Versailles in the work of Beno'a. Traveling in time or resettle souls? Benoit and his "Latest Walking of the King" Versailles Topics in the work of Alexander Benoit
The work of Alexander Nikolayevich Benoa still remains closed for Russia, because Most of his works are outside of Russia. Basically, those who are interested in the art know his literary works devoted to both Russian and foreign artists. However, Alexander Benua was an extremely versatile personality - he is a painter, and a schedule, and theater decorator, and director director, and a historian of art. And this is not surprising, because he comes from a family who gave the world a lot of artistically gifted people.
Benoita A.N. Chinese pavilion in Versaille. Jealous of 1906.
In 1794, Confectioner Louis-Jules Benoit (1770-1822) arrived in Russia from France (1770-1822). His son Nikolai Leontievich is the father of Alexander Benua, became a famous architect. Alexander was only a few months in 1887 in the evening classes of the Academy of Arts, then he studied at the Faculty of Faculty of the University of St. Petersburg. He was a self-taught artist, but continuously worked on himself, calling himself " product of art family". Watercolor painting technique He was taught by the elder brother Albert Benua, also a famous artist.
Benoita A.N. Versailles
Benoita A.N. Versailles. Kury 1898
In 1894, Alexander Nikolaevich Benua began his career theorist and historian of art by writing chapter about Russian artists for the German collection "History of painting XIX century." In 1896, first came to Paris, and his French impressions were so strong that a whole series of watercolor drawings appeared on the world from the history of France. Fantastic, fabulous world. Trips to Paris will be regular for the artist and its famous series of works under the general conditional name "Versailles" will appear, which includes the work of 1896-1922.
Benoita A.N. Dance. Pavilion Versalya
Benoita A.N. Scene in the garden
Benoita A.N. On a walk
Benoita A.N. Spring day in Trianon 1921
Benoita A.N. Walk in Versailal Park
Benoita A.N. Walk king 1906.
"Versailles for Alexander Benois - the embodiment of the harmonious unity of man, nature and art. In the "harmony of external forms of life", the artist sees no superficial layering, but the expression of "culture of human dignity", that is, the beginning of ethical. The main character of Pictures Benouua is invisible. This is an artist, the creator of the Versailles ensemble. He is a converter of nature, director of life. He installed that solemn way, to whom the life of the era is subject. Rather, it is even more right that two heroes in the Versailles paintings. The second is Beno'a himself, a philosopher and a dreamer, a typical artist "of the world of art", in which the fumes and chaoticness of the Meshchansky life give rise to beauty, harmony, greatness.
The cycles of work dedicated to the Versailles of the XVII century - the residence of the King of Louis XIV are written on the basis of numerous field observations. Under the influence of antique memoirs, diaries, paintings, engravings, drawings, poems and especially the music of the XVII - early XVIII century in the soul of the artist, according to him, "vague, slightly degraded memories", he turns the past. "Versailles series" - the opportunity to remind you how many generations have already seen in his century Versailles Park, and thereby say about the immortality of the art and the frequency of human life. But the art is nothing more than one of the manifestations of the greatness of the human spirit".
A. P. Gusarova "World of Art"
Benoita A.N. Rainy day in Versaille
Benoita A.N. stroll
Benoita A.N. Wedding Walk 1908.
Benoita A.N. Alley Versailles
Benoita A.N. Feeding fish
Benoita A.N. Masks
Benoita A.N. Bathing Marquis
Benoita A.N. Masquerade at the king
Benoita A.N. Italian comedy 1905.
Benoita A.N. Versailles
Benoita A.N. In the park Versalya
Benoita A.N. Comanty. Musical farce
Stylistically watercolor works are very similar to the works of Konstantin Somov and it is not surprising, it is together with him Alexander Nikolaevich Benua created the famous artistic association "The World of Art" "and founded the magazine of the same name. Miriskussniks entered the history of Russian painting as the propagandists of the century XVIII, a century costume, love, a century of beauty. For this departure to the past, Benua repeatedly scolded, as all his artistic association swore. So Ilya Efimovich Repin rather hardly spoke of Beno'a: " defending, amateur, never studied seriously"...
Benoita A.N. Copper rider 1916.
Benoita A.N. Peter Great Thinking About Construction of St. Petersburg
Benoita A.N. Petersburg
Benoita A.N. Parade with Paul I 1907
Benoita A.N. Alley of the Summer Garden
Benoita A.N. Summer garden
Benoita A.N. Hermitage Peter Great
Benoita A.N. On the streets of St. Petersburg
Benoita A.N. Big Cascade Peterhof.
Benoita A.N. Peterhof 1900.
In 1916-1918, Benua creates illustrations for the poem A. S. Pushkin "Copper Horseman" and the cycle of works dedicated to St. Petersburg and suburbs. In 1918, the artist headed the Art Gallery of the Hermitage, became her keeper. In 1926, Alexander Nikolaevich 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. Benua died on February 9, 1960 in Paris.
Landscape series of watercolors A.N. Benua
Benoita A.N. French Alps 1928.
Benoita A.N. Italian landscape
Benoita A.N. Italian courtyard
Benoita A.N.Luxembourg Sad.
Benoita A.N. Embankment Rey in Basel 1902
Benoita A.N. Winter landscape
P.S. All images are clichable and most increases to a large size.
Benua Alexander Nikolaevich (1870 - 1960)
Walk king 1906.
62 × 48 cm
Watercolor, Gouache, Pencil, Feather, Cardboard, Silver, Gold
State Tretyakov Gallery, Moscow
"The last walks of the king" - the cycle of the drawings of Alexander Benua, dedicated to the walks of the King of Louis-Sun, His old age, as well as autumn and winter in the Versailles Park.
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Versailles. Louis XIV feed fish
Description of old age Louis XIV (hence):
"... the king became sad and sullen. According to Madame de Mentenon, he became "the most disadvantaged man in all France." Louis began to violate the laws of etiquette established by him.
In the last years of life, he gained all the habits like an old man: late got up, ate in bed, half a liter accepted ministers and state secretaries (the deeds of the Kingdom of Louis XIV engaged in the last days of his life), and then sat for hours in a big chair, putting a velvet under his back Pillow. In vain, the doctors repeated their sovereign that the lack of gestures arises boredom and drowsiness and is a harbinger of close dem.
