Tatyana Galina

HERITAGE

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Moscow - the second native city of Anna Semenovna Goluboyna, along with Zaraia, where the artist was born on January 28, 1864. Golubkin became a Muscovite in 1889, since the beginning of his artistic education in the class of elegant arts of architect A.O. Gunst. Then from 1891 to 1894, she studied at the Moscow School of Painting, Drainies and Architecture. The artist lived in Moscow for many years. Despite the fact that Golubina returned to Zabane many times, moved to St. Petersburg to continue their education, moved to Europe for a long time with the same purpose, she always sought to settle in Moscow, to have a workshop here, to participate in the artistic and intellectual life of the city.

At different times, Golubina had several workshops. The most famous was located in a large Levoshinsky Lane, where in 1932 the memorial Museum-workshop A.S. Golubina, now part of the All-Russian Museum Association "State Tretyakov Gallery". Another, not survived, the workshop was located in the Cross Lane, here Golubina performed its most significant works of the beginning of the XX century. Here in 1901 came V.A. Serov together with S.P. Dyagilev: The artist wanted to show the fireplace "Fire" struck his fireplace. About visiting this workshop in 1903 wrote O.L. Knipper A.P. Chekhov - Actress told about the bas-relief for the Moscow Art Theater, who had to soon install on the facade of the theater.

In the workshop in the cross-shifting alley, the artist performed a significant number of sculptural portraits both with models chosen by herself and customized. Here were created works by a large form: already mentioned fireplace "Fire" (1900) *, the sculpture "Earth" (1904, both works - plaster tinted), "Going man" (1904, Bronze), Relief "Wave" (1903, Gypsum toned, installed on the entrance to the MHT). Golubanka worked on articles of decorative and applied character and over projects of architectural decor. In the same years, it was carried out by the project of the city monument to the first-hand of Ivan Fedorov (1902, plaster toned, GTG).

The beginning of the 20th century - the time of the first meetings of the artist with the domestic viewer. Life in Moscow made it possible to participate in exhibitions of the most famous associations. Exposing work from year to year without significant breaks, the sculptor sought to constantly contact the viewer, to the concerned perception of his figurative-plastic statements. In 1899, returning to Moscow from the second trip to Europe, Golubanka demonstrated at the 19th exhibition of the Moscow Society of Arts Fans (Mall) sculpture "Old age" (1899) and the portrait of the French Zoologist E.Zh. Balbiani (1898, both work - plaster toned). These works were awarded at the Paris Salon of 1899, the Medals of the Academy of Art and Literature Provence and were marked by the French press, becoming evidence of the professional maturity of the master. Subsequently, its cooperation with mall continued until the beginning of the First World War.

Anna Golubanka annually took part in the exhibitions of the Moscow Association of Artists (MTX), and in 1906 he became one of his members. Usually the artist provided significant and large-scale work at MTX exhibitions performed in the year between two exhibitions, such as, for example, portraits A.M. Remizova and A.N. Tolstoy, the composition "Caryatida" (all - 1911), and "Caryatids" in 1911 were shown in the gypsum, and then a year later, in 1912, in the tree. The chamber sculpture created in the first decade of the 20th century, it demonstrated in 1910 at the exhibition of watercolors and sketches of the Moscow Art Theater, where the audience saw the impressionistic etudes of the "Puddler", "Flight" (later the name "Birds"), "Kustiki" (all - 1908, plaster toned). Golubanka also participated in the famous exhibitions of the World of Art, where the work was exhibited, close to new flows of symbolism and modern: Vase "Fog" (1899), Portrait M.Yu. Lermontov (1900, both works - plaster toned), already mentioned "old age" and fireplace "Fire". The culmination of exhibition activities was the exhibition "In favor of the wounded" in the Museum of Fine Arts in the winter of 1914-1915. Man, history, artist, truth, wisdom - so you can designate the coordinates of the semantic field of the exposition, which became the plastic expression of the main cultural and philosophical ideas of the silver century.

The new, complicating language of the art of the beginning of the twentieth century assumed the presence of a viewer who can interpret the imagery of works within the framework of the poetics organically inherent in them. The poet Andrei White explained the way of perception, built on the principles of symbolism: "The work of art is not limited to time, place and form; And it is limitless, it expands itself in our bowels of the soul ... I am urid by her shell in my perception; perception - forever with me; I work on him; From my work there are movable slopes of magnificent images; The fixed statue in them flows, grows in them<...> and pours outside of statues and colorful sounds, it comes to the rain of sonnets; The impression of them is going on again in their souls "1. The sculpture of Bulkina often remained not smaller, but over time, connoisseurs of the new sculpture appeared more and more, the works of the master became the subject of gathering. Her creations were kept in assembly A.A. Lamm, M.P. Ryabushinsky, E.M. Tereshchenko, M.S. Shibayev. The most significant collection was at I.S. Isajanova 2. In 1906, the procurement of works of the sculptor of the Tretyakov Gallery began.

In the creative heritage of Golubina a lot of works related to Moscow, and above all these are portraits of Muscovites, created at different times: actresses and translator M.G. Grace (1903 and 1904), architect A.O. GUNSTA (1904), artist N.Ya. Simonovich-Efimova (1907), entrepreneur and patronage of N.A. Shakhova (1910th, all four - plaster toned), collector and collector G.A. Broccara (1911), art historian A.V. Nazarevsky (1911, both - a tree toned), the famous doctor G.A. Zaharin (1910, Marble, First Medical Institute. I.M. Sechenov, Moscow). One of the first to be performed in Moscow. Portrait of the painter V.V. Overcoming (1899, bronze).

Golubanka knew Vasily Turbetchikov well, was grateful to him for help during her stay in Paris. Settling in Moscow, she often had in his house at the evenings, where the art jealous were gathered. Golubina captured the binding ready to join the argument, with a characteristic tilt of the head and a sarcastic, drilling look. Another portrait made in 1904 in a similar impressionistic manner, retained the appearance of the wife of the painter V.K. The tone (gypsum tinted), the hospitable mistress of another artistic mug. Both portraits are an example of sculptural impressionism in the traditional understanding of the style: whimping the free modeling along with seemingly random movements of the head and body gives images by ease, which increases the impression of the moment the moment of the moment that the artist was definitely achieved.

