Artist Member of Association World of Art. Creative association of artists "World of Art

Details Category: Russian Fine Arts and Architecture At the junction of the XIX and XX centuries Published 07/08/2018 18:50 Views: 645

"The work of art is not important in itself, but only as an expression of the personality of the Creator" (Sergey Dyagilev).

In these words, S. Dyagilev expressed the essence of the artists of the unification of the "World of Art". For them, the aesthetic start in art was a priority, the ideas of the animals were not only alien - they opposed them.

Association History

The founders of the Art Association "The World of Art" were St. Petersburg artist A.N. Benoit and theatrical figure S.P. Dyagilev.
"The world of art" existed since the late 1890s. And with breaks until 1924, the main core of the association was A.N. Beno'a, L.S. Bakst, K.A. Somov, M.V. Dobuzhinsky, E.E. Lancer, I.Ya. Bilibin. Adjacent to the union K.A. Korovin, A.Ya. Golovin, B.M. Kustodiev, N.K. Roerich, S.Yu. Sud'eikin, B. I. Anisfeld, and others. At various times, V. Serov, I. Levitan, M. Nesterov, M. Vrubel were included in the composition of the association. Shared the views of Mirisknikov and Ilya Repin.
As we have already said, the activities of the Association "The World of Art" contrasted itself to the Movements and the Academy of Arts. But what did they offer? Their program was quite controversial. On the one hand, artists of this association were supporters of "pure art". On the other hand, they did not enhanced with realism, and in the 1910s. "The world of art" confronted decades and formalism, although at the beginning of its activities they sought to modern and symbolism. The strongest trend in their work was a retrospective, passion for the culture of the XVII-XVIII centuries.

Leon Bakst. Sketch of suit to the ballet I. Stravinsky "Fire-Bird" (1910)
Most of all the activities of the "World of Art" manifested itself in the book graphics and theatrical scenery. Defending the meaning and integrity of the solution of the performance, an active role in the artist, "The World of Art" continued the reform of theatrical-decorative art, started by the decorators of the opera S.I. Mamontov.

A. Benua. Illustration to poem A.S. Pushkin "Copper Horseman"
The decoration works of the artists of the World of Arts are characterized by high culture, enrichment of the theater by the achievements of modern painting, artistic integrity of solutions, a subtle taste and depth of interpretation of scenic works, including ballet.

Prerequisites for the creation of the unification "World of Art"

B.M. Kustodiev "Group portrait of artists of the Society" World of Art "" (1916-1920). State Russian Museum (Petersburg)

Background dictated time itself. By the end of the XIX century. Many young artists were disappointed in academic painting, which officially supported the Academy of Arts. At first, several young artists who did not always have ever had an art education (for example, Alexander Benua studied at the Faculty of Faculty of the University of St. Petersburg).
Artists united the craving for the past, the search for ideals in the art of the era of Peter I, in the Baroque of the middle of the XVIII century, in the ampir of Pavlo I. They also respected the cultural heritage of Western Europe.
Critic V.V. Stasov hostile to members of the new association, because They were far from democratic art. He saw in them only decades representatives.

"Russian seasons" S. Dyagileva

V. Serov. Portrait of Dyagileva (1909)
A large role belonged to the artists of the "World Peace" in the design of the performances of the "Russian seasons" abroad organized by S.P. Dyagilev, one of the leaders and ideological inspirers of the "World Peace". In 1899-1904 Dyagilev was published in St. Petersburg the same magazine.

B. Anisfeld "Underwater Kingdom", Composition for the same name fantastic ballet for music from Opera "Sadko" N. Rimsky-Korsakov. "Russian seasons" abroad, Anthrepriz S. Dyagileva (1911). Shatle Theater (Paris)
"Russian seasons" - touring speeches of Russian artists of ballet and opera (1908-1929), organized by the famous worker of culture and entrepreneur Dyagilev abroad: from 1908 - in Paris, from 1912 - in London, since 1915 - in other countries. The main activity of the Affriz became ballet. The operas were made predominantly until 1914. But the beginning of the "Russian seasons" was 1906, when Dyagilev brought the exhibition of Russian artists to Paris. In 1908, the Opera Boris Godunov was fulfilled in Paris, A. Benua, K. YUON, E. Lancere took part in Saws of costumes created I. Bilibin; Opera soloists were Chaliapin, Castor, Smirnov, Yermolenko-Youth and others. In 1908-1909. Opera "Pskovtyanka" of Roman-Kororsakov, "Prince Igor" Borodin and others were performed.

A. Benua. Sketch of the ballet "Sylphides"
In 1909, Ballets MM were first shown for the first time. Fokina: "Armid Pavilion" (Hood. A.N. Benois), Polovtsy Dance (Hood. N.K. Rerich); "Sylphides" ("Shopenian") on the music of Chopin, "Cleopatra" ("Egyptian Nights") of the island (Hood. L.S. Bakst) and the "Pier" divertiment on the music of Glinka, Tchaikovsky, Glazunov, Mussorgsky.
The ballet troupe consisted of artists of the St. Petersburg Mariinsky and Moscow Big theaters. Soloists: A.P. Pavlova, V.F. Nizhinsky, T. P. Karsavina, E.V. Gelzer, S.F. Fedorova, M.M. Murdkin, V.A. Karalli, M. P. Fomoman and others. Balletmaster - M.M. Fokin.
Since 1910, the Russian Seasons passed without the participation of the Opera. In 1911, Dyagilev decided to create a permanent troupe, which was finally formed by 1913 and received the name "Russian ballet Dyagilev".

Leon Bakst. Sketch of costume to the ballet Nizhinsky "Afternoon rest of Favna" (1912)
With the new season of 1912, Dyagilev began to change the character of his entrepreneurs, more and more departing from the traditional idea of \u200b\u200bthe ballet and moving towards new experimental forms. After Dyagilev's death in 1929, his troupe was broken.
"Russian seasons" played a huge role in the propaganda of Russian art abroad and in the development of the global artistic process of the XX century.

Magazine "World of Art"

Leon Bakst. Cover magazine "World of Art" № 2 for 1902

One of the organizers and ideologues of the Art Association "The World of Art" was Alexander Benoit, and the magazine organized Sergey Dyagilev to the means of Princess M. Tenisheva and the Moscow Petshenate Savva Mamontov. After his bankruptcy, V. Serov took care of the provision of public support magazine. The secretary of the edition of the publication was the Russian publicist, artistic and literary critic D. philosophers.

Further history of the artistic association "World of Art"

The classical period in the life of the association refers to 1900-1904. At this time, the association distinguished the special unity of the aesthetic and ideological principles. On February 24, 1900, a meeting of participants of the magazine exhibitions was held in the editorial office of the Journal of Art, which was attended by artists L. Bakst, A. Benua, I. Bilibin, I. Braz, I. Walter, AP. Vasnetsov, N. Dosekin, E. Lancere, I. Levitan, F. Malavin, M. Nesterov, A. Owber, A. Ostrumova, V. Purvitis, F. Rushitz, S. Sveoslavsky, K. Somov, V. Serov, Ya. Zesglinsky, S. Dyagilev.
After 1904, the union expanded, but I lost ideological unity. In 1904-1910. Most of the members of the "World of Art" were part of the "Union of Russian Artists". In 1910, the Art Society "The World of Art" was revived, the chairman was elected N.K. Roerich.
After the revolution, many of his figures emigrated. The union actually stopped existence by 1924. The last exhibition of the "World of Art" was held in Paris in 1927.
On the work of some artists, members of the unification "World of Art", we will tell in separate articles.

"ABC of the world of art"

In 1911, M. Dobuzhinsky made a comic "ABC of the World of Art" - a series of watercolor cartoons on Miriskussnikov from A to Ya.

"The World of Art" is an organization that emerged in 1898 and united the masters of the highest artistic culture, the art elite of Russia of those years. The beginning of the "World of Art" laid evenings in the house of A. Benois, dedicated to art, literature and music. People who collected there, united the love of the beautiful and confidence that it can be found only in artistic, as the reality of the mind. Arriving, as well as the reaction to the smolder of the "Late" Movement, "The World of Art" turned soon into one of the major phenomena of Russian artistic culture. Almost all well-known artists, Benouua, Somov, Bakst, Lancer, Golovin, Dobuzhinsky, Vruzh, Serov, Korovin, Levitan, Nesti-ditch, Ryabushkin, Romanich, Kustodiev, Ryabushkin, Roerich, Kustodiev, Petrov-Vodkin, Malywin, and Larion and Goncharov, participated in this union. A great importance for the formation of this association was the identity of Dyagileev, the patronage and the structure of exhibitions, and subsequently - the Impresario tour of the Russian ballet and the opera abroad ("Russian seasons", introduced to Europe with the work of Chaliapina, Pavlova, Fokina, Nizhin-Skogo, etc. ). At the initial stage of the existence of the "World of Art", Dyagilev arranged an exhibition of English and German watercolors in St. Petersburg in 1897 and the exhibition of Russian and Finnish artists in 1898. Under his editors, from 1899 to 1904, a magazine is published under the same name consisting of two Departments: artistic and literary (the last - religious and philosopher plan, D. Merezhkovsky collaborated in it and 3. Hypius before the discovery in 1902 of his magazine "New Path". Then the religious and philosophical direction in the magazine "The World of Art" gave way The place of the theory of aesthetics, and the magazine in this part was the tribune of symbols headed by A. White and V. Bryusov). The magazine had a profile of literary and artistic almanac. Strongly equipped with illustrations, at, at the same time, he was one of the first samples of the art of book design - the field of artistic activity, in which Miriskusniki performed with genuine innovators. Font drawing, page composition, screensavers, ending in the form of vignettes - everything is thoroughly thought out.

In the editorial articles of the first issues of the journal, the main positions of "Miriskusenikov" about the autonomy of art were clearly formulated, that the problems of modern culture are exclusively the problems of the artistic form and that the main task of art is to educate the aesthetic tastes of Russian society primarily through acquaintance with works Miro art. It is necessary to give them due: thanks to Miriskusniki, the English and German art was really evaluated in a new way, and most importantly, the discovery for many was the painting of the Russian XVIII century and the architecture of St. Petersburg classicism. "Miriskuseniki" fought for "criticism as an art", proclaiming the ideal not scientist-art historian, but a criticism-artist with high professional culture and erudition. The type of such criticism embodied one of the creators of the "World Peace" A.N. Benua.

One of the main places in the journal's activities was promoted by the achievements of the newest Russian and especially Western European art. In parallel, this "World of Art" introduces the practice of joint exhibitions of Russian and Western European artists in the use of joint exhibitions. The Per-Waja Exhibition "Miriskusenikov" united, in addition to Russian, artists of France, England, Her-Mani, Italy, Belgium, Norway, Finland, etc., both St. Petersburg and Moscow painters and graphics took part in it. But the crack between these two schools is St. Petersburg-Gaska and Moscow - outlined for almost one day. In March 1903, the last, fifth exhibition "World of Art" was closed, in December 1904 the last issue of the magazine "World of Art" was released. Most of the artists moved to the organized "Union of Russian Artists", the writers - and the open group of the Meriazhkovskogo magazine "New Way", Moscow symbolists united around the magazine "Scales", the musicians organized the "evenings of modern music", Dyagilev went to ballet and theater. Its last significant business in the visual art was the grandiose historical exhibition of Russian painting from icon painting to modernity in the Paris Autumn Salon of 1906, exposed then in Berlin and Venice (1906 - 1907). In the section of modern painting the main place was occupied by Miriskusniki. The first act of the All-Eway's recognition of the "World of Art", as well as the opening of Russian painting of the XVIII - early XX centuries. In general, for Western criticism and the real triumph of Russian art.

In 1910, an attempt was made again inhaling the life in the "World of Art". In the environment of painters at this time there is silence. Benoit and his supporters rose with the "Union of Russian Artists", with Muscovites, and come out of this organization, but they understand that the secondary association called the "World of Art" has nothing to do with the first. Benois with sadness states that "no reconciliation under the banner has now become a slogan in all spheres of life, but a fierce struggle." Glory came to Miriskusniki, but the "world of the arts", in fact, was no longer there, although formally, the union existed before the beginning of the 20s - under the absence of wholeness, on unlimited tolerance and flexibility of positions, recriminating artists from Rylov to Tatlin, from Grabar to Stegal. How not to remember the impressionists here? The Commonwealth, which was once born in the Gleira workshop, in the "salon of refined", at the tables of Cafe, Gerbua and who had to have a huge impact on the entire European painting, also broke up on the threshold of his recognition. The second generation of Miriskusenikov less busy problems of the machine painting, their interests lie in the chart, mainly book, and theatrical-decorative art, in both spheres they produced real artistic reform. In the second generation of "Miriskuseniki" there were large individuals (Kustodiyiv, Sudyikin, Serebryakov, Chekhronin, Grigoriev, etc.), but the artists of innovators were not at all, because from the 10s "World of Art" overlapping a wave of epigalism. Therefore, when the "world of art" is characteristic, it will be mainly about the first stage of the existence of this association and its kernel - Benouua, Somov, Bakx.

Pauluming with academically-salon art, on the one hand, and with late motion - on the other hand, the "world of art" proclaims the refusal of direct social tendency, as from the fact that allegedly does the freedom of individual creative self-refining in art and infringes the right of artistic form. Subsequently, in 1906, a leading artist and an ideologist of the grouping A. Benua will announce the slogan of individualism, with which the "World of Art" spoke at the beginning, "artistic heresy". That individualism, which proclaimed the "world of art" at the beginning of his speeches, was nothing more than advocating the rights of freedom of a creative game. Miriskusnikov did not satisfy the first half of the 19th century inherent in the visual art of the second half of the XIX century, and inside it - on certain genres and on the identified (relevant) plots "with a trend". All that loves and what the artist worships in the past and present, has the right to be embodied in art, regardless of the malice of the day, was such a creative program of the World of Art. But in this first look a wide program was a significant limitation. Since, as "Miriskusniki" believed, only admiration for beauty generates genuine creative enthusiasm, and direct reality, they considered, alien to beauty, the only pure source of beauty, and, therefore, the inspiration itself is the art itself as the sphere of the excellent advantage. Art, therefore, becomes a kind of prism, through which "Miriskusniki" consider past, present and future. Life is interested in them only inside, as she has already expressed itself in art. Therefore, in their work, they are the interpreters of the already perfect, ready-made beauty. Hence the preferential interest of the artists of the "World Peace" to the past, especially the epochs of the domination of a single style, allowing to highlight the main, dominant and expressing spirit of the Epoch "Line of Beauty" - the geometric schematics of classicism, whimsical curl Rococo, juicy shapes and baroque lights, etc.

