Exhibition "Konstantin Korovin - artist of the Bolshoi Theater"

[Жар-птица]

Konstantin Korovin - artist of the Bolshoi Theater.
This is an exhibition which opens the Museum of the Bolshoi Theater in the exhibition halls "New Manege", it will be held from December 29, 2009 to January 17, 2010
 
Konstantin Korovin (1861-1939) - Russian painter, easel - the first experience as a theater artist received Savva Mamontov's private opera, famous for including a new approach to decorative design. Korovin was one of those artists who just claimed this new approach. Instead of the traditional decoration of the stage, only determines the place of action, Korovin sought to convey the general emotional mood of the play, creating scenery and costumes in his, impressionistic manner.

In 1900, Korovin received an invitation to the Bolshoi Theater. The artistic level of performances in an official scene while leaving much to be desired, which is bitterly spoken director of the Imperial Theaters, VA Telyakovskii: "The theater is empty, and at every performance ... officials office go into state schools ... replenish the public performances of the students ... We need to make the taste and understanding." Now that's taste and understanding, and had to get artists like Konstantin Korovin.

At the Bolshoi, he paid nearly a quarter century (1900-1924 gg.), Having issued more than fifty operas, and ballets: "Life for the Tsar and Ruslan and Ludmilla" by Mikhail Glinka, "Mermaid" Dargomyzhsky, Sadko and The Golden Cockerel Rimsky-Korsakov, "Prince Igor" A. Borodin, "Khovanshchina," Eugene Onegin "by Tchaikovsky," Don Quixote "by Minkus," Raymonda "Glazunov, Swan Lake "and" The Nutcracker "by Tchaikovsky," Salammbo "A. Arends, and many others.

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Korovin has built and has embodied a fundamentally new role for the Bolshoi artist co-author of the play. His innate musicality allowed to correlate features of sound and rhythm. "Colors, chords colors, shapes - that's the task I set myself in the decorative painting Ballet Theater and the Opera" - said the artist himself.

In the Big Korovin discovered previously unknown world of ballet. Working with a choreographer Alexander Gorsky staging of the ballet "Don Quixote", he first refused the traditional stacks and classic hairstyles; violated a symmetrical layout, choosing the diagonal composition, very effort should be the impression of a dynamic action. However, the new artistic solutions seemed too daring and contemporaries in the theater was taken in arms. Painters spoil the scenery; artists Korovinskoe refused to wear costumes - the same ones that later caused delight and amazement abroad.

Whatever the case may be, plays in the creation of which took part Konstantin Korovin, became an event in the history of opera and ballet. In addition to the performances of the Bolshoi Theater, Korovin designed the setting and the Mariinsky Theater, and Sergei Diaghilev's Russian Seasons.

Bringing on the imperial stage that was best in Russian art early twentieth century, the artist opened his incredible for that time, the possibility of decorative design, indicating the direction of the future of scenography.

Significant "Korovinskoe" stage in the history of the Bolshoi Theater in the exhibition illustrate the over three hundred exhibits: sketches of costumes and scenery, costumes, models and paper-prirezki tattoos, made from sketches the artist's students, faculty of the School of Performing studio art theater.

The exhibition illustrated catalog, which, in addition to sketches, are also not included in a display of photographs, which depicted actors in suits "from Konstantin Korovin. By themselves, the unique historical material, they provide an excellent opportunity to evaluate how creative Korovin was embodied on the theatrical stage.

Exhibition organized by the Museum of the Bolshoi Theater with the participation of the Moscow Art Theater Studio School, the State Central Theater Museum. AA Bakhrushin State Central Museum of Musical Culture named. MI Glinka, Saint-Petersburg State Museum of Theater and Music.

Inquiries: (495) 692-00-25
Address of the exhibition hall "New Manege": George Lane., 3.

Photo 1 sketch the scenery for the ballet "The Nutcracker" by Tchaikovsky, 1918 "Christmas tree",
photo 2 - sketch of costumes for the ballet "Salammbo" A. Arends, 1910 "Priestess";
photo 3 - sketch the scenery for the ballet "The Firebird" by Igor Stravinsky, 1919 (not implemented)

All photos (St. Paul Rychkova) - with exhibits of the Museum of the Bolshoi Theater.

[Сима]

Firebird, the exhibition was opened yesterday. You were on it? And where did this text in your post? The entire Internet is now full of these unfortunate "malaria. which spoil the scenery. Who spoiled? Why? In fact, to "port", were artists-performers. They are that if the port? Klodt, such .
Apparently what he saw, they are spoiled and sketches. (This case, however, is described in the memoirs thin. Komardenkova)

[fross]

Сообщение от Sim

Firebird, the exhibition was opened yesterday. You were on it? And where did this text in your post? The entire Internet is now full of these unfortunate "malaria. which spoil the scenery. Who spoiled? Why? In fact, to "port", were artists-performers. They are that if the port? Klodt, such .
Apparently what he saw, they are spoiled and sketches. (This case, however, is described in the memoirs thin. Komardenkova)

Please tell us more detail.

[Сима]

fross, about the exhibition or on how spoiled?

[fross]

Сообщение от Sim

fross, about the exhibition or on how spoiled?

And about the exhibition, and how, and more importantly why? spoiled.

[Сима]

fross, I am here today all day thinking how to be with the exhibition. I decided that to speak about this exhibition can only under his own name and not under the nickname - it is a professional matter. For many years I laid out a series of sketches Korovin in descending order Korovinskoe and determined - the first round of copies, second, third, etc. It was sometimes possible to isolate the hand of the author copies, folded artists and not always anonymous. Yes, and originals are not always existed.
But all this deeply down the drain. This, in fact, I have such leisure time was not one museum will not reset its "Korovin.
It is sad that the federal museums in this state of mind that questions the authenticity they do not care. This is the first part of the answer.

Added after 9 minutes
I Komardenkova told a funny episode. He worked as a performer at the Opera Fedorovsky Zimin, and near a studio Korovin. When Korovin went hunting, his assistant (paint is in buckets, ie, knew coloring), got drunk and took courage in hand and vazyukal of unfinished sketches with words "that's as it should." Returning from the half way of his master caught and severely beaten. It was always interesting, how often did this guy vazyukal at Korovin. Well, and the ensuing problems.

[Кирилл Сызранский]

Сообщение от Sima

It's sad that the federal museums in this state of mind that questions the authenticity they do not care.

We must, as in Western museums, conduct annual%"O".

[fross]

Сообщение от Cyril Syzransky

It is necessary, as in Western museums, conduct annual%"O".

But he's miserable in my opinion, and fundamentally changes nothing?

[Сима]

Cyril Syzransky, MB But for this one must return to respect for the institution examination. And without this we will see many interesting things.

[Кирилл Сызранский]

Сообщение от fross

But he's miserable

Scanty, but there.