Similar evening assemblies, as in the houses of the Ottchikovikov and the Dog, were not a rarity in Moscow early XX century. The artist was in the circle of his acquaintance in Paris T.P. Barteneva, in the family of the director of the commercial school A.N. Glagoleva (Golubina led in the school sculpture class), in the house A.A. Altseva, artist, good acquaintance A.P. Chekhov and a close girlfriend His sister Mary Czech. In 1899 A.A. Altseva and E.M. Zvanceva organized a private studio where celebrities were taught as V.A. Serov and K.A. Korovin, as well as a student of Serov - N.P. Ulyanov. With the last (Golubina and Ulyanov, they studied together in the men), she opened a similar studio and divided the workshop in the cross-shifting alley. It is here that the artist fulfilled by order by K.S. Stanislavsky and S.T. Morozova Famous relief for the facade of the new building MHT "Plovman" (1903, plaster toned), as well as the portrait of Morozova himself (1902, plaster tinted). These are examples of completely different stylistics. In the portrait of the famous patronage, impressionistic modeling, damping the image of certainty, brings it from the world of everyday life, including in a circle of symbolic interpretation. Morozov is transformed into a certain pagan deity, the personification of natural elements, which paradoxically connects with the idea of \u200b\u200bit as a theater, inventor, Balagure.

Mkhat relief "Swimmer" was the first product of Bluebina from her "theater series." In 1923, she, being sincere fan of the Small Theater, took part in the competition for the installation of the monument A.N. Ostrovsky and performed a number of sketches in the gypsum. The image of the playwright created in them was consonant with the poetic of his plays and the traditions of the Small Theater, while the relief "Plovman" is a kind of response to the reform activity of the TarPU MHT. In the new aesthetics of the artistic theater, the fact that Golubina called the capacious word "truth" and what did not find in the productions of brilliant Parisian theaters, which he wrote in letters from the French capital: "So beautiful and faligin." The strength and depth of the impression of the productions of the Berlin Theater of the director Max Reinhard, who came to Moscow in 1913 on tour, was captured in reliefs with the image of the Italian actor Sandro Moise (1913, limestone), the executor of the role of King Edip. His game shook the sculptor.

The mirror of the Moscow theater addictions of Goluboye was a Zarea People's Theater, organized by the youth of the city in its active support. The repertoire included the plays of Gogol, Ostrovsky, Hauptman, Ibsen, Meterlinka, which the artist has already seen in Moscow scenes. In the performances, even actresses of the MHT took part in the performances, but Nina Alekseeva, an actress with a deep and passionate soul remained invariably. The appearance of this "Zabaia Amazon" is captured in one of the first symbolic sculptures of Golubina "Nina" (1907, marble toned). Having moved to Moscow, Nina studied vocals in the studio opened in 1908 at home songs, in close proximity to the workshop in Bolshn Levshinsky Lane. Her sister Lyudmila arrived in 1907 to the highest female courses and at the same time engaged in the Moscow School of Dance Ellie Ivanovna Rabenhek, a sequence of Isader Duncan. A new direction in the ballet art of Modern - "Plastic Dance" - caused enthusiastic interest, on the speeches of the studio Ellie Rabeneck there were always especially many people of art, artists and musicians. Glubinka was also among the admiring audience. She was given Lyudmila Alexey recommendation letter to Rabenhek. In the creative heritage of Golubina, graphic images of dancers and the relief "Lama" are preserved (1912, limestone), an alleged portrait of Alekseeva. Lyudmila danced the main parties in the productions of Rabenhek, and then herself took up teaching and directed. One of the plastic etudes created by it under the impression of the composition of the Bulk "Flying (Birds)" (1908). Traditions L.N. Alexeeva today persists in the studio of the artistic movement of the central home of scientists of the Russian Academy of Sciences, and its choreographic miniatures are included in the studio repertoire 3.

Living in Moscow, Golubina had the opportunity to get acquainted with the representatives of the new direction - symbolism. Miscellaneous attention and mutual attraction of the creator of plastic images and symbolist philosophers were resistant and permanent. It is indicative of interest in the work of Golubina, which manifested with philosophers and critics, whose works were theoretical component of Russian symbolism, especially Vyach. Ivanov and V.F. Ern. B.F. Ernu, a friend of Pavel Florensky (Golubanka knew the last well), belongs a significant guess, interpreting the nature of the sculptor's creativity. She is close to Florensky's theory about the heuristic role of art in the general process of knowledge. For Goluboy, making a portrait meant to know a person, understand him in the broadest sense of the word and conveyed to knowledge in sculptural forms.

Vasily Rozanov, Maximilian Voloshin, Sergey Bulgakov, wrote about the work of Golubina. The article dedicated to the exhibition "In favor of the wounded" in the Museum of Fine Arts, Bulgakov talked about the drama and depth of the sculptor's images: "That severe Gogol longing, then this universal sorrow is overflowed with light Chekhovsky pity<.>. And the highest voltage of their own ecstasy of longing in the conquering and grabby sculptures: "captives" and "the music and lights". For each soul is such a prisoner, although it does not always know that remote music is heard, and every living soul is heard of remote and see the lights in the captivating "Dali", glowing into which such musically transferred in the relief of this name "5.

In the library of the sculptor, in turn, there was a number of symbolistic and close to the symbolism of periodicals - the numbers of magazines "Scales", "Apollo", "Golden Fleece". Here were the works of Andrei White, Vyacheslav Ivanova, George Chulkov, Alexey Remizov. In the period from 1907 to 1914, Golubanka created a peculiar "symbolist gallery": portraits of leading theoretics of symbolism of the poets of Andrei White (1907) and Vyach. Ivanova (1914, both - plaster toned), as well as those who were part of the writers of A.N. Tolstoy and A.M. Remizova (1911, both - wood toned), philosopher V.F. Erna (1914, Toned tree). Vycript. Ivanova and MA Voloshin is captured by it in chambers (1920s). Portrait images connected in themselves as an indisputable value of simultaneously specific personal qualities, accurately seized shades of the psychological state and the overall spiritual tone of the person. The brilliant completion of the portrait of Russian writers and philosophers became the portraits of L.N. Tolstoy (plaster tinted) and V.G. Chertkova (tree Toned, State Museum L.N. Tolstoy, Moscow), performed by Golubina in 1926 by order of a Tolstovsky society. The artist gave tribute to the scale of the personality of the Great Writer and guessed the tragic conflict in his soul.

Despite all the difficulties of life in the 1920s, Golubanka did not leave Moscow. She taught in VhuTemas and led classes in the studio, which was organized in his workshop, still engaged in decorative and applied art, mastered the skill of making camas and created a unique collection of these works of small shape. As before, Golubanka sought to participate in the exhibition life of Moscow. In particular, in 1923, an artist showed its cameras at the Moscow Salon exhibition, and in 1926 he took part in the State Art Exhibition of Modern Sculpture, becoming one of the founders of the Russian sculptor society (ORS). Here she demonstrated two portraits performed in 1925 - their student TA. Ivanova and Formovshchik G.I. Savinsky (both gypsum toned). Until recent days, in his Moscow workshop, Golobyna continued to work on expensive for himself as an idea - Birch sculpture (1926, plaster toned). This work was to be the embodiment of the vital philosophy of the artist. The poet of Georgy Stockhkov, who knew Anna Semenovna, dedicated her strings born under the impression of their conversations. He said: Golubanka lived, holding the "keys from the sky" in the hands of the "Keys from the sky" and "Songs listening to Light" 6.

* This storage place in the works mentioned in the article by A.S. Bluebina is indicated if they do not belong to the GTG meeting.

1. White A. Revolution and Culture // White A. Symbolism as a world view: Sat. Articles. M., 1994. P. 298.
2. Polunina N., Frolov A. Collectors of the old Moscow. M., 1997. P. 176-179.
3. Alekseeva L. move and think. M., 2000; Kulagina I.E. Lyudmilian immortality (lost and restored). M., 2009.
4. Rozanov V.V. The successes of our sculpture // World of Art. 1901. № 1-2. P.111-113; Rozanov V.V. Bluebina works // Among the artists. M., 1914. P. 341-343; Voloshin M.A. A.S. Golubina // Apollo. 1911. No. 10. P. 5-12; Bulgakov S. Tosca. From the articles 1914-1915. M., 1918. P. 53-62.
5. Bulgakov S. Quiet Duma. M., 1996. P. 43.
6. Golubina A.S. Letters. A few words about the sculptor craft. Memories of contemporaries. M., 1983. P. 295.

The history of life
The grandfather was serfed in his youth, eventually managed to pay off at the will and settled in Zaraysk, engaged in gloomy. Father died early, and she all childhood and her youth along with his mother, brothers and sisters worked on a family garden. For life, she kept respect for physical work, bright and figurative popular speech and self-esteem.
No - even initial - the formation of Anna Bluehouse was not. Is that the decek taught her literacy ... She rereaded a lot of books in childhood, and at the same time began to sculpt clay figures. Local drawing teacher persuaded her seriously learn. Native did not interfere, but Annushka himself understood what it means to lose an employee for the peasant family. Therefore, a lot of time passed before she decided to leave his native Zagaisk.
Anna was twenty-five years old when she, in a rustic tied with a handkerchief, in a black assembly skirt, came to Moscow and entered the School of Painting, Scary and Architecture. "In the workshop between the ancient castlers, strict and greatest, she looked like the mythical ancient prophet-Siville," said S. T. Konenkov who studied together with her.
"It was thin, high, fast in the movements, a girl with inspired, beautiful and strict face," said some contemporaries. "... with the face ugly and ingenious," they specified others.
Famous Russian patronage Mary Tenisheva told:
"Soon after the return of A. N. Benua from St. Petersburg ... He began to tell me some young talented sculptor of peasants, very needy and feeding brilliant hopes, began to persuade me to take her on his care, give her tools to graduate her artistic education..."
Tenisheva did not follow the hot persuasion of Benua, he did not take any money on his care and did not give any means ... What, by the way, he was very sorry for, when the name of Goluboy was already well known.
But the originality and power of the talent of Golubina really in the years of study attracted general attention to it. Later, she moved to the St. Petersburg Academy of Arts. Among her professors was the famous sculptor V. A. Beklemishev, who played in the life of Anna Bluebin special role. In letters to his relatives, she called him a "remarkably good and good man", "a large artist". Behind these common words was hiding deep, tragic, unrequited love, about which Beklemishev himself, married in a rich pit and happy family life, never learned.
In 1895, Golubanka went to Paris to continue their education. A family and society of art lovers helped her with the means. She entered the Academy of F. Kolarasi, but very soon realized that there was the same as in St. Petersburg, the salon-academic direction, completely alien to her in spirit. This year was very heavy for a young sculptor. Anna Semenovna was tormented by creative dissatisfaction, doubts about the loyalty of the chosen path, the restless feeling towards Beklemishev. Some memoirists mention her short unhappy tie with some French artist and a suicide attempt ... It is not at all by chance Golubanka fell ill with a nervous disorder.
The artist E. S. Kruglikov brought her to Russia. Returning after the hospital in Zaraysk, in his native family, Anna Semenovna calmed down a little and began to think about how to live on. And in the end, I decided to go with the older sister Alexander, who ended with paramedic courses, to Siberia. Here she worked at a reimportal point, helping the sister, with which, as with his mother, she always had a trust relationship. The mother of the sculptor, Ekaterina Yakovlevna, died at the end of 1898. Anna Semenovna could not come to his senses for a long time after this loss and did not take for any job until she caught her bust ...
The second trip to Paris turned out to be more successful. The work of Golubina saw the Great Rodgen himself and suggested her under his leadership. Many years later, recalling the year of working with a master, Anna Semenovna wrote him: "You told me what I myself feel, and you gave me the opportunity to be free."
The work of Golubina, exhibited in the Paris Spring Salon in 1899, had a well-deserved success. In 1901, she received an order for the sculptural design of the Moskovsky Art Theater's front door. The burner "Wave" - \u200b\u200ba rebellious spirit struggling with the elements - and now decorates the entrance to the old Mkat building.
Once again she visited Paris in 1902. Visited London and Berlin, acquainted with the masterpieces of world art. From the trip returned with huge debts; The workshop was not to remove anything, and Anna Semenovna was never able to get profitable orders.
True, in the first years of the twentieth century, some of the works brought her decent fees. The sculptures of Golubina became increasingly appearing at Russian exhibitions, every time I encountered an enthusiastic reception. But all Anna Semenovna earned with an amazing generosity distributed in need, familiar and unfamiliar people, sacrificed to a kindergarten, school, People's Theater. And even becoming the famous, she still lived in poverty, eating only bread and tea.
"Her suit," recalled one friend, "always consisted of gray skirts, blouses and apron of canvas. Only apron was filmed in the front cases. "
All ascetic strict life was devoted to art. She spoke to her daughters of her friends, Evgenia Glagoleva: "If you want something from your writing something happens, do not get married, do not raise the family. The art of connected does not like. It is necessary to come to art with free hands. Art is a feat, and here you need to forget everything, everyone to give, and a woman in the family - a captive ... "And recognized:" Who is not crying over his thing, he is not the Creator. "
Having his family, Anna Semenovna brought up the niece faith, the daughter of an older brother. Often and for a long time lived with relatives in Zaraysk, helped her sister on the economy, on a par with everyone worked in the garden. And this, oddly enough, not hurt her work ...
In pre-revolutionary years, Zaraysk was one of the places of reference. The "politically unrealistic persons", expelled from the capitals, and a local revolutionary intelligentsia were constantly going to the house of Golubny. Leisurely, but interested in a self-concerned about the future of Russia. Anna Semenovna could not get carried away by the idea of \u200b\u200buniversal fraternity, justice and happiness. She even spread illegal literature ... But one day, when it came to the inevitability of the revolutionary coup, the prophetically said: "Scary, as much, there is a lot of blood."
During the events of 1905, she was in Moscow. The eyewitness recalls that when the Cossacks accelerate people by Nagayki, Anna Semenovna rushed into the crowd, hung on the horse's neck of one of the riders and screamed in the frenzy: "Killers! You do not dare beat the people! "
Two years later, she was arrested for the distribution of proclamation. In September 1907, the court sentenced the artist to a one-year conclusion in the fortress, but she was released on bail. For a long time, Anna Semenovna remained under the supervision of the police. Here is another bitter-valid phrase from her letter:
