Tretyakov, controversy

[Konstantin]

We have sent an article by Alexander Morozov, it is a very controversial moments. Spread it in the article which reflects the opinion editorial, we did not. But at the forum, we think, will appropriate and interesting to discuss.

command of history

What the viewer is looking for than attractive to him Tretyakov Gallery "old", the one in Lavrushinsky? In fact, as many know, she's not old, its walls were reconstructed, completed a dozen years ago. But it is not only a practiced eye wall is the road to thousands of visitors who today, as yesterday and the day before, come here.
At the heart of the museum has preserved its permanent exhibition, and people are going to meet again with Savrasov and Levitan, Repin and Alexander Ivanov, Rokotov and Rublev. And most importantly for the majority of Russians in such a meeting is probably the memory of the life of our soul, many lives far and near to us

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countrymen. Paintings favorite Russian artists - truthfully and unfading testimony. These particle of hope and loss, love, pain, dreams, we often live in today. With hits gallery PM Tretyakov viewers like and talk about deeply important, its about yourself. For the most part we are about this, of course, do not think. But the subtext of our joy of stay in the Tretyakov Gallery - the same emotional force of gravity, our spiritual thirst for self-knowledge.
In contrast, the silence and emptiness impresses visitors with another building Tretyakov Gallery, on the Crimean shaft, which houses the national art exposition of the twentieth century. The degree of its unpopularity in contrast to Lavrushinsky shocking, forcing seriously pose the question: what is happening here? Or perhaps the modern section of our national museum - stillborn idea, in social terms, completely hopeless? As a specialist, I know very well: this situation is very acute discussion within the State Tretyakov Gallery, and beyond. Worst of all, that the disputes on this subject are not yet provided a hint at the socio-professional consensus, which may give rise constructive conclusions about the future of the house on the Crimean
As for me, I do not feel like a human vacuum at about fifty of its rooms connected with the nature of Russia's art of the twentieth century - ХХ1. Not imply such sad consequences and the composition of the collection of this art, which owns the museum. It matters little that the building was built a few marginalized in, to him supposedly not used, it is clearly not a masterpiece of architectural thought and museum comfort. Technically, it works quite satisfactorily. As for comfort is not hard to learn something from the neighboring house artists. And generally in good exhibitions here without a problem comes great audience. But on permanent display does not come ... In some ways the art of the twentieth century, of course, harder to understand than the old classics. But it is extremely important as the museum is such an art to his visitor. And today's unattractiveness of the "New State Tretyakov Gallery" (actually, its building over the current Lavroushinsky), in my opinion, is the result of some surgery which workers fired over their picture (or is it our collective?) Collection of art 1900-2000's.
Strategy them emerges as follows. Foundation of painting, sculpture and drawings of this period in the State Tretyakov Gallery has many tens of thousands of works. What hangs on the walls, usually less than two thousand. So, showing one or the other things you can make the viewer a very different impression. It depends entirely on the intentions of the organizers of the exposition. Thus, the intent, I mean the ambition of museum officials. From what we see now in the Crimean, without a doubt arises: most of all they wanted to prove to the city and the world that they are well or tittle not Soviet. And they are still possess the most sophisticated, elitist taste. Of course, they are crazy about "Black Square" by Malevich. But it is known expert in the international postmodern bends, as well - temptations of glamor in the manner of today's show business. No matter what combination of one, another and a third is fairly risky and difficult, nothing ventured, he does not drink champagne!
And the art critics of priestess with the Crimean shaft went on the offensive immediately on all fronts. It is well known: in Soviet times persecuted vanguard. Things of this trend is gaining in storerooms. Hence, it is necessary now the vanguard of the maximum exhibited. This is the first. Secondly, the Soviet government forced the artists to socialist realism. Now it is necessary to shorten its maximum, that is hidden in the same store-away from the public. And if something really can not be completely removed - yet we are almost seven decades, lived in a country called the Soviet Union, and then employed thousands of artists, and the foundations of Soviet art are huge, they make up the lion's share of the heritage art of Russia of the last century - it should show the way how to make steel in the West, when the red bear no one is scared. As some samples totalitarian exotics, in all its absurd pathos and bad taste, sometimes frightening, often wretched. That is exactly as postmodern artifacts. And the better to dampen the spirit of the shovel, we should as much as possible to submit art nonconformist Khrushchev - Leonid Brezhnev. Thirdly, of course, exposure is desirable to imbue currents relevance in the manner of movements, is now on the centers of modern art, the most advanced wineries and galleries.
