Very interesting interview, aired Radio Liberty last year.
Broadcasts /Myths and reputation
School of Paris, the focus - Russian
09.11.2008 01:26
Ivan Tolstoy
Ivan Tolstoy: This talk will focus on the so-called Ecole de Paris - Paris School of painters, that is about the craftsmen that worked in Paris and had been linked with Paris - in the early twentieth century to its middle and even 60's. Artists Ecole de Paris in vogue is not yesterday, some of whom have long standing in auctions of hundreds of thousands and millions of dollars (Marc Chagall, Pablo Picasso, Amedeo Modigliani - to name the most famous). But the conversation we would just not those stars, but the smaller figures, or rather on the lesser-known, of those who, due to historical circumstances, could not sound out loud: this is not always fault of the artist. The heroes of today's program will be Russian artists of the Paris School. And the narrator - a theorist and practitioner Ecole de Paris. Here's a practice we begin. My companion - a London collector, journalist and scriptwriter Alexander Shlepianov.
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Alexander Ilyich, please tell us, for a start, how and with what you started collecting these works.
Alexander Shlepianov: From the beginning, when I was in the West, it was in 1988, 20 years ago in one of the first days in Paris I went in March é aux puces, the famous flea market, and there was simply stunned by how many paintings by Russian artists lying on the floor, hangs on the walls, standing in endless rows of pictures, and how many of them, these artists - great masters, virtually unknown in Russia. I think so, because it was after all in Russia, too, collector, and I thought that if I was in Russia who do not know, nobody knows. Although in reality, of course, there were people who have already dug up the history of Russian emigration that these names are known. In any case, the general public did not know them in any way. They were such names as Lanskoy, Tereshkovich and so on. Tens if not hundreds of names. I had and my interests: I was looking for more artists for quite some time. Let's say 40 years ago we were Solomon Abramovich Schuster were guests of Maria Ivanovna Mashkova Daniel, widow of Mashkov, and when she inquired about students Mashkova, for those whom he regarded as the most interesting, she said that his favorite pupil was Vera She hardly remembered the name, Schlesinger. We have nothing of it and then never heard many times, many asked what Vera Schlesinger - nobody knew. Already in Paris, I asked Alexander B. Serebryakov, the son of the artist Serebryakova, and he was a great connoisseur and the Russian emigration, and President of the Society escort Russian cultural values, that for such a belief Schlessinger, where legs grow here. He said: "Of course, this belief Rokhlin!". A wonderful artist who very early had committed suicide, an amazing artist, obituary written by Alexander Benois. He led me into some sort of gallery, where in the reserves actually lay a few pictures Rokhlina, but they were completely inaccessible to me if the prices were worth five thousand francs (then 500 pounds), I have such money is not there. Now, in order not to lie, these pictures are from 100 thousand to two million pounds. These are the prices at Vera Rokhlin. It is really a great artist, waiting for his catalog reason, Russia is waiting for his glory.
Then I was looking for Pavel Shmarov. Because I once saw reproductions of paintings Luksha-Makowska, where students were loved Repin - Somov, Kustodiyev, Murashko, Malyavin, Shmarov. The rest of us know, and who is Shmarov, where is he? In France, I came across a trail and, as a result, I managed to buy two wonderful paintings Shmarov. This is indeed a great artist. Why are we so moved, to the touch? Because then there was almost no literature on the Russian emigration, was not remarkable even a dictionary (it's heroic work Leikind, dressing and Severyukhina), there was a beautiful album Andrei Tolstoy, there were no monographs, no more exhibitions, which then made the gallery " Our artists ". We are absolutely moving in the dark while collecting Russian artists of the Paris School.
Then, Maria Vasilyeva. This is absolutely a legendary figure, the largest in the history of Russian art, too, awaits its great glory. She was the companion of Picasso, Matisse, she was head of the Russian Academy, she has done a lot for Russian art in exile. By the way, all the artists, who then gave his Russian paintings at the Salons - Independent, Autumn Salon - they always pointed out as his workshop addresses Vasileva on Maine Avenue. There is, incidentally, museum Montparnasse. It also, incidentally, many knew how prikladnitsu because her painting was somehow scattered, because she had no talent self-promotion, and she was not a good marshal. And just before the last years of her painting remained in the shadows. But, thank God, then the auction, which successfully sold the Russian artists of the Paris School. The first word is said aloud auction Makdugl, then went whales auction world - Christie's and Sotheby's, and, of course, the Paris auction. And, finally, in recent years become a fish out kubofuturisticheskaya painting Maria Vasilyeva, and it was just a great discovery. At the auction, a couple of years ago, it was twenty things, who immediately put her in a number of major artists in Paris. I managed to buy one now miracle.
Ivan Tolstoy: entitled to be called "school", a group of Russian artists, who themselves, probably, no school and not be aware of? Do we not make the sin of anachronism, to say so? The question I asked the St. Petersburg art historians, the author of, among other things, labor "Ecole de Paris" Michael Herman.
Michael Herman: I even allow myself a few adjustments to your question. Why only Russian artists in Paris, why only Russian art in France? School of Paris - this French artist. This, for instance, and the Romanians Brankushi, who became Brancusi, Modigliani was an Italian, and it is and the Czech Cup, this is, indeed, and Russian artists who came from Russia, of course, this is the French themselves. Well, Picasso - are a Spaniard, Gris - a Spaniard. Therefore, the first major art an international school, which had one quality that has provoked the question, it is by nature first polistilisticheskaya art school, where polistilizm, that is, acceptance of different art techniques and plastic, is not perceived as a rejection of one artist from another. Rather, it was community, built on the negative, that is, the negation of something, the search for new forms completely different. I had a lot to think about it, and about these artists, I wrote a book about artists in Paris and the Paris School in the classic sense of the Paris schools, it is now about these artists before World War II. Still, it was the last union of artists who have not yet been captured artbiznesom. Of course, they were successful, they would certainly like to be rich, but they were not even in this structure, in this system, and not focused only on commercial success.
God forbid, I do not want to say something that was good, but now it is bad. No time, which would not call myself timelessness. But, nevertheless, it is given, to be reckoned with. But the fact that it was a milestone and that these artists at the same time ended the 19 th century and early 20 th, it is beyond doubt. Although the definition of the direction or trend appeared only in 1925, and was given a known critic of the Right. But these words - Ecole de Paris - could flicker regardless of the definition. Well, the Paris School, well, Munich School - it everyday expression, which then crystallized into a term and, in general terms that I could give a very clear definition, some definitions. I even offered our listeners a quote from his own book, because it was difficult to articulate this to the reader. School of Paris, from my point of view, there are some unique phenomenon, a happy synthesis of international roots and traditions with the art of French, which, in turn, finds new energy from the interaction with the work of visiting artists. That is, the School of Paris is a period of positive acceptance polistilizma, as a kind of unifying principle. That is, the first principle of equal association of artists that high modernism was then characterized.
Ivan Tolstoy: It turns out that Paris was actually tsentroobrazuyuschim moment and semantic point? Paris, as a kind of a given, perhaps, not quite expressible in words, but is felt by those who, as a result, was united in the so-called Paris School?
Michael Herman: I think Ivan Nikitich that listeners will not believe that your question is improvisational, because it lies so that I would like to say. But, believe me, we are not tricky. For me, the main artist of the Paris School is Paris. It's not only that when we speak of the Munich school, we are talking about the atmosphere of the artists who worked in Munich. But when we speak of the Paris School, we are talking about that, obviously, and that is very difficult to explain. I wrote a book about why I love Paris, but did not answer me this question. But, nevertheless, some courageous judgments for me there, and I would have to share them in capsule form. Paris is really the heart of the direction to which it gave its name. But it is curious that the artists of the Paris School of Paris almost did not write. Think Modigliani, Chagall, Picasso - what there is Paris! But they - the champagne in Paris, the Parisian high, pale sky, which carries the glow of freedom of centuries, and the feeling that Paris gives even those who do not feel anything. In Paris it is very difficult to survive, Paris does not forgive idleness. Paris can destroy the weak, but it gives those forces which do not give any other city. Because it is impregnated with the spirit of the millennium of freedom, and that it accomplished that revolution, which made the art of self-display, the mapping of life. When you impressionism, who said the painting is comparable to the life and not a reflection of life that is as valuable as the nature of how emotions such as the human mind, Impressionism became such a royal portal passage in the new art. All passed through impressionism. It is hard now to believe it, so, in particular, especially those who are not involved, but Duchamp, Malevich, Kandinsky and others of the same slice, the same angle artists started through it, because the exam is released. And having gone through this, in one way or another, art has gained the freedom of style, freedom of expression, which could give only Paris, because he is also a Parisian impressionism. Although it is assumed that Impressionism is the shore Oise, Argenteuil, or sail in the rocks in the whitewash, impressionism - Parisian. The new Paris of Ottoman Poetry - Poetry is a new active and vigorous life, rather cynical, but with it, with the ironic cynicism consciously understood, the understanding of new rhythms and, most importantly, acceptance of the movement and not passeizma, which has always suffered from the art.
Ivan Tolstoy: Whom from the Russian masters, known in France and forgotten in Russia, you can still call? Alexander Shlepianov.
Alexander Shlepianov: There is also a huge list. I do not even know who to choose at once. I'll talk about a few people, it is legendary. For example, Riabushinskii. He Riabushinskii, Nicholas, editor of the Golden Fleece, who organized the exhibition "Blue Rose", which has organized three exhibitions "Golden Fleece", which were not only Russian but also French celebrities at that time. He was a man of passion, so much wasted money, lost at cards, in the end, it is absolutely an oil lost money, lost everything, and then as an antiquarian lived out their lives. I tried to find traces of it in Paris, it was very difficult. Incidentally, while he was a wonderful artist in itself, that somehow receded into the shadow of his organizational activities. Suffice it to say that the preface to his catalog written Kees van Dongen. All his life he continued to paint, and I tried many years to find traces of this painting. And I finally found a family of his former wife, with whom he parted in 1930, and there were a few things. I said that I would like them to buy. They absolutely had no idea that he was a major artist, but were very suspicious, as many heirs. They said: "You, collectors, always deceiving heirs. We will put up for auction. They put up for auction in Paris, but when I came to the auction, I was the only one who knew that name, who knew all that kind of artist. It was not just painting. It was signed by a very abundant - which made, by whom. And I bought it very cheaply at auction. They, as a result, have deceived themselves, because I would pay them much more pleasure. So I now have this wonderful picture Ryabushinsky, in the spirit of the fountain of things Pavel Kuznetsov, Blamirskogo, here I am this spirit.
Then there are people who are not forgotten, but they are forgotten as an artist. For example, Evreinov that "Theater for themselves", the famous playwright, director and theatrical figure. Who now remembers that he was also a painter. Although he participated in many exhibitions. Also I was lucky, I found it now - painting, landscape is beautiful. Many artists have been forgotten in Russia, because they were aliases French. They are trying to somehow survive, changed their names. For example, Sergey Yastrebtsov became Serge Ferrat. He generally had a weakness for an alias. He is in his journal that he published - "Le Soir de Paris" - signed "With es russes», he had a nickname Rudnev. He held together with a Russian Baroness Helena Ettingen salon, which is visited by the cream of the art world, the magazine he edited no more, no less, as Apollinaire. And, besides, he was a wonderful painter, took part in all the famous exhibitions. And also recently began to appear at auction, it is remembered in Russia. I, too, at one auction managed to buy it.
For example, sand, sand, Jean. Who knew him in Russia? And in fact it was Ivan Mstislavovich Paskevich, committed a Russian man, albeit with Polish blood, but what Polish blood in Imperial Russia? It was still a Russian man, he studied in Kiev, he studied in Odessa, then came to France and became one of the first Russian sezannistov, say so. He wrote mostly trees, and about him a lot of books written in France. He is considered the most famous artist on the image of trees and forests.
Say, who have forgotten? Was completely ignored Leon Zak. And what Leon Zak? This is one of the famous Russian-Imagist poets - Shershenevich, Mariengof, Kusikov and Zach. But when he went to the West, he knew he was Russian poetry will not earn their bread did, and he began to work intensively with painting, where he worked before, but so amateur. And that Leon Zak reached, I must say, just great heights, became a famous portrait painter, to which people waited in line for several years, he was writing and prose, and memories. He, incidentally, the brother of the philosopher Semyon Frank. He wrote under the pseudonym Rossiyansky. This is the maiden name of his mother was. Poetry collections he published. And, above all, he and Maria Vasilyeva, was the organizer of Russian artistic life in France.
Ivan Tolstoy: Mikhail that took Russian artists from Paris, that brought themselves? As far as the quality of their work is comparable to the quality of other masters of the Paris School?
Michael Herman: Firstly, I think that these figures are comparable, because, say, Soutine, Chagall - artists, of course, world-class. I accidentally called the two names, because for artists from Russia, it was still way out in an absolutely real social freedom. There is a story, possibly true (at the School of Paris are many myths) that when the Russian artists of the Jews asked the question: have you come here in this country, where the Dreyfus trial where many of injustice, where there is anti-Semitism? To which they replied that if a Jew in this country could become an officer of the General Staff, and later he was tried and acquitted, and pleaded for him to Zola, we agree to live in this country. I think that is key to much, because in Russia, not only Jews nahlebalis all kinds of humiliations. And this was the first to come from Russia so that the feeling of freedom.
Second - this is also part of the answer to your question is that the notion of the classical French school, which I wrote this one, this conglomeration of artists before World War I and shortly after, and then the broader concept of having everything right to exist -- visiting artists who work alongside the French. We are, of course, as people now speak in Russian about the fate of Russian culture abroad, are interested in Russian artists are inseparable and their relationship with the first generation. Moreover, the first generation of artists, with rare exceptions, but Soutine, Chagall, Kikoina and several other names, not all were able to survive in this fight with Paris, and the same Larionov, the same Serebryakova not remain at the level at which they were in Russia. Benoit went to the theater, as well as his son. There were many difficulties, but there were also other artists, there is another generation, a host of fate, and this is very good artists, but, unfortunately, little known.
Here, I can not forget about the people I really expensive one, which I do not know, but whom I was close, and another, whom I know. I mean family Arnshtamov. Alexander Martynovich Arnshtama, who came to France in 1933, after he spent 10 years in Germany, miriskusnika, superb draftsman and painter, working hard for a movie. When I speak of him as someone I care about, I can not explain what he wrote in French magnificent memoir - stern, funny, intelligent, full of irony to himself, which he described beautifully and then, as he sat in Russia, without complaint, but with a subtle smile istogo Frenchman and a deep-thinking Russian intelligentsia. Fortunately, I moved them, and they are not entirely, but the part was published in the journal Neva, and some - in the anthology "Diaspora".
A son, Alexander Martynovich, Kirill, a man who has very many years, but which I was honored to feel his close friend, still works brilliantly and saves me so that the fluid mix of French irony, the French klarte, with the understanding all the subtle codes of French life and who, I think, is some incarnation of the fate of the Russian artist in France since he was a contemporary of all, whom we now mention.
What has made Russian culture and art in the French, I do not pretend to say. I think that when the Russian Paintings settled in France, nobody has not made anything anywhere. Take Picasso. What we can say that he has made something in French painting from Spain? No, just the time for the world of art. And this was the first experience of life of Russian art in the world of art. They have not made anything anywhere, they created a kind of total art of high modernism, charges and made happy that high-emotional liability, which in Russia has always been that a Soutine and Chagall have had special, almost swollen, but more joyful and Chagall's theater, and by Soutine absolutely tragic, because it is generally the number one artist in France, from Russia. Maybe it's my personal passion, because that's about it, I wrote the first great book, which exists at all, as I understand it, not only in Russia. And the artists who are now becoming known, in general, as Minchin, for example, they are just three steps behind Soutine and Chagall, they're just less known. And this construction of knowledge should be rebuilt, and how now there is a pipe dream, it is still abstract, but I do not think it is hopeless, and in our lives to do in Paris, a monument to Russian emigrants. This idea somehow already spinning in the minds of the people from whom, in part, it depends, and I'm going to talk about it and with the people from which something depends in Paris. I think that such a monument could exist. And regardless of whom he represented - an artist, a poet, an abstract figure or just a kind of Stella, the spirit of Russian art and Russian culture, there would, of course, somewhere suschestval - for neprazdnyh nelenivyh attitudes and minds.
Ivan Tolstoy: Who will be the next star, whose name you foretells the coming glory - in the constellation of Russian artists of the Paris School? Opinion collector Alexander Shlepyanova.
Alexander Shlepianov: I would add only a few people who like to have returned: Tchelitchew, Marevna, Tarkhov, Alexander Yakovlev. This, incidentally, to a great extent the credit picture "Our artists" in Moscow, which made the exhibition of these artists. Next, I am deeply convinced, that Abraham Minchin, superhudozhnik, too, like Vera Rokhlin, died very young, so there was not glorified in life, but later, when they started to gather his things, it turned out that this artist, scale, stands in the same row with Chagall and Soutine, which, incidentally, he was friendly. At one time Falk, who was generally very sparing in praise of other artists, wrote to his wife: "spent a week at Minchina. I watched as he works. He had every chance to develop into a significant artist. Great temperament, tremendous love for art. Falk Minchinym was so impressed that he wrote a splendid portrait of him. He played in all the monographs Falk and, in general, everywhere. This Abraham Minchin, now have already appeared three volumes of the catalog reason, and is preparing the fourth volume, is an artist is absolutely the same scale as some Chagall. And to him the absolute world-wide fame and all that it should be. But, alas, it is up to this absolutely would not live.
Ivan Tolstoy: Alexander Ilyich, not a specialist (me, for example) is very difficult to understand what is happening with the prices of art. Where these ups: yesterday a hundred rubles - today, a hundred thousand? Where the shoe pinches?
Alexander Shlepianov: What happens to prices? If you go back a hundred years ago and see how much Morozov paid for the painting when he bought them - for Renoir paid 20 thousand. Then rubles were more francs, it was big money. For Monet - 10 thousand, for Gauguin - 7 thousand, Malyavina - 15 thousand, and so on. That is, these artists, at prices that were worth par with Western artists of the same class. Then came the Soviet regime, all rolled to the devil, Russian artists are not known to anyone and do not need, and they cost a penny, and Western artists in their class rose in price and now cost millions. Therefore, when the borders were opened, then there was the effect of communicating vessels, and Russian artists are following up the prices to their colleagues, the artists of the West. Who has moved up and overtaken many, it is Malevich, who has just been sold for 60 million dollars in New York, no matter what the crisis. Pulled himself up, of course, Boris Grigoriev: in this same auction, three things are sold for three million each. Mashkov pulled himself up, pulled himself up Shukhaiev, Yakovlev, and so on, I am not talking about Larionov and Goncharova. But they seem to have been in Paris at school, and they raised more evenly, more natural in the West. Now that concerns Russian unknown, forgotten Russian at the École de Paris. As soon as they are opened, their prices, of course, are also beginning to rise sharply. Rising prices Chelishchev, at the same Marievna. About Faith Rokhlin I have already said, that it had sold for millions. Minchin, last sale was 60 thousand euros, but I you can not predict with certainty that it will reach the same to hundreds of thousands and millions. Well, since then, there have been growing very strongly. Ferra, who was once at the flea market was worth 2 thousand francs, that is, 200 pounds, now sells for 30, 40, 50 thousand, Andrew Lanskoy, which also cost a penny, is sold for 120 thousand pounds. I'm not talking about de Stael, who had long been sold for hundreds of thousands. I'm not talking about Polyakova, which sells for huge money. That is, Russian Parisians, at least how they remember and make them the appropriate tools, that is reason catalogs, articles, exhibitions, they are certainly catching up with their peers.
Ivan Tolstoy: Mikhail, the extent to which Paris has continued to maintain their aura of attraction for artists? After a very long time already, there is talk that the status of the artistic capital of the world Paris lost.
Michael Herman: You know, as Stendhal loved to quote, and sometimes to finish their novels in English expressions, taken them from Goldsmith - «to the happy few» - «for the few lucky ones. I think that if people come to Paris, I came Sutin, knowing only two words, and immediately hit the sparkling atmosphere of Montparnasse, now an artist who comes from Moscow, without seeing a light of Moscow restaurants, no crazy nightlife, no such number outwardly at least, expensive art galleries, can turn around and go back to Moscow's glamorous Babylon. So, now, to make it all feel, we must have a certain intellectual and emotional courage. But I think that an artist who has lived in Paris for some time and felt that now, of course, covered in dust ... In Paris, the capital of such emotional and intellectual, that he might live on interest. Now this period, as between two heart beats. But if the artist had lived there for some time and did not understand, do not feel - so stupid. And if he is an artist, because then he would walk, as some of my friends artists who have been there, and say: "We do not see nothing there, but I want to go there again." This is a mysterious thing, that's the essence of Paris, and I think that this phrase Hemingway (which we rather crudely translated as "willy-nilly Paris never ends") literally sounds like that "in Paris, there is nothing that would have ended" .
I rarely do citation, but one quotation I still want to lead, although I am not a great lover of quotations. This phrase Gertrude Stein: "Paris was a suitable place for those of us who were going to create art and literature of the 20 th century. Naturally, the 19 th century knew what to do with each person, and the 20 th century was bound to not know and therefore, a place where you had to be was Paris.
And Jefferson said that was not only a politician but also a wonderful writer: "Everyone has two homelands - his own and Paris. If an artist is not able to understand it, it means that God did not kiss him anywhere, and maybe even spat at him. The fact that there is a Parisian artists who do not like Paris, it is very unpleasant. Paris must always be grateful, but it does fit in Paris, must learn to speak French and understand how to think in French. Because it can be brilliant to know the language, but do not understand the Parisian codes do not learn to respect other system of thought and a different attitude to art and to understand that in the Russian consciousness will never be the present of postmodernism, because for us every "Roadside Picnic" - is May Day celebrations, and for the French art - an art and only art. Understand that for a Frenchman in the arts important - the truth, and for Russian art - morality. All this is very difficult science. And, having given his entire professional life to French culture, I still feel it a newcomer. However, maybe this is the greatest achievement.
Ivan Tolstoy: Alexander Ilyich, you are so sweet and convincingly talk about buying Russian art, that the case for small - to discover a suitcase full of money and pay. Let indiscreet question: what about you - candle factory? Where you some money for all this take?
Alexander Shlepianov: No money. How do I take them? Every time is a big problem. Another thing is that when I was 20 years ago began to buy, the alternative was: a dinner, or some kind of a small picture of a flea. And this issue is easily resolved in favor of the picture. But now there is the question this way: a flat - or painting, or cottage - or painting. And when come across some very necessary for me to collections of painting, then I have to take morgedzh, that is a loan against a house to buy and, in general, it is now difficult to buy these paintings. But the fact is that I have focused on the forgotten artists, and is still, thank God, I can buy them very cheaply. For example, who remembers the artist or Anna Landshevskuyu Staritskiy? Well, brothers, Berman has more or less know, Eugene Berman's difficult to buy, but Leonid Berman, his brother, also a fine artist, I still buy very cheap. Artist Zalshupina, who worked under the pseudonym of Serge Shubin, him too, yet no one knows. Sarsuns last I have bought quite expensive and no longer can buy, but I do it best. In general, it is difficult to buy. Well, thank God, how much can buy? I, and so pictures are in stock, they can not hang in the house, and me many years, it is time to think about the soul, is enough to buy paintings.
Ivan Tolstoy: This speech is not a boy, but her husband. In fact, every wise collector will sooner or later they begin to think about the fate of his collection. It's his creation, creation. Have you thought about opening your collection to the public?
Alexander Shlepianov: I think about it, of course, but to publish a catalog, you need a lot of money. I think that someone would guess a museum of Russian art in exile, as did private museum of Russian icons in Moscow. Beautiful museum. And many other private museums already exist. I think that the idea of a museum of Russian art in exile is absolutely imperative. Now, if such a museum was, I would be happy to go there would be betrayed some large part of his collection.
Ivan Tolstoy: My last question - to art Michael Herman. Mikhail, but as the French themselves are perceived by Russian artists, in general, whether they are a national definition?
Michael Herman: I am very afraid of any generalizations. This is the same as saying that the Frenchman stingy or that he, as some say my Russian living in Paris knew that the French are insincere: ask them how they did, they say that good and really bad. Give us a god of insincerity, not to tell how someone acts stomach on every occasion. And I think that the Frenchman is by nature yet always against. I never heard that, when elected president, to at least one person admitted that he voted for the favorite. This is, like, not accepted. French really quite skeptical, but if they see the art that interests them, they are certainly interested in them, regardless of where the artist. This refers to the end of the 80's, when the Oscar Rabin loved not only for his paintings, but also for the fact that he was deprived of his Soviet citizenship. This is natural. Now, I think it's sufficiently ustakanivaetsya, and from the Russian art do not expect anything of what should not be expected from the French, Spanish, Mexican, and so on. Fashion on Russian art, of course, was the word "Russian" offers neither good nor bad. If there is not any particular theme. But that something is not. We, in general, all live in roughly the same laws, except for the servility of the Russian consciousness, but it is expressed in art is very small. And those artists who are now living in Paris, we are naturally not going to talk about names, and they work, they often wear a kind of crown of thorns from Cardin, who they may be more beneficial, but rather, out of habit, because it is already been so long, 20 years old, and art begins to be valued only for its artistic qualities and his commercial fashion. I would say that in this situation, the artist need courage, because our artists are accustomed to not be afraid of the KGB, but do not be afraid of poverty and rejection in Paris, not learned. I can not blame them for that, I am from timid, but, nevertheless, artists living in the attic and writing because they want to write that way, I do not know with the French, nor among the Russian, or among whom .
Ivan Tolstoy: You said about Paris today, as the time between two heartbeats. When and in connection with what, from your point of view, will this second blow, the next?
Michael Herman: I do not know, I'm always afraid of the forecast, but since the Parisians, as I have read, heard and talked to can remember the 60's, they had terrible diarrhea as a romantic, cheerful, promising time for the era of black dresses by Juliette Greco, on Sartre, Simone de Beauvoir, boulders, which flew into the police as a romantic time, I think that still return to certain values will occur. Anyway, in my memory, in the late 70's, were the broken telephone booth and the inscriptions on the walls. The French have always said that everything is very bad that they have a crisis that they are poor, but, nevertheless, that restaurant is full, which is expensive. And I think that simply is ebb and flow of consciousness.
When I wrote a book about Paris, which I love very much, and it began to translate into French, I am a smart man once said that "the French did not agree with you that you are so good writing about Paris, but they are so fond of when they are loved . And I think it's just ebb and flow of love and, perhaps, pripylennost old roads brasri, in the end, will move into something else. So many in the memory banks, that the lives of all those who are alive today, that's enough. Then he would probably be something else, other books, other tastes, and in Paris.
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Next, I am deeply convinced that this is Abraham Minchin, superhudozhnik, too, like Vera Rokhlin, died very young, so there was not glorified in life, but later, when they started to gather his things, then turned out that this artist, in scale, is on a par with Chagall and Soutine, which, incidentally, he was friendly. At one time Falk, who was generally very sparing in praise of other artists, wrote to his wife: "spent a week at Minchina. I watched as he works. He had every chance to develop into a significant artist. Great temperament, tremendous love for art. Falk Minchinym was so impressed that he wrote a splendid portrait of him. He played in all the monographs Falk and, in general, everywhere. This Abraham Minchin, now have already appeared three volumes of the catalog reason, and is preparing the fourth volume, is an artist is absolutely the same scale as some Chagall. And to him the absolute world-wide fame and all that it should be.
Well this is obviously overdoes it!
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До меня мир рисовали таким, как его видят. Я рисую так, как его мыслю. (с) Пикассо.
more than 20 pieces exactly) do not know you can call it awareness or not, but this comparison is similar Korovin compared with any of the first row of the Impressionists!
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До меня мир рисовали таким, как его видят. Я рисую так, как его мыслю. (с) Пикассо.
Эти 2 пользователя(ей) сказали Спасибо Meister за это полезное сообщение:
more than 20 pieces exactly) do not know you can call it awareness or not, but this comparison is similar Korovin compared with any of the first row of the Impressionists!
Exaggerates, of course, but in my opinion, much more interesting Minchin Rokhlina. Generally a little strange article
20.08.2009, 16:56
School of Paris, the focus - Russian
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