"At our time, nothing to happen can happen, because it is already there."
When the first world, Goluboy was already fifty. Criticism wrote after her personal exhibition in the Museum of Fine Arts: "Never have a Russian sculpture so deeply lacked at the heart of the viewer, as at this exhibition, arranged in the days of great tests." The entire collection from the exhibition Anna Semenovna sacrificed on the wounded.
The hot character of Bluebina did it rather non-advising even with close people. One of the stumbling blocks between her and contemporaries is the purchase of her work.
"There are wonderful things - mostly portraits," the artist I. Grabary artist wrote about the exhibition, the artist I. Grabar. - I would buy things 6-7, but it seems to be Konenkov: there is nothing, but less than 2500-3000 rubles and do not go away. Just the misfortune of this Boszyatskaya pride and "contempt for bourgeois", what she considers every person who is not dirty and not a crumpled starch collar. "
Well - just such money the gallery paid for the most prominent works of Russian artists, and private collectors bought them for a much greater price! For Golubina and Konenkova, the example was the example of their senior contemporary Valentin Serov, strict and fundamental when it comes to assessing the work of artists.
With the very exhibition, not a single sculpture of Goluboy was sold. They moved from the museum halls to some basement, where they stood unattended for a long time, until the 1920s ... And then, in 1915, Anna Semenovna again overtakes the nervous disorder. Dr. S. V. Medvedeva-Petrosyan told:
"I saw a high, middle-aged, painful view of a woman, with almost male features of an ugly face. She smiled at me, and that it was for a charming smile, what an extraordinary radiation was glowed by her having gray eyes, which attractive force came from all its creature! I was immediately conquered by it ... The patient tormented a gloomy longing and insomnia, however, and in the worst moments of his illness, her beautiful moral appearance was not overshadowed by an impatient word or a sharp leaving. Everyone loved her very much. "
Golubina did not allow strangers to his soul, refused to pose for portraits. Mikhail Nesterova exclaimed on all such requests:
"What do you! To write me! Yes, I'm crazy! Where to me with my horns on the portrait! I am mad". (Remembering Anna Semenovna years later, the artist said: "It was Maxim Gorky in a skirt, only with another soul ...".) And on the rules of the master consisted of his students: "Man are looking for. If you find a person in the portrait - here and beauty. "
Even by Anna Semenovna is extremely reluctant. N. N. Chulkov, the wife of the writer, recalled: "... he said that she did not like her face and did not want to exist her portrait. "I have an acting person, sharp, I do not like it." And on a rare photograph of her youth - a cute girl with a blond braid ...
Low it is known that the portrait of Golubina still exists! In the picture of V. Makovsky "Party" (1897), she is still very young, modestly stands at the table. Persuaded the artist to populate, albeit for the scene from the people's life ...
"The artist (doubt can not be!) It was quite deliberately prevented the collection and publication of materials that would be devoted to her biography," the researcher of the life and creativity of the sculptor A. Kamensky believes. - Perhaps nothing really appreciated Golubina, as the ability to remove from yourself, to completely dissolve in your business, to become echo of human experiences ... "
She never recorded the location of their sculptures sold. Many forces put the organizers of her museum, when in 1932 they collected the work of the master together, to the premises of her former workshop. Some of the works have not been found so far ...
... After the news about the October Revolution, Golubanka said: "Here, now the authorities will have real people." But soon he learned about the execution of two ministers of the temporary government, with one of which was familiar (later they wrote that they were shot by anarchists). And when they came to her from the Kremlin, offering work, Anna Semenovna replied with his characteristic directness: "You kill good people," and refused.
Despite this, in the first post-revolutionary months of Golubina entered the Commission on the protection of monuments of antiques and art and to the bodies of the Mossovet to combat carelessness. Dirty, drowned boys, she led to her workshop, fed, left to spend the night - even after they robbed her and almost killed.
I knew Golubein claimed that it was easier than others to transferred those years, because it was accustomed to deprivation and "did not notice them now." For the sake of earnings, the famous sculptor painted fabrics, cut out the jewelry from the bone, but the money was barely enough for not to die with hunger ... It was taken for private lessons, often free - as a rule, the fee was paid to "in kind": for example, one of her student Heated master masters.
In 1920-1922, Anna Semenovna taught in art workshops, but she had to leave from there because of the unkind atmosphere. She was at sixty, a severe ulcer of the stomach was added to the old ailments from constant malnutrition and excitement. A different sharp word or coarse lunge against it could turn into painful pains and for a long time to deprive spiritual equilibrium. Once some kind of type threw a sculptor in the face that she had already died for art. The artist replied that she could, and died, but she lived, and her evil opponent was always dead. Owned Anna Semenovna had to go to surgery ...
Direct to field, she and in art did not know how to be different. At one time refused to sculpt the Bust Shalyapin - he simply could not work on the portraits of people to whom she had a dual attitude. In 1907, he created the portrait of Andrei White - a perfect profile ... Horses! I did not tolerate gone and unrestrained praise. When one day her sculptures compared with antique, she answered sharply: "It's ignorance in you!" Valery Bryusov When Anna, Semenovna appears in the literary and artistic circle, turned to her with a "high-pushed speech." Starting, Golubank turned away, waved his hand three times on him, turned and gone.
In 1923, the sculptor took part in the competition for the manufacture of the monument A. N. Ostrovsky. Presented nine sketches of options, two of which were awarded award. But the first place and right to make a monument received another author - N. Andreev. Anna Semenovna, deeply offended, arrived at the meeting room and began to twist his models: "Compare His Ostrovsky with my! Mustache, and nothing more. "
The last work of Goluboy - "Leo Tolstoy" - unexpectedly appeared the indirect cause of her death. In the youth, Anna Semenovna once met with the "great old man" and, according to the evidence of an eyewitness, he argued seriously with him. The impression of this meeting remains so strong that many years later she refused to use when working his photograph and "made a portrait on the presentation and on their own memories." The block glueding from several pieces of wood was massive and hard, and Anna Semenovna move it could not be in no case after the operation transferred in 1922. But she forgot about age and diseases: when two of her students fought unsuccessfully with a wooden mahina, removed them with his shoulder and moved a non-dangling tree with all his strength. Soon after, I felt bad and set for my sister, in Zaraysk: "She knows how to treat me ... Yes, I will come in three days ..."
Departure turned out to be a fatal mistake. Professor A. Martynov, for many years he treated as an artist, said that the immediate operation would certainly save her ...
Anna Golubanka died on September 7, 1927 in his native Zaraysk.

The Tretyakov Gallery opens an extended exposure from 35 works to the anniversary of A. S. Bluebina, the first Russian woman sculptor

For the anniversary of Anna Semenovna Bolubina (1864-1927), the first Russian woman-sculptor, the creativity of which became a symbol of the heyday of the plastic art of Russia of the first third of the 20th century, the Tretyakov Gallery opens an extended exposure of its works. The works of the master, traditionally represented in the halls in Laureli Lane and on the Crimean Shaft, will be complemented by exhibits from the Gallery Foundations and one of its scientific departments - the Museum-workshop A. S. Golubina.

The exposition of A. S. Bluebina in Lavrushinsky Lane continues the halls of the sculpture and painting of the era of the Silver Age. The works of the masters are demonstrated in the dialogue with the canvas of P. V. Kuznetsov, N. N. Sapununov, M. S. Sarian and V. E. Borisov-Musatova, with whom she was repeatedly exhibited. Such a comparison of works emphasizes the proximity of the artistic searches of sculptors and painters of this period.

In his work, Anna Golubanka was guided by the idea of \u200b\u200bmobility service art: "You need to forget everything, to give everything." Arriving to Moscow from Zaraysk, she began a vocational education at the age of 25 in the class of graceful arts of the artist architect A. O. Gunds, continued his studies at the Moscow School of Painting, Drainies and Architecture, and then at the Imperial Academy of Arts in St. Petersburg. But the method of teaching an academic school did not coincide with the expectations of Goluboy.

The desire to be in the center of the artistic life of Europe prompted her to make several trips to Paris. Here it met with an Augustea Rodney (1840-1917) and attended his workshop in 1896-1897. Communication with the famous sculptor and his advice helped Blue owner to realize their own way in art: "You ... the best of artists ... I gave me the opportunity to be free ..." The intersection of creativity of these masters was considered at the exhibition "Meeting through the century: Roden. Golubina. Claudel "in the Tretyakov Gallery in 2004.

From Roden Golubanka, the principles of constructing an artistic form, he learned the method of active development of the surface and black and white modeling, which led it to impressionism in sculpture. This period of its work is presented in detail in an updated exposition of the Museum-Workshop A. S. Golubina. Interest in the symbolism manifested itself in its art with metaphoricity, attention to unmanifested forms, referring to pantheistic motives. Passing through the passion by other style directions, Golubina returned to impressionism in his last large works - "Birch" and "Portrait of L. N. Tolstoy" (both - 1927, bronze).

The exposition includes about 35 sculptures. The first room meets visitors to one of the most significant works of Bluebin in the tree - a fireplace pair of Caryatid (1911). Choosing this material, the sculptor moves from an ancient motive to the abundance, changing the semantics of the image.

The idea of \u200b\u200binternal stress, read in curly compositions, also became the main theme of portraits of blue tub. In the central hall of the exposition, images of philosophers and writers of the Silver Age are collected: V. I. Ivanova, V. F. Erna, A. N. Tolstoy. The works show the interest of the author to the image of the individual "proportions of the Spirit", the intimate movements of the soul. The rapid, internally mobile nature of the poet A. White (1907, Gypsum) is expressed as a dynamic plastic form with an active expressive surface texture. Otherwise, the portrait of the writer A. M. Remizova (1911, Tree): In his features, the sculptor handed over his soul dorms, drama. The rounded movement of folds of wide clothing seems to seek to hide and muffle the inner disorder.

The theme of the third exposition hall was the circle of life, the movement of time. Its center is the newly renovated sculpture "Old Age" (1898, toned plaster), first demonstrated on the spring salon in Paris in 1899. Delicate image of a child in the work "Girl. Manka "(after 1904, marble, gypsum) arises from the untreated block of chopped marble. In the Bust "Old" (1908, toned marble), using the stylization "under Egypt", Golubanka interprets a stone as oblique matter entering into not only an old face, but human life itself. In the vase "Fog", according to the definition of the Boluboy itself, the theme of four ages is revealed. Comparison of options in plaster (1899) and marble (circa 1908) allows you to observe how the master works with different materials to achieve artistic tasks.

The art of Golubina, which, as noted by a lifted criticism, "almost portrait resemblance to the epoch" found, was highly appreciated at the beginning of the 20th century. In 1914 in the Museum of Fine Arts in Moscow (now - GMIA. A. From Pushkin), its work was the first in the history of Russia a monographic exhibition of sculptures. It is from the works of Bulkina in the Tretyakov Gallery since the mid-1900s, a systematic collection of a collection of modern sculpture began.

The expanded exposure in the halls of the gallery in Lavrushinsky Lane will be part of the Jubilee Celebration program of the sculptor. January 28, on the birthday of Golubina, the solemn opening of the exhibition will be held in her house-museum in Zaraysk, the ceremony will be attended by researchers of the Tretyakov Gallery. A new exposition was prepared in the Museum-Workshop A. S. Bolubina in a large Livshinsky lane. A new exposition was prepared. On February 5, a round table dedicated to the work of Golubina will take place in the Tretyakov Gallery.

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• 31.01.2020 The starting price of each lot of this auction does not depend on its estimate and is exactly $ 100
• 30.01.2020 Marron collected its collection for more than 20 years, it consists of 850 works of art, previously estimated at $ 450 million
• 30.01.2020 Sculpture status from the Museum of Ghetty in December 2019 was changed to "the work of an unknown master"
• 29.01.2020 The course had to be canceled after complaints about the fact that it is overly focused on the European "White History of Art" and studying the art of men artists
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• 31.01.2020 Total revenue amounted to almost 2.5 million rubles. Buyers - from Moscow to Magadan
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• 23.01.2020 In the catalog - thirty lots: eleven picturesque works, fifteen sheets of original and one - printed graphics, one work in mixed technique, one porcelain plate and one photo album
• 20.01.2020 The catalog of the first in 2020, the auction of the Auction and the DPI amounted to 547 lots - painting and graphics, glass, porcelain, ceramics, silver, enamel, jewelry, etc.
• 17.01.2020 In the new hands left a little less than half of all lots of the catalog. Among buyers - Moscow, Odintsovo, Minsk and Perm

• 31.01.2020 In the history of the conversation, something may seem naive, the other - to find application in the practice of market participants. Undoubtedly one thing: in any profession, the knowledge of each successful person should be based on luck and mistakes of its predecessors
• 03.12.2019

The grandfather was serfed in his youth, eventually managed to pay off at the will and settled in Zaraysk, engaged in gloomy. Father died early, and she all childhood and her youth along with his mother, brothers and sisters worked on a family garden. For life, she kept respect for physical work, bright and figurative popular speech and self-esteem.

No - even initial - the formation of Anna Bluehouse was not. Is that the decek taught her literacy ... She rereaded a lot of books in childhood, and at the same time began to sculpt clay figures. Local drawing teacher persuaded her seriously learn. Native did not interfere, but Annushka himself understood what it means to lose an employee for the peasant family. Therefore, a lot of time passed before she decided to leave his native Zagaisk.

Bluehouse House in Zaraysk

Anna was twenty-five years old when she, in a rustic tied with a handkerchief, in a black assembly skirt, came to Moscow and entered the School of Painting, Scary and Architecture. "In the workshop between the ancient castlers, strict and greatest, she looked like the mythical ancient prophet-Siville," said S. T. Konenkov who studied together with her.

"It was thin, high, fast in the movements, a girl with inspired, beautiful and strict face," said some contemporaries. "... with the face ugly and ingenious," they specified others.

Famous Russian patronage Maria Tenisheva told: "Soon after returning A. N. Benua from St. Petersburg ... He began to tell me some young talented sculptor of peasants, very needy and feeding brilliant hopes, began to persuade me to take it on his care, give She means to end their art education ... "

Tenisheva did not follow the hot persuasion of Benua, he did not take any money on his care and did not give any means ... What, by the way, he was very sorry for, when the name of Goluboy was already well known.

But the originality and power of the talent of Golubina really in the years of study attracted general attention to it. Later, she moved to the St. Petersburg Academy of Arts. Among her professors was the famous sculptor V. A. Beklemishev, who played in the life of Anna Bluebin special role. In letters to his relatives, she called him a "remarkably good and good man", "a large artist". Behind these common words was hiding deep, tragic, unrequited love, about which Beklemishev himself, married in a rich pit and happy family life, never learned.

In 1895, Golubanka went to Paris to continue their education. A family and society of art lovers helped her with the means. She entered the Academy of F. Kolarasi, but very soon realized that there was the same as in St. Petersburg, the salon-academic direction, completely alien to her in spirit. This year was very heavy for a young sculptor. Anna Semenovna was tormented by creative dissatisfaction, doubts about the loyalty of the chosen path, the restless feeling towards Beklemishev. Some memoirists mention her short unhappy tie with some French artist and a suicide attempt ... It is not at all by chance Golubanka fell ill with a nervous disorder.

The artist E. S. Kruglikov brought her to Russia. Returning after the hospital in Zaraysk, in his native family, Anna Semenovna calmed down a little and began to think about how to live on. And in the end, I decided to go with the older sister Alexander, who ended with paramedic courses, to Siberia. Here she worked at a reimportal point, helping the sister, with which, as with his mother, she always had a trust relationship. The mother of the sculptor, Ekaterina Yakovlevna, died at the end of 1898. Anna Semenovna could not come to his senses for a long time after this loss and did not take for any job until she caught her bust ...

The second trip to Paris turned out to be more successful. The work of Golubina saw the Great Rodgen himself and suggested her under his leadership. Many years later, recalling the year of working with a master, Anna Semenovna wrote him: "You told me what I myself feel, and you gave me the opportunity to be free."

The work of Golubina, exhibited in the Paris Spring Salon in 1899, had a well-deserved success. In 1901, she received an order for the sculptural design of the Moskovsky Art Theater's front door. The burner "Wave" - \u200b\u200ba rebellious spirit struggling with the elements - and now decorates the entrance to the old Mkat building.

Once again she visited Paris in 1902. Visited London and Berlin, acquainted with the masterpieces of world art. From the trip returned with huge debts; The workshop was not to remove anything, and Anna Semenovna was never able to get profitable orders.

True, in the first years of the twentieth century, some of the works brought her decent fees. The sculptures of Golubina became increasingly appearing at Russian exhibitions, every time I encountered an enthusiastic reception. But all Anna Semenovna earned with an amazing generosity distributed in need, familiar and unfamiliar people, sacrificed to a kindergarten, school, People's Theater. And even becoming the famous, she still lived in poverty, eating only bread and tea.

"Her suit," recalled one friend, "always consisted of gray skirts, blouses and apron of canvas. Only apron was filmed in the front cases. "

All ascetic strict life was devoted to art. She spoke to her daughters of her friends, Evgenia Glagoleva: "If you want something from your writing something happens, do not get married, do not raise the family. The art of connected does not like. It is necessary to come to art with free hands. Art is a feat, and here you need to forget everything, everyone to give, and a woman in the family - a captive ... "And recognized:" Who is not crying over his thing, he is not the Creator. "

Having his family, Anna Semenovna brought up the niece faith, the daughter of an older brother. Often and for a long time lived with relatives in Zaraysk, helped her sister on the economy, on a par with everyone worked in the garden. And this, oddly enough, not hurt her work ...

In pre-revolutionary years, Zaraysk was one of the places of reference. The "politically unrealistic persons", expelled from the capitals, and a local revolutionary intelligentsia were constantly going to the house of Golubny. Leisurely, but interested in a self-concerned about the future of Russia. Anna Semenovna could not get carried away by the idea of \u200b\u200buniversal fraternity, justice and happiness. She even spread illegal literature ... But one day, when it came to the inevitability of the revolutionary coup, the prophetically said: "Scary, as much, there is a lot of blood."

During the events of 1905, she was in Moscow. The eyewitness recalls that when the Cossacks accelerate people by Nagayki, Anna Semenovna rushed into the crowd, hung on the horse's neck of one of the riders and screamed in the frenzy: "Killers! You do not dare beat the people! "

Two years later, she was arrested for the distribution of proclamation. In September 1907, the court sentenced the artist to a one-year conclusion in the fortress, but she was released on bail. For a long time, Anna Semenovna remained under the supervision of the police. Here is another bitter-entertaining phrase from her letter: "At our time, nothing to happen can happen, because it is already there."

When the first world, Goluboy was already fifty. Criticism wrote after her personal exhibition in the Museum of Fine Arts: "Never have a Russian sculpture so deeply lacked at the heart of the viewer, as at this exhibition, arranged in the days of great tests." The entire collection from the exhibition Anna Semenovna sacrificed on the wounded.

The hot character of Bluebina did it rather non-advising even with close people. One of the stumbling blocks between her and contemporaries is the purchase of her works.

"There are wonderful things - mostly portraits," the artist I. Grabary artist wrote about the exhibition, the artist I. Grabar. - I would buy things 6-7, but it seems to be Konenkov: there is nothing, but less than 2500-3000 rubles and do not go away. Just the misfortune of this Boszyatskaya pride and "contempt for bourgeois", what she considers every person who is not dirty and not a crumpled starch collar. "

Well - just such money the gallery paid for the most prominent works of Russian artists, and private collectors bought them for a much greater price! For Golubina and Konenkova, the example was the example of their senior contemporary Valentin Serov, strict and fundamental when it comes to assessing the work of artists.

With the very exhibition, not a single sculpture of Goluboy was sold. They moved from the museum halls to some basement, where they stood unattended for a long time, until the 1920s ... And then, in 1915, Anna Semenovna again overtakes the nervous disorder. Dr. S. V. Medvedeva-Petrosyan told: "I saw a high, middle-aged, painful view of a woman, with almost male features of an ugly face. She smiled at me, and that it was for a charming smile, what an extraordinary radiation was glowed by her having gray eyes, which attractive force came from all its creature! I was immediately conquered by it ... The patient tormented a gloomy longing and insomnia, however, and in the worst moments of his illness, her beautiful moral appearance was not overshadowed by an impatient word or a sharp leaving. Everyone loved her very much. "

Golubina did not allow strangers to his soul, refused to pose for portraits. Mikhail Nesterova exclaimed on all such requests: "What are you! To write me! Yes, I'm crazy! Where to me with my horns on the portrait! I am mad". (Remembering Anna Semenovna years later, the artist said: "It was Maxim Gorky in a skirt, only with another soul ...".) And on the rules of the master consisted of his students: "Man are looking for. If you find a person in the portrait - here and beauty. "

Even by Anna Semenovna is extremely reluctant. N. N. Chulkov, the wife of the writer, recalled: "... he said that she did not like her face and did not want to exist her portrait. "I have an acting person, sharp, I do not like it." And on a rare photograph of her youth - a cute girl with a blond braid ...

A party

Vladimir Egorovich Makovsky

Low it is known that the portrait of Golubina still exists! In the picture of V. Makovsky "Party" (1897), she is still very young, modestly stands at the table. Persuaded the artist to populate, albeit for the scene from the people's life ...

"The artist (doubt can not be!) It was quite deliberately prevented the collection and publication of materials that would be devoted to her biography," the researcher of the life and creativity of the sculptor A. Kamensky believes. - Perhaps nothing really appreciated Golubina, as the ability to remove from yourself, to completely dissolve in your business, to become echo of human experiences ... "

She never recorded the location of their sculptures sold. Many forces put the organizers of her museum, when in 1932 they collected the work of the master together, to the premises of her former workshop. Some of the works have not been found so far ...

... After the news about the October Revolution, Golubanka said: "Here, now the authorities will have real people." But soon he learned about the execution of two ministers of the temporary government, with one of which was familiar (later they wrote that they were shot by anarchists). And when they came to her from the Kremlin, offering work, Anna Semenovna replied with his characteristic directness: "You kill good people," and refused.

Despite this, in the first post-revolutionary months of Golubina entered the Commission on the protection of monuments of antiques and art and to the bodies of the Mossovet to combat carelessness. Dirty, drowned boys, she led to her workshop, fed, left to spend the night - even after they robbed her and almost killed.

Kamensky

I knew Golubein claimed that it was easier than others to transferred those years, because it was accustomed to deprivation and "did not notice them now." For the sake of earnings, the famous sculptor painted the fabric, cut out the jewelry from the bone, but the money was barely enough for not to die with hunger ... it was taken for private lessons, often free - as a rule, the fee paid "in kind": for example, one of her students heated the workshop Masters.

In 1920-1922, Anna Semenovna taught in art workshops, but she had to leave from there because of the unkind atmosphere. She was at sixty, a severe ulcer of the stomach was added to the old ailments from constant malnutrition and excitement. A different sharp word or coarse lunge against it could turn into painful pains and for a long time to deprive spiritual equilibrium. Once some kind of type threw a sculptor in the face that she had already died for art. The artist replied that she could, and died, but she lived, and her evil opponent was always dead. Owned Anna Semenovna had to go to surgery ...

Direct to field, she and in art did not know how to be different. At one time refused to sculpt the Bust Shalyapin - he simply could not work on the portraits of people to whom she had a dual attitude. In 1907, he created the portrait of Andrei White - a perfect profile ... Horses! I did not tolerate gone and unrestrained praise. When one day her sculptures compared with antique, she answered sharply: "It's ignorance in you!" Valery Bryusov When Anna, Semenovna appears in the literary and artistic circle, turned to her with a "high-pushed speech." Starting, Golubank turned away, waved his hand three times on him, turned and gone.

In 1923, the sculptor took part in the competition for the manufacture of the monument A. N. Ostrovsky. Presented nine sketches of options, two of which were awarded award. But the first place and right to make a monument received another author - N. Andreev. Anna Semenovna, deeply offended, arrived at the meeting room and began to twist his models: "Compare His Ostrovsky with my! Mustache, and nothing more. "

The last work of Goluboy - "Leo Tolstoy" - unexpectedly appeared the indirect cause of her death. In the youth, Anna Semenovna once met with the "great old man" and, according to the evidence of an eyewitness, he argued seriously with him. The impression of this meeting remains so strong that many years later she refused to use when working his photograph and "made a portrait on the presentation and on their own memories." The block glueding from several pieces of wood was massive and hard, and Anna Semenovna move it could not be in no case after the operation transferred in 1922. But she forgot about age and diseases: when two of her students fought unsuccessfully with a wooden mahina, removed them with his shoulder and moved a non-dangling tree with all his strength. Soon after, I felt bad and set for my sister, in Zaraysk: "She knows how to treat me ... Yes, I will come in three days ..."

Departure turned out to be a fatal mistake. Professor A. Martynov, for many years he treated as an artist, said that the immediate operation would certainly save her ...

Text E. N. Oboymina and O. V. Tatova

Magnificent photos from the Museum-Workshop of Golubina are taken from the Album "Golubina" on Yandex-pictures:

Publications of the architecture section

5 victories and 5 lesions of Anna Golubina

About takeoff and falls of the first woman, famous in Russia as a sculptor, tells Sophia Bagdasarov.

Victory number 1: Gardening becomes sculptor

The miracle was not that Golubina became famous. The miracle is generally in the fact that she managed to become a sculptor. After all, in the XIX century, a woman to master the profession was difficult. Recall the difficult path of the artist of her generation Elizabeth Martynova (the model of the Somovskaya "Lady in Blue"), which entered the Academy of Arts on the very same year, when it was permitted by women. Students were about a dozen, and they looked at them with skepticism. And Golubina in addition studied not on the painter, but on the sculptor, that is, it was not at all feminine physical labor.

And here is also the origin: her grandfather, old goods and the head of the Zaraky spiritual community Polycarp Sidorovich, reulted from the serfdom. He brought up Anna, the father of which died early. The family was engaged in breeding the garden and kept a storage courtyard, but there was enough money to teach the brother seeds. All other children, including Anna, were self-taught.

When the garden lean Zaraysk and went to Moscow, she was already 25 years old. She planned to study the firing technique and the painting on the china in the newly founded by Anatoly Gunster of Fine Arts. I didn't want to take Golubein, but she caught a "praying old woman" in one night, and she took her.

Defeat number 1: The first trip to Paris

Training initially went well. A year later, she moved to the Moscow School of Painting, Sculpture and Architecture, where she studied for another three years. Finally, the vertex: she was taken to study at the St. Petersburg Academy.

Here, Bulkina also offered to engage in salon art, which was not suitable for her temperament. But the trouble is not in this. Although her memoir friends about this time silently silent, then something bad happened in Paris. Apparently, unhappy love, by rumors - with a kind of French artist. An overpremely 30-year-old woman tried to commit suicide twice: first rushed to the Seine, then he tried to poison. Artist Elizabeth Kruglikov, also living in Paris, took her homeland. In Moscow, Golubanka went to the psychiatric clinic of the famous Korsakov.

Victory number 2: recovery

Professor treated her just a few months: it was obvious that healing is not in medicines, but in creativity, and maybe just in labor. Golubankina returned to the family to Zaraysk, then together with her sister Alexander, who only finished the Feldscher courses, went to Siberia, where they were intensely worked in a migrating point.

Victory number 3: The second trip to Paris

Anna Golubanka in Paris in 1898

Restoring peace of mind, Golubina returned to Paris in 1897. And finally found the one who had to learn - Roda.

In 1898, she submitted to the Paris Salon (the most prestigious art competition of the time) sculpture "Old age". For this statue, the same unfortunate in the simply, as for the Rodne "one, which was excellent Olm'er" (1885).

Golubina interpreted the teacher in his own way. And she did it with success: she was awarded a bronze medal and praised in the press. When the next year she returned to Russia, heard her already heard. Savva Morozov ordered her relief to decorate Mkat. She created portraits of the most brilliant cultural figures of the silver century - A. Whor, A.N. Tolstoy, V. Ivanova. Shalyapina, however, I refused to vale: she didn't like him like a person.

Defeat number 2: Revolutionary activities

Golubina was born during a fire and herself argued that her character was "fireman". She was intolerant and uncompromising. Injustice to indignant it. During the revolution of 1905, she almost died, stopping the Cossack horse that dispersed the workers. Her connections began with the RSDLP: on their request, she creates a bust of Marx, visits conspiracy apartments, makes an appearance to illegal immigrants from home in Zaraisk.

In 1907, she was arrested for the spread of proclamation and sentenced to the year in the fortress. However, due to the mental state, the bluebird was discontinued: they were released under the supervision of the police.

Defeat number 3: Lack of husband and children

Anna Galubkin with a group of artists. Paris, 1895.

Or maybe this is not a defeat, but also victory? No wonder Golubanka told one girl who wanted to become a writer: "If you want something from your writing to come out, do not get married, do not raise the family. The art of related hands does not like. It is necessary to come to art with free hands. Art is a feat, and here you need to forget everything, and a woman in the family - a captive ".

However, although Golubina was unmarried and did not have children, she loved her nephews gently, brought her daughter to faith. And among her work, the images of the Mityy nephew, who was born sick and died, without surviving up to the year. One of his favorite works was the relief "motherhood", to work on which she returned from year to year.

Her pockets were always packed with sweets for children, and in post-revolutionary years - just for food. Because of the defeats, she once almost died: she was sheltered by the stink of the streets, and they squeezed her sleeping pills and robbed.

Victory No. 4: Moscow Exhibition

In 1914, the first personal exhibition of 50-year-old Goluboyna took place - within the walls of the Museum of Fine Arts (now GMI). The public was broken, the profit from the tickets was huge. And Golubanka donated everything for the benefit of the wounded (just the first world).

Critica was delighted with her work. However, Igor Grabar, who thought to buy several sculptures for the trains, scolded Bluebin for pride: she asked too high prices. Nothing was sold from the exhibition.

Victory No. 5: Survival during the Civil War

Alas, in 1915, Goluboy had a nervous breakdown again, they were placed in the clinic. For several years she could not create. However, the post-revolutionary months entered the Commission on the protection of monuments of antiquity and to the bodies of the Mossovet to combat carelessness (here again, children!).

When Moscow Merzla and Horodala, Anna transferred it steadfast. As friends said, because she was so accustomed to asceticism, which now did not notice deprivation. However, for the sake of earnings, she was engaged in painting on the tissues, gave private lessons. Friends brought her Bormachin and dragged old billiard balls: of them - from ivory - she pulled out cameo, which sold.

Lev Tolstoy. 1927 year

Despite the revolutionary past, the Bolsheviks Golubanka did not work. It was distinguished by the gloom of character, impracticity and inability to arrange their affairs. In 1918, she refused to work with the Councils because of the murder of Kokoshkin's temporary government. Over time, perhaps, it could be free to get better - but in the competition for the monument to Ostrovsky in 1923 she did not take the first place, and the third, and fell into anger.

In the 1920s, Golubina earned teaching. Her health weakened - the ulcer of the stomach, which had to operate. The last works of the masters were "Berzka" - a symbol of youth and a portrait of Lion Nikolayevich Tolstoy, whom she scolded in memory, in principle, in terms of photography. Shortly before the death of Golubina returned to his relatives in Zaraysk, surrounded by which and died in the 63-year-old age.

Defeat number 5: Fate workshop

Relatives of the sculptor transferred to the state, according to its will, more than one and a half hundred works. The Moscow workshop opened the Museum of Golubina. But in 1952 the trouble was killed. Suddenly, in the framework of the struggle, whether with formalism, or something else it turned out that Golubanka "distorted" the image of a person, including the Soviet. The Museum-Workshop was closed, and his collection was distributed on the Foundations of Museums of several cities, including the Russian Museum and Tretyakov.

Only in 1972, the reputation of Goluboy was cleared and the museum decided to restore. Since the workshop has become a branch of the Tretyakov Gallery, many works in the native walls could be returned simply. But the rest of the works are forever stuck in other cities. However, the main thing is that Golubina returned a good name.