Вернуться   Форум по искусству и инвестициям в искусство > English forum > Artists, artworks, art history
 English | Русский Forum ARTinvestment.RU RSS Регистрация Дневники Справка Сообщество Сообщения за день Поиск

Artists, artworks, art history Discuss artists, their lives and works, the history of works’ creation and other art history issues.

Ответ
 
Опции темы Опции просмотра
Старый 19.03.2009, 15:26 Язык оригинала: Русский       #1
Старожил
 
Аватар для Жар-птица
 
Регистрация: 07.12.2008
Адрес: Москва
Сообщений: 612
Спасибо: 1,863
Поблагодарили 716 раз(а) в 178 сообщениях
Репутация: 921
По умолчанию Bright wizard, symbolist painter Nicholas Sapunov




Nicholas Sapunov
- one of the striking and original figures in Russian art of the twentieth century. Remarkable painter and draftsman, he lived a short life. Sapunov drowned in the Gulf of Finland in the summer of 1912, when he was thirty-second year. Death by water was predicted artist still in his early youth, and he lived and worked under the weight of this prediction, which could not affect his art. Short life Sapunova was stretched to the limit, the energy is collected in a tight knot. It was formed as a creative person in a sort of vortex of innovation that had occurred at that time in Russian cultural life, when everything changes and everything, there are new aesthetic principles, the art began to understand themselves as the main driving force of society. Sapunov became the epicenter of all the changes, and he was their party. Student largest realist end of the XIX century, an artist who has experienced the impact of aesthetics "World of Art", he quickly came to the neo-primitivism, acute grotesque and became one of the leading figures of Russian predavangarda.
Читать дальше... 
In a historical perspective, creative artist, with all its contradictions and brevity, appears quite complete, large and solid, full of high poetry and deep drama. Sapunov - mysteriously beautiful blue star in the constellation of masters "Blue Roses". In his work reflects all the acute problems of art transition time in which co-existed a deep connection to tradition and daring of their denial and painful reflection and exalted romance, a thirst for beauty and harmony, and a sharp grotesque. In a festive decoration sapunovskogo art embodying a pronounced subjective perception of the world, generalized symbolic meaning and profound richness of the figurative, embodied the pulse of time, there was his emotional atmosphere, his music sounds. "It may happen - Efros wrote - that future generations are completely overtaken by the art of these years. But if they wish to approach and understand that tempted us once in it, then I think, the way through Sapunova will be the shortest, Sapunov and will thus Klyucharyov, which will open the door for them choked gardens aestheticism "1.

Fate was unusually favorable to Sapunova. She introduced him to prominent figures of Russian culture abroad centuries. Among his teachers were Isaac Levitan, Konstantin Korovin, Valentin Serov. He enjoyed the attention and support of Savva Mamontov and Sergei Diaghilev. His friends and colleagues were Pavel Kuznetsov, Nikolai Krymov, Sergei Sudeikin. He has been cooperated with major producers, innovators and Vsevolod Meyerhold, Feodor Komisarjevsky, was friendly and creative contacts with Alexander Blok, Valery Bryusov, Mikhail Kuzmin. Sensitive, gifted artist nature was formed under the influence of his entourage, but the impact it has never been passive, immediately acquired sapunovskie features endowed with its energy.

Thus, the first work done in the studio Levitan, under the direct supervision of a prominent Russian landscape, such as landscape "Winter" in 1900 (TG), brought fame and Sapunova entered his name in the history of art. Levitan's influence on the young artist was strong enough, although Sapunova able to work in his studio just two years. Thin master landscape mood Levitan brought up in their students the ability to feel deeply and synthetically, generalized thinking.

Longer found in Sapunova contacts with Konstantin Korovin. They continued after the completion of his studies at the Moscow School of Painting, Sculpture and Architecture. Korovinskoe influence on the young artist was more directly and immediately evident in his work. Korovin passion at that time the school was not universal. His broad temperamental painting was imbued with optimism, seen as a bold innovation, seemed the embodiment of creative looseness, freedom. Unlike levitanovskoy "the mood of the gray sad" Winter "landscape" Apple Trees in Blossom "in 1902 (TG), filled with joy violent spring bloom, the beauty of awakening life. The young artist with all the spontaneity of seeking to master here Korovinskoe impressionistic manner of writing quick short stroke, to convey the medium of light, the feeling of sunlight. Later issues did not become a plein air art Sapunova problem, have not taken much of his attention. But Korovinskoe brushwork serve the artist in his search for a decorative effect and as a means of emotional expression. Interest in the genre of still life arose from Sapunova also influenced by Korovin, who in 1900-s just a lot of work in this genre, liked to write the flowers, especially roses. Sapunov creates in those same years, many still lifes of roses. They can sometimes be confused with Korovinskoe. But essentially mentality of the young artist was not Korovinskoe. It soon began to take shape as a symbolist and quickly manifested itself in his creative practice. Suffice it to say that it was the author Sapunov the very r o l y b r o of th s s the same name on the cover of the catalog of the exhibition in Moscow in 1907, which became a sign of the Symbolist movement in Russian art. But for all that Korovinskoe beginning has always been strong and it made itself felt in the individual artist's works until the end of life. Korovin attracted Sapunova and its proximity to the theater, but theater was the element most Sapunova. In general, the theater in an era of symbolism found on the main line of development of painting. In the tense situation in the transitional period in the medium of artistic intelligentsia evolved special theatrical sense of the world. What is happening seemed a performance in which their will involve all, and the director of the play-life seen a lot of Fate, Rock. In this emotional atmosphere of the theater has grown extraordinarily in its meaning. The scene opens wide possibilities and to solve their own artistic problems. "The force which impels artists to the theater - wrote a wonderful critic Andrew Levinson - is the attraction of a whole generation of decoration in the broadest sense, after a century of" easel painting "generation that yearned for the mural, from secluded world of painting, it rushed to the beautification and dismemberment grandiose planes, the majestic rhythm of mural "2.

Sapunov joined the theater, while still a student at the Moscow School of Painting. He participated in the design of all instituted productions, worked as an apprentice painter MAT V. Sims. In the early 1900's by K. Korovin, he and his friends closer to Savva Mamontov, who at that time once again entered into force after having suffered a financial collapse and the complex vicissitudes of life. Young artists "new wave" served him in this support. They worked in the new opera entreprise Mamontov's Moscow theater in the Hermitage. In the season 1902-1903 years in their design here were supplied AK-V.Glyuka opera "Orpheus", E. Gumperdinka "Hansel and Gretel", M. Esposito, "Camorra", etc. In 1902, Korovin entrusted to his disciples Nicholas Sapunova and Pavel Kuznetsov design Valkyries "by Richard Wagner in Moscow's Bolshoi Theater.

Sapunova was significant for his meeting with Meyerhold in 1905 in the newly arisen in the Experimental Studios at the Moscow Art Theater Povarskaya Young artists were filled with the desire to realize this dream of a Symbolist Theater, a new type. For the first performance was elected Maeterlinck drama "Death Tentazhilya. Picturesque plastic regained the scene symbolist theater deep emotion. Born in the subconscious of a vague intuitive sense defined stylistic features of the picturesque solutions, the nature of a color range of a scene. Work with Meyerhold left a deep trace in the works Sapunova. The inherent nature of his talent and musicality, emotional attitude deepened and acquired the quality of stability, have become an organic form of expression in painting, symbolist ideas. Theater became for Sapunova Wonderland world of magic and beauty. Admission dramatization in easel painting at an early stage of the artist's work was a means poetizatsii life. Many of the easel paintings Sapunova mid 1900-ies - "Ballet", "Masquerade" (both in TG), "Minuet" and others - are essentially theatrical compositions and differ little from the earlier theatrical sketches.

Theme Theater, home of the artist's paintings of this time, initially dealt with directly - in the desire to simply capture a picture of what is happening on stage. Sapunov created several tracks under the title "Theater", which introduced deep in the darkness of the hall and illuminated the scene with the actors singing, expressive figure of the governing orchestra conductor and intensely watching the presentation of well-dressed audience. The artist sought to convey an unusual, elevated atmosphere of the theater. Then the action itself becomes his subject paintings. It appears his early Ballet 1903-1904 period (TG). This work, in contrast to the dark "Theater", gorgeous bright, multicolored. However, there still remains a descriptive picture of lush theater interiors with gilded boxes and numerous figures of the corps de ballet. Success came to the artist when the problem of b and s p a g e n and I replaced the theater task pictorial and plastic in the s and p w e n and I of his miraculous ability to transform reality into magic, fairy-tale dream. This is performed Sapunov its lovely silver "Ballet" in 1905 (TG). It's like a fleeting vision that emerged from the web and gas, painting, dream, inspired by the images of the theater.

In early works - and the theater, and heavy - Sapunov presents an artist longing for beauty generation "(words Diaghilev). His art in this period, close to the aesthetic principles of the World of Art ". Many of his works of the first half of 1900-ies are based on exactly these principles. Among sapunovskih works of this kind can be noted stylized as XVIII century "Portrait of Andreeva (St. Petersburg State Museum of Theater and Music), similar in style to the stylization of Konstantin Somov" in the park. Lovers "(SRM)," Harlequin and the lady "(private collection, St. Petersburg)

At the same time in the works Sapunova forming qualities of symbolist aesthetics - plastic art increasingly directed to the expression of intangible categories - emotions, feelings, moods, feelings - and focuses on music. In the first group exhibition of Russian symbolists, organized in 1904 in Saratov, and called "red rose", of the eight presented Sapunov works were five musical names - "Nocturne", "pastoral". And some that pointed in the directory have been created to music by Tchaikovsky. It is known that the explanation of Tchaikovsky, the artist created another and "Romeo and Juliet" (whereabouts unknown), was struck by his contemporaries of his emotional expressiveness.


Soon work Sapunova new trends, sounded slightly different intonation. The sublime and ephemeral from the field of "blue dream" stained elements of the grotesque and primitive. These trends found expression in a production of "Puppet Show" by Alexander Blok, Sapunov carried out in collaboration with Meyerhold Theater in St. Petersburg VA Komissarjevskaya in 1906. For the first time in his works the artist in touch with the images of tragicomedy. The main conflict of the play was based on the collision of a genuine and unreal, living and playing, real and hoax. For all the comedy situations "Puppet Show" was full of deep human problems. In the nature of the production of Blok's lyrical drama coexisted gentle, pinching lyricism and pungent irony. In easel painting in explanation of "Puppet Show", performed Sapunov later, this remarkable expressed opposition easily written figure reclining in a free posture Pierrot in a white robe, figuratively associated with romantic moonlit landscape outside the window, and black mystics with grotesque faces stiff mask, like a chained approximately repetitive rhythm of their cardboard figures, the same gestures and dismal picture wallpaper on the wall of a small puppet theaters, bordered by lush theatrical lambrequins. This performance was certainly a major milestone in the history of Russian theater.

Sketches for "Puppet Show" was exhibited in 1907 at the famous Moscow exhibition "Blue Rose", which became a sensation in the Russian artistic life of the early XX century. Sixteen young artists and innovators have demonstrated here works, affirms the principles of symbolist painting. Sapunov was presented to the family works. Remembering the impressions of this exhibition, the leader of the Russian avant-garde artists Kasimir Malevich wrote: "In the works could not see colors, materials. There were spots of different forms, which gave, like the colors, scents, which could smell ..." Malevich fancied even that the "harmony gave way to do the blue smell" 3.

"Blue Rose" was the apex of Russian Symbolism 1900-ies and at the same time it became a dead end. Continue in this direction was nowhere to move. Young goluborozovtsy face a dilemma - to go after the vanguard or search for a particular path of renaissance painting plastics. They chose the latter. 1907 marked a watershed in the history of Russian symbolism as a whole and for each of the artists, including for Sapunova. Soon after the "Blue Roses" at the fifth exhibition of the Union of Russian artists, he presented his "Blue Hydrangea", which are an expression of the spirit goluborozovskoy painting, while "Dance of Death", a work that struck contemporaries unusual for artists of "Blue Roses" richness of color and expression of the expression feelings, bordering on a sense of nightmare.

Unlike many companions in the group, Sapunov not experienced the bitterness of doubt. He seemed to be pulled right off the bat. The artist did not forget about the prediction. Premonition short life gave rise to the extraordinary rapidity with which now lived and worked Sapunov, and that the tragic attitude, which permeates all his work the last five years. The theme of death, inexorable Fate, inexorable fate has become a leitmotif sapunovskogo art of this time. But the painful feeling of profound tragedy, the fear aroused in him an irrepressible need Sapunova noisy celebration, thirst internal emancipation, sometimes coarse sense of relaxation, courage, action, speech, bordering at times with Engendering shock and revulsion. His personal life and behavior have been solid throwing from the romantic sublime to the despicable cynical. Rush is observed and his creativity.

