Boris Grigoriev (1886-1939)

[Евгений]

Today in 1886 - was born Boris Grigoriev /Boris Grigoriev /, one of the most talented Russian artists-emigrants.

Most of his life BD Grigoriev was known, dozens of his works are eagerly bought by collectors and museums in Russia, France, America, Chile, the Czech Republic and other countries. He had a reputation abroad "Artist Line," the great Russian artist, thanks to its tremendous hard work and efficiency. In 1926 he emigrated Grigoriev wrote about himself: "Now I'm the first artist in the world. <...> I do not apologize for these phrases. You have to know yourself, who you are, otherwise you will not know what to do. And Life My saint of labor above and beyond the senses, and my 40 years prove it. I'm not afraid of any competition, any order, any theme, any size and any speed (from a letter to the poet Vasily Kamensky).

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He studied at SHPU in Moscow (1900-07) and the Higher School of Arts at Academy of Fine Arts in St. Petersburg (1907-13). His teachers were AE Arkhipov, DA Sherbinovsky, AA Kiselev and DN Kardovsky. It Sherbinovsky and Kardovsky struck the imagination of the young man's virtuosity possession line and, in fact, brought up in it relating to the drawing and lines as the basis for any work, as self-genre. In all other respects the desire of young Grigorieva disagreed with the academic school. Already in 1909 he was one headed by NI Kulbin Studio Impressionists - the association of young artists, creatively close to the Futurists.

Known in Russia came to Grigoryev after participation (since 1913) in the exhibitions of "The World of Art", which exhibited his drawings, made during short visits to Paris in 1911 and 1913. Creative and festive spirit of the city inspired him to create several thousands of drawings on a daily frantic work, when time is observed only washable crayons, and each step brings a new story. Concierge, clown, waiter, the townsfolk - a string typecasting undress Paris creates in these pages a complete a-kind image of the city, seen at a certain angle. "Intimite" ( "intimacy", fr.) - The so-called artist of a large series of drawings of Paris. Created as if in one breath, they taught the hand of the artist unquestioningly obey his sensations received from nature. Skill with which these drawings were made, did not leave anybody indifferent. Art critics in those years, responded to articles on the emergence of new talent. Thus, NN Punin named schedule Grigorieva "paradoxes in space and on the planes, tender, ironic and brilliant, but then he noted weaknesses in the personality of the artist:" ... to the idea, thought up until this feeling has never rises.

In 1917-18. Grigoriev, creating a cycle of "race", where the very subject of the Russian countryside in the post-revolutionary Russia has found in Grigoriev artist thinking, but thinking "deep and devastating" (A. Blok). All drawings and oil paintings in this series are made in Petrograd and Olonets province. As in the Paris series, images of people - farmers, children and elderly - are masterly lines, which give the compositions of the beauty and fascination, but they are being very truthful in grotesque ruthlessness, report forms almost cynical deconstructive. The artist liked a variety of forms and phenomena of life that laboratory preparations beautiful graphics line, forcing the saturated nature of its power "shedevriki" (an expression Grigoriev) artist. Peasants in the paintings "The Village", "Earth People", "Olonetsky grandfather," "The old woman with a cow," "Girl with a milk can, staring at the viewer from the crushing space tracks. In their eyes, dumb question, criticism and even threats. This gallery types of the Russian countryside, as understood by most of the capital's artistic intelligentsia, which belonged to the artist and for which a new cycle was a revelation. theater - and a monumental and grotesque, and real, and conditional.

In 1919, Grigoriev left Russia. His path lay through Finland to Germany, France, America. In 1927 he was invited to Chile for the post of professor of the Academy of Fine Arts, though, because of the coup government's invitation was withdrawn, but in 1936 was followed again. In 1927 he built a house painter in France, near Nice, where in 1930, after returning from a long trip to Latin America, worked on a large painting "Faces of the World", devoted to the League of Nations later this picture was acquired capital of Czechoslovakia.

Logical continuation of the cycle "race" became a portrait gallery of the Russian intelligentsia. The artist wrote to them at home and in exile. He willingly posed for many prominent figures of Russian culture, scientists and policy: Meyerhold (1916), MVDobuzhinsky (1917), F. Chaliapin (1918, 1921-22), Shestov (1921) , EK Breshko-Breshkovskaya (1921), Gorky (1926), SA Yesenin (1921), Alexander Kerensky (1924), Rachmaninov (1930), Actors Theater, (1923 ), etc. In this gallery the best known two portraits - Meyerhold and M. Gorky.

Created Grigoriev twenty years of emigration researchers have not yet been studied, but it is many times greater than the number of works, executed them at home. Shortly before his death, the artist graduated from the last self-portrait, as if putting a full stop in a remarkable series of portraits of Russia's intelligentsia, whose fate after October 1917 have developed so differently.

[Konstantin]

Boris Grigoriev
1) Still Life with berries and apples - 217 000 USD
2) Village groceries - 98 800 GBP
That is very good, but if he wrote from life is a terrible aunt. As she worked in this profession?
3) Marseille prostitute - 1 308 500 GBP

Eugene
Do you think the prices it will grow? After all this were not small.

[Евгений]

Сообщение от Konstantin

Do you think the prices it will grow?

There will be significant, even here there is no doubt.

[color="# 666686"]Added after 2 minutes[/color]
Konstantin, I saw in inete your pictures, but I was told that I oshibayus.Vy send pictures?

[Konstantin]

Those that laid Anton - yes my creativity. Thank you for rating.

[Евгений]

Konstantin, My opinion: the level of good, interesting work, you must do a normal post. (Do it yourself, I will publish in their blog, and here of course.)

[vyadem]

Eugene, with your permission, added to the subject a single article. Recently shoveled old magazines and came across, in my opinion, an interesting paper by Alexander Benois, written immediately after the death of a remarkable artist Boris Grigoriev.

"Spark" in 1990

Boris Grigoriev was born in 1886 in the family control of the Volga-Kama branch commercial bank. He spent his childhood in Rybinsk. After high school, in 1903, entered the Stroganov School in Moscow. From 1907 to 1913 was an auditor of the Imperial Academy of Fine Arts in St. Petersburg. Collaborated in zhurnlah "Satyricon", "New Satyricon," Lukomorye, participated in exhibitions, in particular in the exhibition "World of Art".
In 1919 the artist emigrated. Lives in Berlin and Paris. A lot of traveling. Travels to Argentina. Uruguay. Brazil, Central and South America. His solo exhibitions held in Rome. London. Milan. Paris, New York, Boston ... He dies in 1939 in southern France.
Tell about Grigoriev could be detailed in the article, which would list his teacher, identified the sources of his art, marked by periods of development. But we found it interesting to give a word of criticism, which is one of the first "noticed", highlighted the work of Grigoriev, kindly and with interest watched its formation - Alexandre Benois. The little known paper, written in 1939, immediately after the death of the artist, it is enough volume covers all major aspects of Grigor'ev creativity and simultaneously makes it possible to get to know Grigorieva-man.
E. Selin

[vyadem]

Another artistic life, another artistic creativity completed and is now facing us, as something enclosed in itself. Nothing is more to it does not add. Meanwhile, with respect to this art - the art Grigoryeva - so feel the need for some more future development. Miraculous in its exceptional art talent, but so, koim it is now, it turns out to be unsaid. Have missed, however, only the second part of this creative tale, what art Grigorieva became after the master left home and was God's will without the possibility of return in foreign lands ...

The first part of the creative Grigorieva naturally united under the name of one of his most remarkable works, the word "race". A number of works related to this Part, was created as something at once. In any case, within a relatively short time - in one continuous burst of inspiration when Grigoriev was after several years of stay abroad back home. Something then struck him so much, so "twisted his soul" that he almost immediately found ways to pour experienced in the form of some kind of poem poluoblichitelnogo nature.

In those days it was impregnated with a Parisian air - air that pre-war Paris, which could breathe so easily, which could still hear the echoes of laughter romantic grizetok and students, which was so sweet and carefree caress. Artistic manner of expression Grigoryeva brought up not so much different samples of famous works, how it is that most air-Monpar NASA and Montmartre, "which allowed the artist to remain quite distinctive, even after he was filled with the peculiarities of Parisian culture. Other Russian artists, getting to Paris, were infected with common hobbies moment, trying to assimilate the last cry, to join the very latest developments. Some chose their leadership in Cezanne and others - Picasso, etc. But Grigoryev had little to do with all this, he went his own way. I drew it "horrible and how horrible", and only one seemed to him at this important - this is grasping at every captured prisoner subject, whether human fig ra, a scene in the bistro, the animal in a zoo, a single tree or a landscape motif, the same for This image typical.

The first thing I saw from the work Grigorieva, were just such imported from Paris, drawings, and most of all I have to hit them incredibly high accuracy and specificity ... A different time it seemed that they had discovered a dangerous tendency to mannerism that "the system" Grigorieva, consisting of alternating thin and flexible lines with completely tinted stroke (obtained from a plane placed on the paper, a pencil) that this system is a frivolous gimmick worked out by the artist on manufacture of satirical illustrations, which he threw a one stroke and not reflecting on their finish (Grigoriev, as Yakovlev, started its operations, cooperating in the "Satyricon"). Instead, I received a very different impression from all Grigor'ev drawings, to me they seemed not only brilliant, but also impressive, astonished at their maturity, then. that they had so much acute observation, related to the perfect obedience of the hands of the eye. And then I immediately believed in Grigorieva, waited in the future miracles from him.

These miracles were quick to declare. But they were completely different kind than those that would involve his first work. The last thing they found no allusions "Parisian air, and most of them turned out to be something original Russian, something that struck his uncanny resemblance to that our environment that we ourselves, probably due to the habit of perceived with far less severity than he, tenderfoot.

When the exhibition at the Art Academy under the giant copies of Raphael's appeared on public trial, a series of his sketches kartinopodobnyh surrounding the main product Grigorieva, called "race", while many embraced with enthusiasm from a clear talent and kind of horror. Before aesthetes, completely unaccustomed to the time deducted from the paintings any lessons and prophetic edification, presented itself like a "head of the Gorgon" (...).

[vyadem]

Such is the thought, at the same time I recorded almost in those very terms, aroused in me a terrible pictures Grigoryevskaya "Rasei. How could one not be filled with a sense of a certain reverence for the artist so penetrating clairvoyance? However, somewhere deep in my soul never ceased to live in hope that, in general, things are not so hopeless, that there is still next to this nightmarish "race," she Rus, which can still be considered "sacred" and that should be continue to love with pure filial affection But one thing - "heart" to which the moments and difficult to reach, and the other - a simple, tangible reality, and this obvious reality Grigoriev with strange simplicity, the frankness of some kind of enfant terrible (tomboy, disregards the conventions and proprieties) and presented.

Grigoriev was aware that he committed at the same time a kind of heroism, and even proud of it. He. example, willingly accepted a comparison with Dostoevsky. However, it seemed that the birth of such a large "revelations" was still a surprise to him that they were a product of intuition, that they were born, because there came a time when we had them appear. The creative force and technical skill Grigorieva acted as a conductor of some dictates emanating from areas not accessible to human cognition. It is remarkable that creativity Grigorieva remained completely isolated, that it has not found a single follower (...).

About Grigoriev as a man can tell a lot, and should now begin to collect materials for his portrait of this - while still fresh and clear memories of him, of all the contradictions of this strange character. Strangely, this character really was. Many feared Grigorieva, considered it for some kind of dangerous troublemaker. The result was this reputation because of extreme sensibility of the artist and often impossible to fully cope with it arose in a moment passion. In the sense of any moral principles in it, too, all was not definitely and clearly established, and almost always Grigoriev things as he has imagined him far from simple common sense motive. But I personally was drawn to this strange man. After all, and among my contemporaries, he was a more complete image of the artist, and he presented it without any artificiality, by virtue only of the dictates of his nature. Intuition tells not merely in the works Grigorieva, but in his beliefs (in the "similarity of beliefs, which he preached at times with a flaming passion), in his relations with people in his artistic passions and his intuition led to criticism and expression his feelings to the closest people, and if the bustle of the secular and business relationships sometimes difficult to decide whether he is under the influence of good or evil, then all the essentials and the very life he had listened to his heart, if he rebelled against him, then with great pain, which was followed by deep remorse.

Troubled spirit lived in Grigoryev, but it was true and genuine consternation, and not a neurotic troubled that today "worn" as a fashionable suit, or Origin of ¬ comes from some sort of spiritual sloppiness. This wildly Grigorieva, and probably prevented him to continue to create with the same confidence when he found himself in the new environment after his departure from Russia. He is, in any case and brave, although he assured himself and others that he was "still a show, still lost as some ground. He had to create "Rasei" lived in foreign lands, and felt in them like fish in water. He even felt that he understands this better than someone else, rather than his own, that he and the non-Russian people closer than Russian that he is better able to get together with them. In fact, this extremely sensitive apparatus was in foreign lands without food, which allowed him to create things extraordinary significance. ultraintuitivnymi natures occur with similar spiritual catastrophe. with special sensitivity by responding to various "tips "coming from the surrounding life - tips, they rarely even been fully grasped, they are not able to accumulate experience, not able to synthesize their impressions, can not live on" reserves ". procured, they immediately spend, and this is their little worried, because they think that this influx of impressions inexhaustible.

Purely artistic value created by Grigoriev in foreign countries is not inferior to the artistic value "Rasei" and the entire set of paintings that he created during his stay at home perhaps, even in the sense uzkozhivopisnom Grigoriev consistently in recent years came forward. He was freed from a certain stiffness and from the formal conventions that have penetrated into the technical side of his work due to temporary infatuation (tak. incidentally, had disappeared and the latest features of Cubism, rather naively understood and assimilated Grigoriev). Palette became richer and brighter, the texture (in part under the influence of Vlaminck, whose merit Grigoriev was prone to exaggerate) has acquired the utmost virtuosity. By the surprisingly brilliant achievements belong to his Breton portretoobraznye studies, as well as the series of landscaped notes, which he had brought from his travels in Central and South America. But "shadow Rasei" still lay on all this overseas work Grigorieva and somehow harm to his success. The second part of his work and remained somewhat fragmented (...)
1939
Alexander Benois

[Posav]

Сообщение от Konstantin

1) Still Life with berries and apples - 217 000 USD
2) Village groceries - 98 800 GBP
That is very good, but if he wrote from life is a terrible aunt. As she worked in this profession?
3) Marseille prostitute - 1 308 500 GBP

.

Why such a difference in the price of still life and portrait of a prostitute?: Shy:: D

[Евгений]

Сообщение от vyadem

was added to the subject a single article.

Many thanks, great article ..