And what of all this happened? In the suite of ten spacious rooms, which we are met by the exposition of the twentieth century, avant-garde show is not so impressive, as was possible. Specialists will find a lot of loud, famous names and things. But the public with them rather bored. Abstract and presented by tedious monotony. With obsessive generosity shows only one line of the great experiment: "The Knave of Diamonds" - kubofuturizm - Suprematism - constructivism. And then the last, for the most part, not in real rarities, a mock exhibition. To a man could feel the boiling of Russian artistic life of pre-revolutionary period, it was necessary, as a minimum, the avant-garde show multidirectional search. However, Kandinsky, Filonov, Chagall represented sparingly (although the collection allow wider), and some of their outstanding work almost drowned in the chaotic hanging. But in reality all the way from Kandinsky and Malevich, and Larionov, Tatlin to appear in his heroic and thrilling intensity only when a parallel to him be revealed in his powerful line of traditional Russian painting of the same era. "Union of Russian Artists, Nesterov, Kustodiev etc ... Show them in these rooms does not allow unscrupulous discord art Lavrushinsky and Crimean, jealously divide between a" subordinate to "all the material and began Х1Х-twentieth centuries.
1920-30-ies are given with huge bills and so horribly chaotic, that it seems a special purpose. This made it impossible to either draw a creative flow, grouping, while vigorously opposing each other artists, or show the full outstanding artists. None as a phenomenon of the Association of Artists of Revolutionary Russia (a few samples of her paintings appear in the distant rooms, nothing speaking audience). It is not like today's museum AHRR political thinkers. But there is no such undeniably important in the creative sense of association, as "4 Arts", "Society of Moscow Artists". Very few of their masters are fragmentary, and all somewhere on the aisle side. Pair-three works Pavel Kuznetsov, Saryan, Crimea. The viewer can easily imagine that after the legendary "Red Horse" 1912 KS Petrov-Vodkin simply died, because his late great things we do not see. Society Easel "with major figures Shterenberg, Deineka, Pimenov displays could turn into a carpet-gray-pink jelly. In the absence of their antagonists ahrrovskih ostovtsev struggle for a new style of modern Soviet paintings, passionate expression of their paintings for the viewer incomprehensible.
In which country, but all this happened? You will not feel in the halls or vortex of the revolution or civil war, nor the fierce contrasts, of loss and the subsequent take-offs
twenty years. I say: but that's not a museum of history and art gallery! But our artists once lived (worked), this same history, nowhere to get away from it. And in the exhibited paintings that seemed extinguished. Rows of their random, colorful, entertaining, even glamorous, but lack the deep meaning of life of authenticity, and thereby turning a deaf ear to the hearts and minds. Even the tragic epic of the Great Patriotic War, one can not feel, because that is too small just a couple of popular canvases - "Fascist flying" Plastov and "Letter from the Front" Laktionova.
List of excision in the body of history and culture of his country, carried out by workers of Russia's National Museum under the guidance of the curator of the Crimean shaft, deputy director of the State Tretyakov Gallery IV Lebedeva, not difficult to continue from the middle to the end of the century. But for the sake of brevity and nerves - a cut to the quick! - Will talk in general. For example, in the gallery decided to reveal the fate of native art, accentuating the flow "styles of the era. Not a complete picture, nor with the intelligibility was achieved. The fact that the "styles" are made creative leaders, personalities, here prefer to forget. None of the great artists I mentioned are not received even a little more personal exposure. As well as not mentioned Konchalovsky, Sergei Gerasimov, Pavel Korin and Vera Mukhina and, alas, still very many. Some things loose they are, do not allow us to sense the scale and charm of outstanding talent. Not discuss Graphics. They are perceived as not otherwise dull commentary on the sidelines of the exhibition of paintings, visually it can not be mounted and require special analysis. But what a gift we make the transition from the usual easel painting to the "topical", deployed on the floor below!
In the vast hall of the three walls is placed a huge installation Vinogradova and B. Dubosarsky entitled "Seasons of Russian painting" (2007). Here are collected dozens of textbook pieces and characters in paintings by Russian and Soviet artists in such a general show. For example, the "Spring" Plastova close to Venus Kustodiev and bryullovskoy Bathsheba plus "girl with the nucleus" Samokhvalova. Or: in the space levitanovskoy "Golden Autumn" brought down the fascist Al Deineki falls in the blue river, on the banks of which, at the feet of Serovskaya Yermolova, Ivan the Terrible kills his son in a frenzy ... This whole notion of level is not much different from how we have fun intelligent old woman half a century ago. Famous names of composers, they piled in tales such as "Here come Schumann and Bach and Busoni began. But that's painted a very long and very colorful oilcloth (without market swans, but with Vrubel Swan Princess) would be replenished as everything that could and could not see the audience on the walls of the gallery. More precisely, what he was not allowed to see. The result was like a surrogate replacement throughout the Tretyakov Gallery in conjunction with the Russian Museum. And before that sit on the steps of the hall hugging teenagers, looking at pictures, by which they proskvozili in the halls. The originals of these visitors are not particularly stirred up, and chips, nazharennye the history of Russian painting, relished. That's the true victory of our new art-ideas!



