What artists entered the world of art. Creative Art Association "World of Art

« WORLD OF ART» -

Russian Association, which was arranged at the end of the 1890s. (officially - in 1900) on the basis of a circle of young artists and art lovers, headed by A. Benua and S. Dyagilev.

World of Art. Symbolism. Russia.
Bakst, Lev Samoilovich. Portrait of Sergey Pavlovich Dyagilev with nanny

As an exhibition Union under the auspices "World of Art", the association existed until 1904, in an extended composition - in 1910-1924.

B1904-1910. Most of the masters of the world of art entered the Union of Russian artists.

In addition to the main kernel (L. Bakst, M. Dobuzhinsky, E. Lancere, A. Ostrumova-Lebedev, K. Somov) "The World of Art" included many Petersburg and Moscow painters and graphs (I. Bilibin, A. Golovin, I. Grabar , K. Korovin, B. Kustodiev, N. Rerich, V. Serov, etc.).

M. Vrubel, I. Levitan, M. Nesterov, and others participated in the exhibitions "World of Art".

The ideological plants of the artists of the World of Art were largely determined by the acute rejection of the anti-sourceism of modern society, the desire of "eternal" spiritual and artistic values.

Recognition of the public role of artistic creativity, designed by theoretics of the "world of art", aesthetically transforming the surrounding reality, combined with them with the ideal of "free", or "clean", art; Declaration of his independence, they rejected both academism and the work of the Movies (recognizing, however, the aesthetic meaning of the latter), were criticized with the aesthetics of Russian revolutionary democrats and concepts of V. Stasov.

Idean and stylistic early "world of art" was close to Western European art groupings, uniting theoretics and practitioners of Modern: the figurative of the works of a significant part of the artists of the World Art of Art was also formed on the basis of poetics of symbolism and wider - neoromantism.

At the same time, the feature of the majority of Miriskusnikov was the recognition of the artistic charm of the past by the main source of inspiration.

In their works, they (often in the ironic, on the verge of selfartment, the key) revived the elegance and peculiar "puppetness" Rococo, the noble severity of the Russian ampier.

They created a special lyrical type of historical landscape, painted by Elegy (Beno'a), then a major romance (Lancer).

For the works of members of the World Art of Art, sophisticated decolation, elegant linearity, sometimes turning into ornamenty, an exquisite combination of matte tones.

The creativity of a number of representatives of the "World Art" was inherent in the tendencies of neoclassicism (Bakst, Serov, Dobuzhinsky) or the passion for the ancient Russian culture and history (Bilibin, Roerich).

The search for the style-forming principle, "holistic art" was most fully implemented by the masters of the "World Peace" in their works for the theater, in the few experiments of the interior design and mainly in the chart playing a leading role in their work.

The final transformation of engraving from reproductive equipment is associated with their activities in the creative type of graphics (color misty of withered-swan, etc.), the flourishing of the book illustration and art of the book (Benoit, Bilibin, etc.).

After 1904, there are significant changes in the ideological and aesthetic views of the leading artists of the "World Peace".

During the revolution period 1905-1907. Some of them (Dobuzhinsky, Lancer, Serov et al.) Speakers as masters of political satire.

The new stage of the existence of the "world of art" is characterized by its celebration from the extremely left currents in Russian art, the statements in favor of the regulation of artistic creativity (the idea of \u200b\u200bthe "New Academy", nominated by Beno'a), the activation of theatrical activity and the propaganda of modern Russian art abroad (participation in overseas Renefritz Dyagilev).

C1917 A number of members of the "World Peace" (Benois, Grabar, etc.) turned to museum and organizational and restoration activities.

Artistic Association, created in St. Petersburg in 1898
The prehistory of the "World Peace" began with the Neva Pikwikians group formed in 1887 by the students of the St. Petersburg Private School of Charles May -, V. Nuelev, D. Philosophical and to study the history of art, primarily painting and music. Subsequently, S. Dyagilev joined the circle. The knowledge of Dyagilev in the field of the arts, to which he always had an interest, began to quickly expand due to trips abroad. There he has started dating with foreign writers and artists and began collecting paintings.
Under the leadership of Dyagilev, who became the main ideologue of the group, the chamber "Neva Pikwikians" turned into an expansive "world of art". Artists of the Moscow School of the mid 1890s joined the union (part of the Abraham Mug) -, Vasnetsov Brothers, M. Nesterov. It was their paintings in early 1898, they were demonstrated on the Russian and Finnish artists organized by the Dyagilev and the philosophical exhibition in St. Petersburg, and then, in the summer of the same year in Munich, Düsseldorf, Cologne and Berlin.
The movement has been published and the same name, the first issue of which was released in November 1898, subsequently occupied the leading place among the literary and art officials of Russia of the time.

The artistic orientation of the "world of art" was associated with and. As opposed to the ideas of the Movies, artists of the "World Art" artists proclaimed the priority of aesthetic principle in art. The members of the "World of Art" argued that art is primarily an expression of the artist's personality. In one of the first numbers of the journal S. Dyagille, wrote: "The work of art is not important in itself, but only as an expression of the personality of the Creator." Believing that the modern civilization of antagonistic culture, Miriskusniki was looking for an ideal in the art of the past. Artists and writers, in their paintings and magazine pages, opened up to Russian society, then a little estimated beauty of medieval architecture and Russian ancient icon painting, the elegance of classical St. Petersburg and the others around him, were forced to think about the modern sound of ancient civilizations and re-evaluate their own artistic and literary heritage.

Art exhibitions organized by the "world of art", enjoyed loud success. In 1899, Dyagilev arranged in St. Petersburg a truly international exhibition, on which the paintings of 42 European artists were exhibited with the works of Russian artists, including Böhklin, Moro, Whistler, Piges de Galian, Degas and Monet. In 1901 at the St. Petersburg Imperial Academy of Arts and in the Stroganov Institute, there were exhibitions in which, among others, the coming friends of Dyagileev were participating in Moscow - and. Exhibitions of the World of Arts in St. Petersburg and Moscow were also arranged in November 1903

Gradually, disagreements that reigned inside the group led to breakdown and movement and magazine, which at the end of 1904 ceased to exist.
S. Dyagilev two years after the termination of the release of the magazine, on the eve of his departure to Paris, organized another, farewell exhibition of the "World of Art", held in St. Petersburg in February-March 1906, introducing on it the best examples of the art, for whose heyday The last work of the "World of Art" has created a very favorable climate. The works of all the pillars of the group together with the elected works, V. Borisov-Musatova, P. Kuznetsova, N. Sapununov, N. Milioti. N. Feofilaktov, M. Saryan and M. Larionov became the new names.
In the 1910s, despite the fact that the ideas of "Miriskusnikov" by that time largely lost their relevance, the unification of the "world of art" was revived and the exhibition continued until the 1920s.

At the end of the XIX century, artistic life in Russia was very busy. The Company has exhibited an increased interest in numerous art exhibitions and auctions, to articles and reporting of periodic printing devoted to the visual arts. Not only Moscow and St. Petersburg, but many provincial newspapers and magazines had the corresponding permanent categories. There were various kinds of artistic associations that have set themselves different tasks, but predominantly educational nature, which affected the influence of the traditions of movement.

Under these conditions, a benevolent thought of Dyagilev about the cohesion of the young art forces of St. Petersburg and Moscow was met, the need for which was long felt in domestic art.

In 1898, Dyagilev first achieved their joint speech at the exhibition of Russian and Finnish artists. Bakst, Benua, A. Vasnetsov, K. Korovin, Nesterov, Lancer, Levitan, Malyutin, E. Polenova, Ryabushkin, Serov, Somov and others took part in it.

In the same 1898, Dyagilev managed to convince famous figures and lovers of art S. I. Mamontov and M. K. Tenishev to finance a monthly artistic journal. Soon in St. Petersburg, the dual issue of the magazine "The World of Art" was released, whose editor was Sergey Pavlovich Dyagilev.

It was the first magazine on art issues, the nature and direction of which the artists themselves were determined. The editorial office informed readers that the magazine will consider the works of Russian and foreign masters "of all the epochs of the history of the arts, as far as the factory works are of interest and importance for modern artistic consciousness."

In the next, 1899 held the first international exhibition of the magazine "World of Art". Over 350 works were presented on it and forty-two European artists participated, including P. De Golvann. D. Whistler, E. Degas, K. Monte, O. Renoir. Exhibition

allowed Russian artists, viewers to familiarize themselves with various directions of the art of the West.

Thanks to the emergence of the magazine "The World of Art" and the exhibitions of 1898-899, a circle of young artists, sympathetic to the direction of the magazine, was revealed.

In 1900, Dyagilev managed to unite many of them in the creative community "World of Art". This "brilliant team" (expression A. P. Ostrumova-Lebedeva) amounted to wonderful artists who came to art in the 1890s, namely: Bakst, Alexander Benoit, Bilibin, Braz, Vrubel, Golovin, Grabar, Dobuzhinsky. K. Korovin, Lancer, Malyutin, Malyavin, Ostrumova, Purvit, Roerich, Trechchits, Serov, Somov, Trubetskaya, Southglin, Yakunchikova and Yaremich.

In addition, repin, V. and E. Polenov, A. Vasnetsov, Levitan, Nesterov, Ryabushkin took part in some of the then exhibitions of art.

From 1900 to 1903, three exhibitions "World of Art" took place. By organizing these exhibitions, Dyagilev focused on young domestic artists. These were Petersburgers - Bakst, Benoit. Somov, Lancer and Muscovites - Vrubel, Serov, K. Korovin, Levitan, Malyutin, Ryabushkin and others. It was on Muscovites Dyagilev put the greatest hopes. He wrote: "... all our present art and everything, from what we can wait for futureness is in Moscow." Therefore, he tried in every way to attract Moscow artists at the exhibition "The World of Art", which he did not always succeed.

The exhibitions "World Art" foundally introduced Russian society with works of well-known domestic masters and beginner artists who have not yet achieved recognition, such as Bilibin, Ostrumov, Dobuzhinsky, Lancer, Kustodiev, Jouk, Sapunov, Larionov, P. Kuznetsov, Saryan.

There is no need to cover in detail here the activities of the "World of Art", since recently the publication has emerged, dedicated to him. It should be said about some of his common features, the Miriskusniki themselves also emphasized them and many contemporaries.

The unification of the "World of Art" was not a random phenomenon in domestic art, but historically determined. Such, for example, was the opinion of I. E. Grabar: "If there were no Dyagilev<...>, the art of this order should have inevitably appear. "

Concerning the issue of the continuity of artistic culture, Dyagilev spoke in 1906: "All the present and the future of Russian plastic art ... will be able to eat the same covenants that the world of art has perceived from the attentive study of the great Russian masters since Peter."

A.N. Benua wrote that everything made by Miriskusniki, "did not mean" that they were "missed with all the past." On the contrary, Beno'a argued, the most core of the "Art World" "stood for the resumption of many, both technical and ideological traditions of Russian and international art." And further: "... We considered themselves to be largely representatives of the same quest and the same creative methods that were valued in the portraitists of the XVIII century, and in Cyprosensky, and in Venetsian, and in Fedotov, as well as in outstanding masters directly The generation prior to us is in Kramsky, Repin, Surikov. "

V. E. Makovsky, a famous mobile phone, in a conversation with a journalist stated: "We did our job<...> We constantly put in the example of the "Union of Russian Artists" and "The World of Art", where all the best forces of Russian painting are already allegedly focused. But who are they, these best strength, how are our children?<...> Why did they go away from us? Yes, because they became closely and they decided to establish their new society. "

In the work of Miriskusnikov, this continuity of the best traditions of movement manifested itself during the 1905 revolution. Most artists of the "world of art" were involved in the fight against tsarism, taking an active part in the issue of political satire editions.

"The World of Art" played a noticeable, and sometimes even a decisive role in the creative fate of many artists. I. E. Grabar, for example, only after meeting with members of the Committee of Exhibitions of Arts, Dyagilev, Benoit and Serov, "believed and began to work." Even the sulfur itself, not without reason, they said that "the active sympathy of the mug of the" world of art "wonderfully wondered and strengthened his work"

K. S. Petrov-Vodkin wrote in 1923 in the memoirs of the "world of art": "What is the charm of Dyagilev, Benouua, Somov, Baksta, Dobuzhinsky? At the borders of historical fractures, such constellations of human groups arise. They know a lot and carry these values \u200b\u200bof the past. They know how to extract the stories from dust and, reviving them, give them a modern sound ... "The world of art" played his historical role brilliantly. " And elsewhere of the same memories: "When you remember how twenty years ago, among the miasms of decadentism, among the historic missum, black and slices of painting, equipped his ship Sergey Dyagilev with comrades, how they were covered with them and we, youth, The obscurations in the surrounding us, "you remember all this, you say: yes, well done, guys, you've confessed us to our shoulders."

N. K. Rerich stated that it was the "world of art" "raised the banner for new conquests of art."

Remembering the slope of life from the distant 1900s, A. P. Ostrumova-Lebedev wrote: "Miriskuseniki chose and invited young artists to their society, when they noticed in them, except for talent, sincere and serious attitude to art and their work<...> Miriskusniki persistently advanced the principle of "crafts in art", that is, they wanted artists to make paintings with full, detailed knowledge of the materials worked, and brought the equipment to perfection<...> In addition, they all interpreted about the need to enhance culture and taste among artists and have never denied the themes in the paintings and, therefore, did not deprive the visual art of the inherent properties of agitation and propaganda. " The conclusion of witty-flounder was very defined: "It's just impossible to destroy the importance of the Society" World of Art "and deny it, for example, according to art historians from us because of the principle of art for art.

K.F. John noted: "The world of art" indicated the untouched virgin aqueous means of artistic expression. He encouraged all soil and national ... ". In 1922, A. M. Gorky determined this concentration of remarkable talents as "a whole course that revived Russian art."

"The world of art" ceased to exist in 1903, but continued to maintain a huge attractive force for contemporaries. In 1910, the Society "The World of Art" appeared in St. Petersburg, but Dyagilev no longer participated in his work. The artistic activity of Dyagileev took a different direction.

In 1905, in the Tauride Palace in St. Petersburg, he arranged a grandiose historical and art exhibition of Russian portraits. Without limited to works from the metropolitan palaces and museums, Dyagilev broke through the province, reveaning a total of about 4,000 portraits. There was a lot of interesting and unexpected findings at the exhibition. Russian portrait art appeared extremely significant and rich. V. E. Borisov Musatov wrote in those days V. A. Serov: "For this, the work [t. e. The device of the exhibition] Dyagilev is genial, and his historical name would be immortal. Its meaning somehow understands little and I am very sorry for me that he remained somehow alone. " Photographs made on the initiative of Dyagilev with most exhibits of the exhibition (negatives are stored in TG), allow you to meet many masterpieces of domestic art who died or missing during the turbulent events of the 1905 revolution, civil and world wars (so, the fate of eighteen works by D. G. Levitsky, who were among the other works were exhibited at the Tauride Exhibition).

In the spring of 1905, the culture of the culture of Moscow decided to celebrate Dyagileev in gratitude for editing the magazine "World of Art" and arranged a historical and art exhibition. Responding to greetings, Dyagilov said: "... It was after these greedy travels [Dyagilev means the ride in Russia, which he took, collecting works for the historical and art exhibition] I was especially convinced that it was time for the outcome. This I observed not only in the brilliant images of ancestors, so clearly distant from us, but mainly in the descendants living in your age. End of life is obvious<...> We witnesses the greatest historical moment of the results and ends in the name of the new, unknown culture, which we will arise, but and we will also note. And therefore, without fear and the wrongness, I lift the glass for the destroyed walls of beautiful palaces, as well as for the new covenants of the new aesthetics "