Alexander Nikolaevich Benua (1870-1960) was the leading master and aesthetic legislator of the "Art World" (1870-1960). Dating this artist was distinguished by an extraordinary versatility, and the volume of professional knowledge and the level of common culture did not have equal in the highly educated circle of artists of the "World of Art". Painter and schedule-stankovist, illustrator and designer book, master of theatrical scenery, director, author of ballet libretto, Benoita was simultaneously an outstanding historian of Russian and Western European art, a theorist and acute publicist, an insightful critic, a major museum figure, an incomparable connoisseur, music and choreography . However, the transfer of the spheres of culture, deeply studied by Alexander Benua, does not give a true idea of \u200b\u200bthe spiritual appearance of the artist. It is essential that there was nothing pedantic in his amazing erudition. The main feature of his character should be called all-consuming love for art; The versatility of knowledge served only by the expression of this love. In all its activities, in science, artistic criticism, in every movement of his thoughts, Benua has always remained an artist. Contemporaries saw in it a living embodiment of the spirit of artistry.

But in the guise of Benua there was another feature, an acutely noticed in the memoirs Andrei White, who felt in the artist primarily "the diplomat of the responsible party of the" World Peace ", leading a large cultural case and sacrificing for the sake of a whole - to many; A.N. Benua was the main politician in it; Dyagilev was impresario, entrepreneur, director; Benua gave, so to speak, staged text ... ". The art policy of Benois united around him all the figures of the "World of Art" around him. He was not only a theorist, but also the inspirer of the tactics of the world of art, the creator of his changeable aesthetic programs. The inconsistency and inconsistency of the ideological positions of the magazine is largely due to the inconsistency and inconsistency of the aesthetic views of Benoit at that stage. However, this inconsistency itself, which reflected the contradictions of the era, gives the personality of the artist special historical interest.

Benua possessed, moreover, a wonderful pedagogical gift and generously shared his spiritual wealth not only with friends, but also with "everyone who wanted to listen to him. It is this circumstance that the strength of the influence of Beno'a is due to the entire circle of artists of the "World Peace", which, according to A.P. The witty-swan, passed "he, unnoticed for himself, a school of artistic taste, culture and knowledge."

By the birth and raising Benouua belonged to the St. Petersburg artistic intelligence. For a number of generations, art was a hereditary profession in his family. Praded Benoit on the maternal K.A. Kavos was a composer and a conductor, grandfather - architect, built a lot in St. Petersburg and Moscow; The artist's father was also a major architect, the elder brother enjoyed fame as a painter-watercolorist. Consciousness of young Benois developed in an atmosphere of art and artistic interests.

Subsequently, remembering his childhood, the artist especially emphasized two spiritual jets, two categories of experiences, powerfully influenced the formation of his views and in a certain sense determined the direction of all his further activities. The first and most stronger of them are related to theatrical impressions. From the earliest years and, throughout his life, Benua experienced a feeling that is difficult to call otherwise as the cult of theater. The concept of "artisticity" was invariably associated with Beno'a with the concept of "theatricality"; It is in the art of the theater that he saw the only opportunity to create in modern conditions creative synthesis of painting, architecture, music, plastics and poetry, to carry out the organic fusion of the arts, which seemed to him the highest target of artistic culture.

The second category of adolescent experiences, who had an indelible imprint on the aesthetic views of Benoit, arose from the impressions of the country residency and St. Petersburg suburbs - Pavlovsk, the old town of Kusheleva-Bezborodko on the right bank of the Neva and, above all, from Peterhof, and his numerous monuments of art. "From these ... Peterhof's impressions ... probably, the whole of my further cult of Peterhof, the Tsarsky village, Versailles, was happening," the artist repelled. Early impressions and experiences of Alexander Benua are the origins of the bold reassessment of the art of the XVIII century, which, as mentioned above, is one of the largest merit of the "world of art".

Artistic tastes and views of young Benoit were formed in opposition to his family, who adhered to conservative "academic" views. The decision to become an artist matured him very early; But after a short stay at the Academy of Arts, which brought only disappointment, Benoit chose to receive legal education at the University of St. Petersburg, and professional artistic training to go on his own, according to his own program.

Subsequently, hostile criticism has repeatedly called Benua to the amateur. It was hardly true: Daily persistent classes, a permanent training in drawing from nature, the exercise of fantasy in working on compositions in conjunction with an in-depth study of the history of the arts gave the artist confident skill, not inferior to the skill of his peers who studied at the Academy. With the same perseverance, Benoit was preparing for the activities of the historian of art, studying the Hermitage, styling special literature, traveling through historical cities and museums of Germany, Italy and France.

Picture of Alexander Benoit "Walk of the King" (1906, the State Tretyakov Gale-Reia) is one of the brightest and typical samples of painting the "world of art". This work is included in the cycle of paintings, resurrecting the scenes of the Versailles of the Epoch of the "King of Sun". The cycle of 1905-1906 in turn is a continuation of the earlier Versailles Suite of 1897-1898, entitled "Liswick Louis XIV", begun in Paris under the impression of the Memoirs of the Duke de Saint-Simon. The historical reconstruction of the XVII century was merged in Versailic landscapes of Benua., Modern artist's impressions, his perception of French classicism, French engraving. Hence the clear composition, clear spatiality, the greatness and cold rhythm of rhythms, the opposition of the grandeur of the monuments of art and the smallness of human figures, which are among them only the Stafferage - the first series called "Lisovika Louis XIV" last.

Versailles from Benois is a kind of landscape elegy, a beautiful world that brought the look of a modern man in the form of a deserted scene with the tempered decorations of a long played performance. Formerly, great, full sounds and paints, this world now seems slightly ghostly, twisted cemetery silence. It is not by chance that the "walk of the king" Benua depicts the Versailles Park in the fall and at an hour of light evening twilight, when a fireless "architecture" of a regular French garden on the background of a light sky turns into a pass-through, ephemeral pop-top. The effect of this picture is similar as if we saw the real large scene in a sharp distance from the balcony of the last tier, and then, considering this short-sized world in binoculars, would combine these two impressions into a single sight. Far thus approaching and comes to life, remaining far, the value of the toy thewhist. As in romantic fairy tales, a certain action is played in this scene in this scene: the king in the center talks with Freillan, accompanied by marching in exactly the set intervals for them and ahead of them is courtiers. All of them, as if the figures of vintage crowns, under the light sounds of forgotten menuet, slide along the edge of the reservoir. The theatrical nature of this retrospective fantasy is subtly revealed by the artist himself: he revives the figures of frisky Amurov inhabiting the fountain - they are comically depicting a noisy public, which has a noisy public located at the foot of the scene and the puppet presentation, played by people.

The motive of solemn exits, trips, walks, as the characteristic affiliation of the household ritual of the past times, was one of the favorite "Miriskusniki". With a kind of variation of this motive, we meet in Petra I "at V.A. Serov, and in the picture G.E. Lancer "Empress Elizabeth Petrovna in Tsarskoye Selo" (1905, GGT). Unlike Beno'a with its aesthetization of rationalistic geometry of classicism, Lancer attracts the sensual pack of Russian baroque, the sculptural material of the forms. The image of antennial Elizabeth and its pink, smashed with a rough pomp is deprived of the shade of theatrical hoax, which is peculiar to the "king's walk" by A. Benua.

In the semi-suck, the toy king is turned away from Benua who is not other than Louis XIV, whose board was distinguished by an incredible magnitude and splendor, and was the era of the heyday of French statehood. In this intentional reducing the last magnitude, a kind of philosophical program was concluded - everything serious and great in his turn is destined to become a comedy and farce. But the irony of "Miriskusenikov" does not mean only nihilistic skepticism. The purpose of this irony is not at all discrediting the past, and just the opposite - the rehabilitation of the past in the face of the possibility of a nihilistic relationship to him through an artistic demonstration of the fact that the autumn of the gone cultures is beautiful, like their spring and summer. But, thus, the special melancholic charm, which is noted the phenomenon of beauty from the "Mir of Rugs", was bought by the price of imprisonment of this beauty of her connection with the periods when it was in the completeness of vital power and greatness. Aesthetics of the "world of art" alien categories of the great, elevated, beautiful; Beautiful, elegant, graceful her more likely. In its limit expression, both of these moments - a sober irony, bordering with naked skepticism, and aestheticism, bordering the sensitive exaltation, are combined in the work of the most difficult of the Masters of the group - K.A. Somov.

The activities of Benoit - artistic criticism and historian of art, updating the methods, and the topics of Russian art and themes, is a whole stage in the history of art-sovereign science (see "The history of the painting of the XIX century" R. Mother - Tom "Russian painting", 1901-1902; "Russian School of Painting", edition 1904; "Tsarist village in the reign of the Elert-Tsy Elizabeth Petrovna", 1910; articles in the magazines "The World of Art" and "Old Years", "Art and Two Treasures of Russia" and etc.).

According to the unanimous recognition of the closest associates, as well as on the testimony of the later criticism, Somov was the central figure among artists of the "World Peace" in the first period of the history of this association. Representatives of the circle of the "Art World" saw in him the Great Master. "The name of Somov is known to any educated person not only in Russia, but also around the world. This is the world of world ... He has long been out of both schools, and epochs, and even Russia and joined the world arena of genius, "Poet M. Kuzmin wrote about him. And this is far from a single and not even the most enthusiastic review. If Dyagileva should be called the Organizer and the leader, and Benois - the ideological leader and the main theorist of a new artistic course, then Somov belonged at first the role of the lead artist. The worship of contemporaries is due to the fact that it was in the work of Somov that the main visual principles were emerged and formed, which were in the future guidelines for the whole group of the "Peace of Art-Protection".

The biography of this master is very typical for the circle of "art world". Konstantin Andreevich Somom (1869-1939) was the son of the Guardian of the Hermitage - a famous artistic figure and collector. The atmosphere of art surrounded him from childhood. Interest in painting, theater, literature and music originated from Somov very early and passed through all his life. Upon leaving the gymnasium (1888), where his friendship began with Alexander Benoit and the philosopher, the young Somov entered the Academy of Arts and, in contrast to all the other founders of the world of art, spent almost eight years (1889-1897). He took a row of traveling abroad - to Italy, France and Germany (1890, 1894, 1897-1898, 1899, 1905).

Unlike most of his arguing on the "world of art", Somov never taught, did not write articles, did not try to play any role in public circles. The life of the artist proceeded closed and secluded, among the few friends - artists dedicated only to the work, reading, music and collecting antiquity objects.

Two characteristic features are distinguished by the artistic individuality of Somov. One of them is determined by its relatively early creative maturity. Somov was a skillful master and a completely original artist, when his peers Bakst and Benois were just beginning to look for an independent path in art. But this advantage soon turned into a disadvantage. Already the most sensitive contemporaries felt something painful in the premature maturity of Somov. The second feature of Somova Zorkko was notified by his friend and the admirer S. Yaremich: "... Somov by nature a powerful realist, a relative Vermeleu-Wang Delft or Peter de Guoke, and the drama of his position is to split into which every outstanding Russian painter. On the one hand, it entails and manit life ..., on the other hand, the inconsistency of the common life with the life of the artist distracts him from modern times ... There is a different artist, so tailed the ability of the most acute and heartfelt observation as our Somov, which would have given So much place in your work is purely decorative tasks and past. " It would be possible to assume that the works of Somov are the more significant, the closer they remain to live, specifically seen in nature and the smaller they are felt splitting and cutlessness from the real life, which critic speaks. However, it is not. The seepiness of the artist's consciousness, so typical for his era, becomes the source of sharp and peculiar creative designs.

One of the most famous portraits of Somov is the "lady in blue. Portrait of Elizabeth Mihaylovna Martynova "(1897-1900, State Tretyakov Gallery), is a software product of the artist. Dressed in an old dress, the impoverishing memory of Pushkinskaya Tatiana "With a sad dump of eyes, with a French book in his hands," the heroine of the Somovsky portrait, with an expression of fatigue, longing, inability to the vital struggle, especially gives nursing with his poetic prototype, forcing mentally Feel the depth of the abyss separating the past from modern times. It was in this work that Somoov, where artificial bizarrely intertwined with a genuine, the game - with seriousness, where a living person looks inappropriate, the inappropriate, helpless and abandoned the medium of the Boutaphoric gardens, with an underlined frankness expressed a pessimistic background of the Miriskusnic "abandonment in the past" and the impossibility for a modern person Finding there Salvation from Himself, from their real, not ghostly sorrow.

To the "lady in blue" close picture-portrait of "Echo last time" (1903, paper on cardboard, watercolor, gouache, State Tretyakov Gallery), where Somov creates poetic characteristic of the fragile, anemic female beauty of the decadent sample, refusing to transmit real Household will take our time. He climbs the model into ancient costumes, gives their appearance features of the secret suffering, sadness and dreamability, painful bullion.

Brilliant portrait, Somoms in the second half of the 1900s, creates suite pencil and watercolor portraits, who represent us an artistic and artistic environment, a well-known artist and deeply understood by them, the intellectual elite of its time - V. Ivanov, Blok, Cuzmin, Sologuba, Lancer , Dobuzhinsky, etc. In portraits, it consumes one general reception: on a white background - in a certain timeless field - draws a person, similarity in which is achieved not through naturalization, but by bold generalizations and a task selection of characteristic details. This absence will take time creates the impression of staticness, frosting, coldness, almost tragic loneliness.

Somov's late works are pastoral and gallant festivals ("Sundayed Kiss", 1908, State Russian Museum; "Walking Marquise", 1909, State Russian Museum), "Colombina Tongue" (1913-1915), full of irony, spiritual devastation, Even hopelessness. Love scenes from the XVIII - early XIX centuries. There are always given with a shade of erotica. The latter was especially manifested in his porcelain figurines dedicated to the ghost pursuit of pleasures.

Love game - dates, notes, kisses in the alleys, gazebos, regular gardens, or in magnificently diluted budaars - the usual pastime of the Somov heroes, which appear in empty wigs, high hairstyles, embroidered camsoles and dresses with crinolines. But in the fun of Somov paintings there are no genuine cheerfulness; People are having fun not from the completeness of life, and because they do not know anything other, elevated, serious and strict. This is not a fun world, and the world is doomed to fun, on a tedious eternal holiday, turning people in puppets, a ghostly chase for pleasures of life.

Previously, in the "World of Art" Somov addressed the themes of the past, to the interpretation of the XVIII century. ("Letter", 1896; "Confiction", 1897), who was the predecessor of Versailles Landscapes of Benua. He first creates an irreal world, woven from the motifs of noble-manor and court culture and its own purely subjective artistic sensations, permeated irony. The historicism of Miriskusenikov was a flight from reality. Not the past, and his dramatization, longing for the irrevocability of it - these are their main motive. Not true fun, but a game in fun with kisses in the alas - such is such.

The theme of an artificial world, a false life, in which there is nothing significant and important, is leading in the work of Somov. It has its own prerequisite deeply pessimistic assessment by the artist of Mrams of the modern bourgeois-aristocratic society, although it was Somov that the most striking expressive of the hedonistic tastes of this circle. Somovsky farce - the extension of tragic worldview, which, however, is rarely manifested in the choice of specially tragic plots.

The techniques of Somovsky painting provide consistent isolation of the world depicted from a simple, undescriminate. The man of Somov is fenced off by the natural nature of the artificial gardens, walls, covered with silk screen, soft sofas. It is not by chance that SOMOs are also particularly using the motives of artificial lighting (series "Fireworks" of the beginning of the 1910s.). An unexpected flash of fireworks will find people in risky, randomly ridiculous, angular poses, pluggingly motivating the symbolic likelihood of life theater of puppets.

Somov worked a lot like a schedule, he issued a monograph S. Dyagileva about Levitsky, an essay by A. Benua about the royal village. The book as a single organism with its rhythmic and stylistic unity was raised to them at an extraordinary height. Somov is not an illustrator, he "illustrates not the text, and era, using the literary admission as a springboard," art historian A.A. wrote about him Sidorov.

The role of M.V. Dobuzhinsky in the history of the "world of art" in its meaning is not inferior to the role of senior masters of this group, although he did not belong to the number of her founders and was not a member of the youth circle of A.I. Benua. Only in 1902, the Graphic of Dobuzhinsky appeared on the pages of the magazine "World of Art", and since 1903 he began to participate in exhibitions under the same name. But, perhaps, none of the artists who fill in the named group in the first period of its activities did not fit as close as Dobuzhinsky, to understand the ideas and principles of a new creative course, and none of them contributed to such significant and originally Deposit in the development of the artistic method of the world of art.

Mstislav Valerianovich Dobuzhinsky (1875-1957) was a man with university education and wide cultural interests. He was addicted to drawing back in childhood and early began to prepare for the artist's activities. Along with the visual arts, his literature and history were attracted; He read a lot and used to illustrate the read. The earliest artistic impressions, forever stipped in his memory, were drawn from children's books with the illustrations of Bertal, Dore and V. Bush.

Graphics have always been given to Dobuzhinsky easier than painting. In the student years he was engaged in the leadership of the Movie Dmitriev-Caucasian, who, however, did not have any influence on him. "Fortunately," as the artist said, he did not get into the Academy of Arts and did not experience it at all. At the end of the university, he went to study art in Munich and for three years (1899-1901) studied in the workshops of A. Ashbe and S. Hollashi, where I. Grabar, D. Kardovsky and some other Russian artists worked. The artistic formation of Dobuzhinsky ended here and its aesthetic tastes were formed: he appreciated Mane and Degas, forever loved Pre-Faelitis, but the most powerful impact on him the German landscapers of the late XIX century and artists "Simplessimus" had the most powerful impact. Preparation and creative formation of young Dobuzhinsky quite organically led him to contact with the "world of art". Upon returning to St. Petersburg, Dobuzhinsky met active support from Grabar and Beno'a, highly rated his talent. In the early drawings of the Dreu-Zhinsky (1902-1905), the reminiscence of the Munich school is intertwined with the obvious influence of the senior masters of the "World of Art", first of all, Somov and Benois.

Dobuzhinsky among the artists of the "World of Art" is dramatically allocated by thematic reperite-aroma of works dedicated to the modern city. But just like Somov and Benois "Spirit of the Past" expresses through the art handwriting of the era, erased in architecture, furniture, costumes, ornamentik, so in Dobunsky, modern urban civilization expresses itself not in the actions and actions of people, but through the appearance of modern urban structures , dense rows of closing the horizon, blocking the sky, crossed by factory trucks, stunning countless rows of windows. The modern city appears from Dobagenic as the kingdom of monotony and standard erasering and absorbing human individuality.

The same software as for the Somov "Lady in Blue" is for the Dobin-Tuzhinsky picture on "Man in glasses. Portrait of Constantine Alexandrovich Sunnerberg (1905-1906, State Tretyakov Gallery). Against the background of the window, behind which the city quarter depicted in front of the abandoned wasteland is browned, depicted from the back, non-primary side, where the factory pipes and naked firewalls of pain of profitable houses rise above the old houses, the figure of a thin man is drawn in sagging on the sutteless shoulders of the jacket. The flickering glasses of his glasses, coinciding with the outlines of the wrist, create an impression of empty eye wpadin. In the black-free modeling of the head, the design of a naked skull is naked - in the outlines of the human face, a frightening ghost of death appears. In an affected frontal, emphasized the verticalism of the figure, immobility of the posture of a person is likened to a mannequin, a lifeless machine - so, as applied to the modern era, the topic of the "performance of puppets" was transformed, played in a retrospective plan of Somov and Beno'a on the progress of the past. In the ghost man Dobuzhinsky there is something "demonic" and miserable at the same time. He is a terrible effect and with the sacrifice of the modern city.

Dobuzhinsky worked a lot and in the illustration, where the most wonderful can be considered the cycle of drawings to the "White Nights" of Dostoevsky (1922). Dobuzhinsky also worked in the theater, decorated with Nichirovich-Danchenko "Nikolay Stavrogina" (the stage of "demons" of Dostoevsky), Turgenev Pieces "Month in the village" and "Nahlebnik".

The sophistication of fantasy aimed at reuniting and interpreting the language, stylistic handwriting of other people's cultures, in general, "someone else's language" in a broad sense, found itself the most natural organic application in the area where this quality is not just desirable, but it is necessary - in the field of book illustration. Almost all artists of the "World of Art" were beautiful illustrators. The largest and outstanding illustrative cycles of the era, when the "Miriskusnysky" direction in this area was dominant, are illustrations A. Benua to the "Copper Horseman" (1903-1905) and E. Lancere to Hadji Muratu (1912- 1915).

Evgeny Evgenievich Lancere (1875-1946) In his work, all the main problems of the book graphics began the beginning of the XX century. (See His illustrations to the book "Legends about the old castles of Brittany", to Lermontov, the cover for the "Nevsky Avenue" of Bozhershanov, etc.), Lancer created a number of watercolors and lithographs of St. Petersburg ("Kalinkin Bridge", "Nikolsky market" and others. ). The architecture occupies a huge place in its historical compositions ("Empress Elizaveta Petrovna in the Tsarist village", 1905, the State Tretyakov Gallery). It can be said that in the works of Serov, Benouua, Lancer was created a new type of historical picture - she is deprived of Fabuli, but it perfectly recreates the appearance of the era, many historical and literary and aesthetic associations cause. One of the best creatures of Lancer - 70 drawings and watercolors to the story L.N. Tolstoy "Haji Murat" (1912-1915), which Benua considered the "independent song, perfectly bursting into the mighty music of Tolstoy."

Benois illustrator - a whole page in the history of the book. Unlike Somov, Benouua creates an illustration narrative. The page's plane for it is not selfselot. Illustrations for the "peak lady" were rather completed independent works, not so much the "art of the book", by definition A.A. Sidorova, how much "art in the book." The masterpiece of the book illustration was the graphic design of the "copper rider" (1903, 1905, 1916, 1921-1922, mascara and watercolor, imitating color engraving on the tree).

Petersburg - the city "Beautiful and terrible" is the main character of the illustrations of Beno'a. In the style of these illustrations, it makes it a typical for "Miriskuseniki" in general, but in this case a rather complicated "system prism", in which images and paintings of the Pushkin Petersburg story were repeated many times, - here and a reminder of the scenery of the first singer "Northern Vienna "In painting - F. Alekseeva (in graphics accompanying the same entry of hinders), and the poetic charm of the interiors of the Venetian school in interior scenes, and the graphics of the first third of the 19th century, and not only Pushkin Petersburg, but also Petersburg Dostoevsky, for example, in The famous night chase scene. The central theme of the Petersburg story of Pushkin is a conflict of a private person and personified in the form of a copper rider of the state power serving for an individual in the form of ominous rock, "found its high artistic embodiment in the front-site performed in 1905. In this Watercolor Figure, Benoa was bought to achieve amazing simplicity and clarity in the expression of a complex idea, that is, the quality that is akin to Pushkin's great simplicity. But the shade of gloomy "demonista" in the appearance of the copper rider, as like the likelihood of the persecuted Yevgeny, the image of a "insignificant worm", ready to mix with ashes, not only indicates the presence of a "prism" rather characteristic of "Miriskusenikov", but also It means a shift from Pushkin objectivity to the side of a purely individualistic sense of horror in front of the impassivity of the historical necessity - the feelings that Pushkin had no.

Theatrical scenery, theft art of a book illustration, since it is also associated with the interpretation of someone else's plan, was another area where the "world of art" was destined to produce a major artistic reform. She concluded in rethinking the old role of theatrical artist. Now this is no longer an artist-designer action and the inventor of convenient stage slopes, but the same interpreter of music and drama, the same equal creator of the performance as the director and actors. So, in the process of writing I. Stravinsky music to the ballet "Petrushka" A. Benua unfolding visual images of the future performance in front of him.

The scenery of Parsley, this, according to the expression of the artist, the "Ballet of the Street", resurrected the spirit of the fair-haired festival.

The flourishing of the activities of Miriskusnikov in the field of theatrical and ornamental art applies already by the 1910s and is associated with organized S.P. Dyagilev (the idea belonged to A. Benua) "Russian seasons" in Paris, which included a whole series of symphony concerts, opera and ballet performances. It was in the performances of the "Russian seasons" the European audience first heard F. Shalyapin, saw A. Pavlov, met with choreography M. Fokina. It is here that LS granted vividly and brightly. Baksta is an artist who belonged to the main core of the "World Peace".

Together with Benoit and Somov Lion Samoilovich Bakst (1866-1924) is one of the central figures in the history of the "World Peace". He was a member of a junior mug, in which ideological and creative trends of this area originated; He was among the founders and more active employees of the journal who conducted a new aesthetic program; He, together with Dyagilev "exported" Russian art to Western Europe and achieved his recognition; The world fame of the Russian theater and decorative painting of the "World of Art" fell first to the share of Bakst.

Meanwhile, in the system of development of ideas and principles of the "world of art", Bastca belongs a completely separate and independent place. Actively supporting the tactics of the association and sharing, in general, its main aesthetic positions, Bakst, at the same time, was completely independent. His painting is not similar to Painting Somov and Benois, Lancer and Dobuzhinsky; It comes from other traditions, relies on other spiritual and life experience, refers to other topics and images.

The path of the artist was more complex and winding, rather than even and consistent evolution, characteristic of the creativity of many of his friends and comrades. In the quest and throwing of the bitter there is a shade of paradoxics; The line of its development is drawn up with steep zigzags. Bakst came to the "world of art" as if "right"; He brought with him the skills of the old academic school and eettes to the traditions of the nineteenth century. But quite a bit of time passed, and Bakst became the most "left" among the participants of the world of art; He became more active than others with the Western European painting Modern and organically learned her techniques. Western spectators turned out to be easier to recognize "their" Baksta, rather than any other artist "Peace of Art".

Bakst was older than Somo for three years, Benoita is four years old, and Dyagileva for six years. The difference in age, by itself insignificant, had a well-known value at that time when the "World of Art" figures were young people. Among the young amateurs, which were grouping around Benoit and who made up his circle. Bakst was the only artist who had some professional experience. He for four years (1883-1887) studied at the Academy of Arts, sometimes carried out portraits and performed as an illustrator in the so-called "thin magazines". The Russian Museum stores several landscape and portrait etudes of Bakst, written in the first half of the 1890s. They do not differ in high artistic quality, but are quite professional. They already have a decorative flair characteristic of Barthast; But according to its principles, they do not go beyond the limits of late academic painting.

Soon, however, the creativity of Baksta took another character. At the first exhibitions of the world of art, Bakst performed mainly as a portraitist. It is enough to look at the series of portraits created by him at the turn of the XIX-XX centuries to understand how Bapti's painting was sent from the beginning of his activity and in what direction it developed in the future.

One of the most famous works of the artist is the portrait of Alexander Benua (1898, the State Russian Museum). In this early, performed pastel work, another imperfect and imperfect illusionistic tendencies, you can see a whole range of creative ideas that were determined by the task and meaning of portrait painting. The nature is taken here in the stream of its living conditions, in all variability of its specific, accurately noticed qualities. The main role is played by the desire to disclose the nature, identify the individual and psychological features of the person depicted. This trend directly goes back to the creative principles of Russian realistic painting. As portraitists in the second half of the XIX century, the task of the artist is here the fixation of some kind of moment of flowing reality, some fragment of real life. From here there is a plot idea - to portray Benua as if causing surprise, without any thought of posing; From here, the composition of the portrait, underlining ease, as if the randomness of the posture and expression of the model; From here, finally, there is an interest in the household characteristic, to the introduction of the interior and still life in the portrait.

On similar principles, another, somewhat later work of the artist is a portrait of a writer V.V. Rosanova (Pastel, 1901, State Tretyakov Gallery). However, the guide trend of the development of portrait painting Baksta is already visible, an attempt to free himself from the traditions of psychological realism of the XIX century.

In the portrait of Rozanova, the desire for psychologically consumer characteristics is also manifested, and in the interpretation of the form it is not difficult to notice the features of illusionism. And yet, in comparison with the portrait of Beno'a, here are immediately striking, new, new qualities. The format of the picture, narrow and elongated, consciously emphasize the vertical lines of the door and bookshelves. On a white background, occupying almost the entire plane of the canvas, a dark silhouette of portrayed, circular circuit rigid line. The figure is shifted from the central axis of the picture and no longer merges with the interior, and he is opposed to him. The shade of intimacy is disappearing, characteristic of Portrait Beno'a.

Refusing to understand the understanding of the portrait as a moment recorded on canvas, proceeding reality, Bakst - almost simultaneously with Somov - begins to build his work on other fundamentals. Reflections are dominated by Baksta over direct supervision, the generalization prevails over the analysis elements.

The portrait characteristic content becomes no longer a nature in the stream of its living conditions, but some, a peculiar idealized idea of \u200b\u200bthe depicted person. Bakst does not refuse the task to reveal the inner world of this particular person in its individual dual uniqueness, but at the same time seeks to focus in the guise of portrayed typical features, characteristic of the people of the cool "world of art", sells the image of a "positive hero" of its era and His close ideological environment. These features found quite a distinct and finished shape in the portrait S.P. Dyagilev with nanny (1906, State Russian Museum). Variating the same theme of the human figure in the interior, the artist seems to be rearranged by the accents, in a new way comprehensive for the previous techniques, leads them to a slim consistent system and subordinates the planned image. There are no traces of illusionism and naturalistic care, which marked earlier portraits. Composite rhythms are built on sharp asymmetry. Picturesque masses do not balance each other: the right half of the picture seems overloaded, the left is almost empty. By this technique, the artist creates in the portrait of the atmosphere of special tensions, which is necessary for the image characteristic. Pose of Dyagileeva is dodged a parade impressibility. The interior together with the image of the seating old woman nanny becomes a comment that complements the portrait characteristic.

It would be a mistake to argue that the image of Dyagilev in this portrait is outside the psychological. Narrow, Bakst puts into the image a whole set of acute and taking psychological definitions, but there is also intentionally limited them: we have a portrait of a positive man. The moment of posing is the most important part of the plan, in which there is no hint of household intimacy; Positioning is emphasized by the whole picture of the paintings: the outlines of the silhouette of Dyagilev, and its expression, and the spatial construction of the composition, and all the details of the situation.

In the graphics of Bakst, there are no motives of the XVIII century. And manor topics. It is agility, and to the Greek archaic, pushed symbolically. Symbolists of his picture "Terroantiquus" (tempera, 1908, State Russian Museum) used in particular success. The terrible thunderstorm sky, lightning, illuminating the bunch of the sea and the ancient city, and the archaic statue of the goddess with a mysterious frozen smile dominates over the entire universal catastrophe.

In the future, Bakxt went into the theatrical and decoration work, and his scenery and costumes to the ballet masses of Dyagilevsky Antenpuriza, filled with an extraordinary brilliance, virtuoso, artistically, brought him world glory. It was performed in his design with Anna Pavlova, Fokina ballets.

Exotic, spicy east, on the one hand, Aegean art and Greek archaic, on the other - here are two topics and two stylistic reservoirs that have made up the subject of artistic hobbies of Baksta and formed its individual handwriting.

He draws up predominantly ballet productions, among whom his masterpieces were decorations and costumes to Sharerazade to music N.A. Roman Corsakov (1910), "Fire-Bird" I.F. Stravinsky (1910), "Daphnis and Chloe" M. Ravel (1912) and supplied V.F. Nizhinsky on the music of K. Debyussi Ballet "Afterfourishment of Favna" (1912). In paradoxical combination of the opposite, the opposite began: the vacuichous colorfulness, the sensual tart of coloring and the lazy grace of a rayful flowing line of the drawing, preserving the connection with the ornamental of the early modernity, is the originality of the individual style of Bakst. Performing suits sketches, the artist transmits character, color image-mood, plastic drawing role, combining the generalization of the contour and color stain with jewelry and thorough decoration of parts - decorations, patterns on fabrics, etc. That is why his sketches are least possible to be called drafts, but are the works of art completed in themselves.

In the unification "World of Art" also participated A.Ya. Golovin is one of the largest artists of the theater of the first quarter of the XX century, I.Ya. Bilibin, A.P. Ostrumova-Lebedev and others.

Special place in the "World of Art" is occupied by Nikolai Konstantinovich Roerich (1874-1947). The connoisseur of the philosophy and ethnography of the East, the archaeologist-scientist, Roerich received an excellent education at first at home, then at the Legal and Historical and Philology Faculty, then at the Academy of Arts, in the workshop of Kyunji, and in Paris in the studio F. Kormon. Early found the authority of the scientist. His relatives with "Miriskusniki" the same love for retrospection, only not the XVII-XVIII century, and the pagan Slavic and Scandinavian antiquity and ancient Russia, styling trends, theater decorativeness ("Gonot", 1897, the State Tretyakov Gallery; "Elders converge" , 1898, State Russian Museum; "ominous", 1901, State Russian Museum). The closest Roerich was associated with the philosophy and aesthetics of Russian symbolism, but his art did not fit into the framework of existing directions, because it was as if by all humanity with the appeal of the friendly Union of all peoples in accordance with the worldview and worldly population. Hence the special monumentalism and the epity of his canvases. After 1905, the mood of pantheistic mysticism is growing in the work of Roerich. Historical themes are inferior to religious legends ("Heavenly Fight", 1912, the State Russian Museum). The russian icon had a huge influence on the Roerich: his decorative panels "Singer at Kergents" (1911) was exhibited in the execution of a fragment of the same name from the Opera of Roman Corsakov "Tale of the Invisible Grada and Virgin Fevronia" in the Parisian "Russian seasons".

By the evolution of the initial aesthetic attitudes, the split inside the editorial office of the magazine, the department of the Moscow Group of Artists "The World of Art" by 1905 ceases its exhibition and publishing activities. In 1910, the "World of Art" renews, but it is already functions exclusively as an exhibition organization, not fastened, as before, the unity of creative tasks and stylistic orientation, uniting artists of various directions.

However, there have been a number of Mirisk City Artists "The Second Wave", in whose work the artistic principles of senior masters of the "World of Art" are obtained in whose work. To their number belonged to B.M. Kustodiev.

Boris Mikhailovich Kustodiev (1878-1927) was born in Astrakhan, in the teacher's family. He studied drawing and painting at the artist P.A. Vlasov in Astrakhan (1893-1896) and in the Supreme Art School at the Academy of Arts in St. Petersburg (1896-1503), from 1898 - in the workshop of pro-Fesser-leader I.E. Repin. In 1902-1903, she was brought by Repin to a joint Ra-Bote over the picture "Solemn meeting of the State Council. As a student of the Academy of Arts, traveled in the Caucasus and Crimea on vacation, and in the future annually (from 1900) spent the summer in the Kostroma province; In 1903 he made a trip along the Volga and with D.S. Stelclotz Kim in Novgorod.

In 1903, for the painting "Bazaar in the village" (until 1941, Kustodiev, who was located in the Novgorod Isto Rico-Art Museum), received the title of artist and the right to travel abroad. At the end of the same year, as a pensioner of the Academy left to Paris, where a short time worked in the workshop R. Menara and at the same time he got acquainted with modern art, visited museums and exhibitions. In April 1904 he left Paris to Spain to explore old masters; At the beginning of the summer, returned to Russia. In 1909 he was awarded the title of academician.

Kustodiev and later repeatedly made a trip abroad: in 1907, together with D.S. Stelletsky, - in Italy; In 1909 - to Austria, Italy, France and Germany; In 1911 and 1912 - in Switzerland; In 1913 - to the south of France and in Italy. Summer in 1917 spent in Finland.

The genrist and portraitist in painting, stankovist and illustrator in the chart, theatrical decorator, Kustodiev worked as a sculptor. They made a number of portrait busts and compositions. In 1904, Kustodiev becomes a member of the new society of artists, in the "World of Art" he is from 1911.

The object of exquisite stylization of Kustodiyev in the spirit of painted toys and the lobel-noka is Russia Patriarchal, the morals and merchants, in which the artist borrows a special aesthetic code - the taste to all the motley, transductionally colorful, intricate ornamental. From here, the bright festive "fairs", "Maslenitsa", "Balagans", from here his paintings from the Meshchansky and merchant life, transmitted with the eagerness of the irony, but not without admirement by these red semi-dry beauty for a samovar and saucers in chubby fingers ("Kupchikha", 1915, State Russian Museum; "Kupchikha for tea", 1918, State Russian Museum).

"Beauty" (1915, the State Tretyakov Gallery) is the most advanced sample of Kustodiev style stylization in the spirit of a merchant "aesthetics of the number", expressed by hyperbolic injection of this amount - body, fluff, atlas, decorations. Pearl-pink beauty in the kingdom of down blankets, pillows, perin and mahogany is a goddess, an idol of merchant life. The artist makes it possible to feel the typical "Miriskusnic" ironic distance in relation to the values \u200b\u200bof this life, intensely binding delight with a kindly grin.

"The world of art" was a major aesthetic movement of the stroke of centuries, overestimated all the modern artistic culture, approved by new tastes and issues that returned art - at the highest professional level - the lost forms of book gras and theatrical and decorative painting, which received their efforts all European recognition "I created a new artistic criticism that promoted Russian art abroad, in fact, even who discovered some of his stages, like the Russian XVIII century. Miriskusniki created a new type of historical painting, portrait, landscape with their own style signs (distinct styling trends, the predominance of graphic techniques over picturesque, purely decorative understanding of color, etc.). This determines their meaning for domestic art.

The weaknesses of the "world of art" were affected primarily in the motley and inconsistent of the program, proclaiming the model "then Böhklin, Mane"; In idealistic takes on art, affected by indifference to the civil objects of art, in prog-framed apoliticalness, in the loss of social significance of the picture. The chamber of the "world of art", the features of the initial limitity identified and briefly the historical life of his life in the era of the formidable foresight of the impending proletarian revolution. It was only the first steps on the path of creative quest, and very soon "Miriskusnikov" overtook young.

"World of Art" "World of Art"

(1898-1904; 1910-1924), association of St. Petersburg artists and cultural figures (A. N. Beno'a, K. A. Somov, L. S. BakstM. V. Dobuzhinsky, HER. Lancer, AND I. Golovin, AND I. Bilibin, Z. E. Serebryakova, B. M. Kustodiyev, N. K. Roerich, S. P. Dyagilev, D. V. Philosophers, V. F. Nouvel, etc.) who published the same magazine. Writers and philosophers D. S. Merezhkovsky, N. M. Minsk, L. I. Sheletov, V. Rozanov, collaborated with the magazine. With its software literary and fine material, the desire to lead the artistic movement of the "World Art" era was a new type of periodical publication for Russia. The first room was published in November 1898. Every magazine, starting with the cover and ending with a font in the font, was a solid work of art. Subsidied the publication known patrons S. I. Mammoth And Princess M. K. Tenishev, his ideological focus was determined by articles of Dyagilev and Beno'a. The magazine was published until 1904. Thanks to the activities of Miriskuseniki, an unprecedented flourishing is also experiencing the art of book design.

The Commonwealth of Artists, who subsequently, the core of the association, began to develop at the turn of the 1880-90s. Officially, the unification of the "World of Art" was obligated only in the winter of 1900, when his charter was developed and elected the Regulatory Committee (A. N. Benua, S. P. Dyagilev, V. A. Serov), and existed until 1904. Consciously putting on the mission of artistic life reformers, Miriskuseniki actively opposed akademism and later movements. However, they always remained close, according to Benoit, "deposits of genuine idealism" and "Humanitarian utopia" 19 V. In the preceding art, Miriskuseniki above all appreciated the tradition romanticism, considering it logical conclusion symbolismTo the formation of which in Russia they were directly involved.

For its increased interest in foreign art, many Miriskusniki deserved the reputation of Westerners in the literary and artistic environment. The magazine "The World of Art" regularly acquainted the Russian public with machine and applied species of creativity of foreign craftsmen, both old and modern (English prerafaelitov, P. Puwi de Chavanna, artists of the group " Nabi" and etc.). In his work, Miriskusniki focused mainly on German artistic culture. In the domestic history, they were attracted by the epoch of the 18th century, her customs and morals. In the culture of 18 - the first third of the 19th century. Miriskusniki was looking for a poetic key to the solptes of secrets of all subsequent Russian history. Soon they were called "retrospective dreamers." The artists had a special ability to feel the poetic aroma of the past epoch and create a dream about the "golden age" of Russian culture. Their works are coming to the viewer the exciting charm of the festive, theatrical life (court ceremonies, fireworks), accurately recreate details of toilets, wigs, flyers. Miriskusniki write scenes in parks, where sophisticated ladies and cavars are adjacent to the characters of the Italian comedy del Arte - Harlequins, Colombines, etc. (K. A. Somov. "Harlequin and Death", 1907). Fascinated by the past, they join the dream of him with sad melancholy and irony, conscious of the impossibility of returning to the last (K. A. Somov. "Evening", 1902). The characters of their paintings are reminiscent of non-living people, but dolls playing a historical performance (A. N. Benua. "Walk of the king", 1906).

Exposureing on its exhibitions works of old masters, Miriskusniki at the same time tried to attract those painters, sculptors and schedules to them that had reputation in the forenswhelters of new paths in art. Five exhibitions of the magazine "The World of Art" took place in St. Petersburg in 1899-1903. In addition to painting and graphics of Miriskuseniki, the works of the largest Russian masters of the turn of 19-20 centuries were presented in the expositions. (M. A. Vrubel, V. A. Serov, K. A. Korovina, F. A. Malyavina and etc.). Special place at exhibitions allotted products decorative-applied art, in the works of which members of the association saw the manifestation of "clean" beauty. A significant event of artistic life was organized by Dyagilev in the halls of the Tauride Palace in St. Petersburg a grandiose "Historical and Art Exhibition of Russian Portraits" (1905).
In 1910, exhibitions called the "World of Art" (continued in Russia until 1924; the last exhibition under this sign took place in 1927 in Paris, where many Miriskuseniki emigrated after the revolution). However, only the name was united with the previous expositions. The founders of the union gave way to their primary role in the artistic life of the next generation of painters. Many Miriski members joined a new organization - Union of Russian artistscreated on the initiative of Muscovites.

(Source: "Art. Modern illustrated encyclopedia." Ed. Prof. Gorkina A.P.; M.: Rosman; 2007.)

Watch what is "" The World of Art "" in other dictionaries:

"World of Art" - "World of Art", artistic association. Embedded at the end of 1890 x (The Charter approved in 1900) on the basis of a circle of young artists, art historians and art lovers ("Society of self-education"), headed by A. N. Benua and ... ...

Russian artistic association. Embedded at the end of 1890 x (officially in 1900) on the basis of a circle of young artists and art lovers, headed by A. N. Benua and S. P. Dyagilev. As an exhibition Union under the auspices of the magazine, the world ... ... Artistic Encyclopedia.

- "World of Art", Russian Association. Embedded at the end of 1890 x (officially in 1900) in St. Petersburg on the basis of a circle of young artists and art lovers, headed by A. N. Benua and S. P. Dyagilev. As an exhibition union under ... ...

1) Art Association. Embedded at the end of 1890 x (The Charter approved in 1900) on the basis of a circle of young artists, art historians and art lovers ("Society of self-education"), headed by A. N. Benua and S. P. Dyagilev. How … St. Petersburg (Encyclopedia)

"World of Art" - "The World of Art", illustrated by the literary and art journal of the Unification of the World of Art and (up to 1903) of Symbolist Writers. It was published in 1899-1904 (until 1901 1 time in 2 weeks, from 1901 monthly). Publisher M. K. Tenisheva and S. I. Mammoths (in ... Encyclopedic Directory "St. Petersburg"

The world of art: the world of art (sociology) is a lot of people engaged in artistic creativity or creating, consumption, storage, distribution, criticism of works of art. World of Art (Organization) Artistic ... ... Wikipedia

- "The World of Art", a literary artistic illustrated magazine, the body of the Association of Art of Art and Writers of Symbolists. It was published in 1898/99 1904 in St. Petersburg (until 1901 at 2 weeks, from 1901 monthly). Publishers in 1899 Prince M. K. ... ... Great Soviet Encyclopedia

Literary artistic illustrated magazine, the Association body of the world of art and (up to 1903) writers of symbolists. It was published in 1898/99 1904 in St. Petersburg. Publishers M. K. Tenisheva and S. I. Mammoths (in 1899), then S. P. Dyagilev (the main ... ... Artistic Encyclopedia.

- "World of Art", Russian Association (1898 1924), was created in St. Petersburg A. N. Benua (see Benoit Alexander Nikolaevich) and S. P. Dyagilev (see Dyagilov Sergey Pavlovich). Moving the slogans of "pure" art and "transfiguration" ... ... encyclopedic Dictionary

The Russian Association (1898 1924) was created in St. Petersburg A. N. Benois and S. P. Dyagilev. Moving the slogans of pure art and the transformation of life with art, representatives of the world of art rejected both academism and ... ... Big Encyclopedic Dictionary

- "The World of Art" is an artistic illustrated magazine, which was published in St. Petersburg from 1899 to 1904. In 1899, the journal publishers were CN. M. K. Tenisheva and S. I. Mammoth, editor S. P. Dyagilev. The last, starting from 1900, becomes the only ... ... Literary encyclopedia

Books

• World of Art. 1898-1927, G. B. Romanov, This publication is dedicated to the 30-year period of the history of the Union of Art. The publication shows portraits, biographies and works of artists. When preparing this encyclopedia to ... Category: History of Russian Art Publisher:

Art Association "World of Art"

The world of art (1898-1924) is an artistic association formed in Russia in the late 1890s. The same name was the magazine published from 1898 by members of the Group. St. Petersburg artist A. N. Benoit and theatrical figure S. P. Dyagilev became the founders of the "world of art". He stated loudly, organizing the "exhibition of Russian and Finnish artists" in 1898 at the Museum of the Central School of Technical Drawing of Baron A. L. Stiglitsa. The classical period in the life of the association came to 1900-1904. - At this time, the group was characterized by a special unity of aesthetic and ideological principles. Artists arranged exhibitions under the auspices of the magazine "World of Art". After 1904, the union expanded and lost ideological unity. In 1904-1910. Most of the members of the "World of Art" was part of the Union of Russian Artists. After the revolution, many of his figures were forced to emigrate. The union actually ceased to exist in 1924. The artists of the "World of Art" considered a priority aesthetic beginning in art and sought to modern and symbolism, opposed to the ideas of the Movies. Art, in their opinion, should express the personality of the artist.

The composition included artists:

Bakst, Lev Samoilovich

Roerich, Nikolai Konstantinovich

Dobuzhinsky, Mstislav Valerianovich

Lancer, Evgeny Evgenievich

Mitrokhin, Dmitry Isidovich

Ostrumova-Lebedeva, Anna Petrovna

Chember, Vladimir Yakovlevich

Yakovlev, Alexander Evgenievich

Somov, Konstantin Andreevich

Izglinsky, Jan Franventovich

Purvit, Wilhelm

Sunnerberg, Konstantin Aleksandrovich, Critic

"Group portrait of members of the Union of Art". 1916-1920. M. Kustodiev.

portrait - Dyagilov Sergey Petrovich (1872 - 1925)

Sergey Dyagilev was born 19 (31) of March 1872 in Seliachi Novgorod province, in the family of the military, the hereditary nobleman Pavel Pavlovich Dyagilev. Mother died a few months after the birth of Sergey, and his stepmother Elena, Daughter V. A. Panayev, was raised. As a child, Sergey lived in St. Petersburg, then in Perm, where his father served. Father's brother, Ivan Pavlovich Dyagilev, was the patter and the founder of the musical circle. In Perm at the corner of the streets of Siberian and Pushkin (formerly Big Yamskaya), the Generic House of Sergey Dyagilev was preserved, where the gymnasium is now located. The Late Russian classicism mansion was built in the 50s of the XIX century on the project of the architect R. O. Karvovsky. For three decades, the house belonged to a large and friendly family of Dyagilev. In the house called contemporaries "Permian Athens", the city intelligentsia was gathered on Thursdays. Here they musicated, sang, played homemade performances. After the end of the Perm Gymnasium in 1890, he returned to St. Petersburg and entered the Faculty of Law of the University, in parallel he studied music from N. A. Rimsky-Korsakov in the St. Petersburg Conservatory. In 1896, Dyagilev graduated from the university, but instead of engaging in jurisprudence, he began his career of art worker. A few years later, after receiving a diploma, he created together with A. N. Benua, the union of the "World of Art", edited the same name (from 1898 to 1904) and art historical articles himself wrote. Organized exhibitions that caused a wide resonance: in 1897 - an exhibition of English and German watercolorists who acquainted the Russian audience with a number of large masters of these countries and modern trends in visual arts, then the exhibition of Scandinavian artists in the halls of the Society promotion of arts, the exhibition of Russian and Finnish artists in the Schtiglitz Museum (1898) The Miriskuseniki themselves considered their first performance (Dyagilev managed to attract to participate in the exhibition, in addition to the main group of the initial friendly mug, from which the union of the "World of Art" arose, the other major representatives of young art - Vrubel, Serov, Levitan, etc.), Historical and art exhibition of Russian portraits in St. Petersburg (1905); Exhibition of Russian art in the autumn salon in Paris with the participation of works of Benouua, Grabar, Kuznetsova, Malyavina, Repin, Serov, Yale (1906), and others.

Benua Alexander Nikolaevich (1870 - 1960)

Alexander Nikolaevich Benoita (April 21 (May 3) 1870 - February 9, 1960) - Russian artist, art historian, art critic, founder and chief ideologization of the "World of Art". Born on April 21 (May 3) of 1870 in St. Petersburg, in the family of the Russian architect Nikolai Leontievich Benoit and Camillas Albertovna Benoit (the daughter of architect A. Kavos). He graduated from the prestigious 2nd St. Petersburg gymnasium. For some time he studied at the Academy of Arts, also engaged in visual art on his own and under the leadership of Senior Brother Albert. In 1894, he began his career theorist and historian of art, writing chapter about Russian artists for the German collection "History of painting XIX century." In 1896-1898 and 1905-1907 worked in France. He became one of the organizers and ideologues of the Art Association "The World of Art", founded the same magazine. In 1916-1918, the artist created illustrations for the poem A. S. Pushkin "Copper Horseman". In 1918, Benois headed the Art Gallery of the Hermitage, published her new catalog. Continued to work as a book and theater artist, in particular, he worked on the design of the performance of BDT. In 1925, he took part in the international exhibition of modern decorative and industrial arts in Paris. In 1926, Benoit left the USSR without returning from a foreign business trip. He lived in Paris, worked mainly over the sketches of theatrical scenery and costumes. Alexander Benois played a significant role in the productions of ballet entrepreneurs S. Dyagileva "Ballets Russes", as an artist and author - the producer of performances. Benua died on February 9, 1960 in Paris.

Portrait of Benoian

"Self-portrait", 1896

- Second Versailles Series (1906), including:

The earliest of the retrospective works of Benua are associated with his work in Versailles. By 1897-1898, a series of small paintings made by watercolor and gouache and the United Shared Topics are "the last walks of Louis XIV". The second Versailles series of Beno'a, created in 1905-1906, is much extensive than the "last Louis Wide XIV" and more diverse in content and technology. It includes etudes from nature written in the Versailles Park, retrospective historical and genre paintings, peculiar "fantasies" on architectural-landscape topics, images of court theatrical ideas in Versailles. The series includes works with oil paints, tempera, gouache and watercolor, sanguine and sepia drawings. These works can only be conditionally called the "series", as they are connected with each other only by some unity of the mood, which pretended at that time, when Benua, according to him, was "Mersened Versaille" and "completely moved into the past", seeking to forget about Tragic Russian reality of 1905. The artist seeks to inform the viewer as much actual information about the era, about the forms of architecture, about the costumes, a somewhat neglecting the task of the image-poetic re-creation of the past. However, the same series includes works belonging to the number of the most successful works of Beno'a, deservedly using broad-fame: "Parade with Pavel I" (1907, state. Russian Museum;), "Empress Empress Ekaterina II in the Tsarskoye Palace" (1909, state . Art Gallery of Armenia, Yerevan), "Petersburg Street at Peter I" (1910, Private Assembly in Moscow) and "Peter I on a walk in the Summer Garden" (1910, state. Russian Museum). In these works, you can see some change in the very principle of historical artist's thinking. In the center of his interests, finally, not monuments of antique art fall, not things and costumes, but people. Multifigure historical and household scenes written by Benua, recreate the look of last life, seeing the eyes of the contemporary.

- "King's walk" (GTG)

48x62.

Paper on canvas, watercolor, gouache, bronze paint, silver paint, graphite pencil, feather, brush.

State Tretyakov Gallery. Moscow.

In the picture, the walk of King Alexander Benua transfers the viewer to the brilliant Versailles Park of Louis XIV. Describing the king walks, the author did not care: no park views with garden architecture (they are written from nature), nor theatrical performances, very fashionable in the older times, nor household scenes, drawn after a thorough study of historical material. "Walking the king" - very spectacular work. The viewer meets with Louis XIV, walking on his brain. In Versailles, autumn: trees and shrubs dropped foliage, their bare branches are lonely looking into the gray sky. Water calm. It seems nothing can disturb the quiet pond, in the mirror of which the sculptural group of the fountain is reflected, and the genuine monarch procession and its approximate. Against the background of the autumn landscape, the artist depicts a solemn procession of the monarch with its courtiers. Flat modeling of marching figures seems to turn them into ghosts of the left era. Among the court suite, it is difficult to find the very Louis XIV. The artist is not important to the king of the sun. Benua is much more concerned about the atmosphere of the era, the breath of the Versailles Park of the time of his stand-old owner. This work is included in the second cycle of paintings, resurrecting the scenes of the Versailles of the Epoch of the "King of Sun". Benua Versailles is a kind of landscape elegy, a beautiful world, who brought the look of a modern man in the form of a deserted scene with the tempered decorations of a long playful play. Formerly, great, full sounds and paints, this world now seems slightly ghostly, twisted cemetery silence. Not by chance in the "walk of the king", Benua depicts the Versaili Park in the fall and an hour of light evening twilight, when a fireless "architecture" of a regular French garden against the background of a light sky turns into a pass-through, ephemeral building. The old king, chatting with Freillan, accompanied by marching in exactly the set intervals for and in front of them courtesy, as if the figures of the vintage clockwork clocks under the light chime for the forgotten menuet, slide along the edge of the reservoir. Theatrical nature of this retrospective fantasy is subtly revealed by the artist himself: he revives the figurines of frisky amurists inhabiting the fountain, they comically depict a noisy public that have a fitting scene and the puppet-playing performance played by people.

- "Markism Bath"

1906

Russian picturesque historical landscape

51x47.5

cardboard, gouache

The painting "Badzalnya Marquise" depicts a secluded corner of the Versailles Park among the thick greenery. The rays of the sun, penetrating into this shaded shelter, illuminate the surface of the water and bathing marquis. Almost symmetrical on the composition, built in accordance with the front perspective, the picture performs the impression of the impeccable beauty of the drawing and colors. Carefully worked out the volumes of clear geometric forms (light horizontal - earth, descents to water, and vertical - lighted walls of bosets, arbor columns). The sun-lit elegious white marriage gazebo, which we see in the lumen of the trees, is depicted at the top of the picture, right above the marquise's head. Decorative masks, of which blonde water jets flow into the bathing, break the white wall of the pool. And even lightwood marquises thrown on the bench (almost coinciding with a point of depth of the lines depth) enters the necessary compositional element in this carefully thoughtful pattern. The composite center is, of course, not a bench with clothes, although located in the geometric center, but the entire complex "quadrangle" with a central vertical axis, where the gazebo illuminated by the sun over the head of the marquise looks like a precious ornament like a crown. The head of the marquise organically complements this complex symmetrical pattern of the drawing of horizontals, verticals and diagonals. In a strictly well-designed and planned park, even its inhabitants with their presence only completing his perfection. They are only an element of the composition, emphasizing its beauty and splendor.

Mircussian often reproach in the absence of "painting" in their picturesque work. You can say in response to this that the "Bath of Marquise" is a green celebration with the variety of its shades. The artist is simply admiring the beauty and a violence of fresh greenery. The front plan of the picture is written generally. Soft light, punching through the foliage, lighted the descents to the water of bathing, dark water, written through blue-gray and saturated blue-green colors. The far plan has been worked in more detail: the foliage of the trees is spelled carefully and virtuoso, the leaf to the leaves, the moire of foliage on the bosets consists of the smallest dots, colorful smears. In the shade we see and muted and bright cold green colors of different shades. Luxurious, lit foliage lit in the center is written by small, cold bluish and warm green strokes. The artist seems to bathe greenery in the rays of light, exploring the nature of the green. Deep blue shadows, gray-purple earth, purple dress with blue pattern, yellow scarf, hat with blue flowers around ribbon, white dots on a green slope and red drops on a hairstyle of Marquis, on the head of black women do not give work to become monochrome green. " Bathing marquise "- a historic landscape.

- Illustrations for poem A.S. Pushkin "Copper Horseman" (1904-22.),including:

In the first decades of the twentieth century, Alexander Nikolayevich Benoit (1870 - 1960) were made to the "copper rider" - the best that was created in the history of illustrating Pushkin. Benua began working on the "copper rider" in 1903. Over the next 20 years, they have created a cycle of drawings, screensavers and endings, as well as a huge number of options and sketches. The first edition of these illustrations, which were preparing for a pocket publication, was established in 1903 in Rome and St. Petersburg. Printed them in another Dyagilev format in the first issue of the magazine "World of Art" for 1904. The first cycle of illustrations consisted of 32 drawings performed in mascara and watercolor. In 1905, A.N. Benua, being in Versaille, recycled six of its previous illustrations and completed the frontispis to the "copper rider". In the new drawings to the "copper rider" the topic of persecution by the rider of a small man becomes the main thing: a black rider over a fugitive is not so much a masterpiece of Falcone, how much impersonation of cruel power, power. And Petersburg is not the one who conquers the artistic perfection and a scope of construction thoughts, and the sullen city is a cluster of gloomy houses, trading rows, fences. Anxiety and anxiety that swept the artist during this period, turns here to a real cry on the fate of a person in Russia. In 1916, 1921-1922, the cycle was reworked for the third time and supplemented with new drawings.

- "Stage Scene" (Frontispis)

Sketch of the Frontispis to the poem A. S. Pushkin "Copper Horseman", 1905

Book graphics

23.7 x 17.6

paper, watercolor

All-Russian Museum of A.S. Pushkin, St. Petersburg

In 1905, A.N. Benua, being in Versaille, recycled six of his previous illustrations and performed the frontispis (frontispis - a picture page that generates a turn with the front page of tit. L., And this image itself.) To the "Copper Horseman" . In the new drawings to the "copper rider" the topic of persecution by the rider of a small man becomes the main thing: a black rider over a fugitive is not so much a masterpiece of Falcone, how much impersonation of cruel power, power. And Petersburg is not the one who conquers the artistic perfection and a scope of construction thoughts, and the sullen city is a cluster of gloomy houses, trading rows, fences. Anxiety and anxiety that swept the artist during this period, turns here to a real cry on the fate of a person in Russia. On the left in the foreground, the figure of Running Eugene, on the right - the rider overtaking on horseback. In the second plan - the city landscape. Because of the clouds, the moon is visible to the right. A huge shadow from the rider shape falls on the bridge. When working on the "copper rider" identified the highest rise of creativity Beno'a these years.

Somov Konstantin Andreevich (1869 - 1939)

Konstantin Andreevich Somom (November 30, 1869, St. Petersburg - May 6, 1939, Paris) - Russian painter and schedule, Master of portrait and landscape, Illustrator, one of the founders of the Society "The World of Art" and the magazine of the same name. Konstantin Somov was born in the family of a famous museum figure, the Keeper of the Hermitage, Andrei Ivanovich Somo. Even in the gymnasium Somov met A. Benua, V. Nuelev, D. Philosophical, which later participated in the creation of the Society "World of Art". Somov took the most active participation in the registration of the magazine "World of Art", as well as the periodical edition of the Art Treasures of Russia (1901-1907), published by A. Benua, created illustrations to "Count Nulin" A. Pushkin (1899) N. Gogol "Nose" and "Nevsky Prospekt" (1901), painted the cover of poetic collections K. Balmont "Firebird. Slavel Slavyanina, "V. Ivanova" Cor Ardens ", the title page of the book by A. Blok" Theater "and others. The first personal exhibition of paintings, sketches and drawings (162 works) took place in St. Petersburg in 1903; In Hamburg and Berlin, 95 works were shown in the same year. Along with landscape and portrait painting and schedule, Somov worked in the field of shallow plastics, creating exquisite porcelain compositions "Count Nulin" (1899), "Lovers" (1905), etc. In January 1914, received the status of a valid member of the Academy of Arts. In 1918, the most famous and full edition with erotic drawings, Somov's erotic drawings, was published in 1918 in the publishing house: "The Book of Marquis", where the artist created not only all the elements of the design of the book, but also picked up the texts in French. In 1918 he became a professor of petrograd state-owned artistic workshops; He worked at the school E. N. Zvantseva. In 1919 his anniversary personal exhibition took place, in the Tretyakov Gallery. In 1923, Somov left Russia to America as an authorized "Russian exhibition"; In January 1924, 38 works were represented at the exhibition in New York Somov. He did not return to Russia. From 1925 he lived in France; Successively died on May 6, 1939 in Paris.

Portrait of Somov

"Self-portrait", 1895

"Self-portrait", 1898

46 x 32.6

Watercolor, pencil, pastel, paper on cardboard

"Self-portrait", 1909

45.5 x 31.

Watercolor, gouache, paper

State Tretyakov Gallery, Moscow

- "Lady in blue. Portrait of an artist Elizabeth Martynova "(1897-1900, GTG)

The artist was a long time friendly with Elizabeth Mikhailovna Martynova, he studied with her at the Academy of Arts. In 1897, K. Somov began working on a portrait of E.M. Martynova, with a detailed plan. The artist was a very interesting model, and his thought was worried about the portrait, in which he could capture the deep poetic image. Young woman in a magnificent, strongly decolted dress, with a tomik of poems in the lowered hand is depicted in the green wall of a scrubbing shrub. EAT. Martynov The artist transfers to the world of the past, climbs it into an old dress, puts the model against the background of a conditional decorative park. The evening sky with light pink clouds, trees of an old park, the dark surface of the reservoir - all this is elegant in color, but as a true "Miriskusnik", K. Somov stylizes the landscape. Looking at this lonely, longing woman, the viewer does not perceive her as a person from the other world, the past and distant. This is a woman end of the XIX century. Everything in it is characteristic: and painful fragility, and a feeling of a lumpy longing, sadness in her big eyes and a dense line of mournfully compressed lips. Against the background of the heaven with the excitement of the sky, the fragile figure of E.M. Martynova is full of special grace and femininity, despite the thin neck, thin showy shoulders, covered sadness and pain. Meanwhile, in the life of E.M. Martynov everyone knew as a cheerful, cheerful young woman. EAT. Martynov dreamed of a big future, she wanted to realize himself in the present art and despised the life of life. And it happened so that in 30 with a few years she died of lung tuberculosis, did not have time to fulfill anything from the conceived. Despite the parade of the portrait, in it there is a hidden sincere note. And she makes the viewer to survive the mood of the heroine, to penetrate it with the sympathy, as the artist himself was. "Lady in Blue" appeared at the exhibition "The World of Arts" in 1900 (due to the departure of the artist in Paris and the disease of the model, this picture was written three years) called the "portrait", and in three years she was acquired by the Tretyakov Gallery.

- "Evening" (1902, GTG)

142.3 x 205,3

Canvas, oil

State Tretyakov Gallery, Moscow

Somova Poet Valery Breusov called Somov Poets of Valery Buses. After all, the Somovsky-novels through the theatrical. In the "evening", a survived Somov scene from a garden life of the XVIII century was revived. Against the background of abundant vines with pink-goldy clusters, magnificent currencies of beautiful, Zhemunno Positive Dam. The Somovskaya "Reality" in the picture "Evening" (1902) appears stylistically completed. Everything here meets a single slender and ceremonial rhythm: replays of Arcade, alternation of the flowing in the distance of the boss planes, slowdown, as if ritual, motion ladies. Even nature here - work Art, carrying style features inspired by the XVIII century. But first of all, this is the "Somovsky" world, enchanted, strange the stricter world of the golden sky and gold-plated sculptures, where a person, nature and art are in harmonious unity. Flinking the bunches of grapes, sunlight, breaking through through Leaves, throws reflexes on clothes and faces of people, softening soften emerald and scarlet paints d. Delight viewing thinly performed toilet details, rings, ribbons, shoes with red heel. In the picture "Evening" there is no genuine monumentality. The Somov world carries the ephemerality of the scenery, therefore the large size of the canvas is random. This is an enlarged miniature. Miniaturism is always chamber, intimate talent Somov. Contemporaries perceived "Evening" as opposition to reality: "The Epoch, which appears to us naive, with fastening muscles, without steam locomotives - the severity, creeping (relatively with our), - how to master it can be in nature, to seduce nature, almost making it a continuation of his costume" . Somov's retrospection often have a shade of fantastically fictional, fantasy almost always have a shade retrospective.

- "Harlequin and Dama" (1912, GTG)

1912 1921

62.2 x 47.5

State Tretyakov Gallery, Moscow

The artistic concept of Somov acquires a special completion here. All construction of the picture is frankly likened by the theatrical scene. Two main characters are located in the foreground, in the center of the picture, face to the viewer, as the actors of the comedy Marivo, leading dialogue. Figures in the depths are similar to secondary characters. Trees covered by incorrect light fireworks, as theatrical spotlights, the pool, part of which is visible in the foreground, make you remember the orchestral jam. Even the point of view on the acting persons from the bottom appearance seems to look at the viewer from the theater hall. The artist admires this Pestrem Masquerad, where the bending harlequin in his outfit from red, yellow and blue looskuts Zhemunno hugs a lady in Robron, removed the mask, where red roses are bright, and the festive fireworks are painted in the sky. For Somov, this deceptive world of phantoms with their fleeting existence of the very reality is.

A series of graphic portraits, incl. -

- "Portrait of A. Blok" (1907, GTG.)

"Portrait of Alexander Alexandrovich Bloka", 1907

38 x 30.

Paper, Graphant and Colored Pencils, Gouache

State Tretyakov Gallery, Moscow

In 1907, Somov creates images of L. A. Bloka. They can see the traces of the most close study of the French pencil portrait (using Sangina) of the end of the XVI and especially the XVII century, although the portraits of Somov in no way are direct imitation. The traditions of the French pencil portrait are implemented somov beyond recognition. The nature of the image is completely different. In the portraits of the block and Lancer (both in the state. The Tretyakov Gallery) Somov seeks to limit conciseness. Now in the portrait of the block is an outdoor image. All insignificant details are discarded. Somom Skupo charts the contour only the silhouette of the shoulders and those details of the costume that are integral from the appearance of the depicted, are postponed collars that always wore a block. In contrast to the LAKONIS in the image of the figure and suit, the face portrayed carefully worked carefully, and in their transmission the artist introduces few color accents, which in the portrait of the block sounds particularly expressive. The artist transfers cold pencils cold, "Winter" view of the gray-blue eye block, the retirement of the semi-open lips, herbalis - vertical fold, cutting smooth forehead. The face of the block framed by the cap of thick curly hair resembles a frozen mask. Portrait hit contemporaries similarity. Many of them noted in life inherent in the "Waxing Protection" block. Somov in their sweat elevated the hell in the Absolut of this dead, and the image of the block of the versatility, spiritual wealth, which constituted the essence of his personality was deprived. The block itself was recognized that, although he liked the portrait, he "thrust".

Bakst Lev Samoilovich (Life-Haim Israelich Rosenberg, 1866 - 1924)

In order to enroll in the Voltopper to the Academy of Arts, L. S. Bastca had to overcome the resistance of the father, a small merchant. He studied four years (1883-87), but disappointed in academic preparation and left the educational institution. He began to engage in painting on his own, studied watercolor technique, earning a living by illustrating children's books and magazines. In 1889, the artist for the first time exhibited his work, adopting a pseudonym - abbreviated grandmother's name on the maternal line (Bakster). 1893-99. He spent in Paris, often hitting Petersburg, and stubbornly worked in search of her own style. Rabby with A. N. Benua, K. A. Somov and S. P. Dyagilev, Bakst became one of the initiators of the creation of the Unification of the World of Art (1898). Fame Bastca brought his graphic work for the magazine "World of Art". He continued to engage and machine art - performed excellent graphic portraits I. I. Levitan, F. A. Malyavina (1899), A. White (1905) and 3. N. Hippius (1906) and picturesque portraits V. V. Rosanova ( 1901), S. P. Dyagilev with nanny (1906). Furious disputes of critics caused his picture "Dinner" (1902), which became a peculiar manifesto of Modern style in Russian art. Later, a strong impression on the audience produced his picture "Ancient Horror" (1906-08), in which the symbolistic idea of \u200b\u200bthe inevitability of fate is embodied. By the end of the 1900s. Restricted himself with work in the theater, occasionally making exceptions for graphic portraits of people close to him, and entered the story precisely as an outstanding theater artist of the era of Modern. He made his debut in the theater back in 1902, issuing the Markism heart pantomime. Then the ballet "Fairy dolls" (1903), who had success mainly due to its decorations. I made some more performances, made separate costumes for artists, in particular for A. P. Pavlova in the famous "Swan" M. M. Fokina (1907). But truly talent Bakst turned into ballet performances of the "Russian seasons", and then the "Russian ballet S. P. Dyagileva". "Cleopatra" (1909), "Sherryzad" and "Carnival" (1910), "Vision of Roses" and "Narcissy" (1911), "Blue God", "Daphnis and Chloe" and "Afternoon rest of Favna" (1912), "Games" (1913) hit the fastened western public with decorative fantasy, wealth and strength of color, and the designer techniques developed by Bakstoma laid the beginning of a new era in ballet scenography. The name of the Baksta, the leading artist "Russian seasons", threatened along with the names of the best performers and famous ballersters. Interesting orders were filmed on it and from other theaters. All these years, Bakst lived in Europe, only occasionally returning to his homeland. He continued to cooperate with the Dyagilevskoye Troupe, however, between him and S. P. Dyagilev gradually increased contradictions, and in 1918 Bakst left the troupe. He worked tirelessly, but no longer managed to create anything fundamentally new. Death from swelling of the lungs of Baksta lamb at the time of His glory, the truth is beginning to fade, but still brilliant.

Portrait of an artist

"Self-portrait", 1893

34 x 21.

Cardboard, Oil

State Russian Museum, St. Petersburg, Russia

- Elysium (1906, GTG)

Decorative panel, 1906.

158 x 40.

Watercolor, gouache, paper on cardboard

State Tretyakov Gallery, Moscow

- "Ancient (antique) horror" (1908, timing)

250 x 270Holst, oil

State Russian Museum, St. Petersburg

"Ancient Horror" - the picture of Leon Baksta, depicting the death of ancient civilization (possibly atlantis) in the natural cataclysm. In the pagan world-thundering "Ancient Horror" - this is the horror of life in the world under the rule of the gloomy and inhuman fate, the horror of the powerlessness of a person, enslaved by her and extremely submissive (Fatum); And also the horror in front of chaos as an abyssless non-existence, the immersion in which is disliked. Under ancient horror, he intended the horror of fate. He wanted to show that not only the whole human, but all the bitter divine was perceived by ancient as a relative and transient. A large canvas of a practically square format is occupied by a panorama of the landscape written from a high point of view. Landscape is lit by flash lightning. The main space of the canvas occupies a raging sea that destroys ships and beats about the walls of fortresses. In the foreground shows the figure of an archaic statue in a generated crop. The contrast of a calm smiling face of the statue especially striking compared to the austerity of the elements for her back. The artist transfers the viewer to some invisible elevation, with which this panoramic perspective is only possible, which deployed somewhere in the depths under our feet. Closest to the viewer Hill, carrying a colossal statue of the Archaic Cypriot Aphrodite; But the hill, and the foot, and the most legs of the idol outside the canvas: as it were, a free from the fate of the Earth, the goddess arises close to us, right on the darkness of a deep-lying sea. The depressed female statue is the type of archaic bark, which smiles at a mysterious archaic smile and holds a blue bird (or pigeon - aphrodite symbol). Traditionally, it is customary to call the statue depicted by Bakstom - Aphrodite, although it has not yet been established, which goddes are depicted. The prototype of the statue was the statue found during the excavations on the Acropolis. For an incomplete brush hand posed Bakst's wife. The island landscape unfolding behind the goddess is a view from the Athenian Acropolis. At the foot of the mountains in the right part of the picture in the foreground, buildings are placed, according to Pruzhana - Mycenaeine Lion Gates and the rest of the palace in Tirinf. These are buildings related to the early, the critical-mix period of the History of Greece. On the left, the group running in the horror of people among buildings characteristic of classical Greece - apparently, this is an Acropolis with its dormiles and huge statues. For the Acropolis - illuminated by zippers of the valley, crouched by silver oliv.

Ballet design, incl. -

"Sketch of Cleopatra costume for Ida Rubinstein to the ballet" Cleopatra "to the music of A.S.Arensky"

1909

28 x 21.

Pencil, watercolor

"SHEHERZADA" (1910, music. Rimsky-Korsakov)

"Sketch of the scenery to the ballet" Shehherazada "on the music of N.A. Rimsky-Korsakov", 1910

110 x 130.

Canvas, oil

Nikita and Nina Lobanov-Rostov, London

"Sketch of the costume of the blue sultashi to the ballet" Shehherazada ""

1910

29.5 x 23.

Watercolor, pencil

Nikita and Nina Lobanov-Rostov, London

Dobuzhinsky Mstislav Valerianovich (1875 - 1957)

M. V. Dobuzhinsky was the son of an artillery officer. After the first year of the Law Faculty of St. Petersburg University, Dobuzhinsky tried to enter the St. Petersburg Academy of Arts, but was not accepted and engaged in private studios until 1899. Returning in 1901 in St. Petersburg, he became close to the unification of the World of Art and was among the most notable His representatives. Debuted Dobuzhinsky in the graphics - drawings in magazines and books, urban landscapes, in which he managed to impressively convey their perception of St. Petersburg as the city. The topic of the city immediately became one of the main in his work. Dobuzhinsky was engaged in snack graphics, and painting, successfully taught - in different schools. Soon the MHT invited him to putting the play I. S. Turgenev "Month in the village" (1909). The great success of the scenery fulfilled by him laid the beginning of the artist's close cooperation with the famous theater. The top of this collaboration was the decorations for the spectral "Nikolay Stavrogin" (1913) on the novel by F. M. Dostoevsky "demons". Acute expressiveness and rare laconism made this innovative work with a phenomenon who anticipate future discoveries of domestic scenography. The sound perception of events unfolding in post-revolutionary Russia forced Dobuzhinsky in 1925 to adopt Lithuanian citizenship and move to Kaunas. In 1939, Dobuzhinsky went to the United States to work with actor and director M. A. Chekhov over the play "Demes", but because of the World War II, Lithuania did not return. The last years of life were the most difficult for him - he failed and did not want to adapt to an alien to the American lifestyle for him and the nrules of the American art market. He often experienced material difficulties, lived alone, communicating only with a narrow circle of Russian emigrants, and tried to use every opportunity to at least get to Europe at least.

Portrait of an artist

Self-portrait. 1901.

55x42.

Canvas, oil

State Russian Museum

The work performed at the Munich School of Shandor Holloşi, on the picturesque task of close to the symbolistic compositions of Ezhen's career, who loved to immerse her characters in a thick, emotionally active environment. The mysterious haze, the surrounding model, vibrating "color" light on the face and figure, seems to increase acutely energetic and mysterious expression of shaded eyes. This gives the image of an internally independent and cold-blooded young man features some demonisis.

- "Province of the 1830s" (1907-1909, MRM)

60 x 83.5

Cardboard, Pencil, Watercolor, Belil

State Russian Museum, St. Petersburg

"The province of the 18th anniversary" records the artist's glance, a diligent flow of everyday life of a Russian town of more than half a century ago. "Calculation" images with deliberate posting of the pillar almost in the center of the composition contributes to the perception of what is happening as a randomly seen film frame. The absence of the main character and the dissavory of the painting is a kind of artist game with vain expectations of the viewer. Skidden Domiers, Domes of Ancient Churches and Sleeping in His post city - this is the type of main square of the city. The fuss of ladies, hurrying, apparently, to the modist for new outfits, was written by Dobuzhinsky almost caricature. The work is permeated by the mood of the harmless kindness of the artist. A bright flavor of work makes it similar to such a popular postcard at the turn of the centuries. By 1907, the picture of the Russian province of the 1830s (Watercolor, Count. Pencil, State. Russian Museum). It depicts the sleepy square of the provincial city with trading rows, dormant, leaning on its secure, a boat, a bury pig, rubbing about a lamppost, a few passersby and inevitable puddle in the middle. Undoubted Gogol Reminiscence. But the picture of Dobuzhinsky is deprived of any sarcasm. The artist's graphic graphics here finds everything to anything touch. Under the pencil and brush, Dobuzhinsky, the beauty of the proportions of the ampirous living room, a stylish suit of the 30s with a hat "Basket" on the transit space of a lady with shopping, a slim silhouette of a bell tower. The delicate stylism of Dobuzhinsky triumphs his next victory.

- "House in St. Petersburg" (1905, GTG)

37 x 49.

Pastel, Gouache, paper on cardboard

State Tretyakov Gallery, Moscow

- "Man in glasses" (portrait of writer Konstantin Sunnerberg, 1905-1906, GTG)

Portrait of art critic and poet Konstantin Sunnerberg

1905

63.3 x 99.6

Coal, watercolor, paper on cardboard

State Tretyakov Gallery, Moscow

Not being a portraitist, Dobuzhinsky created one of the most capacious characters, embodying a whole generation of intellectual citizens. In the painting "Man in glasses" (1905-1906), the poet and art critic K. A. Sunnerberg, who spent under the pseudonym of the Const. Erberg. A man tightly closed into a rigid shell of a respectable dress, his eyes, illuminated from the world with glasses with glasses, are almost not visible. The whole figure, as if deprived of the third dimension, melt, is clamped in an unthinkable close space. A person as if exposeds, placed between two glasses - a specimen of the fancy fauna of a fantastic city - St. Petersburg, visible outside the window, opening up the viewer, another person is a mixture of multi-storey, multi-tube urbanism and provincial backyards.

Lancer Evgeny Evgenievich (1875 - 1946)

russian and Soviet artist. Graduate of the first St. Petersburg gymnasium. From 1892 he studied in the drawing school of the Society for the Promotion of Arts, Petersburg, where the classes of Ya. F. Zhestklinsky visited, N. S. Samokish, E. K. Lipgarta. From 1895 to 1898, Lancer traveled a lot in Europe and improved skill in the French academies of F. Kalalari and R. Zhülen. Since 1899, a member of the Unification of the World of Art. In 1905 he went to the Far East. In 1907-1908, he became one of the creators of the "Ancient Theater" - a short-term, but interesting and noticeable phenomenon in the cultural life of Russia of the beginning of the century. Lancer continued to work with the theater in 1913-1914. 1912-1915 - Artistic director of the porcelain factory and workshops of glass engraving in St. Petersburg and Yekaterinburg. 1914-1915 - Military Correspondent Artist in the Caucasian Front during World War II. 1917-1919 spent in Dagestan. In 1919, he collaborated as an artist in the informational and agitational bureau of the volunteer army A. I. Denikin (Osvag). In 1920, she moved to Rostov-on-Don, then in Nakhichevan-on-Don and Tiflis. Since 1920, a draftsman in the Museum of Ethnography, traveled to ethnographic expeditions with the Caucasus Archaeological Institute. From 1922 - Professor of the Academy of Arts of Georgia, Marhi. In 1927, he was sent for six months to Paris from the Academy of Arts of Georgia. In 1934 he moved for permanent residence from Tiflis to Moscow. From 1934 to 1938 he taught at the All-Russian Academy of Arts in Leningrad. HER. Lancer died on September 13, 1946.

Portrait of an artist

- "Empress Elizabeth Petrovna in Tsarskoye Selo" (1905, GTG)

43.5 x 62.

Gouache, paper on cardboard

State Tretyakov Gallery, Moscow

Evgeny Evgenievich Lancere is an artist versatile. The author of monumental paintings and panels adorning the stations of the Moscow Metro, Kazan station, the hotel "Moscow", landscapes, paintings on the Russian history of the 18th century, he at the same time, was a wonderful illustrator of the classic works of Russian literature ("Dubrovsky" and "Shot" A . S. Pushkin, "Haji Murat" L. N. Tolstoy), the creator of acute political cartoons in Satyric magazines of 1905, theatrical and decoration artist. The picture reproduced here is one of the most interesting and significant machines of the artist. Cartina testifies to the very understanding of historical painting in the art of the early XX century. Thus, the atmosphere of the era is disclosed here through images of art, embodied in architecture and park ensembles, costumes and hairstyles of people, through the landscape, showing the court life, rituals. Especially favorite became the topic of royal processions. Lancere depicts the solemn yard of the yelizabeth Petrovna in its suburban residence. As if the scene takes place in front of the viewer. Redium-magnifier swims fat Empress, dressed in woven clothes of amazing beauty. Next, ladies and cavaliers are followed in lush outfits and powdered wigs. In their faces, poses and gestures, the artist reveals different characters and types. We see that the detrimental-timid, then arrogant and famous courts. In the show of Elizabeth and her courtyard, it is impossible not to notice the irony of the artist and even some grotesque. Lancer is opposed to the people of the noble severity of the suspension of the white statue and the genuine grandeur, embodied in the magnificent architecture of the Rastrelievsky Palace and the beauty of a regular park.

Ostrumova-Lebedeva Anna Petrovna (1871 - 1955)

A. P. Ostrumova-Lebedev was a daughter of a major official P. I. Ostrumov. Another gymnasic she began to attend primary school at ZUUT. Then he studied in the School itself, where Engraving techniques were fascinated, and in Ah, where she was engaged in painting in the workshop I. E. Repin. In 1898-99. Worked in Paris, improving in painting (J. Whistler) and engraving. The turning point in her fate turned out to be 1900, the artist debuted with his own engravings at the exhibition "World of Art" (with which in the future firmly related his creativity), then received the second prize for engravings at the OPH competition and finished AH with the rank of artist, presenting 14 engravings . Outrium-Lebedeva belonged to the main role in the Renaissance in Russia, easel engravings on a tree as an independent type of creativity - after a long existence as a reproduction technique; Especially great the merit of the artist in the revival of collar engravings. Original methods of generalizing the shape and color produced by it were learned and used by many other artists. The main topic of her engravings was Petersburg, the image of which she devoted several decades of tirelessly. Its colored and black and white engravings - both machines, combined into the cycles ("Petersburg", 1908-10; "Pavlovsk", 1922-23, etc.), and executed for books V. Ya. Kurbatova "Petersburg" ( 1912) and N. P. Antsiferov "Soul of St. Petersburg" (1920) - still unsurpassed with the accuracy of the sensation and transfer of the majestic beauty of the city and by rare laconism of expressive means. Reproducible to remember times and but by different reasons, they have long become a shittomest and are exceptional popularity. In their own, the works created by the artist on impressions from frequent trips - both abroad (Italy, France, Spain, Holland) and the country (Baku, Crimea) were interesting. Some of them were executed in the engraving, and part of the watercolor. The gifted and well-trained painter, Ostrumova-Lebedev could not work with oil paints, because their smell caused Asthma attacks. But she perfectly mastered the hard and capricious technique of painting watercolor and worked with it all his life, creating excellent landscapes and portraits ("Portrait of Artist I. V. Yershova", 1923; "Portrait of Andrei White", 1924; "Portrait of an artist E. S. Kruglikova ", 1925, etc.). War of Ostrumov-Lebedev spent in blockade Leningrad, not leaving her beloved business and completing work on the third volume of "autobiographical notes". The last years of the life of the artist were overshadowed by the impending blindness, but, while it was possible, she continued to work.

A series of engravings and drawings "Types of St. Petersburg and its suburbs", incl. -

Throughout the mature creative life in the graph of A.P. Otroumova-Lebedeva, the topic of St. Petersburg, starting with the species of Pavlovsk in the 1900s until the mid-1940s, is already seriously ill, she graduated from the series of its Petersburg works by Xylography. On the fortress at night. " In total, according to its own estimates, she created 85 works dedicated to the Great City. The image of St. Petersburg in the witty-swan was formed for almost half a century. However, his main features were found by the artist in the most joyful and calm years - during the first decade of the twentieth century. It was then that the combination of acute, honed, even sharp lyricism with powerful stability and monumentality arose in its works, geometric, verited prospects and theascularity of emotional freedom,

- "Neva through the columns of the exchange" (1908)

As the feet of the giants, there are angular columns of the Exchange on the Arrow of the Vasilyevsky Island, and in the distant distance leaves the prospect of the other Neva, the Admiralty wing and the magnificent parabola of the main headquarters buildings on the Palace Square. No less striking perspective of the dark and powerful, becoming the face of the architectural space of the greenery of the park, converging away to the barely distinguishable to Elagin Palace. The fragment of the summer garden lattice is unthinkable, descending to the granite robe of the washing included in the Neva. Here each line is not accidental, and the chamber and monumental simultaneously, here the genius of the architect connected with an exquisite vision attentive to the beauty of the artist. Above the dark hook channel is trampled by a sunset sky, and the silhouette of the bell tower of the Nikolsky Marine Cathedral is rising from the water.

Artists "World of Art".

"The world of art" is an organization that emerged in St. Petersburg in 1898 and uniting the masters of the highest artistic culture, the art elite of Russia of those years. The beginning of the "World of Art" laid evenings in the house of A. Benois, dedicated to art, literature and music. People who were gathered there, united the love of the beautiful and confidence that it can be found only in art, as the reality of the mind. Arriving as well as a reaction to the smolder of late movement, his aspiration and illustrativeness, the "world of art" turned soon into one of the major phenomena of Russian artistic culture. Almost all famous artists -Benua, Somov, Bakst, E.E. participated in this union. Lancer, Golovin, Dobuzhinsky, Vrubel, Serov, K. Korovin, Levitan, Nesterov, Ostrumova-Lebedev, Bilibin, Sapunov, Sudieticin, Ryabushkin, Roerich, Kustodiev, Petrov-Vodkin, Malyavin, as well as Larion and Goncharov. Any importance for the formation of this association was personality Dyagilev, patronage and organizer of exhibitions, and later - Impresario tour of the Russian ballet and opera abroad ("Russian seasons", introduced to Europe with the work of Shalyapin, Pavlova, Karsavina, Fokina, Nizhinsky, and others. And the world's appearance of the highest culture of the form of different arts: music , dance, painting, scenography). At the initial stage of the formation of the "world of art", Dyagilev arranged an exhibition of English and German watercolors in St. Petersburg in 1897, then the exhibition of Russian and Finnish artists in 1898. Under his editors from 1899 to 1904, a magazine is published under the same name consisting of Two departments: artistic and literary. In the editorial articles of the first numbers of the journal were clearly formulated the main provisions of "Miriskusnikov» about autonomy of artthat the problems of modern culture are exclusively the problems of the artistic form and what is the main task of art - the upbringing of the aesthetic tastes of Russian society, primarily through acquaintance with the works of world art. It is necessary to give them due: thanks to Miriskusniki, the English and German art was really evaluated in a new way, and most importantly, the discovery for many was the painting of the Russian XVIII century and the architecture of St. Petersburg classicism. Miriskusniki fought for "criticism as an art", proclaimed the ideal of criticism-artist with high professional culture and erudition. The type of such criticism embodied one of the creators of the "World Peace" A.N. Benua.

"Miriskusniki" arranged exhibitions. The first was the only international, united, in addition to Russian, artists of France, England, Germany, Italy, Belgium, Norway, Finland, etc., both St. Petersburg and Moscow painters and graphics took part in it. But the crack between these two schools is St. Petersburg and Moscow - outlined for almost the first day. In March 1903, the last, fifth exhibition "World of Art" was closed, in December 1904 the last issue of the magazine "World of Art" was released. Most of the artists moved to the "36" "Union of Russian Artists" organized on the basis of the Moscow exhibition. Dyagilev went to ballet and theater. The last significant business in the visual art was the grand historical exhibition of Russian painting from icon painting to modernity in the Paris Autumn Salon 1906, exposed to Berlin and Venice (1906-1907). In the section of modern painting, Miriskusniki was held the main place. It was the first act of the All-Eway's recognition of the "World Peace", as well as the opening of Russian painting of the XVIII XX century. In whole for western criticism and real triumph of Russian art

The leading artist "World Art" was Konstantin Andreevich Somov (1869-1939). The son of the Chief Guardian of the Hermitage, who graduated from the Academy of Arts and the Related Education, Somov received a brilliant education. Creative maturity came to him early, but, as the researcher (V.N. Petrov), was always observed, some splitness always affected him - the struggle between powerful realistic alarms and painful-emotional globalism.

Somov, as we know him, manifested him in the portrait of the artist Martynova ("Lady in Blue", 1897-1900, GTG), in the picture-portrait of "Echo of the past time" (1903, b. On maps, AKV., Gouache, GTG ), where he creates the poetic characteristics of the fragile, anemic female beauty of the Decadent sample, refusing to transfer real household to the present. He has a model in vintage costumes, gives their appearance features of the secret suffering, sadness and dreamability, painful death.

Previously, in the "World of Art" Somov addressed the themes of the past, to the interpretation of the XVIII century. ("Letter", 1896; "Confiction", 1897), who was the predecessor of Versailles Landscapes of Benua. He first creates an irreal world, woven from the motifs of noble-manor and court culture and its own purely subjective artistic sensations, permeated irony. The historicism of Miriskusenikov was a flight from reality. Not the past, and his dramatization, longing for the irrevocability of it - these are their main motive. Not true fun, but a game in fun with kisses in the alas - such is such.

Other works of Somov are pastoral and gallant festivals ("Sundayed Kiss", 1908, timing; "Walking Marquise", 1909, Timing), full of irony, spiritual devastation, even hopelessness. Love scenes from the XVIII - in the first XIX century. Always have been given with a tint of erotic Somov worked a lot like a schedule, he issued a monograph S. Dyagileva about D. Levitsky, an essay of A. Benua about the royal village. The book as a single organism with its rhythmic and stylistic unity was raised to them at an extraordinary height. Somov is not an illustrator, he "illustrates not the text, but era, using the literary reception as a springboard," A.A. wrote about him Sidorov, and it is very true.

Somov "Lady in Blue" "on the rink" Benua. A. "Walk to the king"

The ideological leader of the "World of Art" was Alexander Nikolaevich Benois (1870-1960) - one-time versatile talent. Painter, graphic stack and illustrator, theater artist, director, author of ballet libretto, theorist and historian of art, musical figure, he was, according to A. White, the main politician and diplomat "of the world of art". From the highest layer of the St. Petersburg artistic intelligentsia (composers and conductors, architects and painters), he studied first at the Faculty of Faculty of St. Petersburg University.

As an artist, he relates to Som's stylish tendencies and addiction to the past ("I will be versed by Versaille, this is some kind of illness, love, a criminal passion ... I completely moved to the past ..."). The historical reconstruction of the XVII century was merged in Versailic landscapes of Benua. And the modern impressions of the artist, his perception of French classicism, French engraving. Hence the clear composition, the clear spatiality, the greatness and cold rhythm of rhythms, the opposition of the grandiosity of the monuments of the art and the smallness of human figures, which are among them only the Stafferage (1st Versailles series 1896-1898. Called "the last walks of Louis XIV"). In the second Versailles series (1905-1906), the irony, which is characteristic of both the first sheets, is painted almost tragedy notes ("Walking the king",). Thinking Benois - thinking of theatrical artist for the advantage that knew perfectly and felt the theater.

Nature is perceived by Benoit in associative communications with history (Pavlovska, Peterhof, Tsarskoye village, performed by them in watercolor technique).

In a series of paintings from the Russian past, performed on the order of the Moscow Publishing House, Knebel (illustrations to the "royal hunting"), in the scenes of the noble, landlord of the XVIII century. Benoit created an intimate image of this era, although a somewhat theatrical "parade of Pavel I". Benois illustrator (Pushkin, Hoffman) - a whole page in the history of the book. Unlike Somov, Benouua creates an illustration narrative. The page's plane for it is not selfselot. Illustrations for the "peak lady" were rather completed independent works, not so much the "art of the book", by definition A.A. Sidorova, how much "art in the book." The masterpiece of the book illustration was the graphic design of the "copper rider" (1903,1905,1916,1921-1922, mascara and watercolor, imitating color engraving on the tree). In a series of illustrations to a great poem, the architectural landscape of St. Petersburg becomes the main character, the solemn-pathetic, then peaceful, then the sinister, against which the figure of Eugene is still insignificant. So, Benois expresses a tragic conflict between the fate of the Russian statehood and the personal fate of a small man ("and all night of a bad madman, / where the feet either turned, / 3a him everywhere the rider copper / with severe hiking horse").

"Bronze Horseman"

"Parade with Paul I"

As the theater artist, Benois made the performances of the "Russian seasons", of which the most famous ballet "Parsley" on the music of Stravinsky, worked a lot in the Moscow Art Theater, subsequently - almost all major European scenes.

Benoit - artistic criticism and historian of art, updating the methods, and themes of Russian art and themes, is a whole stage in the history of art historical science (see "The history of the painting of the XIX century" R. Mother - Tom "Russian painting", 1901- 1902; "Russian School of Painting", edition of 1904; "Tsarist village in the reign of Empress Elizabeth Petrovna", 1910; articles in the "World of Art" and "Old Years", "Art Treasures of Russia", etc.).

The third in the core of the "World of Art" was Lev Samuilovich Bakst (1866-1924), famous as a theater artist and first among Miriskusenikov, acquired fame in Europe. He came to the "World of Art" from the Academy of Arts, then confessed the style of Modern, adjacent to the left currents in European painting. At the first exhibitions of the "World of Art", he exhibited a number of picturesque and graphic portraits (Beno'a, White, Somov, Rozanova, Hippius, Dyagilev), where the nature, the upcoming of living conditions, was transformed into a certain ideal idea of \u200b\u200ba contemporary man. Bakst created the magazine "World of Art" magazine, which became the emblem of the Dyagilev "Russian seasons" in Paris. There are no motifs of the XVIII in the Baksta graph. And manor topics. It is agility, and to the Greek archaic, pushed symbolically. Symbolists of his picture "Ancient Horror" used in particular success - "Terror Antiquus" (tempera, 1908, timing). The terrible thunderstorm sky, lightning, illuminating the bunch of the sea and the ancient city, and the archaic bark with a mysterious frozen smile dominates over the entire universal catastrophe. Soon, Bakster went into the theatrical and scenery work, and his scenery and costumes to the ballet masses of Dyagilevsky entrepreneurs, filled with an extraordinary shine, masterfully, artistically, brought him world glory. It was performed in his design with Anna Pavlova, Fokina ballets. The artist made decorations and costumes to "Shehherazade" Roman-Kororsakov, "Fire-Bird" of Stravinsky (both -1910), "Daphnis and Chloe" Ravel, to the ballet for the music of Debussy "The Afaged Rest of Favna" (both -1912).

"Ancient Horror" afternoon leisure of Faun »Portrait Hippius

From the first generation of "Miriskusnikov" more young by age was Evgeny Evgenievich Lancer (1875-1946), In his work, affected all the main problems of the book graphics of the beginning of the XX century. (See his illustrations to the book "Legends about the old castles of Brittany," to Lermontov, the cover to the "Nevsky Prospect" of Bozhershanov, etc.). Lancer created a row of watercolors and lithographs of St. Petersburg ("Kalinkin Bridge", "Nikolsky market", etc.). The architecture occupies a huge place in its historical compositions ("Empress Elizabeth Petrovna in the Tsarskoye Selo", 1905, GTG). It can be said that in the works of Serov, Benouua, Lancer was created a new type of historical picture - she is deprived of Fabuli, but it perfectly recreates the appearance of the era, many historical and literary and aesthetic associations cause. One of the best creatures of Lancer - 70 drawings and watercolors to the story L.N. Tolstoy "Haji Murat" (1912-1915), which Benua considered the "independent song, perfectly bursting into the mighty music of Tolstoy."

In the graph of Mstislav Valerianovich Dobuzhinsky (1875-1957) Not so much Petersburg Pushkin Powder or the XVIII century, how much the modern city, which he knew how to convey with almost tragic expressiveness ("Old House", 1905, Watercolor, GTG), as well as a person -Bener of such cities (" Man in glasses, "1905-1906, Pastel, GTG: Lonely, against the background of sad houses, a sad man whose head resembles a skull). The urbanism of the future inspired to Dobun panic fear. He worked a lot and in the illustration where his wonderful drawing cycle of Dostoevsky (1922) can be considered the most wonderful. Dobuzhinsky also worked in the theater, decorated with Nichirovich-Danchenko "Nikolay Stavrogina" (the stage of "demons" of Dostoevsky), Turgenev Pieces "Month in the village" and "Nahlebnik".

A special place in the "World of Art" occupies Nikolai Konstantinovich Roerich(1874-1947). The connoisseur of the philosophy and ethnography of the East, the archaeologist-scientist, Roerich received excellent education at first at home, then at the Legal and Historical and Philology Faculties of the University of St. Petersburg, then at the Academy of Arts, in the workshop of Kyunji, and in Paris in the studio F. Kormon. Early found the authority of the scientist. His relatives with "Miriskusniki" the same love for retrospection, only not the XVII-XVIII centuries, and the pagan Slavic and Scandinavian antiquity, to ancient Russia; Stylization tendencies, theater decorativeness ("Gonole", 1897, GTG; "Elders converge", 1898, timing; "ominous", 1901, timing). The closest Roerich was associated with the philosophy and aesthetics of Russian symbolism, but his art did not fit into the framework of the existing directions, because it was in accordance with the artist's worldview, as it were to all humanity with the appeal of the friendly union of all nations. Hence the special epity of his canvases.

"Heavenly fight"

"Overseas guests"

After 1905, the mood of pantheistic mysticism is growing in the work of Roerich. Historical themes are inferior to religious legends ("Heavenly Fight", 1912, MRM). The russian icon had a huge influence on the Roerich: his decorative panels "Singer at Kergents" (1911) was exhibited in the execution of a fragment of the same name from the Opera of Roman Corsakov "Tale of the Invisible Grada and Virgin Fevronia" in the Parisian "Russian seasons".

In the second generation of "the world of art" one of the gifted artists was Boris Mikhailovich Kustodiev (1878-1927), a student of Repin, who helped him in the work on the "State Council". Kustodiev is also characterized by stylization, but this is the stylization of the folk lobe. From here the bright festive "fairs", "Maslenitsa", "Balagans", from here the paintings from the Meshchansky and merchant life, transmitted with a light irony, but not without admirement by these red half-bright beauties for a samovar and with sauces in chubby fingers ("Kupchikha", 1915, timing; "Kupchikha for tea", 1918, timing).

In the unification "World of Art" also participated A.Ya. Golovin - one of the largest artists of the theater of the first quarter of the XX century, I. Ya. Bilibin, A.P. Ostrumova-Lebedev and others.

"The world of art" was a major aesthetic movement of the stroke of the centuries, overestimated all the modern artistic culture, who approved new tastes and issues that returned the art - in the highest professional level -The factual forms of book graphics and theatrical-decorative paintings, which have gained their efforts by the All-Terpecific recognition created by New artistic criticism, promoting Russian art abroad, in fact, even those who discovered some of his stages, like the Russian XVIII century. Miriskuseniki created a new type of historical painting, portrait, landscape with their own style features (distinct styling trends, the predominance of graphic techniques.