Alexander Morozov
Doctor of Art
8 - May 20, 2009

P. S. As can be seen, precisely because such triumphant achievement Mrs. Lebedeva couple of weeks ago put forward by the Ministry of Culture of Russia to the post of general director of the Tretyakov Gallery.

[Nedogonov]

Thank you, Konstantin. Remarkable, Article AI Morozova - neither add nor subtract. Yes, and any professional that level in another way, simply do not write. The man understands what he is talking about, unlike other "art" and to talk through the stream of consciousness that is understandable to them alone.
Material published elsewhere or thread to you with the tip of the pen?

[Konstantin]

Yes, from the author. I myself with something I would not agree, but we (the editors) have decided not Discuss, leave the opportunity to discuss the forum members.
I might add that the attendance and there and there, in my opinion, a little, at least on weekdays during the day, when I've been there. And in the article asserts that Lavrushensky much more than in the Crimean Val.

[Кирилл Сызранский]

Сообщение от Konstantin

And in the article asserts that Lavrushensky much more than in the Crimean Val.

At the expense of schoolchildren, with field trips, etc.
In Crimea, many still do not go, they just do not know that the CHA has the State Tretyakov Gallery and The Art of the twentieth century.
And in the old and the name of art. Metro will.
The Crimean interesting, there is a lot of hang of what was not.
Very interesting Bogorodsky, Vyalov, early Pimenov, Deineka, of course, but Safronov, G. Rublev, Ribchenko, Semashkevich, M. Sokolov, of the Andes. Goncharov, Falk many "new" hanged. Very interesting: Dormidontov, Shchipitsyn, Isupov, Kozlov, Mavrina, Luchishkin ...
"Severe style" well represented.

[color="# 666686"]Posted 12 minutes[/color]

However, Kandinsky, Filonov, Chagall represented sparingly (although the collection allow wider), and some of their outstanding work almost drowned in the chaotic hanging.

Yes, very little.
5 works Filonov (3 /m, 2-boom. /M, of which one is not hanging on a piece of paper it is written, "the exhibition;
2 works by Kandinsky and only one-step-"Above the town.

[color="# 666686"]Posted 17 minutes later[/color]

The viewer can easily imagine that after the legendary "Red Horse" 1912 KS Petrov-Vodkin simply died, for his late great things we do not see.

