Art KaleidoscopeInteresting and relevant information about art. Discuss general art issues and any topics not covered in other forums. It’s only about art — love, politics, sports, hobbies etc. are discussed in “Chatter”.
is very interesting last paragraph. In my opinion, absolutely correctly stated and applicable to any art collection.
Collecting - creation stories pictures
The collection of Russian photos of Michael Golosovsky: "To collect, must have its position»
Irina Chmyreva
Past the last decade in Russia, foreign photographic exhibition taking place from the mid-90's annual spring fotofestivali in Moscow and "Autumn Photomarathon in St. Petersburg attracted to photography, and constant attention to Russia's public and media have done a photo feature of modern fashion culture. It may seem that the fashion photograph - a spontaneous explosion that is unparalleled in the history of Russian culture. But it is not. Future researchers have yet to draw parallels between the cultural situation in Russia, abroad XX-XXI and XIX-XX centuries, when the country experienced a massive surge of passion photography, with wires in those years, many photographic exhibitions, and not only in St. Petersburg and Moscow, but also in provincial cities. It was then that were created many works, which later went into private photographic collections, despite the fact that the Soviet - from 1917 to 1991 - the period of Russia's history, with its rejection of private property and disinterested attitude toward photography, which is peculiar to the cultural policy of the state, created a clearly unfavorable conditions for the emergence of photographic collections. Exhibition practice of the last decade allowed to declare itself to many holders of photographic collections. One of the most significant collections is the collection of Michael Golosovsky.
Читать дальше...
This collection of about 30 years. Michael Golosovsky, photographer, organizer of exhibitions of contemporary photography, began collecting works of his colleagues along with the techniques of photography and photographic literature back in the 70's. Much of his collection of photo equipment now based exposure photographic department of the State Polytechnic Museum in Moscow. The library Golosovsky more than 1,5 thousand volumes on photography, from the first Russian fotoizdany 1855-1856 period to modern foreign catalogs with Russian authors. Collector interest lies primarily in the area of Russia photos. Works from his collection were shown at exhibitions in Moscow on 140 and 150 th anniversary of photography. At trade fairs in Cologne and Oxford. Recently, based on his collection Golosovsky created several exhibitions on the history of photography and monographic retrospectives of individual authors. One of them was presented in 1996 in Moscow, the State Tretyakov Gallery
Irina Chmyreva: What inspired you to collecting? What are the goals you set for yourself?
Michael Golosovsky: Somewhere in the early 70's, when I and my wife, photographer Galina Lukyanov, yet knew little about the history of photography in the hands of us caught journal "Soviet Photo" 30-ies, where quite at the level of marketplace battle criticized the work of Yuri Eremin, Nikolai Svischova-Paola and others. Soon I saw the works of these authors in photoclub "Innovator", directed by Alexander Khlebnikov, who himself belonged to a cohort of Photographers 20-ies, when I met with Alexander Grinberg, then completely forgotten by the author. High culture, undeniable artistic merits, and most importantly, the spirit of a past age, I was amazed. It looked like a whole layer of photographic culture, located in oblivion. Information on the history of Russian photography XIX-th - beginning of XX-th century was very little, but I had the great good fortune - an opportunity to communicate with the historians of photography, Sergei Morozov and Anatoly Fomin - Needless to say, what a school! At that time (70's) attitude to the original was rather indifferent, and if the work of photojournalists do not suffer, and sometimes even win, the photographers lost completely. For me, it became undeniable: to understand the artist must see the original. This was the beginning.
Today the collection of Michael Golosovsky includes material on the history of Russian photography from the late 1830's to the present day. Specificity of the collection - the almost complete absence fotozhurnalistskogo material. As a collector said, "Why open is already open? "
The collection consists of four main sections. First - Russian picture of the XIX century, which shows the diversity characteristic of the time processes (from the daguerreotype, albuminotipii, tintype before half-tone reproductions and chromolithography) and genres (landscape, portrait, genre, still life, seascape), as well as the most famous authors. Inside this section is allocated collection of architectural photographs, which, along with famous names such as Gregory Nostitz, Ivan Barshevsky, there are anonymous, whose work on the complexity of the composition and excellent technique of execution is not inferior to the works of their famous contemporaries. Another subsection of great interest - is an ethnographic picture, so-called "types" of peoples inhabiting Rossiyskuyu Empire: the work of William Carrick, Dmitri Nikitin, Dmitry Ermakov. One of the gems of the collection of XIX century - the first known in the history of Russian photography montage Petersburger Sergei Levitsky - a portrait of Empress Maria Fedorovnyypolnenny in the early 1860. The second section presents the Russian pictorial photography.
M. G: This is the main theme of my collection. Unfortunately, the Russian Pictorial photography in the world today not known, it is not in the studies of international photographic salons 1890 - 1930, although the Russian pictorialists performed on them are very active, and the names Alexis Mazurin Lobovikov Sergei, Yuri Eremin, Alexander Greenberg had been widely known in photographic circles in those years.
IC: This sometimes does not share the concepts of "art" and "Pictorial" picture. What for you the difference between them?
M. D: Each of them goes his own way. The visual contrast especially in the more figurative pictorial photography. In order to quickly gain recognition, picture imitating art, draw it closer to her, taking the picturesque tradition, culture - this was Pictorial photography. This was an inevitable process, affecting all countries: in France, Britain, which were rich pictorial tradition, and even America, where pictorial and photographic tradition were equally young. In Russia, both worked and pictorial photography, and master of artistic photography. They were members of the same photographic societies. They lived in the same cities where their studio, especially in such cultural centers as Moscow, St. Petersburg, Kharkov, Vyatka, Nizhny Novgorod. Sometimes only the range of exhibitions and communication can be attributed to a master of the late XIX - early XX century to pictorialists or "artists".
At the meeting of pictorial photography is the work of Michael Golosovsky Lobovikov Sergei and Aleksei Mazurin, Nikolai Andreyev, Yuri Eremin, Basil Ulitina, Alexander Grinberg, and Sergei Ivanov, Alliluyeva, whose names are familiar to the public for monographic exhibitions. Also in the collection are works of Nikolai Eliseev, Boris Podluzsky, Nicholas Svischova Paulo, Anatoly Tropani, Leonid Shokina and other representatives of the pictorial school of Moscow, St. Petersburg, Kharkov, Vyatka, Kiev. These masters were known to modern publications, but also, perhaps, but assembly Golosovsky, there are not many places where you can see the originals of their refined products. The third section - a modern, 1970 - 1990, picture in Russia. Getting a collector with many famous authors suggests the presence of their works in his collection, but it is not. And although his collection includes works by Alexander Slyusareva, Helena Skibitskaya, Rita Ostrovskaya, Gennady Koposova Alexandra Saakova - modern masters whose names are associated with the classics of Soviet Russia and photos of recent decades, Golosovsky it collects photos, but not the names of their creators.
And, finally, the fourth section - Russian painted picture, little explored phenomenon that exists throughout the rivalry between painting and photography, bringing their plasticity and generating new semantic nuances of the image. At one pole is adjacent to the painted picture retouching, on the other - side by side with the painting. The coloring in the portrait of the higher strata of society of the XIX century idealized image, a coloring landscapes makes them more documentaries, and painting over the bazaar and the soldiers' portraits of the early XX century, turns them into paintings. The same idealization and recovery images coloring collector traces in the works of contemporary photography.
When Golosovsky tells about the Russian Photographic Society and its extensive exhibition program at the beginning of the century, he respectfully refers to the "photographic figures" of the time. "The activity - is more than just a photographer, after he collected and displayed, argued, and studied - that assessment of those who create an environment of Russian photography a century ago, today it is applicable to most Golosovsky. His collection - the fruit of his own historical research, archival and bibliographic research, observations of the actual photographic process. Indeed, today, to create a photographic history of his country, matching the story with the world's artistic context, we must have a definite position and great personal courage.
Эти 4 пользователя(ей) сказали Спасибо Allena за это полезное сообщение: