Works Benois Alexander Nikolaevich. Literary and historical notes of a young technique

26.06.2019

Read also

Why did Sofya preferred to Chapkom Mollylly?

Symbolic meaning of the name of the Store Eery A

Alexander Nikolaevich Benoita is a Russian painter, a schedule, art historian, one of the founders of the Arts Association "The World of Art", the author of numerous literary works covering the work of Russian and foreign masters, an excellent decorator, who worked in the theaters of Moscow and St. Petersburg, in many cities in Europe and America. An unusually gifted artist, a propaganda of art, organizer of numerous exhibitions, a museum worker, an active leader of theater and cinema, Benoit made a huge contribution to the history of the Russian artistic culture of the 20th century.

Born by A.N. Benois on May 3, 1870 in St. Petersburg. Son Professor of the architecture of Nikolai Leontievich Benoit, grandson of France Louis-Jules Benoit (French - Benois), grandson from the mother's architect Albert Kavos - the builder of the Mariinsky Theater in St. Petersburg and the Bolshoi Theater in Moscow; Alberta Watercolor Brother H. Benua and Architect Leonty Benua. Childhood and many years of life A.N. Benouua passed in St. Petersburg, in the house number 15 on Glinka Street, not far from Kryukov Canal.

The situation in the house surrounding Alexander Nikolayevich, contributed to his artistic development. Since childhood, he loved the "Old Petersburg", suburbs of the capital. And also the love of the scene was shed early in it, he retained her for life. Alexander Benoit was gifted by exceptional musical hearing, and rare visual memory. Works created by him in deep old age, "picture drawings" indicate the striking resilience and the strength of his life perception.

Benua began to study drawing in a private kindergarten, he was completely absorbed by the whole life. From 1885 to 1890, Benua was a student of the "May gymnasium" in St. Petersburg, where he got acquainted with D.V. Philosophical, k.A. Somov and V.F. Nouvele; In 1890, the cousin of Philosophian S.P. joined them. Dyagilev, artist Lion Bakst and musicologist A.P. Nurok. Subsequently, together, together, founded the art organization "World of Art" and a magazine with the same name, whose main task was to propaganda of foreign and especially Russian art. "The world of art" revealed a lot of forgotten or unnoticed names, attracted attention to applied art, architecture, folk crafts, raised the value of graphics, decoration and illustrating the book. Alexander Benua was the soul of the "World Peace" and an indispensable participant of the magazine. He did not graduate from the Academy of Arts, considering that the artist could be only continuously working. Exceptional disability allowed him in one day to fill out an album with drawings, work in a workshop over the started picture, to visit the workshop of the theater, put into the details of sketches of scenery and costumes, in the direction and even in working out roles with actors. In addition, Benoit managed to prepare an article in a magazine or newspaper, write a few letters, always interesting thoughts about art.

For the family, he also paid a lot of time. Son Nikolai, daughter Elena and Anna, nephews and their little friends found in the "Uncle Shura" a member of the curious clauses, useful classes and never felt neither irritation, not the fatigue of this busy, but a tireless person.

At the end of 1896, together with friends, Alexander Benua for the first time went to Paris; Here they were created by the famous "Versailles series", depicting the beauty of parks and walks of the "King of Sun" (Louis XIV). Perfectly dealt with the events of the past, Benua knew how to see the eyes of a man of the XX century. An example of this is the picture "Parade with Pavel I", which shows a subtle knowledge of history, costumes, architecture, life and however, the shade of humor is felt, hardly satire. "Whatever nonsense modern artistic borzopizes nor argued about me, about my" aesthethiness ", my sympathies were attracted and now entail me to the simplest and faithful images of reality," said Beno'a.

The artist knew how to appreciate the greatness of the art of the past. This has played an important role in Russia of the beginning of the 20th century, when capitalist development, the ugly profitable houses began to threaten the classical appearance of the city. Benoit was a consistent defender of the values \u200b\u200bof the antiquity.

In the work of A.N. Benoa special attention attracted graphic comments on the works of literature. The highest achievement of the book graphics was illustrations for the poem Alexander Pushkin Copper Horseman "; The artist worked on them for more than twenty years. Unique in artistic advantages, temperament and strength, only one of this work could give Alexander Benua the name of the largest artist of the beginning of the 20th century.

Also, Benua was a famous theater, figure. He began working with K.S. Stanislavsky, and after the Great October Revolution, together with A.M. Gorky participated in the organization of the Leningrad Bolshoi Drama Theater, for which he created a number of brilliant performances. Registration of the "Figaro wedding", delivered in 1926, is the last work of Benoit in Soviet Russia.

The life of the artist was interrupted in Paris. He worked a lot in Milan in the famous La Scala Theater. But the memory of his homeland, where he participated in the implementation of the first events of the Soviet government on the organization of museums, was the leading employee of the Hermitage and the Russian Museum, care for the protection of antiquity monuments, was always for A. Benua precious in his life.

Back in the 1910s, as one of the most active figures and organizers (together with S. Dyagilev), Gastrors of the Russian Ballet in Paris A. Benua most of all cared for these performances to contribute to the world glory of Russian art. All the latest works are devoted to the continuation and variations of the Russian Series, started in 1907-1910. He was constantly returned to his dear images of Pushkin Poetry: "On the shore of a desert waves," Flooding in St. Petersburg in 1824 " In recent years of life, A. Benua again, but already in painting, developed these stories. Working for cinematography, Benoit addressed the images F.M. Dostoevsky, to Russian topics. In music, he passionately loved Tchaikovsky, Borodin, Roman Corsakov. Alexander Nikolaevich Benoit died on February 9, 1960.

Benouua Alexander Nikolaevich is a painter, a schedule, art historian, a bright representative of the Arts Association "World of Art", the author of numerous literary work, covering the work of Russian and foreign masters, a brilliant decorator, who worked in the theaters of Moscow, St. Petersburg, in many cities in Europe and America. His life was full of labor and quest, mistakes and big creative success. An unusually gifted artist, a propagandist of art, organizer of numerous exhibitions, a museum worker, an active leader of theater and cinema, A. N. Benua made a huge contribution to the history of the Russian artistic culture of the 20th century.

He was born in St. Petersburg on May 3, 1870 in the family versatile artists. Father of the artist, Nikolai Leontievich, - Academician of architecture. Childhood and many years of life A. N. Benua passed in St. Petersburg, in House No. 15 on Glinka Street, not far from Kryukov Canal.

The situation in the house, the environment surrounding Alexander Nikolayevich, contributed to his artistic development. Since childhood, he loved the "Old Petersburg", suburbs of the capital. Early the love of the scene originated in him, he retained her for life. Alexander Benoit was gifted by exceptional musicality, possessed a rare visual memory. Works created by him in deep old age, "picture drawings" indicate the striking resistance and strength of his life perception.

Benois began to study drawing back in a private kindergarten and all his life was completely absorbed by art. In the gymnasium, where Alexander Benua studied from 1885 to 1890, he became friends with V. Nuelev, D. Philosophical and K. Somov. Subsequently, all of them together with S.P. Dyagilev became the organizers of the group "World of Art" and the magazine of the same name, the main task of which was the propaganda of foreign and especially Russian art. The "World of Art" revealed a lot of forgotten or unnoticed names, attracted attention to applied art, architecture, folk crafts, raised the value of graphics, decoration and illustrating the book. A. Benua was the soul of the "world of art" and an indispensable participant of the magazine. He did not graduate from the Academy of Arts, considering that the artist could be only continuously working. Exceptional disability allowed him in one day to fill out an album with drawings, work in a workshop over the started picture, to visit the workshop of the theater, put into the details of sketches of scenery and costumes, in the direction and even in working out roles with actors. In addition, Benoit managed to prepare an article in a magazine or newspaper, write a few letters, always interesting thoughts about art and always meaningful,

His time remains for the family. Son Nikolai, daughter Elena and Anna, nephews and their little friends found a participant in curious clauses, useful classes and never felt neither irritation or tiredness of this busy, but a tireless person.

At the end of 1896, together with friends, Alexander Benua first came to Paris and loved this city; Here they were created by the famous "Versailles series", depicting the beauty of parks and walks "King of the Sun" (Louis XIV). Perfectly dealt with the events of the past, Benua knew how to see the eyes of a man of the XX century. An example of this is the picture "Parade with Pavel I", which shows a subtle knowledge of history, costumes, architecture, life and however, the shade of humor is felt, hardly satire. "Whatever nonsense modern artistic borzopizens nor arranged about me, about my" aesthethiness ", my sympathies attracted and now entail me to the simplest and faithful images of reality," said Benua.

The artist knew how to appreciate the greatness of the art of the past. This has played a particularly important role in Russia of the beginning of the 20th century, when capitalist buildings, the ugly profitable houses began to threaten the classical appearance of the city. Benoit was a consistent defender of the values \u200b\u200bof the antiquity.

In the work of A. N. Benua, special attention is attracted to graphic comments on the works of literature. The highest achievement of the book graphics was illustrations for the poem A. S. Pushkin "Copper Horseman"; The artist worked on them for more than twenty years. Unique in artistic advantages, temperament and strength, only one of this work could give A. Benua the name of the largest artist of the beginning of the 20th century.

A. Benua was also a famous theatrical manner. He began working with K. S. Stanislavsky, and after the Great October Revolution, together with A. M. Gorky participated in the organization of the Leningrad Bolshoi Drama Theater, for which he created a number of brilliant performances. The design of the "Figaro wedding", furnished in 1926, is the last work of Benoit in Soviet Russia.

The life of the artist ended in Paris. He worked a lot in Milan in the famous La Scala Theater. But the memory of the Motherland, where he participated in the implementation of the first events of the Soviet government on the organization of museums, was the leading employee of the Hermitage and the Russian Museum, cared for the protection of antiquity monuments, was always for A. Benua precious in his life.

Back in the 1910s, as one of the most active figures and organizers (together with S.P. Dyagilev), Gastrors of the Russian Ballet in Paris A. BENUA Most of all cared for these performances to contribute to the global glory of Russian art. All of his work is devoted to the continuation and variations of the Russian Series, started in 1907-1910. He was constantly returned to his dear images of Pushkin Poetry: "On the shore of the desert waves," "Flooding in St. Petersburg in 1824" In recent years of life, A. Benua again, but already in painting, developed these stories. Working for cinematography, A. Benua appealed to the images of F. M. Dostoevsky, to Russian themes. In music, he passionately loved Tchaikovsky, Borodin, Roman Corsakov. A. N. Benua died on February 9, 1960.

Alexander Nikolaevich Benoita (April 21 (May 3) 1870, St. Petersburg - February 9, 1960, Paris) - Russian artist, historian of art, art critic, founder and chief ideologization of the Union of Art.

Biography Alexander Benois

Alexander Benoit was born on April 21 (May 3) of 1870 in St. Petersburg, in the family of the Russian architect Nikolai Leontyevich Benoit and Camillas Albertovna Benoit (neborn 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.

Creativity Benois

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, Benua 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.

Benois began his creative activity as a landscape and wrote landscapes throughout the life, mostly watercolor. They constitute almost half of his heritage. The very appeal to the landscape of Benois was dictated by interest in history. Two topics were invariably used his attention: "Petersburg XVIII - early XIX century." and "France Louis XIV".

One of its top achievements was the scenery to the ballet I. F. Stravinsky "Petrushka" (1911); This ballet was created in the idea of \u200b\u200bBeno'a himself and on the libretto written by him. Soon after the cooperation of the artist with MHT, where he successfully designed two performances on the plays of J.-B. Moliere (1913) and for some time even participated in the leadership of the theater along with K. S. Stanislavsky and V. I. Nemirovich-Danchenko.

Artist's work

Cemetery
Carnival on Fontanka
Summer Garden under Peter Great
Embankment Rey in Basel in the rain
Oranienbaum. Japanese garden
Versailles. Garden of Trianon
Versailles. Alley
From the world fantastic
Parade with Paul 1

Italian comedy. "Love note"
Berta (Sketch of Costume V. Commissioner)
Evening
Parsley (Sketch of a costume for ballet of the Stravinsky "Parsley")
Herman in front of the boxes of the Countess (Screensaver to the "Peak Dame" Pushkin)
Illustration to Pushkin's poem "Copper Horseman"
From the series "Little walks of Louis 14"
Masquerade with Louis 14
Bathing Marquis
Wedding walk
Peterhof. Flower beds under a big palace
Peterhof. Lower fountain at the cascade
Peterhof. Big Cascade
Peterhof. Chief Fountain
Pavilion

Benouua Alexander Nikolaevich, Russian artist, theatrical figure, art historian, art critic; The founder of the unification "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 . 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.

Alexander Benoita is the most famous representative of the russian French clan. In 1794, Confectioner Louis-Jules Benois (1770-1822) arrived in Russia from France. The son of confectioner - Nicolas, or Nikolai Leontievich - Father Alexandra Benois, became a famous architect.

By the birth and raising of Benouua belonged to the St. Petersburg artistic intelligentsia. For a number of generations, art was a hereditary profession in his family. Praded Benoit on the maternal line 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. The consciousness of young Benois developed in an atmosphere of art and artistic interests.

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, only disappointment, Benoit preferred to receive legal education at the University of St. Petersburg (1890-94), and professional artistic training to go on his own, according to his own program.

Painting classes (mainly watercolor) were not in vain, and in 1893, Benua first made a landscape system at the exhibition of the Russian "Watercolor Society". " Watercolor painting technicians taught him the elder brother Albert Benua.

A year later he made his debut as art historian, printed in the German essay language about Russian art in the Book of Mother "History of Painting in the XIX century", published in Munich. (Russian transfers of the Essay of Benoit were published in the same year in the journals "Artist" and "Russian Art Archive".) It was immediately told about him as a talented art historian who turned the established ideas about the development of domestic art.

Immediately stating about himself as practicing and theorist of art at the same time, Benoit maintained this duty and in subsequent years, his talent and energy was enough for everything.

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.

In 1895-99. Alexander Benoit was the keeper of the collection of modern European and Russian painting and charts of Princess M. K. Tenisheva; In 1896, organized a small Russian department for the exhibition of Cecession in Munich; In the same year he made his first trip to Paris; I wrote the types of Versailles, putting the beginning of your episode to Versailles, so favorite for them throughout life.

Watercolor series "Little walks of Louis XIV" (1897-98, Russian Museum and other meetings), created by the impressions of trips to France, was his first serious work in painting, in which he showed himself an original artist. This series approved the glory of the "singer of Versailles and Louis" for a long time.

In the gymnasium and university years, Alexander Benua met and became close to Dmitry Philosophical, Walter Nuelev and Konstantin Somov, later - with Sergey Dyagilev, Leon Bakstom, Alfred Nurok. The mug of like-minded people was transformed at the end of the 1890s to the Society "The World of Art" and the editorial office of the same journal. It was in the "world of art" the artists Leon Bakst, Mstislav Dobuzhinsky, Evgeny Lancere began their diverse activities.

Motivating the emergence of the "world of art", Benouua wrote: "We managed not so much of the idea of \u200b\u200bthe" ideological "order, how many considerations of practical need. A number of young artists have nowhere to go. They were not at all accepted on large exhibitions - academic, mobile and watercolor, or They accepted only with the brave of all that the artists themselves saw the most obvious expression of their quest ... And this is why Vrubel was near Bakstom, and soms next to Malyavina. To "unrecognized" those of "recognized" were joined Align in approved groups. Mainly, Levitan, Korovin, and, to the greatest joy, serov, were approaching the greatest and the whole culture, they belonged to another circle, it was the last siblings of realism, not devoid of "mobile color ". But with us, they were tied to the hatred of everything in the overthrow, established, dead."

The history of the "world of art" began with the exhibitions of Russian and Finnish artists in January 1898 in the premises of Baron Stiglitz in St. Petersburg in St. Petersburg. It was on it for the first time the works of a number of strong representatives of the new direction in Russia were exposed. The exposition of 1898 was the prototype of future exhibitions of the magazine "The World of Art", their structure and the composition of the participants outlined.

After the success of the Russian-Finnish exhibition, at the end of 1898, a magazine "World of Art" is being created, which has become the herald of neoromantism. In the future, annual joint exhibitions are held.

Alexander Benois actively participated in the artistic life - primarily in the activities of the Association of Art of Art, being his ideologue and theorist, as well as in the publication of the World of Art, which has become the basis of this association; Often spoke in the press and every week published his "artistic letters" (1908-16) in the newspaper "Speech". No less fruitfully worked as a historian of art: published in two releases (1901, 1902) who received wide fame of the book "Russian painting in the XIX century", substantially recycling his early essay for her; He began to produce serial editions "Russian School of Painting" and "The History of Painting All Times and Peoples" (1910-17; the publication was interrupted with the beginning of the revolution) and the magazine "Artistic Treasures of Russia"; Created a wonderful "Hermitage Picture Gallery Guide" (1911).

Benois began his creative activity as a landscape and wrote landscapes throughout the life, mostly watercolor. They constitute almost half of his heritage. The very appeal to the landscape of Benois was dictated by interest in history. Two topics invariably enjoyed his attention: "Petersburg XVIII - early XIX century." and "France Louis XIV".

Later, in the memoirs written in old age, Benua recognized: "In me," Pasisism "began to affect how something completely natural still in early childhood and he remained throughout my life" the language on which I was easier, it is more convenient to express ".. .. . Much in the past seems to me well and long acquaintances, perhaps, even more familiar, rather than the present. Draw, without resorting to documents, someone contemporary Louis XV I easier for me, it's easier for me, rather than draw, without resorting to nature, my own contemporary . I and the attitude to the past are more tender, more love, rather than to the real. I understand the then thoughts, the then ideals, dreams, passions and the most grimaces and quirks than I understand all this in the "Plan of Modern" ... " . (A. Benua. The life of the artist, t. I.)

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". This is characteristic of Beno'a's creative an example of the historical reconstruction of the past by the artist, inspired by alive impressions from Versailles with their sculpture and architecture; But at the same time, the results of the scrupulous study of the old French art, especially the engraving of the XVII-XVIII centuries, were summed up. The famous "Notes" of the Duke Louis de Saymon was given by the artist the story canvas "the last walks of Louis XIV" and, together with other memoirs and literary sources, introduced Beno'a to the atmosphere of the era. The landscaped graphics of French classicism suggested him the techniques of artistic solution. It is from the samples of architectural-landscape engravings that are the main features of Versailla Watercolors Beno'a: their clear, almost drawing layout, clear spatiality, the predominance of simple, always balanced horizontals and verticals, the greatness and cold rigor of composite rhythms, finally, the underlined opposition of the grandiose statues and sculptural groups of Versailles - Little, almost stainless figures of the king and courtiers, playing uncomplicated genre-historical scenes. In Watercolors, Benua does not have a dramatic plot, there is no active action and psychological characteristics of the characters. Do not people are interested in the artist, but only the atmosphere of the antiquity and the spirit of the theatrical court etiquette ("by the ceremonary pool", 1897, the State Tretyakov Gallery).

Benouua gave a lot of mental strength and time to work in easel painting and graphics, but at the very nature of his talent and in the warehouse of creative thinking it was not a stankist, and even less - a painting master that could embody all sides of his design in one, as if synthesizing image. No wonder his best creatures belong to the art of books and painting theater. Benoit thought and approached his themes precisely as an illustrator or as a theater artist and a director, consistently revealing in the cycle of etudes and the compositions of various aspects of the image conceived by him, creating a number of compliant architectural-landscape scenery and carefully developed by Misaneszen. The thoughts of the artist about Versaille Louis Xiv become fully understood by the viewer only when he perceives the entire totality of Versailles and etudes written by Beno'a.

Showing himself in many genres - in the literature, painting, art history, criticism, director, - Alexander Benois is remembered primarily as a theater artist and theorist of theatrical and ornamental art. His numerous scenery and costumes demonstrate the exceptional ability to recreate the most different eras, national features and sentiment - the ability to be traced from his first steps from Mother Benua inherited the authentic culture of the theater, and his children's dream was to become a theater artist True Child of St. Petersburg 1870-80 GG, Benoit was deeply captured by the then passion for drama, opera and ballet, and even before his trip to Germany in 1890 he saw the "Sleeping Beauty", "Peak Laman" and many other performances. There is no doubt that it was these early impressions to prepare Beno'a to work on the one-act ballet Deliba "Silvia" in 1901, when Prince S. M. Volkonsky, director of the imperial theaters, yielding to persuasion S. P. Dyagileev, decided to prepare a special production under His leadership. Benoit was invited by the main artist and worked on the performance together with K. A. Korovin, L. S. Bakstom, E. E. Lancere and in A. Serov, however, because of the quarrel of Dyagilev with a Volkonsky ballet was never supplied

In 1900, Benua made his debut as a theater artist, issuing the one-act opera "Revenge of Amur" in the Hermitage Theater of St. Petersburg.

But the genuine debut of Benois as a theater artist took place in 1902, when he was charged with the production of the opera R. Wagner "The Death of Gods" on the stage of the Mariinsky Theater. Following that, they were performed sketches of scenery to Ballet N. V. Cherepnin "Pavilion Armida" (1903), whose libretto composed himself.

The passion for ballet was so strong that, on the initiative of Benois and, with his direct participation, a private ballet troupe was organized, which began in 1909 triumphal performances in Paris - "Russian seasons". Benoit, who, in the troupe, the post of director of the artistic part, executed registration to several more ballet performances - "Sylphides", "Pavilion Armida" (both 1909), "Giselle" (1910), "nightingale" (1914).

One of its top achievements was the scenery to the ballet I. F. Stravinsky "Parsley" (1911); This ballet was created in the idea of \u200b\u200bBeno'a himself and on the libretto written by him. Soon after the cooperation of the artist with MHT, where he successfully designed two performances on the plays of J.-B. Moliere (1913) and for some time even participated in the leadership of the theater along with K. S. Stanislavsky and V. I. Nemirovich-Danchenko.

Sketch illustrations for the poem Pushkin "Copper Horseman" 1905-1916.

Together with other masters of the "World Peace", Benoit was one of the most active figures of the artistic movement that revived the art of book graphics in Russia.