The artistic association and the magazine "The World of Art" - significant phenomena in the Russian culture of the silver century, pronounced one of the essthetic trends of their time. The Commonwealth of Miriskusenikov began to develop in St. Petersburg in the 90s. XIX century Around the group of young artists, writers, artists who strive to update the cultural and artistic life of Russia. The main initiators were A.N. Benua, S.P. Dyagilev, D.V. Filosophers, K.A. Osov, L.S. Bakst, later M.V. Dobzhinsky and others. As Dobuzhinsky wrote, it was "union Friends associated with the same culture and common taste. " In 1898, the first issue of the magazine "The World of Art" was published, which basically prepared philosophers, in 1899 passed the first of five exhibitions of the magazine, the association itself was issued in 1900. The magazine existed until the end of 1904, and after the revolution 1905 The official activities of the association ceased. In addition to the members of the association themselves, outstanding artists of the binding of centuries that were separated by the spiritual and aesthetic line of the World of Art were involved in exhibitions. Among them can be called the names K. Korovin, M.Vrubel, V.Serova, N. Rierich, M. Sesterov, I. Grabar, F. Malyavin. Foreign masters were invited. Many Russian religious thinkers and writers who taught the "revival" of spirituality in Russia were published on the pages of the magazine. This is V. Orovanov, D. Mezhkovsky, L. Schestov, N. Minsky and others. Magazine and the unification in its original form existed very long, but the spirit of the "world of art", his publishing, organizational, exhibition and educational activities left a trace in Russian Culture and aesthetics, and participants in the association retained this spirit and aesthetic addiction almost throughout their life. In 1910-1924 The "World of Art" resumed its activities, but already in a very expanded composition and without a fairly clearly oriented first aesthetic (in essence - aesthetic) line. Many of the representatives of the association in the 1920s. They moved to Paris, but also remained by adherents of the artistic tastes of their youth.

Two main ideas united participants in the world of art in a holistic community: 1. The desire to return Russian art the main quality of art artistry, free art from any tendentiousness (social, religious, political, etc.) and send it to a purely aesthetic direction. Hence the popular in their environment, although the old in culture, the slogan of L'Art Pour L'Art, the rejection of the ideology and artistic practice of Academism and movement, special interest in romantic and symbolistic trends in art, to English prefailelites, French Nabide, to Pywi Painting de Shavana, the mythologist of the Böhklin, the aesthetism of "YueGendshtil", AR Nouveau, but also to the fabulous fiction of E.T.A.Hofman, to the music of R. Vagner, to ballet as a form of clean artisticity, etc.; Trend towards the inclusion of Russian culture and art in a wide European artistic context. 2. On this basis - romantization, poetry, the aesthetization of the Russian national heritage, especially late, XVIII - the beginning of the XIX centuries, oriented to Western culture, is generally an interest in the postpeople culture and late folk art, for which the main participants in the union received in artistic circles nickname "Retrospective dreamers."

The main trend of the "world of art" was the principle of innovation in art based on a highly developed aesthetic taste. Hence both artistic and aesthetic addictions, and creative installations of Miriskusnikov. In fact, they created a good Russian version of the aesthetically pointed movement of the stroke of centuries, which heard the poetics of neoromantism or symbolism, to the decorativeness and aesthetic singers of the line and in different countries we had different naming (ar Modern. "

Member States themselves (Benouua, Somov, Dobuzhinsky, Bakst, Lancer, Ostrumova-Lebedev, Bilibin) were not great artists, did not create artistic masterpieces or outstanding works, but entered several very beautiful, almost aesthetic pages in the history of Russian art, actually showing the world As the Russian art is not alien to the spirit of nationally oriented aesthetism in the best sense of this, unfairly detached term. Characteristic for the style of most Miriskrikniki were exquisite linearity (graphicness - they brought Russian graphics on the level of independent type of art), thin decorativeness, nostalgia on the beauty and luxury of past eras, sometimes neoclassicist trends and camera in machinery. At the same time, many of them are and to theatrical synthesis of arts - from here an active part in theatrical productions, Dyagilev projects and "Russian seasons", an increased interest in music, dance, the modern theater as a whole. It is clear that most of the Miriskusnikov are wary, and as a rule, and sharply negatively treated the avant-garde currents of their time. "The world of art" sought to find his own, tightly connected with the best traditions of the art of the past, innovative path in art, alternative pathways of avant-gardeists. Today we see that in the twentieth century. The efforts of Miriskuseniki practically did not receive any development, but in the first third of the century they contributed to maintaining a high aesthetic level in domestic, and in European cultures and left a good memory in the history of art and spiritual culture.

"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.)

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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: