Evgeny Lancere is an interpreter of Russian classics. "Examine to work on these people ..." about the diaries of Evgeny Lancer E Lancer paintings
Evgeny Lancere - Interpreter of Russian Classics
Artists of the book of the twentieth century
Evgeny Nemirovsky
It is very rare in one family as many talented people as in the family, from which the hero of our present essay took place. The craving for art was passed from Alberto Camillo, or, as his name was in Russia, Albert Kavinovich Kavos. This man who built a large theater in Moscow and Mariinsky in St. Petersburg was grandfather Alexander Nikolayevich Benoit and Praded Evgenia Evgenievich Lancer. Thus, the artist, about which we now tell you, had a nephew of one of the founders of the "world of art", although uncle was only five years older than the nephew. Like Beno'a, Evgeny Lancer also began in the "world of art" and was also fascinated by the XVIII century. One of the most famous paintings by Lancer, exhibited in 1905, is called "Empress Elizaveta Petrovna in the Tsarskoye Selo."
But over time, the paths of Miriskusenikov drank: most of them ended their lives in emigration, and Evgeny Evgenievich Lancer remained in Soviet Russia, became the People's Artist of the RSFSR, the Laureate of the Stalinist Prize. Did it change for this to shower? In general, no, because the artist Lancer was a convinced realist. And before, and after the revolution, he gladly illustrated the works of Russian classical literature. True, from time to time he had to play works, it seems not characteristic of him. And if the portrait of a young Sergo Ordzhonikidze, written in 1922, imbued with sympathy to the young, romantic revolutionary, then this will not tell about the painting of the State Museum of the State Museum in Georgia, "I.V. Stalin leads the first political performance of the Transcaucasian proletariat" or about the too straight and ideologized sketches of paintings for the Kazan station in Moscow.
Evgeny Lancere was born on August 23, 1875, that is, this year we will celebrate its 130th anniversary, if, of course, our seal will remember this date. His father Evgeny Alexandrovich was a talented sculptor. The Mother of Ekaterina Nikolayevna, Sister A.N. Benua, could become an artist, who was not bad and visited the classes of the Academy of Arts. "She married love," recalled A.N. Benua, - for the young, talented and soon became the famous sculptor Yevgeny Alexandrovich Lancere, and this "Roman Kati and Zhenya", which began in the summer of 1874, continued until the hedgehogs of the magnitude, The 1886th Katya happened in February, which at the time of the death of her husband was only 36 years old and which was still an adorable, remained faithful to him until the end of life. " Evgenia Alexandrovich was in the grave of tuberculosis, but in marriage with him Ekaterina Nikolaevna gave birth to six children. After the death of her husband, she together with the children moved to a spacious parental home, and Evgeny's childhood was held together with Alexander Benoit. "I was especially pleased," he repent later, - that under the same roof, my favorite nephew of Zhenya, or Wizhenka, Lancer, who began to detect extraordinary artistic talent with me. Conversations with this charming, gentle and at the same time filled inner burning with the letters gradually began to turn to me from fleeting entertainment in some need. " Yevgeny Nikolai's younger brother became an architect, and the smaller sisters is a famous artist who went to the history of Russian art under the name Zinaida Evgenievna Serebryakova.
After graduating from the gymnasium, Yevgeny became the listener of the drawing school of the Society for the promotion of art, and in 1896, together with Lvi-Bakstom, he went to the traditional Miriskusnikov ride to Paris - Artistic Mecca of the 19th and XX century. Together with friends Lancer traveled in Italy, Germany, Switzerland and England. K.A. Sovov in September 1899 wrote one of his correspondent: "My Petersburg friends came to Paris in May - Nuvel and Nurok, who brought a new note to our company, and we, i.e. I, Shura B [Yenua] and J. Ansenser, went to London. "
The beginning of the work of Evgenia Evgenievich on the Niva art of the book refers to 1897, when he received his first order - to arrange the book Elizabeth Vyacheslavovna Balobanova "Legend of the old castles of Brittany." Drawings performed in mascara and Belils, Feather and brush, were made from nature in the summer of the same year, when Lancer, together with A.N. Benua, was in this seaside French province. "And I, and our faithful satellite of Zhenya Lancer," recalled many years later Alexander Nikolaevich, "dreamed of wild and monstrous rocks, about the old granite chokes and chapels, about prehistoric mengirs, in general, about all that the fabulousness attached ..." . About the drawings of Lancer made at that time, he said that they were permeated with a truly Breton mood. At home, these drawings were appreciated otherwise. "Lee E. Annser to go to Paris and long to learn and live there, - Vladimir Vasilyevich Stasov (1824-1906) - To draw their illustrations to" Breton fairy tales "and their decorative drawings, where human figures stick out curves and oblique , without the slightest nature, waves - in the form of the correct rhombus of the mosaic. Some colossal floating candles in the dungeon, then unprecedented bushes and plants, anything, except that in fact there is in the world. " Stasov, of course, passed his impressions of the works of Lancer in a clearly extended form, not wanting to recognize the possibility of styling and the right of the artist to his own vision.