For the early works of Benoit for the book, the illustration for the "peak lady" (1898), published in the three-volume collected Works of Pushkin (1899), illustrated by many Russian artists, including the masters of the "Art World" masters. The 3rd of this first experience was followed by four watercolors - illustrations to the "Golden Pot" E. T. A. Gofman (1899, State. Russian Museum), which remained unnecessary, and two page illustrations to the book of P. I. Kepovaya "Tsarist and Imperial Hunt for Rusi ", vol. III (1902), created in collaboration with E. E. Lancer (in the same edition of Benua performed a number of screensavers and endings). Already in these early works, the specific features of the illustrian talent of Beno'a are clearly acting: its imagination strength, plot ingenuity, ability to transfer the spirit and style of the image of the era. But the illustrations are still "machine" character yet; These are historical compositions mounted in a book, but not organically merging with it.

A more mature phase in the development of Benouua's book graphics reflects his "Alphabet in the Paintings" (1904) - the first book in which the artist performed as a sole author, the creator of the plan, an illustrator and a designer. For the first time he had to solve here artistic design books. Each of the drawings to the "alphabet" is a detailed narrative scene, imbued with a soft humor, sometimes genre, more often - fabulous or theatrical, is always inexhaustible inventive through plot motifs. With "Azbuchi" Benua begins the history of the children's book "World of Art".

In the hands of Benoit, book graphics became art not so much decorative as narrative; Purely investigative tasks, so did Somov, Dobuzhinsky and Young Lancer, play in the work of Beno'a, a clearly minor role. True, he tries to observe the principles of consistently conducted rhythm in the design of the book and the stylistic unity of all elements of the design; But the plane of the book page is by no means for Beno'a with an independent erotic value that needed by anything to save and emphasize how Somov did. The compositions of Benois are always spatial because they are primarily narrated. It does not overload the book with ornamental-decorative decorations, sacrifices them for the sake of the story.

The main place among the graphic works of Benua occupy illustrations for Pushkin. The artist worked on them throughout his life. As already mentioned, he began with the drawings to the "peak lady" (1898) and then twice returned to illustrating this story (1905; 1910). He also performed two series of illustrations to the "captain's daughter" and for a number of years prepared its main work - drawings to the "copper rider" (1903, 1905, 1916, 1922).

Such a addiction, of course, was not random. A peculiar cult of Pushkin was generally highly characteristic of the works of the "world of art", primarily for Beno'a. All of them saw in Pushkin, as it were, the living "embodiment of the Europeanism of the new Russian culture."

In the pre-revolutionary time, Beno'a's book works had little success in publishers. Drawings to the "Captain's Daughter" (1904) remained unnecessary. The first version of the illustrations for the "Copper Horseman" (1903) is published not a separate book, but only in the magazine "The World of Art" (1904), with a violation of the design planned by the artist. The second option was unsuccessfully published, published first in Tome III writings A. S. Pushkin, and then, though, published a separate book, but with completely unsatisfactory reproduces. Only after the October Revolution "Copper Horseman" with the drawings of Benoit came out, finally, in an excellent edition.

The other is much more significant, the best of the book works of the artist, his masterpiece - drawings to the "copper rider". The first variant cycle consists of 32 drawings in mascara and watercolor, imitating color engraving on the tree. The publication of illustrations in the "world of art" was immediately met by artistic publicity as a big event in Russian graphics. I. Grabar noted in the illustrations of Benua a subtle understanding of Pushkin and his era and, at the same time, the aggravated sense of modernity, and L. Bakst called the cycle of illustrations to the "Copper Horseman" "a real pearl in Russian art."

The activities of Benois as an art criticism and historian of the arts are inextricably linked with all what Benua did in painting, machine and book graphics, in the theater. Critical essays and historical and artistic studies of Benoa are as it were for commentary on ideological and creative quests and the everyday practical work of the artist. But his literary works and quite independent importance, characterizing the complex, large and fruitful stage in the development of Russian criticism and science on art

Together with Grabaren, Benua headed the movement, updating the method, techniques and themes of Russian art and the end of the XIX - early XX century.

One of the most important missions of this movement, which arose in the direction of the "World of Art" was a systematic revision of all the material, critical assessments and the main problems of the history of Russian painting, architecture, plastics and decorative arts of the XVIII and XIX centuries. It was about to highlight the development processes of Russian artistic culture in the last two centuries, attracting materials, not only not previously studied, but also almost not touched.

It is difficult to overestimate the scale of this work, which could only be collective. It took part in it almost all the figures of the "world of art". Artists and critics became historians, collectors, openers and interpretatives of forgotten or incomprehensible artistic values. Above mentioned the meaning of such "discoveries", as the Russian portrait painting of the XVIII century and the architecture of Old Petersburg. Such discoveries of the works of the "World of Art" was committed many in the most diverse spheres of artistic culture. Benua was the initiator and inspirer of this work. It fell on his share and the most difficult, responsible part of it is the analysis and a summary of the history of Russian painting of the XVIII-XIX centuries.

The art of Benoa is stipulated as a completely autonomous sphere, independent of social reality and barely associated with other cultural phenomena. The topic of research becomes, therefore, not the process of historical development of national painting with its hidden patterns, which should be found, but only the history of artists who participated in this process.

Simultaneously with these major works, Benua published in the magazine "World of Art" (1899-1904) and a monthly collection "Artistic Treasures of Russia" (1901-1903), and later in the magazine "Old Years" (1907-1913) and some other publications many Articles and notes on certain issues of the history of Russian and Western European art. The subject of these publications is very diverse. It is about the artistic historical ensembles of palaces, public and private collections, about large masters of the past and on individual works of painting, graphics, sculptures, architecture and decorative and applied arts. The most significant articles relate to the main architecture of the old St. Petersburg and its suburbs; About one of these articles - "Picturesque Petersburg" (1902) has already been mentioned above. In 1910, the Tsarskoye village in the reign of the Empress Elizabeth Petrovna, the reign of the Empress Elizabeth Petrovna, was published - a detailed work dedicated to the history of life and artistic life of Russia in the first half of the XVIII century.

Western European art attracted the attention of Benoit to a nursing degree than Russian. He is owned by the monograph about Goya (1908), the guide in the art gallery Empmitage (1911), a large article about Liotar (1912) and a number of other works that popularize the classical heritage of European painting. The original study is the grandiose "history of painting of all times and peoples", the remaining unfinished: between 1912 and 1917, 22 releases of the first part of the book, covering the development of landscape painting from ancient times until the middle of the XVIII century, were published. Here, as in the history of Russian painting, the general historical concept is the most vulnerable part of the work of Benoit. Already contemporaries correctly noted that the most valuable in his work lies outside the circle of evolutionary conclusions and cultural and historical generalizations.

The earliest of the artistic critical series of Benoit - "Conversations of the artist", published in the magazine "World of Art" for 1899, characterizes the first steps of Benois Criticism. It contains mainly reviews of the Parisian art exhibitions and notes about some of the secondary French painters like Forene and the Brass, at that time still seeming criticism more significant than impressionists and Cezanne.

The second series of his articles, printed in the Moscow Weekly for 1907-1908 under the heading "Diary of the Artist", is dedicated mainly to the issues of theater and music.

The flourishing of the artistic critical activities of Benoa falls for the period of creating a third series of his articles - under the general title "Artistic Letters", which Weekly printed in the newspaper "Speech" from November 1908 to 1917.

This series includes about 250 articles, unusually diverse in content and, in general, with a large full of reflective artistic life of those years. None of any noticeable event in art remained without a response from Benoit. He wrote about modern painting, sculpture and chart, about architecture, theater, about artistic antiquity, folk art, about new books and exhibitions, creative groups and on individual masters, with passionate interest analyzing and evaluating every major phenomenon of art. According to Benoit, only freedom and inspiration create and determine the value of the artistic work. But Benois emphasizes that freedom of art is not limitless, and inspiration should not elude the control of consciousness. In art there is no place for arbitrariness, and the most important quality of the artist is a sense of professional responsibility.

After the February Revolution, Benua stopped pubed in the cadet "speech" and moved to the newspaper "New Life", headed by bitter.

In the first post-revolutionary years, Alexander Benua takes an active part in the reorganization and preservation of suburban palaces and Petrograd Parks and the Russian Museum. In 1917-1926, the head of the art gallery of the Hermitage, collaborated in Petrograd theaters: Mariinsky, Alexandrinsky, great dramatic (1919-1926).

In 1926, Benoit, making an forced choice between the difficulties of the emigrant existence and an increasingly frightening perspective of life in the Soviet country, went to France. Check out as previously took place for the performance of the play in the Grand Opera and participation in exhibitions, but he did not return to Russia from there. There he worked mainly in theaters: first in the Grand Opera in Paris since 1924 with a break of 1934 (the famous "Fairy Kiss" I. Stravinsky), and in 1930-1950 - in "La Scala" In Milan, where his son Nikolai was headed by the producer. Working at the same professional level, I couldn't create anything fundamentally new and interesting Benois, often by varying the vary of the old (some options of the legendary ballet "Parsley" was performed at least eight).

The main labor of the latter (since 1934) was his memories, on the pages of which he in detail and fascinating the resurrect years of their childhood and adolescence. In Memoirs, "my memories" Benua penetrately recreated the atmosphere of spiritual and creative quest "Silver Century" in Russia of the turn of 19-20 centuries.

Throughout his long path of the artist, criticism and historian of art, Benua remained faithful to a high understanding of the classical tradition and aesthetic criteria in art, defended the intrinsicity of artistic creativity and a visual culture based on robust traditions. It is also important that all the multifaceted activities of Beno'a was, in fact, is devoted to one goal: the glorification of domestic art.

Alexander Nikolaevich Benua. Portrait of Leon Baksta

Alexander Nikolaevich Benois - the largest art historian, painter, publisher and author of magnificent illustrations, writer and theater artist, one of the founders of the Russian modern.

Biography of the artist Alexander Benois

Artist Alexander Nikolaevich Benois was born in 1870, in St. Petersburg, in the family of the famous architect Nikolai Leontievich Benoit. The family of the future artist simply read art, however, the parents insisted that the son entered the University of St. Petersburg and received a lawyer's profession.

During training at the University, Alexander Nikolaevich independently studied the history of the arts, engaged in drawing, mastered watercolor painting. History silent about what a lawyer was Benua. In 1894 (in the end of the end of the University of Alexander), the third volume of "History of Painting in the XIX century" R. Mother came out. This volume entered the head of Russian art, the author of which was Alexander Benoit.

And about Alexander Nikolayevich immediately spoke, as a talented art crude, who simply turned the established ideas about the development of Russian art.

In 1897, after trips to France, Alexander Benua presented the first series of his watercolors under the general theme of the "Liswick of Louis XIV". The public was in complete delighted, and critics spoke about the emergence of a new talented original artist.

Walk king

Bathing Marquis

Fantasy

Presentation of Sultanche

Louis XIV feed fish

The king is strolled in any weather

Walk king

In 1893, Benoit writes a series of watercolor landscapes of St. Petersburg. It must be said that his landscapes are rather tribute to history than nature. The artist is more fascinating historical persons, architecture, suit. And nature serves only by the magnificent decoration of the events depicted by painter.

Oranienbaum

Alley

Pictures of Petersburg

Parade with Pavel I

Carnival on Fontanka

Oranienbaum. Japanese garden

Chinese pavilion. Jeep

From 1897 to 1898, Benua writes a series of watercolor paintings about Versailles. And again, critics are not talking about the magnificence of nature, but about the explicitly recreated spirit of the spent time, the atmosphere of a beautiful magnificent being.

Water Parter in Versaille

Pond in Versaille

Fountains Versailles

Versailles

Versailles in the rain

Versailles. Curration

Chestnuts in spring. Versailles

The next large theme in the artist's work becomes Peterhof, Oranienbaum and Pavlovskoye. And again the greatness of architecture, fountains, parks and history.

Gazebo in the park. Pavlovsk

Peterhof

Grand Palace. Peterhof

At the end of the nineteenth century, Alexander Benua creates the unification of the "World of Art" in which it becomes the main theorist and the inspiration, he writes a lot, speaks in press and becomes the author of the weekly "artistic letters" in the newspaper "Speech".

Benoit does not forget about the history of art - in 1901 and 1902 the well-known book "Russian painting in the XIX century" appears on the world. Beno'a publisher begins to publish the "Russian School of Painting" and "The History of Painting of All Times and Peoples." The release of these series is terminated, for quite understandable reasons, in 1917.

There was another magazine "Art Treasures of Russia" and a magnificent "Guide to the Art Gallery of the Hermitage". And all this was done with the most active and direct participation (and under the leadership) Alexander Nikolayevich Benoit.

And there was also a passion for book graphics and creating illustrations for a number of works by A.S. Pushkin. And the works of a magnificent theatrical artist Benois. He created sketches of costumes and scenery to theatrical performances, ballets and operations. I will not tire you with the listing of everything made on this field - another artist only theatrical creativity would have enough for life with an excess. What is one participation in the management of the MHT theater together with K.S. Stanislavsky and V.I. Nemirovich-Danchenko!

Illustration to poem A.S. Pushkin "Copper Horseman"

Decoration to tragedy A.S. Pushkin "Pier during plague"

Sketch of the scenery to "Solovy" Stravinsky

Italian comedy

The revolution of 1917 by the railway crossed the huge number of projects and undertakings of Alexander Nikolayevich Benoit and he took up work in a wide variety of organizations that were trying to preserve monuments of antiques and art.

Since 1918, Benois has headed the Art Gallery of the Hermitage, developed a new plan for the general exposition of the museum, which was noticed and noted by the remaining lovers of painting in Russia.

Since 1926, the artist lives and works in Paris. He almost does not write pictures - it simply eats melancholy in his homeland. Sketches of costumes and scenery for the Dyagilev Theater, participation in the creation of theatrical productions ...

And memoirs. Just the most valuable memories and reflections on people, events, art.

The artist died in February 1960. Buried in Paris.