The king could no longer resist the onset of flushness, and his age approached eighty.
Everything, for which he agreed, was limited to travel along the gardens of Versailles in a small controller. " 
Versailles. At the ceremonary pool
Walk king
"The source of inspiration for the artist is not the royal magnitude of the castle and parks, but the" unsteady, sad memories of the kings who are still roaming here. " It looks like a certain almost mystical illusion ("I sometimes get to the state close to hallucinations").
For Benoit, those shadows that silently slide on the Versailles flesh, rather, memories than fantasy. According to his own statement, images of events are rushed before his eyes, which happened here. He "sees" the very creator of this magnificence, the King of Louis XIV surrounded by the suite. Moreover, he sees it is scary old and sick, which is surprising accurately reflects the former reality. " 
Versailles. Greenhouse
Versailles. Garden of Trianon
From the article of the French Researcher:
"The images of the last walks of Louis XIV" are certainly inspired, and other times and are borrowed from texts and engravings of the "King of Sun".
However, such a look - the approach of the erudite and the connoisseurs is not fraught with dryness or pedanticism and does not force the artist to engage in lifeless historical reconstructions. Indifferent to such expensive to the heart of the "complaints of stones dreaming of exterior in the slaughter, Benua did not capture neither the templement of the palace, nor the launch of the park, which is still certainly caught. He prefers historical accuracy of fantasy flights - and at the same time his fantasy is historically accurate. Themes of the artist - the flow of time, the "romantic" invasion of nature into the classic park of Lenotra; It takes - and amuses - the contrast between the sophistication of park decorations, in which "every line, any statue, the slightest vase" is reminded "On the divinity of the monarchical power, about the greatness of the Sun King, about the inviolability of the mains" - and the grotesque figure of the King himself: a horn old man In a catal, which pushes Liverey Lackey. " 
Curration
Allegory River
Allegory River
Several years later, Benua will draw an equally irresistible verbal portrait of Louis XIV: "Crushed old old man with squeezed cheeks, with bad teeth and face made by smallpox."
The king in the "walks" of Benua is a lone old man left court and clinging for the confessor in the premonition of close death. But he is rather not in the role of the tragic hero, but in the role of a soli-character character, a static, whose almost ephemeral, the ghostly presence emphasizes the inviolability of the scenery and the scene with which the once-great actor is being out of the burden of this monstrous comedy. " 
The king walked into any weather ... (Saint-Simon)
At the same time, Benua seems to forget that Louis XIV was the main customer of the Versailles play and was not mistaken at all regarding the role that he was prescribed to play himself. Since the story was represented by Benoit, a certain similarity of the theater play, it was inevitable and the change of bright Misaneszen less successful: "Louis XIV was an excellent actor, and he earned the applause of history. Louis XVI was just one of the "grandchildren of the great actor", which fell on the stage - and therefore it was very natural that he was awarded the audience, and the play failed, recently had a huge success. "
The cycle of the drawings of Alexander Benouua, dedicated to the walks of the King of Louis-Sun, his old age, as well as the autumn and winter in the Versailles Park, perhaps one of the most memorable - and sad, and beautiful - in the work of the artist.
A. Benua. "Latest walks of the king."1896-1898
(There are more late drawings)
"Versailles. Louis XIV feeds fish"
Description of old age Louis XIV from here:
"... the king became sad and sullen. According to Madame de Madennon, he became" the most disadvantageous person in all of France. "Louis began to violate the laws of etiquette established by him.
In the last years of life, he gained all the habits like an old man: late got up, ate in bed, half a liter accepted ministers and state secretaries (the deeds of the Kingdom of Louis XIV engaged in the last days of his life), and then sat for hours in a big chair, putting a velvet under his back Pillow. In vain, the doctors repeated their sovereign that the lack of gestures arises boredom and drowsiness and is a harbinger of close dem.
The king could no longer resist the onset of flushness, and his age approached eighty.
Everything, for which he agreed, was limited to visits in the gardens of Versailles in a small controller. "
"Versailles. At the basin of ceres"
I also put here other drawings of Benoit, where the king does not appear, but there is simply Versailles.
"Flora pool in Versaille"
From the article "Versailles in the work of Beno'a"
Alexander Benois first visited Versailles in his youth, in the 1890s.
Since then, he has remained obsessed with the poetic of the old royal palace, "Divine Versaille", as he calls him himself. "I returned from there twisted, almost sick from strong impressions."
From the recognition of the nephew Evgeny Lancere: "I was drunk by this place, it is some kind of impossible illness, a criminal passion, strange in love."
"King Louis XIV in the chair"
For life, the artist will create more than six hundred oily calets, engravings, pastels, guisas and watercolors dedicated to Versailles.
When Benua was 86 years old, he complained about weak health only from the point of view that it does not allow "walking along the paradise in which there was no time".
And this is a real lifetime portrait of an old Louis-Sun, drawn A. Benua. Just not by our artist, butAntoine Benoist.
(1632-1717), who worked at the court. In our Benoit, he was not a relative, and not even the same name (Other Writing), but I am sure that such a clever, as Alexander knew about him and could be felt some kind of spiritual relationship due to the name of the name.
"Walk the king"
"The source of inspiration for the artist is not the royal magnitude of the castle and parks, namely," unsubstantial, sad memories of the kings who are still roaming here. "This is similar to a certain almost mystical illusion (" I sometimes get to the state close to hallucinations ") .
For Benoit, those shadows that silently slide on the Versailles flesh, rather, memories than fantasy. According to his own statement, images of events are rushed before his eyes, which happened here. He "sees" the very creator of this magnificence, the King of Louis XIV surrounded by the suite. Moreover, he sees it is scary old and sick, which is surprising accurately reflects the former reality. "
"Versailles. Orangery"
"Versailles. Triarone garden"
From the article of the French Researcher (there is an interesting perspective in general):
"Images of the" Line Louis XIV "images are certainly inspired, and sometimes borrowed from texts and engravings of the" King of Sun ".
However, such a look - the approach of the erudite and the connoisseurs is not fraught with dryness or pedanticism and does not force the artist to engage in lifeless historical reconstructions. Indifferent to such expensive to the heart of the "complaints of stones dreaming of exterior in the slaughter, Benua did not capture neither the templement of the palace, nor the launch of the park, which is still certainly caught. He prefers historical accuracy of fantasy flights - and at the same time his fantasy is historically accurate. Themes of the artist - the flow of time, the "romantic" invasion of nature into the classic park of Lenotra; It takes - and amuses - the contrast between the sophistication of park decorations, in which "every line, any statue, the slightest vase" is reminded "On the divinity of the monarchical power, about the greatness of the Sun King, about the inviolability of the mains" - and the grotesque figure of the King himself: a horn old man In a catal, which pushes Livrayny Laki. "
"Curration"
"Allegory of the River"
"Several years later, Benua will draw an equally irresistible verbal portrait of Louis XIV:" Crumpled old man with squeezed cheeks, with bad teeth and a face made of smallpox. "
The king in the "walks" of Benua is a lone old man left court and clinging for the confessor in the premonition of close death. But he acts rather not in the role of the tragic hero, but in the role of a stained character, a statist, whose almost ephemeral, the ghostly presence emphasizes the inviolability of the scenery and the scene with which the once-great actor is being out, "the burden of this monstrous comedy." "
"The king walked into any weather ... (Saint-Simon)"
"At the same time, Benua seems to forget that Louis XIV was the main customer of the Versailles performance and was not mistaken at all regarding the role of playing himself to play. Since the story was represented by Benua a certain similarity of the theater play, it was inevitable and the change of bright Misaneszen less successful:" Louis XIV was an excellent actor, and he earned the stories applause. Louis XVI was just one of the "grandchildren of the great actor", who fell on the stage, - and therefore it was very natural that he was awarded the audience, and the play failed, and the play recently had a huge success " ".
"Allegory of the River"
"King"(here is not in the chair) 
"Walk in the garden of Versailles"
"Pond in Versaille"
"Fantasy on the Versailles"
Anatoly Lunacharsky, the future Soviet "Minister of Culture", swore into the cycle, seeing drawings at the exhibition in 1907:
... The worst thing is that G. Benua, following the example of many, chose a special specialty. Now it is very accepted among painters and young poets to find and protect their original individuality, in love with some, sometimes to the funny narrow and deliberate genus of plots. Mr. Benua chose Versailles Park. Thousand and one etude of the Versailles Park, and more or less well made. And yet I want to say: "hit once, hit two, but it is impossible until the inaccuracy." For G. Benois called in the public a genus of a special mental stun: Versailles stopped acting. "How good!" - says the audience and widely, widespread.
And indeed, to determine who this brilliant person was, not just: the circle of interests of Alexander Benua is very wide. He and an artist engaged in machine painting, schedule and decorator.
Childhood
Alexander Nikolaevich Benua appeared on May 3, 1870 in St. Petersburg - the city, to whom, throughout his life, "Gentle and deep feeling". Moreover, its surroundings were included in the cult of his native city - Oranienbaum, Pavlovsk and the main thing - Peterhof. Later in his memoirs, Benoit will write: "My romance has begun in Peterhof," for the first time he got into this "fabulous place," when he was not even month, and it was there for the first time he began to "realize" the surrounding.
In the house where a little shura grew, a completely special atmosphere reigned. Since childhood, Benua was surrounded by talented, extraordinary people. His father Nikolai Leontievich and Brother Leonthi - were "brilliant architectural masters", both graduated from the Academy of Arts with a Gold Medal, which, according to Beno'a himself, was the "rare case in the life of the Academy." Both were "virtualo patterns and brushes." They inhabited their drawings with hundreds of human figures, and they could be admired as paintings.
Father Benois participated in the construction of the Cathedral of Christ the Savior in Moscow and the Mariinsky Theater in St. Petersburg. The grand stables in Peterhof are considered the greatest project. Brother Leonthius later took the position of rector of the Academy of Arts. Another brother, Albert, wrote wonderful watercolors, which in the 1880s and 1890s were bought apart. The exhibitions of his paintings attended even the imperial couple, in the society of watercolorists, he was given by the chairman, and the watercolor class was given to him at the Academy.
Beno'a began to draw a little from a diaper. Family legend has been preserved
The fact that, having received a pencil in the hands of a pencil in the eighteen months, the future artist captured him with his fingers as it was considered correct. Parents, brothers and sisters admired all that would make them a little Shura, and forever praised him. In the end, at the age of five, Benua tried to make a copy with the "Bolshenskaya Mass" and experienced shame and even a kind of insult to Raphael for the fact that he was not given.
In addition to Raphael - in front of copies of huge cloths in the Academy Hall, the boy is still chainel, "there were two more serious hobbies in Little Beno'a: Dadnight albums, in which landscapes alternated with sketches of the Military Military, Sailors, Gondolors, Monks of all sorts of orders, and without Doubt - theater. As for the first, looking at the "daddy albums" was a big holiday for both the boy and for the Father. Each page Nikolai Leontievich accompanied comments, and the son knew his stories in all details. As for the second, then, according to Beno'a himself, it was "passion for the theater" played hardly a not more important role in its further development.
Education
In 1877, Camilla Albertovna, the mother of Benua, seriously thought about the formation of his son. And I must say that for the age of the age, this pet's pet has not yet been able to read or write. Later, Benouua recalled his attempts to teach him to the alphabet: about "smoking cubes" with drawings and letters. He folded the pictures with the hunt, and the letters only annoyed it, and the boy could not understand why M and A, set nearby, are formed by the syllable "Ma".
Finally, the boy was sent to kindergarten. As in any kind of model school, there, in addition to other items, the drawing was taught, which led the artist-Mobile Lemoch.
However, as Beno'a himself recalls, he did not want any benefit from these lessons. Already a teenager Benua has repeatedly met with a lemlo in the house of her brother Albert and even received flight reviews from the former teacher to his address. "You should seriously draw painting, you have a noticeable talent," said Lemoch.
Of all the educational institutions who visited Beno'a, it is worth noting the private gymnasium K. I. May (1885-1890s), where his acquaintance with people, who were later the backbone of the "World War". If we talk about artistic training, then the so-called academic education of Benua did not receive. In 1887, still being a gymnasium-a semiclator, he visits the evening classes of the Academy of Arts for four months. Disappointed in the teaching methods - learning seems to him state and boring, - Benua begins to paint on his own. He takes watercolor lessons from his older brother Albert, stones the literature on the history of the arts, later copies the picture of the old Dutch in the Hermitage. After graduating from the Gymnasium, Benua enters the Faculty of Faculty of the University of St. Petersburg. In the 1890s, he begins to draw.
Oranienbaum
The painting "Oranienbaum" became one of the first works of the "Russian Series" - everything breathes and simply breathing and simplicity, but at the same time the cloth attracts his eyes.
For the first time, the public of the work of Benua was presented in 1893 at the exhibition of the Russian Society of Watercolorists, whose senior brother Albert was chairman.
In 1890, Parents of Benoit, wanting to reward the Son for the successful end of the gymnasium, provide him with the opportunity to go on a journey through Europe.
From his journey, Benua brought more than a hundred photographs of paintings purchased in Berlin, Nuremberg, Heidelberg museums. He pasted his treasures into large format albums, and later Somov, Nouvelev and Bakst, Lancer, philosophers and Dyagilev studied for these photographs.
After graduating from university in 1894, Benoit
Park "- then go from the hands of a collector and a long time is stored in private collections.
Versailles series
Under the impression of a trip to France, Beno'a in 1896-1898 creates a cycle of watercolors: "At the ceremonary pool," Versailles, "" King is stroll in any weather, "" Masquerade with Louis XIV "and others.
Makes a few more trips abroad. He travels again in Germany, and also visits Italy and France. In 1895-1896, the artist's paintings regularly appear at the exhibitions of Watercolor Society.
M. Tretyakov acquires three paintings for their gallery: "Garden", "Cemetery" and "Castle". However, the best works of Benoit - paintings from the "Walk of the King of Louis XIV in Versailles", "Walk in the Versaily Garden".
From the fall of 1905 to the spring of 1906, Benua lived in Versaille and could watch the park with any weather and at different times of the day. This period includes natural etudes with oil - small cardboard or skidding, on which Benoit wrote one or another corner of the park. A watercolor and gouache made on the basis of natural sketches, this canvas Benois is stylistically fundamentally different than the fantasies of the early Versailles cycle. Their paints are richer, landscape motifs are more diverse, the composition of bolder.
"Versailles. Greenhouse"
The pictures of the Versailles series were exhibited in Paris at the famous exhibition of Russian art, as well as in St. Petersburg and Moscow at the exhibitions of the Union of Russian Artists. Critics were not flattering, in particular, there was an abuse of the motives of the French Rococo, the lack of novelty themes and polemical pointedness.
Love for St. Petersburg
The artist addresses the image of the beloved city for most of his creative path. In the early 1900s, Benua creates a series of watercolor drawings dedicated to the suburbs of the capital, as well as the old Petersburg. These sketches were performed for the community of Saint Eugene during the Red Cross and published in the form of postcards. Beno'a himself entered the editorial commission of the community and spoke for the postal cards, in addition to charity, served and cultural and educational purposes.
Contemporaries called the community of the artistic encyclopedia of the era. Since 1907, postal cards have been produced in circulation to 10 thousand copies, and the most successful withstood several reprints.
Again to the image of St. Petersburg, Benua returns in the second half of the 1900s. And again the artist writes pictures close to his heart of historical topics, including the "parade of Pavel I", "Peter I on a walk in the summer garden" and others.
The composition is a peculiar historical stage, transmitting the immediate sensation of the last era. Like a spectrum in the puppet theater, the action is unfolded - a march of soldiers in the Mundar of the Prussian sample in front of the Mikhailovsky castle and an area of \u200b\u200bConnyabl. The appearance of the emperor echoes the figure of the bronze rider, which is visible on the background of the wall of the unfinished castle.
And the background of their creation is as follows. At the beginning of the 1900s, the Russian book publisher Joseph Nikolayevich Knebel arises the plan to release the brochures of the "Pictures of Russian History" as a school manual. Knebel bets on high printing quality reproductions
(By the way, their size practically corresponded to the originals) and attracts the best modern artists to work, including Benoit.
Benua more than once in his work will turn to the image of St. Petersburg and its suburbs. We see him and in the picture "Peter on a walk in the summer garden", where Peter surrounded by the Sweet Walks through this wonderful corner of the city built by him. Petersburg streets and houses will appear on illustrations for works by A. Pushkin, and the Petersburg versals - on the canvases written during the emigration period, including Peterhof. Chief Fountain "and" Peterhof. Lower fountain at the cascade. "
On this canvas, the artist masterfully portrayed the greatness of the fountains of Peterhof and the beauty of park sculptures. Fascinating the jet beating in different directions of water and captivable a wonderful summer day - everything around as it would be permeated by the rays of the invisible sun.
From this point, the artist wrote his landscape, rightly determining his composition and focusing on the image of the lower park in an inseparable connection with the bay, which is perceived as a continuation of the entire ensemble.
"Peterhof - Russian Versailles," Peter wished to arrange the semblance of Versailles "- these phrases were heard constantly at that time.
HARLEQUIN
It is impossible to go around the attention of another character to which Benois has been repeatedly drawn in the 1900s. This is harlequin.
I would like to note that the Comedy Masks del Arte are typical images of artworks of the beginning of the twentieth century. If speak about
Beno'a, then between 1901 and 1906 they created several paintings with similar characters. In front of the viewer, the view is played out: the main masks were frozen on the stage in plastic poses, minor characters appear due to the scenes.
Perhaps the appeal to masks is not only a tribute to the time, since the views with the participation of Harlequin, who Benua had a chance to see in the mid-1870s, can be attributed to one of his brightest children's impressions.
Benua in the theater
In the first decade of the twentieth century, Benois manages to realize his children's dream into reality: he becomes a theater artist. However, he himself jokingly refers the beginning of his theatrical activity by 1878.
Returning to the 1900s, it is worth noting that the first work of the artist on theatrical field was a sketch of Opera A. S. Taneyev "Revenge of Amur". Although truly the first opera, to the production of which Benois created sketches of decorations, his genuine theatrical debut, should be considered the "death of the gods" of Wagner. Her premiere, held in 1903 on the stage of the Mariinsky Theater, was under the ovations of the auditorium.
The first ballet Benoit is considered to be the "Pavilion Armida", although in a few years earlier he worked on sketches of scenery to the Sylvia One-line ballet, which was not supplied. And here it is worth returning to another children's passion of the artist - his balletomania.
According to Benua, it all started with the improvisations of his brother Albert. It was worth the twelve-year-old boy to hear vigorious and sonorous chords, driving from Albert's room, as he could not withstand their call.
Balletomania and Dyagilev seasons
Fair". Sketch of scenery to the ballet I. Stravinsky "Parsley". 1911.
Paper, watercolor, gouache. 83.4 × 60 cm. Museum of State Academic Bolshoi Theater, Moscow
The artist's music suggested to write her husband with his niece N. Cherepnin, a student of Rimsky-Korsakov. In the same 1903, the score to the trichat ballet was completed, and soon the "Armid Pavilion" was proposed to the Mariinsky Theater. However, it did not take place. In 1906, Suite from Ballet hears a novice balletmaster M. Fokin and at the beginning of 1907, on the basis of it, the one-act training performance entitled "Right tapestry", in which Nizhinsky fulfills the role of the servid. Benois is invited to the rehearsal of the ballet, and his spectacle literally stuns.
Soon it was decided to put the "Pavilion of Armid" on the stage of the Mariinsky Theater, but in a new version - one act with three paintings - and with Anna Pavlova in the lead role. The premiere held on November 25, 1907 passes with a huge success, and ballet soloists, including Pavlov with Nizhinsky, as well as Benoit and Cherepnin, cause a scene to bis.
Benua not only writes libretto, but also creates sketches of scenery and costumes to the production of the "Armid Pavilion". The artist and balletmaster do not get tired to admire each other.
We can say that it is from the "Armid Pavilion" the history of "Russian ballet seasons" of Dyagilev begins.
After the triumphal success of the opera M. Musorgsky "Boris Godunov", shown in Paris in 1908, Benoit offers Dyagilev to include the next season and ballet production. The premiere of the Pavilion Armid, held on May 19, 1909, had a stunning success. Parisians were amazed both the luxury of costumes and decorations and the art of dancers. So, in the metropolitan newspapers for May 20, Vaclav Nizhinsky was named "soaring angel" and "god of dance".
In the future, for the "Russian seasons", Benua draws up the ballets "Sylphide", "Giselle", "Parsley", "Solovy". From 1913 to the emigration itself, the artist works in various theaters, including in Mkhate (draws up two performances on the plays of the Moliere), in the Academic Opera and Ballet Theater (Pikovaya Lady, P. I. Tchaikovsky). After emigration to France, the artist cooperates with European theaters, including the Grand Opera, Covent Garden, La Rock.
"Fair" and "Arape Room".
Sketches of scenery to Opera Igor Stravinsky "Parsley"
Sketches of scenery to the ballet Igor Stravinsky "Parsley" are considered one of the highest achievements of Beno'a as a theater artist. They feel the proximity to the expressive means of the Lubka and the folk toy. In addition to the scenery, the artist creates sketches of costumes to the ballet - while thoroughly studying the historical material - and also takes part in writing a libretto.
Book graphics
Sketch illustrations for the "copper rider" A. S. Pushkin. 1916. Paper, mascara, brush, bleel, coal.
State Russian Museum, St. Petersburg
An important place in the works of Benois, as, however, and other masters of the "World WORD", takes a book schedule. His debut in the field of book becomes an illustration to the "peak lady", prepared for the three-volume anniversary edition A. Pushkin. There were illustrations for the "Golden Pot" of E. T. A. Gofman, "Azbuka in pictures".
I must say that Pushkin theme is a bunch of book graphics in the work of Beno'a. The artist addresses the works of Pushkin for more than 20 years. In 1904, and then in 1919, Benua performs drawings to the "Captain daughter". In 1905 and in 1911, the attention of the artist again riveted to the "peak lady." But of course, the most significant of the works of Pushkin for Benua is the "copper rider".
The artist has several cycles of illustrations for Pushkin Poem. In 18991904, Benoa creates the first cycle consisting of 32 drawings (including screensavers and ending). In 1905, being in Versailles, it rents six illustrations and performs a frontispis. In 1916, it starts working on the third cycle, in fact, processes the drawings of 1905, leaving only the frontispis in immunity. In 1921-1922, creates a number of illustrations of the completed cycle of 1916.
It should be noted that with drawings performed ink, in the printing houses made prints, which Benua painted watercolor. Then the outturi was again entered into the printing house, and they made clichés for color printing.
The illustrations of the first cycle were published by Sergey Dyagilev in the room of the "World of Art" for 1904, although it was originally intended for the "society of lovers of elegant publications." The second cycle was completely and not printed; Separate illustrations were placed in various editions of 1909 and 1912. Illustrations of the last cycle included in the publication of the "copper rider" of 1923, became classic book graphics.
In the German Sloboda »Mons, daughters of German winemaker. The painter created his work on the basis of the descriptions found in the archives of the Preobrazhensky regiment. It is known that it is known that the famous curtisanka was not very much loved in Moscow, considering her reason for the reference of Queen Evdokia and Peter's quarrel with Tsarevich Alexei, subsequently executed. By the name of the German Slobody (s), she received odious nickname - the Cucuic Queen.
EMIGRATION
Post-revolutionary years is a difficult period for Beno'a. Hunger, cold, destruction - all this does not correspond to his ideas about life. After the arrest in 1921, his older brothers Leonthia and Mikhail in the soul of the artist firmly set off fear. At night, Benua can not fall asleep, he constantly listens to the screen of the junk on the gate, to the sound of steps in the yard, and it seems to him that the Arharahovtsians are - here they are heading for the floor. " The only invented at this time is the work in the Hermitage - in 1918, Benua was elected the head of art galleries.
In the early 1920s, he repeatedly thinks about emigration. Finally, in 1926, the choice was made, and Benoit, having traveled on a business trip from the Hermitage to Paris, he was no longer returned to Russia.
Markism bath. 1906 year. Paper on cardboard, gouache. 51 x 47 cm. State Tretyakov Gallery, Moscow
PB: Akvilon, 1922. 22 s., L. Il.; 600 Num. Ex., Of which 100 copies. Named, 500 copies. (1-500). In an illustrated color publishing cover. Oblong. 24.4x33.8 cm. Printing of this album has undergone a sharp criticism of contemporaries!
"All flows, everything changes, everything should change, everything can not change. However, through all changes in human artistic work, one lifeful jet that gives it the nature of authenticity is sincerity. True joy is obtained from consciousness that creations, Whether plastic images (including the performance), whether musical sounds, whether thoughts and words, correspond to some inner tip or what is called "inspiration". But only as long as this compliance exists, genuine art is born and Beauty is born; when it is replaced by a vulnerable desire to hit and surprise a novelty or, even worse, the desire to "be in fashion", then art and beauty disappear, and in place they are a dull fake, and then simply deformity. "
Alexander Nikolaevich Benois
(from the last book of memories)
At the end of 1896, Benoit, Bakst and Somov are sent to Paris. There is already Lancer and Yakunchnchkova. Soon they are joined by Ober and Ostrumov, who entered the Wistler Workshop. The departures appear in Paris Dyagilev, Nurok, Nouvele. But Benua does not attract French academies. According to the landscape etudes, drawings, sketches made in Paris and Brittany, it can be seen how quickly the artist's independent formation is. Here we first meet with an observation drawrider and watercolor with your own handwriting. On top of the widespread watercolor, a pencil barcode was boldly used, freely shape and exacerbating the nature of the image; This gives a sheet transparency, aluminum air, some special ease. In parallel with the study of nature, the study of the culture and art of France begins. In the Louvre, he first appreciates Delacroix and Coro, Domune and Kourbe. At the exhibitions of contemporary art in the Durane Gallery, Impressionists are attracted: it opens for Monet and Degas. Especially close Benois converges with Lucien Simon, Rena Menar and Gaston La Tasha; These Parisians associated with traditional forms of painting are much stronger than incomprehensible Impressionists, used at that time widely fame. But much in modern French art does not like him. Op is disappointed with "painful fantasies" Gustava Moro, "foggy painting" Ezhen Career, Nightmares of Odylone Redon. With symbolists, he is no longer on the way: "Symbolists and decadeles suffered a bankruptcy, they promised a bunch, gave some screakies." Benoita, together with friends, visits the vintage quarters of Paris, the National Library, inspects museums, palaces, cathedrals, goes to Sevr, Saint-Clock, Chantilly, Charter. "Sometimes one of his Word, who said in passing, opened a whole unfamiliar world," writes about these walks of Ostrumov-Lebedev. At the same time, it is significant, for example, that it is the era of Louis XIV that served for Wilde the symbol of the suppression of creative individuality in art, it turns out to be in the center of interests of Beno'a. With particular strength captures his versal. First of all, the Palace itself is a majestic monument of the classicism of the XVII century, the embodiment of the "colossal style" Ardouen Mansar. Attached by reading books telling about the life and rights of the residence of Louis XIV, the "philosophical" imagination of the artist inhabits the old park by the images of the last. In 1905, A.N. Benoit lives with his family in Versailles:
A.N. Beno'a
Diary of 1905.
October 13th. Despite two bad hotels, today Moving to Versailles Rue de La Paroisse. Cursed heavy books. - The children were delighted. Before the care was received by the "Word" with his article about the Telikovsky and "Our Life" - with two dimines. It has pricked. Breakfast with Juveu (Jow) with Stepan. Before that, he had. - Dinned already at home, in Versailles. Apartment cozy, and woni from meat<лавок> not. It seems that I would like to live a century here. I managed to remove books in a giant placard. I sent a request for money Baron Wolf, letters - Wrangel, Argutinsky, wife and Kate.
October 14. In the morning I almost quarreled because of the monetary accounts. ATA fun. It is worth talking on this topic, as she starts to tremble, cut and so understand the words and so on. Cleaned. Happy children on Foare and in the park. Sun and cold. Handsomely. - Upon returning home, a wonderful impression is spoiled by letters from homeland. - Dobuzhinsky writes about misunderstandings with the Red Cross (River's intrigue and the stupidity of Kurbatov are obvious), Frank - about the fact that in "Russia" there was a noiseless review of the "ABC", and especially angry - in the "Spectator" (Arzybushev). Dobuzhinsky is indignant about the latter. What does this mean? Did the consequence of my departure from "Russia"? Or is Roerich here? In any case, Russian absurdity. Before it is clear that I have to go home. There are nothing to rely on friends. In addition, some confusion comes out with "Enlightenment". - Explanation from Atya. Tears: "I am to blame for everything." - Having reinforced the grog, I was cheating. All lottery and fate! Avos will take out. Well, it does not take out, so somehow it will end. Professor Trubetskaya died.
October 15. Was in the church. Our concierge there is a doorman. - Drunk coffee, went to work in the park and, despite the cold, made a thumbs up Etude at Bassin de Bacchus [Basus basin]. - Stepan arrived for breakfast. Bakst "Zakhorla". - Made a huge walk together in Petit Trianon [Small Tranon]. Schcherbatova met with his wife, but he (did the look? What) did not recognize. - Houses disassembled the collection. I feel cheerful today. I spit on Petersburg and I will be resting from intrigue and grain in work, in painting. And there that God will give.
October 16. In the morning I made (unsuccessful) etude alleys with terms. Not too cold. Children interfere. In the afternoon, I didn't go to M.De Nolhac, to which I had a letter from Beno'a. Posted that the reception on Wednesday is posted on Wednesday. - Dressing into a dirty, made another etude of the same alleys with the terms, and again unsuccessful. In vain starching the paper. I don't like it now.
the 25th of October. In the morning, I finished the scene in the bedroom of the Countess. DE NOLHAC was "A - director of Versailles, demolished him the iconographic material in Elizabeth. Was kindly and promised to show a lot of interesting things. - From Retkovy Telegram, that they are in Paris. You have to go. An annoyance for the lost time. - Discovered in the park before sunset . Cumshot WELLS "A" L "HOMME INVISIBLE" ["Invisible Man"]. Mad impression.
December 4th. Very bad weather, spent all day at auction. There was a trifle and engravings. Rather cheap, but I'm without a penny. - From half an hour, despite the stupus, painted the "pyramid" for the risen painting "Winter Son" (dispute with the harlequin). Régnier places are very good, but often mamlit. I absolutely do not understand what the attached diary means. Obviously, this is a hoax. But here de Nolhac and reference to his publication. In any case, it contributes a disharmony. - The plot: the poisoned life of one very pretty and in love with King Kurtyzan, which because of the discarded case does not use the location of Louis XIV. Mass of subtleties. Skeptic cult of the kingdom. Common with France, but without his plebeian lining.
5th of December. He drew the "pyramid" again and died two hours at auction. I missed a good miniature: "Lady of times Louis XIV", on copper, for 8fr. 50. - Cumshot Régnier, I continue to Michelet. - He has "Collier de La Reine" ["Queen Necklace"] in a completely different lighting. "Pretty" Valois [Valua] is estimated, and the representative of the Rogan church is exhibited. - gets strong and queen. Hint of lesbian, lovers. - Necklace left her! So believe historians and history. In the evenings, I compose your "ministry".
December 6. In the morning I made the effect of rain at the palace (with Apollo).
9th December. He began (for the first time in the morning) a picture of oil paint. - Unpleasant knife and impossibility of keeping the contours. Nevertheless, the submarine gave that effect that wanted. - During the day I painted the figures for the second picture. In the evening at Versailles, in the XVII century. Very expelled. Successfully improvised on the piano. - Cumshot of his articles about the Ministry of Arts. - I realize that they are now late. But, in general, I lost all the connection of my own mood with the mood of Russian society.
In 1897-1898, he writes a watercolor and a gouache series of landscape paintings by Versailles Parks, having recreated the spirit and atmosphere of antiquity in them. There is a series of watercolor "Little walks of Louis XIV". Later, more than 40 picturesque and graphic works created by the Master in different years dedicated to the Versailles were written - an outstanding monument of French architecture and garden-and-park arts of the XVII century. Benouua, according to his own words, was "Versaille" and "completely moved into the past." In the series of watercolors and the guisas "Liswisika XIV last walks" (1897-1898), as well as in the "second Versailles series" (1905-1907) and in the works performed in 1922, after the artist left Russia forever, he She sticks to a clear, somewhat dry plastic language, which features French landscape and architectural graphics of the XVII century. This series consisted for a long time for Alexander Benua, since childhood, manifested increased interest in the art of Russian and Western European classicism and Baroque, the fame of the Singer of Versailles and Louis. In the works of the "Versailles series", nature and history appear in an inseparable unity. Architectural structures, sculptures and alleys of the famous residence of the French kings look like silent witnesses of the irrevocably left great era, storing the memory of the creators and owners of the Versailal ensemble. Along with Etudes written from nature, the artist performed genre picturesque works, recreating not only the characteristic scenes of a distant historical era, but its very unique atmosphere. The high mastery of execution allowed Benois to present the image of the Versailles Park as the image of a whole era that developed its etiquette, fashion and magnificent style, which preserved the attractiveness for the artist who lived and worked in anxious, filled with disasters and shocks the twentieth century.
In September 1921, a new private publishing house "Akvilon" appeared in Petrograd, which soon became the best among publishers who specialized in the release of [Bibliophilic literature, although it existed just over two years. The owner of Akvonon was a chemist engineer and a passionate Bibliophile Walher Morisovich Kantor, and the ideological inspirer, technical leader and soul of publishing house - Fedor Fedorovich Nothgustom (1896-1942), a lawyer for education, a connoisseur of art and collector. Aquilon in Roman mythology - the North Wind, flying with the speed of an eagle (Lat. Aquilo). This mythologist used M.V. Dobuzhinsky as a publishing brand. Referring to the book as a work of art, the staff "Akvonon" sought to ensure that each publication is a sample of an organic combination of decoration and text. Total Akvilon released 22 books. Their circles ranged from 500 to 1500 copies; The mouth of the circulation was nominal and numbered in painted in a follow-up artist from hand. Mostly the publications had a small format. Phototypes, lithography, zincography, engraving on the tree were used to play illustrations, and they were placed on inlets printed by other than the book itself. The paper was selected for noble varieties (versil, coated, etc.), and the illustrations were distinguished by the high quality of the printing performance. F.F. NotgaFTU managed to attract many Miriskusnikov to cooperate, including M.V. Dobuzhinsky, B.M. Kustodiev, K.S. Petrova-Vodkina, A.N. Benua. Artists themselves chose books to illustrate - in accordance with their own taste and preferences. Describing the activities of Akvonon, E.F. Golleybach wrote: "It was not in vain rushed over the northern capital" With a hail and rain, "Akvilon" (wings) - it was truly golden rain. "Gold, gold fell from the sky" on the shelves of bibliophiles (but, alas, - not at the publisher's office!) ". In 1922, 5 publisher books were presented at the International Book Exhibition in Florence: "Poor Lisa" N.M. Karamzin, "Skupoy Knight" A.S. Pushkin and "Tube artist" N.S. Leskova with illustrations M.V. Dobuzhinsky, "Six Nekrasov Poems" with B.M. Kustodiev, "V. Zamiylolyo "S.R. Ernst. Created specifically for fans of elegant literature, the books of the Publishing House "Akvilon" still remain common collecting item. Here are their list:
1. Karamzin N.M. "Poor Lisa". Drawings M. Dobuzhinsky. "Akvilon." Petersburg, 1921. 48 pages with illustrations. Circulation 1000 copies. Including 50 nominal, 50 painted (№i-L). The remaining numbers (№№ 1-900).
2. Ernst S. "V. Zamiyloylo. "Akvilon" Petersburg, 1921. 48 pages with illustrations. Circulation 1000 copies, including 60 nominal. The cover is printed in two types - green and orange.
3. Pushkin A.S. "Surround Knight." Drawings M. Dobuzhinsky. "Akvilon", Petersburg, 1922.
36 pages with illustrations. Circulation 1000 copies. (60 nominal and 940 numbered). Two copies are painted by the artist manually for family members. Three cover options - white, blue and orange.
4. "Six Nekrasov poems". Figures B.M. Kustodiev. "Akvilon." Petersburg, 1921 (on the cover is located 1922). 96 pages with illustrations. Circulation 1200 copies. Of these, 60 registered, 1140 numbered. There is one copy of the brushed brushed from hand.
5. Leskov N.S. "A stupid artist. Story on the grave. " Drawings M. Dobuzhinsky. "Akvilon". Petersburg, 1922. 44 pages with illustrations on separate sheets (only 4 sheets). Circulation 1500 copies.
6. Fet A.A. "Poem". Pictures of V. Konashevich. "Akvilon". Petersburg, 1922. 48 pages with illustrations. Circulation 1000 copies.
7. Leskov N.S. "Corkscale". Figures B.M. Kustodiev. "Akvilon". Petersburg, 1922.
44 pages with illustrations. Circulation 1000 copies.
8. Henri de Rainier. "Three stories." Translation EP. Ukhtomskaya. Drawing D. Bushen. "Akvilon." Petersburg, 1922. 64 pages with illustrations. Circulation 500 copies, including 75 nominal and 10 painted by hand (in the book indicated 25).
9. Ernst S. "Z.I. Serebryakova. " "Akvilon." Petersburg, 1922. 32 pages (8 sheets of illustrations). Circulation 1000 copies.
10. Edgar by. Golden Beetle. Drawing D. Mitrokhin. "Akvilon." Petersburg, 1922. 56 pages with illustrations. Circulation 800 copies. (including registered cops.; one of them, painted by Mitrichina by hand - the property of NotgaFta F.F.).
11. Chulkov G. "Maria Hamilton. Poem". Pictures of V. Belkin. "Akvilon." Petersburg, 1922.
36 pages with illustrations. Circulation 1000 copies.
12. Benoita A. "Versailles" (album). "Akvilon." Petersburg, 1922. 32 pages (8 sheets of illustrations). Circulation 600 copies, including 100 nominal and 500 numbered.
13. Dobuzhinsky M. "Memories of Italy". Drawings of the author. "Akvilon". Petersburg, 1923.
68 pages with illustrations. Circulation 1000 copies.
14. "Rus". Russian types B.M. Kustodiev. The word is Evgeny Zamytina. "Akvilon." Petersburg, 1923. 24 pages (23 sheets ill.). Circulation 1000 numbered copies. From the remnants of reproductions was made not for sale 50 copies without text.
15. "Toy holiday." Tale and drawings of Yuri Cherkessov. "Akvilon". Petersburg, 1922. 6 pages with illustrations. Circulation 2000 copies.
16. Dostoevsky F.M. "White Nights". Drawings M. Dobuzhinsky. "Akvilon". Petersburg, 1923. 80 pages with illustrations. Circulation 1000 copies.
17. Weinner P.P. "About bronze". Conversations about applied art. "Akvilon". Petersburg, 1923. 80 pages (11 sheets ill.). Circulation 1000 copies.
18. Vsevolod of Warriors. "Tree engravings." 1922-1923. "Akvilon". Petersburg, 1923. 24 pages engravings. Circulation 600 numbered copies.
19. Radlov AD. "About futurism." "Akvilon". Petersburg, 1923. 72 pages. Circulation 1000 copies.
20. Ostrumova-Lebedeva A.P. "Landscapes of Pavlovsk in wooden engravings." "Akvilon." Petersburg, 1923. 8 pages of text and 20 sheets of illustrations (xylography). Circulation 800 copies.
21. Petrov-Vodkin K.S. "Samarkandy". From the traveling sketches of 1921. "Akvilon". Petersburg, 1923. 52 pages with illustrations. Circulation 1000 copies.
22. Cuba A.N. "Venetian glass". Conversations on applied art. "Akvilon." Petersburg, 1923. 104 pages with illustrations and 12 illustrated sheets (phototypes). Circulation 1000 copies.
The album "Versailles", where the watercolor artist is accompanied by its text, - "The largest graphic work of Benoit for the years of the revolution. It was originally intended to print 1000 copies: 600 in Russian and 400 in French, - however, a circulation was carried out only. Diar to the album quite slowly. The reason for this, firstly, the high price, in many respects due to the complexity of typographic playback of illustrations (the album was printed for more than six months), secondly, the reviews of critics, considered the publication of unsuccessful and reproaching typographs for the poor print quality, "unpleasant" format and set of text Two columns. The album came out on dense paper. The illustrations were imprinted in photolithography technique in four colors. The publication includes 26 watercolors of the artist; In addition, the introductory article and the list of drawings accompany screensavers and the endings - they are printed in the technology of zincography. Benoa also designed a title page with a screensaver of allegorical content and the motto of the King of France and the owner of the Versaille of Louis XIV "NEC Pluribus Impar" ("not inferior and a set") and an illustrated cover. Versailles was one of the favorite those artists. At the heart of this work - numerous internal observations: In October 1896, Benua made his first trip to Paris, where the types of Versailles became the beginning of his famous Versailles. In Watercolors, Benoita Versailles landscape is represented as a Russian landscape in its aesthetics. Art historians managed to see in it Association and with Levitanovsky "Over the Eternal Region", and with reflections of Pushkin "On indifferent nature", and with an ironically interpreted idea of \u200b\u200ba fairy tale about Sleeping princess, which no one will wake up. Confirmation of this is also in the letters of the artist, where he repeatedly talks about his inseparable connection with the park ensemble, calling him "my native, my dear miles." Versailles for Beno'a - the personification of human harmonious unity, nature and art. In an article preceding the album, he soamizes this important idea for him: "... Versailles - not the ration of royal power, but a poem of life, the poem of loved in the nature of mankind owned over this very nature ... Monumental anthem courageous power inspiring Women's charms, combined human efforts for common purposes.