Ballobanova's book was published in 1899, and then Lancer took part in the design of the anniversary Pushkin publication, in which A.N. Benua and K.A. Osov participated - making a screamer to Dubrovsky and to the "shots".
E.E.Lesser. Shmuntitul for the magazine "World of Art". 1904
Next was the cooperation in the magazine "The World of Art", to which Soviet art history relate, to put it mildly, with alertness. However, Soviet art historians strongly emphasized the "special place", which Lancer held in this "Estetian artistic association." And how could it be otherwise? After all, Miriskuseniki, according to M.V. Babenchikov, written in 1949, in the midst of the fight against "rooted cosmopolitanism", "proclaimed the" absenteeism "of art, allegedly standing" above all earthly ", and thus immediately revealed their class Affiliation. " And further: "Miriskusniki Rabski bowed to all kinds of" foreign "and in their hatred to the realistic development of the world closely adjoined the Western modernist trends in the literature, theater and music." According to the same author, "Lancer has never been a typical nor consistent Miriski. On the contrary, the exceptional demanding of the artist to himself encouraged him every year everything more critical and critical to the conditional stylist of the "world of art" and the idealistic globility of this extinct group, which were expressive and preachers of deprived of high ideological and social importance, and therefore the distant and alien people of culture "
Meanwhile, A.N. Benua has always emphasized the cohesion and complete disposable people standing at the origins of the "world of art". At the end of his life path in a letter to the artist and art historian, Igor Emmanuilovich Grabary (1871-1960) dated November 8, 1946, in which he decided to "express all his grief about the death of our cute Lancer's magnifier," Benua recalled the long last day: "And what was the" flock "! How many we were! And how everyone is solid, and as everyone needs everything, and everyone is committed to one case - the protection and dissemination of genuine art or the fact that we read with full conviction for such. " And with bitterness noted: "Well, and now for" genuine art "is something completely different, and we can not do anything with this." Evgeny Lancer, he considered a like-minded day until recent days.
In the magazine "The World of Art" E.E. Belisser collaborated from the very first issue, in which his excellent lithograph "Kazan Cathedral" and other works dedicated to St. Petersburg was placed. Publishing machine graphics, the artist simultaneously decorated the magazine surprisingly decorative ornamental decoration. "His screensavers and endings," wrote famous art historian and a boncor Alexei Alekseevich Sidorov (1891-1978), - always very cleverly or start, or finish the pages of the printed text. " Ornamentation is difficult art, always balancing between empty decoracing and genuine skill. Vignettes Lancer in No. 15 and 16 of the "Art World" A.A. Sidorov called "ineffective", thereby denoting their exciting simplicity and the absence of all apparent. Deli Lancere and covers for the "World Peace". In the rooms for 1902, the lithographs of the artist were published, and in No. 9 for 1903 his all-page shimetitul "death of the gods" was placed, in which you can see the motives very far from the world of creativity William Blake. The influence of Birdsley, which is easily viewed in the chart of Lion Baksta and Konstantin Somov, in the works of Lancer is minimal. Another frontispis E.E. Belousser opened the section "Medieval poetry in miniatures".
Among other works, Yevgeny Evgenievich for the "World of Art" need to be called and published in the latest number (twelve) three drawings to the cycle of poems Konstantin Dmitrievich Balmont (1867-1942) and accompanying this publication of unusually decorative screensavers and endings. To the passing works, without which there is no creativity of a single artist, it is possible to take covers for the journal "Children's rest" and illustrations to the story of A. Varyag, published in St. Petersburg in 1902.
Evgeny Evgenievich was always easy to rise: in 1902, he again went to a distant trip, but this time not to the West, but east. Lancer visited Siberian cities, traveled to Manchuria and Japan. From this trip, Lancer brings a lot of drawings, which, however, did not have a large social resonance. Next year, the artist visited Pskovshchina (the ancient monuments of this land admired Lancer, although there were no noticeable influence on his work, and then traveled around the Kursk and Kiev provinces, wrote landscapes.
In the years of the first Russian revolution, E.E.lanser, as well as his friends on the "world of art", actively participated in the design of opposition magazines. His, man of pure spirit and to sensitive pain, outraged blood shedding on January 9, 1905 on the streets of St. Petersburg. Much later, remembering these days, Lancer wrote: "The general perturbation of the regime, vague hopes for a more just life of life captured us, a small circle of artists ... Any opposition to the government has found sympathy in us." In No. 2, Zhepel magazine was placed Drawing Lancer "Moscow. Fight ", where our ancient capital was depicted from the bell tower of a passionate monastery, with which punishers shot rebellious crowds.
After "Zhepev" was banned, and his founders went to jail, Evgeny Evgenievich was not afraid to declare himself to the publisher of the new magazine "Hello Post", in the first number of which was placed his sharply satirical, directed against the infamous "black hundred" drawing "The joy on the land of the main laws for the sake of", and in the following - drawings "We are glad to try, your excellency" and "triction". The last figure shows the city, celebrating victory. The visual solution with a sharp contrast of white and black spots here, as it were, conflict with the usual line for Miriskrikov.
Ending in the next issue
Masters of historical painting Lyakhova Kristina Aleksandrovna
Evgeny Evgenievich Lancer (1875-1946)
Evgeny Evgenievich Lancere
Lancer, like his contemporaries A. Benua and V. Serov, created in his work a completely new type of historical picture. Its small-sized canvas with a shallow space, truthfully transmitting the spirit of a certain era, called many historical and literary associations in the imagination.
Russian artist and painter Evgeny Evgenievich Lancere was born in the city of Pavlovsk near Petersburg. The boy grew in the artistic environment (his father, E. A. Lancere, was a sculptor, uncle, A. N. Benua, painter).
Lancer Art Education received in the drawing school of the Society for the promotion of artists from J. F. Zionglinsky and E. K. Lipgardta, later, in 1895-1897, he studied at the Academy of Kolasrasi and Juliana Studio in Paris. The beginning of the creative activity of the Master is primarily associated with graphics. Lancer was part of the main investors of the magazine "The World of Art", also engaged in other publications created by the Association of the "World of Art".
The Lancer's schedule of the beginning of the 1900s can be divided into two directions: decorative ornaments using plant motifs and historical compositions.
E. E. Lancer. "Botik Peter I", 1903, Tretyakovskaya Gallery, Moscow
Like M. Dobuzhinsky and A. Benua, Lancer was interested in ancient Petersburg, his architectural monuments, which he dedicated many of his drawings, watercolors, lithographs ("Nikolsky market. Petersburg", 1901, Tretyakov Gallery, Moscow; Kazan Cathedral, Kalinkin Bridge "- both in 1902).
A great influence on the formation of Lancer as an artist provided works with historical topics V. Serov, with whom the young master worked on the publication of the "History of the History of Great Thrust, Tsarskaya and Imperial Hunting in Russia". For this, the edition of the sulfur performed the compositions "Peter I on the Pins Hunt" and "Departure Peter II and Zesarevna Elizabeth Petrovna to hunt."
One of the most interesting works by Lancer with the historical plot was the painting "Empress Elizabeth Petrovna in the Tsarskoye Selo" (1905, Tretyakov Gallery, Moscow; option - at the Art Museum, N. Novgorod). The master chose devoid of a difficult fabul plot, which is characteristic of the work of most Miriskrikov.
At the same time, Lancer not only transfers the overall spirit of the Palace Cartignation Ceremony of the Queen, but also draws attention to the heroes of the scene: the majestic, fat Empress, nobles and court letters with arrogant.
In human figures there is no hint at the grotesque, it is not puppets and not disembodied Somov ladies and cavaliers, but living people, freely and naturally located in the procession. They harmoniously fit into the architectural landscape and, as it were, make up a single integer with the ensemble of the Tsarskoyel Palace with its white gramist columns, statues, stucco decorations and decorative balconies. The picture very subtly transfers the atmosphere of the Northern city; Figures of people and buildings are flooded with cold light of the St. Petersburg day.
Like many artists of the "World of Art", Lancer was interested in the epoch of Peter I. His works dedicated to this time were marked by a romantic feeling, there are few household details and elements of the genreality, which is typical for the "Empress of Elizabeth Petrovna's Empress in the Tsarskoe Selo." High patheaux characterizes the composition "Petra I" (1903, Tretyakov Gallery, Moscow), "Petersburg early XVIII century" (1906, Russian Museum, St. Petersburg). The main thing for the artist is to convey the appearance of the city of early XVIII century, capture the spirit of time. This is not only architectural buildings, but also people whose activities the author captured on his canvas.
Such and the canvas "Ships of the time of Peter I" (1909, Russian Museum, St. Petersburg; option - 1911, Tretyakov Gallery, Moscow).
Lancer sought to capture the power and strength of the Russian fleet. All the details of the picture are subordinate to this goal. Skinny dark clouds in the sky, stormy waves, inflated sails, tremble from the wind flags create the impression of movement, energy.
In 1900-1910, Lancer took an active part in the art enterprise "Contemporary Art", founded by I. E. Grabarem. "Contemporary Art" was a kind of exhibition, on which paintings were shown, works of applied art, artistic interiors.
E. E. Lancer. "Empress Elizaveta Petrovna in Tsarsky Sel", 1905, Tretyakovskaya Gallery, Moscow
A large place in the creative heritage of the master occupies a monumental-decorative painting.
In 1910-1912, Lancer created a ceiling and frieze for the Moscow mansion of Tarasov. A few years later, together with A. Benua, the artist was sketching the paintings of the "Peoples of Russia", designed to design the Kazan Station and the Board of the Kazan Railway.
By this time, the theatrical and investigation activities of Lancer who worked in the old theater.
E. E. Lancer. "Petersburg early XVIII century", 1906, Russian Museum, St. Petersburg
Significant interest is the graphic work of the artist for magazines and books. With the help of Lancer, the magazines "World of Art", "Art Treasures of Russia" were decorated, the book A. N. Benoit "Russian School of Painting", the publication of the "History of the Grandnya, Tsarist and Imperial Hunt for Russia".
In the style of medieval gothic, Baroque times of Peter the Great, Russian classicism made elegant vignettes, ending, screensaver Lancer for magazines and books. The interest in the Russian history and life of the people was reflected in the realistic and true drawings and watercolors of the master to the story of L. N. Tolstoy "Haji Murat" (1912-1915), rightfully belonging to the best book illustrations of the beginning of the 20th century.
Before the start of work on the story, Lancer visited Dagestan and Chechnya, where he made many sketches of human types, landscapes, architectural monuments, household goods, weapons.
During the First World War, Lancere went to the Turkish Caucasian Front, where he made a large number of sketches.
E. E. Lancer. "Ships Times Peter I", 1911, Tretyakovskaya Gallery, Moscow
To the subject of the Caucasus, the artist again turned, working on the illustrations to the "Cossacks" L. N. Tolstoy.
By this time, he was well acquainted with the life of the Caucasian peoples: three years, from 1917 to 1920, the artist held in Dagestan, then lived in Tbilisi, where he worked as a pigeon in the museum of ethnography and spent a lot of time in ethnographic expeditions along with the employees of the Caucasian Archaeological Institute.
Since 1933, Lancer lived in Moscow. He was engaged in monumental painting (Plafones of the restaurant of the Kazan Station, Hotels "Moscow", Bolshoi Theater Hall). A series of "Russian trophies" (1942), which showed an inseparable connection of history with modernity, was the best work of the last period of life of the masters.
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Evgeniy Evgenievich Lancere is one of the few domestic artists not only to make, but also imprinted many events and the first and second world wars. In winter, 1914-1915, he traveled to the Turkish front to draw the types of locals, Cossacks, military events 1. That war was called the Great Patriotic War. Then there was a 1917 revolution and civil war. But few people assumed the beginning of a new world war so soon. September 4, 1939 the artist recorded in the diary 2: "Second World War! Again everything flies to hell! And still in the inertia and I, and others, and care about the intricacies of the proportions, about the shades of color! .. I think about Parisians, O Kola 3. " September 9: "Oleok 4 depressed the threat of war. The public seems to be reserved by provisions. Everywhere queues. Dust in savingskassy. " "Lightning the following historical events next to each other: the 17th entry of Soviet troops to the Polish territory. Defeat the final Poland, yesterday it is partitioned; Everyone is guessing - to whom Warsaw, which turned out to be just at the turn "(from the diary record on September 24, 1939). But the war came to the territory of Russia only in June 1941.
Last yearsbefore the war is very active for Lancer in creative terms. His sketches of the design of the album "Masquerade" Lermontov in the sketches of the head "(m.; L., 1941), books A.V. Lebedeva "F.S. Rockies "(M., 1941), M.V. Nesterova "Old days" (M., 1941). Nevertheless, many projects of monumental painting for various reasons were not implemented: panel sketches for the main hall and ceiling over the stairs of the USSR State Library named after V.I. Lenin (1935-1940); Sketches of the mosaic frieze for the art hall at the World Exhibition in New York (1938), the painting of the Spectacular Hall of the Bolshoi Theater (1940, the Committee on Arts Affairs abandoned the project in April 1941). Committee members often talked about the absence of a "deep socialist" idea, which is fair, as Lancer tried to use the general systemic symbols and allegory. Yes, and the construction of a composition based on a clear modeling of volumes, and not decorative spots seemed obsolete. Many projects were canceled due to the difficulties of pre-war and wartime - the project design of the interiors of the Big Hall of the Palace of Soviets (1938-1941), theatrical projects. In August 1942, the book about Svaneti with the drawings of Lancer Khufond refused to print on political reasons. June 13, 1941 Lancer took to the Music Theater named after K.S. Stanislavsky last sketches and layouts of scenery to opera S.S. Prokofiev "The engagement in the monastery", but because of the war, the postulation was not 5. And just two days before the start of war, June 20, 1941, the railway authorities approved the sketches of the two panels in the lobby of the Kazan Station ("Taking the Winter Palace" and "Holiday on Red Square on the occasion of the adoption of the USSR Constitution in 1936"). The war has postponed the implementation, and already in 1943 the artist completely refused these plots.
The beginning of the war was found by Evgeny Lancer in Moscow at work on the sketches of the painting of the Kazan Station 6. "Well, that's war ... For about an hour, the call from Ida Fedorovna, said war, bombs in Kiev, Chisinau, Kaunas, Sevastopol, Zhytomyr. I could not believe, "he recorded on the evening of June 22. On June 27-28, the artist worked at the Commission on the Protection of Diplomas and took exams at the Academy of Architecture 7. Only after that he drove to the family to the country in the village of Sands near Kolomna. The house itself was built according to the drawings of the Son in 1939-1940. In the summer of 1941, the house wanted to hold, but did not have time. Despite the bombing and suggestions on evacuation 8, by the end of August they decided not to leave. During the most severe bombing (in October-November 1941), the neighbors offered to leave "in the forest". The situation was injected with rumors. On October 18, Lancer recorded: "Rumors are very uncertain; It is clear that a huge panic in Moscow; Trains - echelons with refugees. Rumors about taking cashier ... but do not believe. " In early November, they were afraid of the offensive of the Germans by Kashira, began to dig trenches on the edge of the forest. But in December, when the Germans were forced to retreat, began to return to artistic projects. On December 5, the son of Zhenya brought into Moscow sketches to Suvorov's opera. But the health of E.E. Lancer has worsened. On December 28, the artist was in a clinic in Moscow: "... a general inspection of me - stated missing, depletion - from here and hernia." However, the new, 1942 was met at the cottage in a good mood: "... Christmas tree, candideli chandeliers; Very warm, despite the strong frost. Kolobov, Kubrin, "Amirov", yes of us with Tanya \u003d 8 ".
In the sands of Lancer lived with his wife, her nephew of Tatiana Igor Artsibusheva, son Eugene and his daughter Natalia, who had to work in the collective farm to receive bread and potatoes, with her husband, architect George Ippolitovich Voloshinov and their children Andrei and Maria. To feed, went or went on foot 12 kilometers in Kolomna: sold things, changed to food. On February 24, 1942, "Oleok exchanged his golden o'clocks on 2 crushing flour and a bag of potatoes." Goats held, in 1943 it was possible to buy a cow and bring bees. February 15, 1944 in a letter V.P. and V.A. Belkin in the recently liberated Leningrad Lancer talked about the Peripets 1941-1943: "The first military autumn and the beginning of winter we were all at the cottage, the time was very scary: in front of the trees, the trenches were digging, the bombing of the station lines - about 1 kilometer from cottages; Cattle, refugees, and all the approaching hum of guns hiounced us; But nevertheless, the Germans did not reach our places of kilometers of 40-50, and they were driven, and we would safely strengthen and thus kept the cottage and property. The time, of course, was difficult and in terms of nutrition and earnings. But not comparable still, of course, with what you suffered. " Communication with other residents of the village "Soviet artist" - with A.V. Cooking, p.p. Konchalovsky, Yu.I. Pimenova, Fedorov, Kolobov, Fomin, and others, at the same time, life in the country contributed to the development of the machine line in the work of the Master. He writes a self-portrait (1942), sand scenery, Triptych "Lake Gek Göl" (1943-1944) 9, still lifes ("Pumpkins", 1943; "Hunting still life", 1944), in which the principles of realism develops.
From the beginning of 1942, military themes are interested in the artist. More and more time he has to spend in Moscow, working on graphic orders. In January-March, he was the compounds of the covers for the album "Artists of Moscow - Front" and the collection layout "The Great Patriotic War", a little later, creates autolitography "in the dosor". On January 29, 1942, Lancer wrote that he was "so I want to work with nature (on the front)." He did not hit the front, but she did not want to leave for the rear. After the news of deaths in the blockade Leningrad 10 increased the number of evacuation proposals (from A.M. Gerasimov, S.D. Mercurova, B.M. Jofan, who offered to move to Sverdlovsk) 11.
Lancer sought to be truthful in the transfer of details. To write a picture of the "defeat of the German Heavy Battery" in February 1942, he traveled to watch German guns to the central house of the Red Army. In June, he sketched the speech of folk artist of the USSR N.A. Obukhova and E.A. Stepanova in a military hospital in the Havo-Shabolovsky lane in Moscow for the painting "Concert in the Hospital" (the picture is not completed). September 21-25, together with Alexey Viktorovich Schushev and his son, studied destruction in the city of Istra. Later, in 1944, he created a cover, a title leaf, screensaver and ending for the book A.V. Schuseva "Project of restoration of the city of Istra" (M., 1946). At the same time, before Easter in April 1942, Lancer on the order of Khadfond began work on his last machine-based series "Trophy of Russian weapons", consisting of five historical pictures: "After the battle on the Church of the Lake" ("After the Ice Bullings"), "Fighters The trophy guns "(" 1941 near Moscow ")," Evening after Borodino "(" Night after Borodino battle ")," On the Kulikov Field "," Peter after Poltava "(" Poltava victory "). Completed by October November 7, 1942, the series was exhibited at a large exhibition "Great Patriotic War" in the Tretyakov Gallery 12, placed instead of evacuated exhibits. On March 19, 1943, the artist received for this series of the State Prize of the USSR of the 2nd degree. As he wrote in the autobiography, "the award of the Stalin Prize changed the system of thoughts and sentiment - came both faith in themselves, and hope for the future" 13. And after the end of the exhibition in the late 1943th, the series was transferred to the gallery meeting.
Evgeny Lancer always treated history with special attention, which was reflected in his work. In February 1943 he met with historians E.V. Tarla and A.I. Yakovlev, who spoke about the victory in Stalingrad as a turning point of war and compared it with the battle of 732. A day after the surveillance of the 6th Army of the Third Reich, Lancer suggested the Committee on Arts at the SNK of the USSR to write Triptych "War and Peace". The artist developed only two parts ("mobilization" and "artillery fight in the forest"). The right side, which in the conditions of war, thought it was much more complicated, as well as all triptych, remained at the level of sketches. But the topic of the right composition "Peace" still found its embodiment in monumental painting after February 7, 1945 Lancer received a letter from the head of the Kazan Station A.I. Popova demanding to complete by November two panels for Tower of Syuymbeki Kazan Station, ordered back in 1939. "From lunch I suffered inventing than to replace the former sketches. And now - 11 hours in the evening - he invented, it seems to me. I take the figures of the "World", "Victory" from the component sketch; As if of them, it will be possible to do what has long been dreamed of, "the master wrote down on that day. On the walls of the composition were created already in 1946. Completed in May 1946 "The World" is depicted in the form of a woman in a raincoat with a child and a branch of Laurel; "Victory", started on the wall Only on August 3 and finished after the death of academician his son, at first thought in the form of Athena Pallades, but in May 1945 in sketches turned into a warrior in the mail, helmet and a raincoat, with a sword and spear (but without Machine, as required). Around the figure of a woman in the "world" there are monochrome compositions, reflecting a peaceful life ("Science", "Art", "Family", "Rest", "work of the machine" and "work in the fields"). On the sides of the warrior, the names of ten cities associated with the victories of the Soviet Army are inscribed with gold letters. In a letter I. Charlemahan dated November 7, 1945, the Master admitted that "I was afraid - I would not frighten the interpretation of plots - they would not say -" Here is God's Mother with a baby Jesus and St. Georgy with a peak ", but everything went well."
The victory in the war was preceded by two years of no less active creative activities of the Master. On May 10, 1943, an exhibition of works of seven masters of the older generation was opened in the races of the Tretyakov Gallery. Together with E.E. Lancer exhibited V.N. Baksheev, V.K. Bialynitsky-Birulya, I.E. Grabar, V.N. Bags, I.N. Pavlov and K.F. Jun. July 15, all artists, except I.E. Grabar, were awarded the Order of the Labor Red Banner. It was the last large lifetime exhibition Lancer. In the catalog published in the fall of 1944, more than a hundred painting, graphics, sketches of monumental and decorative works, theatrical productions starting from 1907 and only seven wartime works (1941-1942). Nevertheless, it was early to sum up. The experience of Lancer was very important in various spheres of artistic life. In November-December 1943, on the instructions of the Committee on Arts and All-Russian Theater Society, he visited Tbilisi to study the art of painters and consultations on the improvement of art education with a proposal of introduction in the Tbilisi Academy of Arts of the Department of Applied Arts. The talent of Lancer Monumentalist was very useful. On March 7, 1944, he read a report in Mosshe "My work in the field of monumental painting", and on April 19, 1945, his article "On Monumental Painting" was published in the Soviet Art newspaper. Since 1943, the artist worked on the project recovery projects. E.B. Vakhtangov, which in 1941 bomb got, in 1944 at the suggestion of architect D.N. Chechulin created sketches of the painting of the ceiling of the foyer and the central plaffron of the Mossovet Theater (not implemented). On the latitude of its capabilities, it is advised by his consultation on the design of the metro stations (ZIS), to develop new military orders (including for women), on the resumption of the "Mount of Mind" in the Small Theater, meetings on the labels of the "food industry". Lancer's merits in the development of various directions of domestic culture were recognized in public circles, and the 69-year-old master on February 26, 1945 was awarded the title of People's Artist of the RSFSR, and on September 4, 1945 he was given the second Order of the Red Banner of the Red Banner.
After the end of the war, on May 18, 1945, Yevgeny wrote his sister to Paris, spoke about death in 1942 of their brother Nicholas, but finished with hope: "Now, when this terrible war ended, we all believe that communication with You all, such distant and so close, and maybe see you. " But they were not destined to see them. On November 19, 1942, Lancer recorded: "What is all interested, will be changed after the war; Most [think] that no, it will be worse in case of victory. I usually alone I hope for evolution and descent on the brakes. "
- See Article: Pavlinov P.S. Evgeny Lancer in the Caucasian Front. Figures and wizard notes // Collection. 2005. No. 2. P. 16-23.
- Here and further without instructions - the archive of Lancer's family.
- Sister Evgeny Lancer Zinaida Serebryakova moved to Paris in 1924. In 1925 and 1928, accordingly, her children Alexander and Catherine arrived to her. During the war, they remained to live in Paris. Brother Evgenia Architect Nikolai Lancer was secondary to be arrested on charges of espionage in 1938. Evgeny wrote letters to Zhdanov, Kaganovich and the prosecutors, but Nikolai was sentenced to 5 years of the camps. On July 18, 1939, he was shipped without a date to Kotlas, and in the fall - to the Republic of Komi, in the village of Kochmes Ust-Usinsky district. In August 1940 he was steady in Moscow, and in the summer of 1941 they transported to Saratov forwarding prison, where he died in May 1942.
- Wife Evgeny Lancer - Olga Konstantinovna, nee Artsibushev.
- Evgeny Lancer worked on the sketches of the "engagement in the monastery" along with his son's painter, architect, book schedule Evgeny (1907-1988). Sketches of Drama F. Schiller "Deceit and Love" for the Small Theater, performed in 1941, as well as sketches of scenery to opera S.N. Vasilenko "Suvorov" for the Music Theater named after K.S. Stanislavsky, developed in 1941-1943.
- About life and creativity E.E. Lancer in the second half of 1941, see: V.M. Bialik "WORK OF WAR" // Russian art. M., 2005. No. 4. P. 136-139.
- Soon the Academy of Architecture will be evacuated to Chimkent, and Lancer's teaching activities, which began in the 1910s and almost continuous since 1922, will interrupt.
- This is a proposal to be evacuated on August 8, 1941 by train to Nalchik. I left I.E. Grabar, V.A. Vesnin, M.N. Yakovlev and many others.
- From August 1, 1944, Triptych "Lake Gek Göl" from August 1, 1944 was exhibited at the exhibition of the Moskovsky Union of Soviet artists in the hall of the Moscow Partnership of Artists.
- From the diary record on February 15, 1942: "The terrible news from Peter is hunger. The death of Peterhof, Tsarsky, Oranienbaum, Gatchina. March 2: "The terrible lead: Died V.A. Frolov, I.Ya. Bilibin, Petrov, Naumov, Karev ... They say only 47 artists. " It is impossible without shudder reading and later entries. April 16, 1944: "We have Frolov; Stories Andrei about Leningrad. Loss in February 1942 food card sisters Zherrynny, and their death from hunger. "
- In January 1942, Sverdlovsk left the niece of Lancer Tatiana Serebryakov and her husband Valentin Filippovich Nikolaev. Brother Tatyana Yevgeny Serebryakov and his wife before the summer of 1945 remained in evacuation in the city of Frunze.
- 255 artists were exposed. Among the exhibited works - "Fascist flew" A.A. Plastov, Triptych "Alexander Nevsky" P.D. Corin.
- E. Lancer. Autobiographical essay // V.N. Baksheev, V.K. Bialynitsky-Birulya, I.E. Grabar, E.E. Lancere, V.N. Bags, I.N. Pavlov, K.F. Jun. [Exhibition Catalog]. M., 1944. P. 46.
Lancer Evgeny Evgenievich - I (1875 1946), schedule and painter, People's Artist of the RSFSR (1945). Son E. A. Lancer. Brother Z. E. Serebryakova. Member of the "World Peace". Book graphics ("Haji Murat" L. N. Tolstoy, 1912 41), historical compositions (a series of "Russian-weapon trophies" ... encyclopedic Dictionary
Lancer Evgeny Evgenievich - (1875 1946), owls. artist. In 1914 for the 4th Toma Coll. op. L. ed. V. Kallash illustrated the fairy tale "Ashik Kerib" (Gouache; GTG): "Ashik Kerib and St. Georgiy "and" Magul Maguel at the wedding. " The illustrations are marked by rhythm and plastic gesture and ... ... Lermontov encyclopedia
Lancer Evgeny Evgenievich "Lancer, Evgeny Evgenievich Painter (born in 1875), the son of the sculptor Evgenia Alexandrovich Lancere. He studied at the Society of Society for the Promotion of Arts, then in Paris in the private academies of Collasrasi and Juliana, where he worked under the guidance of a bengleman ... Biographical Dictionary
Lancer Evgeny Evgenievich - (1875 1946), Soviet schedule and painter. Popular artist RSFSR (1945). Son E. A. Lancer. He studied in the drawing school of OPH (1892 95) and in private academies in Paris (1895 98). He taught (1922 38) in Tbilisi Ah, margin, Leningrad Ah ... Artistic Encyclopedia.