Along with the dramatic "Dance of Death" the artist is immersed in an atmosphere of fun and creates a string of "Night festivities. These works vary in size, color, mood, character performance. At first they resembled his early romance transparent "Ballet" and "Masquerade". Then came not constitute chinnye mall high society and high jinks feverish folk dance crowd. And if the action in the first place against the backdrop of lush parks, palace architecture, the people he had fun at the booths and carousels. Symbolist performance ambiguity is replaced by a bold laconic artistic decisions - rich colors, expressive rhythmic stroke, candid decorative color.

In the new phase the main theme of art becomes Sapunova "Carousel." At first, this way interested in the artist as an expression of national spirit, a model of Russian holiday, which reflects the popular tastes, perceptions of beauty. As you know, Shrovetide festivities, fairs, with their booths and carousels attracted many artists beginning of XX century, but for Sapunova this topic becomes a leitmotif of all his mature creativity. The artist created a large number of completed compositions of this kind and left a lot of rough. The final paintings, large canvas, now in the State Russian Museum in St. Petersburg and became a major establishment Sapunova, the motive for a r u s e l, and grows in a certain way of generalizing force - a symbol of eternal life whirling, noisy, beautiful, seemingly , cheerful and carefree, but in fact fraught with a sense of tragic inevitability of Fate. Sapunovskaya "Carousel" is one of the epochal events of Russian painting symbolism and predavangarda. It is decorative and brightly shining like all the colors of the carpet. But while the color is filled with such expressive emotion, it seems that colors sound. Painting bravura akin to expressive music of breathtaking depth and power of drama. Here, in all frankness declared the new principles of creative thinking. Painting is not just a depiction of scenes of the national mall, and the picturesque embodiment of symbolist perception of being. Sapunov demonstrates courage in the transfer of reality, using several points of view, referring to the traditional wooden toys, to the principles of farcical art, with its inherent "rollicking" and frank coarsening of shapes and colors. Neoprimitivizma an important achievement of the artists of the "Blue Roses". Themselves are not alien "Epicureanism", goluborozovtsy nevertheless sought to move away from the stylization and aesthetics of the World of Art ". The main tool in this and served them receive such primitivism. Considering masters "Blue Rose" vozvestitelyami primitivism "in art, then well-known art critic Sergei Makovsky, wrote:" Modern-conscious primitivism, conceived as a major challenge - the last victory of artistic liberation "4. This neo-primitivism became a characteristic feature of creativity Sapunova mature period, which begins to sound sharp and grotesque, peculiar to the art of expressionism.

Thus, in the composition of "mummers" in 1908 (TG), where face to face painter confronts two worlds - life and theater, life and play, the grotesque hits the nerves breaks down, forcing the characters grimace. At this stage theater for Sapunova no longer exalted world of wonders, as before, and shed. And he, the artist - not an enthusiastic audience, and in that life - shed, Life - Carousels, who knows it from within. Now reception dramatization easel works become a means of exposure to Sapunova tragic life. Element of the tragic with special force in the art of growing Sapunova past two years. It manifests itself in the machine-works and theatrical productions. In this grotesque is becoming more acute. So, on the basis of acute grotesque was built staging pantomime "Scarf of Columbine" on A. Schnitzler, carried Sapunov with Meyerhold in the St. Petersburg House of Interludes in 1910. For explanation of the performance artist now performed under the same name. (GTSTM them. AA Bakhrushin). As mentioned above, the creation of machine-works on the themes of stage performances was in the works Sapunova typical. These works were performed after the performance and were as a rule, its culmination, so they are much more fully reveal the idea of staging an art than preparatory to its scenic sketches. Sapunovskie work of this kind is a kind of modification of the genre and expand the traditional boundaries of genre specificity. These brightly decorative paintings. Stage and theatrical conventionality of symbols is transformed them into the pictorial metaphor, which is achieved by using a special expression of artistic images. "Scarf of Columbine" is among the most significant works Sapunova this plan. Stage farcical situation, the efforts here of grotesque characters, representing the assembly of freaks, exaggerated fussiness painting techniques, sharp dissonances of color harmonies, songs turmoil, built on the collision of different directed movements. Everything serves to create a feeling of nightmarish human existence, the absurdity of life.

But for all that the artist remains a romantic, a dreamer, in love with the beauty and harmony thirsty. It organically coexisted both beginning. It is significant that in one evening with "Scharf Columbine" at the same stage was another show, also staged by Meyerhold - Sapunov, too, pantomime, but quite different in character and emotional system. It was a pretty naive pastiche in the spirit of the old vaudeville on the subject pastoral Mikhail Kuzmin "Dutchwoman Lisa. Performance with a happy ending fascinated their bright decorative beauty, soft irony and spiritual purity.

Duality sapunovskoy personality manifested itself throughout the artist's work, including in the portraits. Among his works of this genre are typical examples of neo-romantic portraiture of the early twentieth century - portraits ND Milioti (TG and RM), M. Kuzmin (National Art Museum of Belarus, Minsk), LP Guseva (private collection , Moscow) - portraits and expressive character, imbued with negative emotions, such as "Portrait of an Unknown" (SRM), "Portrait of the mulatto," "Portrait of a mask" (both - private collection).

Program for Sapunova was "Still Life with a self-portrait" (a collection of VA Dudakova and MK Khashuri, Moscow), embodied the tragedy of his attitude at the last stage of life. This is a unique scenic requiem himself. The artist is represented here have already drowned. His strange dead face in the upper corner of the picture it seems as if floated. But he was not the main focus of this work, it did not even immediately notice in the picture. For the artist symbolist human flesh - a meaningless shell for the soul. The spirit is immortal and is embodied in his work - in this case in the joyful radiance of colors created by his still life. The strongest emotional impact here produces a deep, throbbing like the blue background, which seemed hypnotized, worried. Yes, and still life looks like we see it through the water. It seems that the artist presented here is "ghostly underwater kingdom, where long-lived his soul" (the words Voloshin).


Simultaneously with the increase of the tragic start in the art Sapunova the last two years with a new, vengeance reborn in him a thirst for celebration, beauty. At this wave, the artist in collaboration with director F. Komissargevskaya are two miracle-play for the theater KN Nezlobin: "Bourgeois-gentleman" by Jean-B.Moleru and "Turandot" in panto Gozzi . Fulfilled in 1911 in explanation of Moliere's play easel painting "Room of Mr. Jourdain and the Turkish ceremony (TG) is so beautiful and richly decorative, which actually turned into a sort of luxurious carpets or any precious ingots. There is no need to relate them to specific action and characters. They evoke a desire to enjoy the picturesque beauty of craftsmanship and the richness of imagination of the artist. Excessiveness manifested in the exaggerated pomp and an incredible abundance of theatrical costumes for these productions. They are excellent on its own ingenuity, beauty and vivid imagery.

In parallel with the creation of "fireworks" on the stage Sapunov began creating a series of works reflecting the seamy side of life. And the richer were "fireworks", the darker and more tragic in their background looked sapunovskie "tea party" and "Restaurants". About these works the artist learned only after his death, saw them at the posthumous exhibition, held in Moscow in 1914, and they struck their contemporaries drama. A well-known art critic Efros said that painting Sapunova in these works has become evidence of such fractures perception of life, that you can not escape the impression that the artist hurried brush causing the picture images, groaning under the weight of their experience "5. Some of this series clearly decorative, such as "yellow tea" from the private collections of Moscow. But here in the "screaming" harmonies of yellow and red, in the motion of fast hands, frantically sketched on the surface of the picture pile of colorful strokes, keenly felt the artist's inner turmoil, the complexity of owning their feelings, which coexist admiration and irony, warm memories and sarcastic smile . A number of "restaurants" from the collection of the Tretyakov Gallery - a unique variation on the theme of Russian tavern, where people drank drunk, noisy and fun "as he could. The artist writes these scenes are not as a detached observer but as a party feasts, perceiving them as if through a drunken frenzy, why it happens sometimes seem frightening phantasmagoria, in which all the most disgusting and low. Laughing "stupid mug" as the personification of ugliness and meanness of life, which implicated himself, becomes a sort of obsession Sapunova that dogged his last two years of his life. The artist even thought of a great theatrical action in the small town Terioki near St. Petersburg, masquerade under the name "Merry night on the shore of the Gulf, a conflict which was to be built on a sharp grotesque sublime collision of romance and vulgar prose. And the main attribute of the masquerade was to become, according to the author's mask - "a stupid faces. This idea was not implemented because of the tragic death of Sapunova here in Terioki June 14, 1912.

Simultaneously with the last stage works, with their high jinks, and an excess of beauty, along with the phantasmagoria of "pubs" and "Tea Time" Sapunov in the last two years of life makes her beautiful, mysterious "blue still life, full of majesty and harmony. These works possess a peculiar attraction and deep emotional impact. They created the image of the lofty ideal of life, which found solace forked, restless, sick soul of the artist. Nowhere in the "blue still life," Sapunov reached such perfection and emotional richness in the transfer of blue, which contain only given him a sense of "hidden secrets", the feeling of touching the "element of an alien, otherworldly, to which were sent to all the intentions of the Symbolists of the Blue Roses ".

 
Key dates in the life and works:

1880

17 (29) December Nikolay Sapunov born in Moscow in less wealthy merchant family. His father, Nikolai Ivanovich Sapunov owned semi-artisan little factory which produced a candle to the solemn worship. His father died when the future artist was 12 years old
Читать дальше... 

1893
left the family and entered the Moscow School of Painting, Sculpture and Architecture in the painting department. He studied at Arkhipova, AN Kasatkin, Pasternak

 
1897
joined arising in a college creative circles innovative youth led by PV Kuznetsov (Kuznetsovsky Circle "), which became a fundamental principle of symbolist" Blue Roses "

1898 - 1900
was a student of higher landscape workshop Levitan. In 1899-1900. was awarded a silver medal for the drawings. Participated in the XXII exhibition of pupils MUZHVZ. Under the direct supervision of Levitan performed landscape "Winter" (TG), which is in the same year he exhibited at the 28 th exhibition of the Association of Traveling Art Exhibitions

1900-1901
met with S. Mamontov, and began systematically to visit his creative studio in Butyrki in Moscow;

worked as an apprentice in an artist-decorator MAT V. Sims

1902

Diaghilev's invitation to participate in the exhibition "World of Art in St. Petersburg;

with P. Kuznetsov, on the recommendation of K. Korovin performed scenery for productions of Wagner's music drama R "Valkyrie" at the Bolshoi Theater in Moscow;

May traveled to Italy (Rome, Florence, Pisa, Venice). On the way to Italy, visited Austria, Germany, on the way back to Poland (Warsaw);

began to engage in the highest artistic studio portraits and genre under the direction of Valentin Serov and Konstantin Korovin;

participated in the creation of scenery for the play by play M. Maeterlinck "There is within the" staged by the students MUZHVZ;

written easel paintings: landscapes "Apple Trees in Blossom" (TG) and "Street in the province" (SRM), "The Model in the interior" (private collection, St. Petersburg.)
 
1902-1903
wrote the scenery for the performances of a new non-repertory opera S. Mamontov in a Moscow theater Hermitage: to the operas M. Esposito "Camorra", KV Gluck's "Orpheus", E. Gumperdinka "Hansel and Gretel"

 
1903
created easel works on the theme "Theater". Pictures from this title are in GTSTM them. AA Bakhrushin; in the National Gallery of Armenia, Yerevan, in the private collection, St. Petersburg;

began work in the genre of still life, performed a large number of compositions from flowers, especially roses, and a number of decorative motifs on "roses"
 
1904
made with a group of artists "Kuznetsovsky circle" at the exhibition "Scarlet Rose" in Saratov. Presented eight pieces, five of them on a musical theme - "Nocturne", "Pastorale," "The Queen of Spades (music by Tchaikovsky) and others;

started cooperation with the artist's newly established symbolist magazine "Balance";

graduated with the rank MUZHVZ neklassnogo artist;

enrolled in the Higher Art School at the Academy of Fine Arts in St. Petersburg. In 1907-1911 gg. number of pupils studio landscapist Kiseleva

 
1905
a group of artists "Scarlet Rose" participated in the XII exhibition of the Moscow Association of Artists in Moscow;

began a creative collaboration with director Meyerhold in just arisen at the Moscow Art Theater Studio on experimental Povarskaya (Moscow). He took part in decorating the interior design studios and the first performance - "Death Tentazhilya" M. Maeterlinck (performed sketches for the sets 4 and 5 acts);

created two sets for the opera "Eugene Onegin for Opera Circle artistic pursuit, which led Satz and L. Sulerzhitskii;

performed the backdrop for musical performances on big stages imperial: "The Barber of Seville" Rossini, "Don Giovanni" by Mozart;

wrote two sets for the performance of the product K. Balmont Three heyday "for" Theater of Tragedy ", organized by artist Art-public theater N. Vashekevich;

designed the entire 12-th issue of "Balance";

performed "Portrait Artist Andreeva (St. Petersburg State Museum of Theatrical and Musical Arts), now the Ballet" (TG)

 
1906
a group of young innovators in Moscow Symbolists took part in a large exhibition "World of Art in St. Petersburg. Exhibited six works;

in collaboration with Meyerhold in the Drama Theater Komissarjevskaya V. (St. Petersburg) were carried out two productions: "Hedda Gabler" H. Ibsen, and "Puppet Show" by Alexander Blok;

performed easel works: "Masquerade" (TG), "Minuet" (Baku Museum of Fine Arts. Mustafaeva R.);

many worked in the field of book and magazine graphics - were filled with vignettes, screensavers, ending for the magazines "Golden Fleece" and "Libra"
 

1907
took part in the exhibition "Blue Rose" family of products;

illustrated the drama of Alexander Blok's "King Square";

summers spent in the south of Sukhumi-Kale;

in December, participated in two exhibitions: 5-th of the Union of Russian Artists and the Crown. Stephanos;

executed paintings: "Blue Hydrangea" and "Danse Macabre" (were exposed to 5-th exhibition of the Union of Russian Artists);

become a member of the Society of Free Aesthetics ";

carried away by the theme of "Night celebrations, has created a number of works, composed in a musical spectacular variation on this theme


1908
worked on the theme of "Carousel." Created several options. Pictures from this title are available in RM, TG, GTSTM them. AA Bakhrushin Pushkin Museum of Tatarstan, a collection AY Abrahamian in Yerevan; preparatory drawings in the State Tretyakov Gallery;

joined the members of the Union of Russian artists;

performed sketches of scenery for the play by Chekhov "Uncle Vanya" for Aleksandrinsky Theater in St. Petersburg;

created a number of easel works: "masked" (TG), "Balagan" (private collection), still-life "Peony" (TG), portraits - ND Milioti (SRM, TG), "Mulatto" (private collection), " Portrait of an Unknown "(SRM)," Portrait of a mask "(private collection), Giovanni De Grasse (the Astrakhan Regional Picture Gallery. Kustodiev BM)

 
1908-1909
a portrait Bryusov fulfilled a large number of sketches and sketches of songs portrait (TG);

performed a series of drawings from the series on Bible stories: Creation of the World, "Flood," Noah's ark. Suite "(TG)

1909
in collaboration with the director Komissargevskaya worked on the production of "Caesar and Cleopatra" by Bernard Shaw for New Drama Theater (St. Petersburg);

designed the two performances for "Merry Theater in St. Petersburg, also set Komissargevskaya:" Barber "for Chereposlova K. Prutkov parody of" Salome ";

performed "Portrait LP Guseva," now "Mystical Meeting" on the grounds of Production in 1906 "Puppet Show" A. Blok (TG);

exhibited at the 6-th exhibition of the Union of Russian Artists, seven works, among them two versions of the picture "Carousel" (now in the RM and TG)
 
1910
together with Meyerhold, M. Kuzmin, S. Sudeikin became a founder and active member of the House of interludes in St. Petersburg, where, together with Meyerhold put two pantomime: "Scarf of Columbine" by A. Schnitzler and Dutchwoman Lisa on pastoral M. Kuzmin;

participated in the 7-th exhibition of the Union of Russian artists;

out of the CPX and became a member of the revived "World of Art";

performed on sketches Golovin scenery for the ballet "The Firebird" by Igor Stravinsky for the first Russian ballet season Diaghilev in Paris


1910-1911
wrote "Still life with a self-portrait (private collection, Moscow)

1911
spoke at the first and second shows the revived World of Art "in Moscow and St. Petersburg;

performed "Portrait LP Guseva," Still Life "Rhododendrons";

worked with Komissargevskaya on the production of the comedy-ballet "Le Bourgeois nobleman" Jean-B.Molera for theater K. Nezlobin in Moscow;

turned to the creation of a series of works on the theme: "Restaurants", "tea party", "Happy House";

began to write the classic "Blue Still Life";

the proposal Komissarzhevsky began work on a design production of "Princess Turandot" at panto Gozzi for the Theater Nezlobin K.

 
1912
continued work on "Turandot";

performed the scenery to the operetta M. Kuzmin's "Prince of the Grange for Literature and Art Society (Moscow), directed by B. Glagolin;

interior is decorated with theatrical cabaret "Stray Dog";

painted "Spring. Masquerade" (SRM), two great songs;

"Tea Time" and "Tavern" (TG), has created one of the perfect specimens "blue" still lifes - vases, flowers and fruits "(TG);

worked closely with the theater troupe in Terioki near St. Petersburg. Has conceived a venue for a grand carnival evening, entitled "Merry night on the shore of the Gulf of Finland;

June 14 while walking on a boat on the bay in Terioki Nicholas Sapunov drowned.

Link to Sapunova from "Newspaper

http://www.gzt.ru/culture/2003/11/20/021933.html
Миниатюры
Нажмите на изображение для увеличения
Название: сапунов я.jpg
Просмотров: 857
Размер:	5.1 Кб
ID:	172766   Нажмите на изображение для увеличения
Название: натюрм.jpg
Просмотров: 774
Размер:	5.5 Кб
ID:	172776   Нажмите на изображение для увеличения
Название: кар.jpg
Просмотров: 714
Размер:	4.3 Кб
ID:	172786   Нажмите на изображение для увеличения
Название: гретель.jpg
Просмотров: 646
Размер:	5.3 Кб
ID:	172796   Нажмите на изображение для увеличения
Название: гортенз.jpg
Просмотров: 665
Размер:	5.7 Кб
ID:	172806  

__________________
"Кисть, рука и палитра нужны, чтобы рисовать, но картина создаётся вовсе не ими. Пользуются красками, но пишут чувствами."
Ж. Шарден



Жар-птица вне форума   Ответить с цитированием
Эти 4 пользователя(ей) сказали Спасибо Жар-птица за это полезное сообщение:
antip (19.03.2009), eva777 (19.03.2009), Sandro (19.03.2009), Кирилл Сызранский (19.03.2009)
Старый 19.03.2009, 15:51 Язык оригинала: Русский       #2
Авторитет
 
Аватар для eva777
 
Регистрация: 26.11.2008
Адрес: Москва
Сообщений: 806
Спасибо: 1,778
Поблагодарили 885 раз(а) в 243 сообщениях
Репутация: 1165
По умолчанию

Thank you! Sapunova very much, although all the "goluborozovtsy" beautiful!



eva777 вне форума   Ответить с цитированием
Ответ

Метки
Russian art, Russian artists


Ваши права в разделе
Вы не можете создавать новые темы
Вы не можете отвечать в темах
Вы не можете прикреплять вложения
Вы не можете редактировать свои сообщения

BB коды Вкл.
Смайлы Вкл.
[IMG] код Вкл.
HTML код Выкл.

Быстрый переход

Похожие темы
Тема Автор Разделы Ответов Последние сообщения
Nick Stahl von Holstein, or Nicolas de Stael LCR Artists, artworks, art history 98 25.04.2014 12:04
Nicholas Belyanin. Lyric Russian landscape. izofond Artists, artworks, art history 3 09.01.2014 01:36
Artist Nicholas Polissky represents Russia at the Architecture Biennale fross Exhibitions and events 8 24.07.2009 20:24
Feshin Nikolai Ivanovich - Russian artist Евгений Artists, artworks, art history 20 06.03.2009 03:16
Продам: Belyanin Nikolai Yakovlevich Сергей Александрович Sell 0 27.11.2008 17:49





Часовой пояс GMT +3, время: 23:36.
Telegram - Обратная связь - Обработка персональных данных - Архив - Вверх


Powered by vBulletin® Version 3.8.3
Copyright ©2000 - 2025, Jelsoft Enterprises Ltd. Перевод: zCarot
Loading...