Wonder what?
What is in the State Tretyakov Gallery of "big things he later"?
That's not like this "shadow on the fence", blah blah blah is ...
You Come to the store, see what there is of Petrov-Vodkin "large, late", and compared to that on the walls and then against the "scrap will not be receiving ... : D: D: D

[Sandro]

Сообщение от Cyril Syzransky

At the Crimea, many still do not go, they just do not know that the CHA has the State Tretyakov Gallery and The Art of the twentieth century.
And in the old and the name of art. Metro will.

- About the attendance agreed with Cyril, and I think that it is not going because of the location of the building and the lack of clear association with the Tretyakov CHA ...
- But in about the artists, their belongings, hanging and accents - totally agree with the distinguished author of the article.

[Евгений]

Сообщение от Konstantin

We have sent an article by Alexander Morozov

In the vast hall of the three walls is placed a huge installation Vinogradova and B. Dubosarsky entitled "Seasons of Russian painting" (2007). Here are collected dozens of textbook pieces and characters in paintings by Russian and Soviet artists in such a general show. For example, the "Spring" Plastova close to Venus Kustodiev and bryullovskoy Bathsheba plus "girl with the nucleus" Samokhvalova. Or: in the space levitanovskoy "Golden Autumn" brought down the fascist Al Deineki falls in the blue river, on the banks of which, at the feet of Serovskaya Yermolova, Ivan the Terrible kills his son in a frenzy ... This whole notion of level is not much different from how we have fun intelligent old woman half a century ago. Famous names of composers, they piled in tales such as "Here come Schumann and Bach and Busoni began.

Khrushchev "intelligent thought":

...- I wonder who ordered, because the one who ordered, even if he pays, he shall faithfully fulfill the obligations. Let him hang himself on the neck.
Artwork should inspire people, it needs to elevate, inspire heroism of war, labor. And what's this? That pulls the donkey ass, stretching as in the days of old doomed to death.
But this picture? What they drink or what they do? - Do not understand. It is wrong, comrades. The government has no right to be amorphous, it should be a definite policy for the people. They say it is wrong to judge. But not for us to judge. For the time being the people we hold, we will carry out the policies that the people support.
Comrade Il'ichev is, of course, poor performance of the CC, poor performance of the ideological commission, a bad job of the Ministry of Culture, as if printing supports - help me find the specific facts ...."

I would, for instance, said people who are attracted to all kinds of daubs, not draw, do not create pictures, and just smear them: you, gentlemen, you say that we probably are not mature enough to understand your art. No, we, our people understand what is good and bad. And if these, if I may say "artists" who do not want to work for the people and with the people will be willing to go abroad to his ideological brethren, let them ask permission to leave, the same day will receive a passport and let them deployed to give them the freedom to "free" states, and let them there at least on their heads walk. But we have for the time being is "creativity" is considered improper, we will delay the policeman.

Khrushchev in the Manege December 1, 1962
http://forum.artinvestment.ru/blog.php?b=145

[Meister]

Yeah, when you come into a new atmosphere of emptiness strikes Tretyakov Gallery, which is strange for me personally. In the new Tretyakov Gallery, I go every 2 months exactly, but in the old went into the weekend, and I think in the next 3-4 years will go to refresh the memory. Absolutely agree with the author of the article about the quantity and quality of their pictures hanging, but even this is enough to get great pleasure from viewing. But if you add the exposition of the spirit of the time, add a chronological and conceptual framework, the popularity of this place should seriously grow!

[Кирилл Сызранский]

Сообщение от Meister

But, if you add the exposition of the spirit of the time, add a chronological and conceptual framework, the popularity of this place should seriously grow!

There is! This also has to deal with the museum. Not only that, of course, but should work. And they did now work arose.

[Meister]

Cyril Syzransky, for what reason?

[Konstantin]

when you come into a new atmosphere of emptiness Tretyakov affects

In all the museums so. Give me some crowded on weekdays museum. The people only for events pulled. One thing I do remember that several years ago on a winter vacation in Borodino Panorama went. There, yes, a continuous stream of buses with schoolchildren. But the Kremlin has.