Lancer Evgeny Evgenievich - (1875-1946), schedule and painter, People's Artist RSFSR (1945). Born in Pavlovsk. In 1892-1917 lived in St. Petersburg. He studied in the drawing school of OPH (1892-95) and in private Ah in Paris (1895-98). Academician Ah (1912), taught there ... Encyclopedic Directory "St. Petersburg"
Lancer Evgeny Evgenievich - (1875, Pavlovsk - 1946, Moscow), schedule and painter, People's Artist of the RSFSR (1945). Together with his sister Zinaida (in the marriage of Serebryakova) received an initial art education in the house of the Father - Sculptor E.A. Lancer. ... ... Moscow (Encyclopedia)
Lancer Evgeny Evgenievich - (August 23, 1875 September 13, 1946), Russian artist, academician Academy of Arts (1912), People's Artist of the RSFSR (1945), Laureate of the Stalinist Prize (1943). The nephew of the artist A. N. Benua, Evgeny Lancere in 1892 in 1896 he studied in ... ... ... Encyclopedia of cinema
Lancer Evgeny Evgenievich -, Soviet schedule and painter, People's Artist RSFSR (1945). Son E. A. Lancer. He studied in the drawing school of the Society for the promotion of art in St. Petersburg (1892-95), in ... ... Great Soviet Encyclopedia
Lancer Evgeny Evgenievich - (1907 88) Russian painter and schedule. Son E. E. Lancer. Mural of Kazan (jointly. With the Father) of Yaroslavl, Kursk Station in Moscow (1940 50 E GG.), Book graphics (series of albums Monuments of Russian architecture, etc.), portraits, landscapes ... ...
Lancer Evgeny Evgenievich - (1875 1946) Russian schedule and painter, People's Artist of Russia (1945). Son E. A. Lancer. Brother Z. E. Serebryakova. Member of the world of art. Book graphics (Cossacks L. N. Tolstoy, 1917 37), historical compositions (a series of trophies of Russian weapons ... Big Encyclopedic Dictionary
Lancer Evgeny Evgenievich - (1875 1946), schedule and painter, People's Artist of the RSFSR (1945). Born in Pavlovsk. In 1892 1917 lived in St. Petersburg. He studied in the drawing school of OPH (1892 95) and in private Ah in Paris (1895 98). Academician Ah (1912), he taught there (1934 38) ... St. Petersburg (Encyclopedia)
Books
- Diaries. Set of 3 books. Book 1. Education of feelings, Lancer Evgeny Evgenievich. The publication is the first publication of the diaries of the famous Russian and Soviet artist Evgenia Evgenievich Lancer. The publication is addressed to a wide range of readers interested in ... Buy for 3855 rubles.
- Diaries. Set of 3 books. Book 2. Travel. Caucasus. Weekdays and holidays, Lancer Evgeny Evgenievich. The publication is the first publication of the diaries of the famous Russian and Soviet artist Evgenia Evgenievich Lancer. In the second book included bright impressions of the trip to Angora ...
Lancer Evgeny Evgenievich (1875-1946), schedule and painter.
Born on August 24, 1875 in Morshansk (now in the Tambov region) of the famous sculptor Yevgeny Alexandrovich Lancer. Grandfather and uncle from the mother - architects and artists of Benoit.
Professional Lancer received at the Society Society for the promotion of art in St. Petersburg (1892-1895), and then at the Academy of Kolassori and Juliana in Paris (1895-1898).
In the creative heritage of Lancer - hundreds of sketches, about 50 albums of drawings and etudes. He created landscapes, primarily urban, historical canvas. The most significant contribution to the artist at the book illustration and monumental painting. He issued the magazines "World of Art", "Art Treasures of Russia", "Children's Recreation", Satir magazines "Zhepev", "Hello Post".
Since 1899, the art group and editorial board "World of Art" has actively participated. The largest achievements of Lancer have become cycles of illustrations to L. N. Tolstoy "Haji Murat" (1912-1941) and "Cossacks" (1917-1936). Presents interest drawings made by the artist in 1914-1915. In the Caucasian front, as well as albums that were the result of numerous trips in the Caucasus and Transcaucasus, Turkey, Paris.
From 1917 to 1934, Evgeny Evgenievich lived in the Caucasus. From 1922 to 1932, he taught in the Georgian Academy of Arts in Tbilisi. Then continued teaching activities in the Moscow Architectural Institute and the All-Union Academy of Arts in Leningrad (1934-1938).
Significant theatrical works of the artist. He performed the scenery and sketches of costumes and makeup to the opera, ballet and dramatic productions of many theaters of the country (Opera K. Saint-Santa Samson and Dalila, 1925; Tragedy W. Shakespeare "Macbeth" and "King Lire", 1928 .; Comedy A. S. Griboyedov "Woe from Wit", 1937; Opera S. S. Prokofiev "Overall in the monastery", 1941, and others). In the field of monumental painting, Lancer worked even more intensively (painting, panel, stucco). The largest works are associated with Moscow: the painting of the halls of the Kazan Station (from 1916 to 1946) and the Moscow Hotels (1937), participation in the development of sketches of the Palace of the Palace of Soviets (1939), sketches of the Big Theater Plafimons (1937- 1939), Maitolike Panno for the Metro Station "Komsomolskaya" (1933-1934) and much more.