he notices especially appearance, mental warehouse, living inhabitants of these places, and in his work there succinct portrait-types: "A woman from Bourg de Batts" (c. 1925), "Poverty" (1925). "My gardener" (mid 1920s) in his last year he wrote symbolic, creepy "German butcher. Face of Germany "(1938).
But Russia would not let BD Grigoriev. Her images, memories are transformed into "Faces of Russia" in the same cycle (1921-1923), in "The Portrait of Maxim Gorky" (1926), they pass in front of a string of a writer, stirring his imagination. The artist had hoped to return to Russia, but, in his words, "like a son, stepson and not."
In later years, BD Grigoriev admitted that he was tired to be "accuser." In "Portrait of Rachmaninov" (1930), the film "Cellist" (1938), and other artist contrasted disasters the modern world the creative energy of artists. Harmony breathe his landscapes of the 1930s - the types of South America, where neo-classical austerity gave way to a beautiful freedom.

The exhibition at the Tretyakov Gallery is a continuation of the Russian Museum and includes about 150 works from museums in Moscow, St. Petersburg and the provinces, the Russian and foreign private collections and galleries. In addition to paintings and drawings, the exhibit will include letters Grigorieva, stored in the Department of Manuscripts and rare editions of his works from the library of the Tretyakov Gallery.

[Peter]

Today visited the exhibition of Boris Grigoreva.Prekrasnaya exhibition , live work, the organizers of the successful ekspozitsiya.Spasibo ! Impressions on first viewing ( pretend to be biased .) Great , honest, talantlivyy.Horoshy taste , smell krugozor.Vpital large paintings of its era , but remained a , recognizable and nepovtorim.Molodets all - in idea, in exactly the characters in the luminous purity of the coloring and decorative krasok.Poroyu ( theatergoer ), but no sense of proportion podvodit.Prekrasny draftsman with a wonderful line drawings , many look to udovolstvie.Tsikl " race " is released, the nature of the Russian people, character types found in each shagu.Eto what evil person - not at all, it's just not our largely arranged lyudi.Oni povorchat - Chew , but regret - poplachut.dusha something our takaya.Pravda vsem.Kolichestvo work in providing a comprehensive picture of the artist and his beautiful way of thinking, his mirovozzreniem.Shodite not regret it , watch another great Russian artist who can rightly be proud of as a national treasure.

[Artdealer]

great show.
It is interesting that it is different from what it was in the Russian Museum.
So those who could see Grigoriev and there, and there, lucky.
Some work is very important to understanding his work.