Shimeakin exhibition at the Museum of Russian Impressionism Reviews. Exhibition "Mikhail Shemyakin

In the Museum of Russian Impressionism, the retrospective of the first half of the XX century Mikhail Fedorovich Shemyakina opens soon. The exposition will include work from the Tretyakov, the Russian Museum and from other meetings. Some things will show for the first time.

October 13, 2017 - January 17, 2018
Mikhail Shemyakin. A completely different artist
Museum of Russian Impressionism
Moscow, Leningrad Prospekt, 15, p. 11
rusimp.su.

Mikhail Fedorovich Shemyakin (1875-1944) - Realist, Impressionist, a member of the creative associations "Association of Mobile Art Exhibitions", "Union of Russian Artists", "Society of Moscow artists".

The future painter and schedule was born in a merchant family. His grandfather was the manufacturer Alexei Apricot, founder of the confectionery company "Factory-commercial partnership A. I. Abrikosov Sons" (now Concern "Babaevsky"). Shemyakin's art education received first in the Moscow gymnasium, then he entered the Moscow School of Painting, Drainies and Architecture. Among his teachers were V. D. Polenov, V. A. Serov, K. A. Korovin. From 1899 to 1901, Mikhail Fedorovich Shemyakin studied in Germany, in the famous Munich school A. Ashbe. A few years after returning to Moscow, he began to participate in the exhibitions of the Mobile, and later entered a partnership. In 1905, for the portrait of the singer N. V. Salina received the first award at the competition of the Moscow society of art lovers. In 1913, he founded an art studio in Moscow.

After the revolution, Mikhail Fedorovich Shemyakin taught in Vhutama-Vhutein (1918-1929). In 1928 he exhibited his paintings at the exhibition of AHRR Youth Aggregation. Later, he taught at the Moscow Supreme Engineering and Construction Institute, Moscow Institute of Transport Engineers and the RKKA Military Engineering Academy. From 1934 - at the Moscow Printing Institute and Moscow State Art Institute. In 1938, the first personal exhibition of Shemyakin, timed to the 35th anniversary of his creative and 25th anniversary of teaching activities held in Kuznetsk Bridge in the Hall of MCSH. During the Great Patriotic War, Mikhail Fedorovich Shemyakin was evacuated to Uzbekistan, where he was heading the department of drawing at the Moscow Architectural Institute. In 1943 he returned to Moscow, resumed teaching at the Moscow State Art Institute. Died in Moscow in 1944.

In addition to GTG and the GD, work at the exhibition "Mikhail Shemyakin. A completely different artist will be brought from the Nizhny Tagil Museum of Fine Arts, Art Museums of Astrakhan, Penza, Tula, Ryazan and others. The exhibition will be published an illustrated directory with previously not published archival materials.

A source: Press release of the Museum of Russian Impressionism

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- For a long time there was no news about you. What is happening to you?

In my opinion, this is happening.

- That's it. We would like to know the most about what you think about what we happen.

We, too, something happens, but not so violently. This summer is very complicated, because I have two sessions for months. The first is my students at the Stiglitz Academy, the former "Mukhinki". There I am officially officially, with a red book. Students were selected for a large contest in Voronezh, then the Voronezh Academy burst up, and to not throw them, I transported them to Petersburg.

- And how do you like guys?

Guys wonderful. But I have little guys. Total male one representative. And in the Chelyabinsk group, which I also lead, is only women, not a single boy. Women in the selection turned out to be much talented.

- Do you have any explanation for this phenomenon that now women in art rushed?

No, long ago. All about famous stars are women. Wonderful Polish sculptor Shaposhnikova. Or Two French Growgery Franciers, Germain Rice and Louise Bourgeois, won tremendous recognition. Everything is very simple. Woman is liberated, she gets more and more recognition. I have a research room in my institute, where everything is devoted to female art. In the seventeenth century, there were already wonderful recognized artists, especially in Italy. And here are my students, they just learn from the books of these masters of the seventeenth century, it is very inspiring them. And there was also a magnificent Elizabeth Lebrene, who wrote portraits of Russian princes.

- So you spend most of the time in Russia?

No, they come to me to France. We have seven workshops there in which they are engaged. They live almost in the territory of the castle, because even the farms that we remove for them, previously belonged to the knight. They reach the workshops, a colossal park, 26 hectares, ancient. There they draw, walk. I am preparing to perform them in the international arena. But it is hard to pull, since the state does not help, I solve all financial problems: I climb into debts, I buy tickets there and back. Including graduate students, this is somewhere 10 people. Two farms plus everything, of course, food, trips to shops, other, so on. All this, so to speak, I take on myself, including the purchase of tools, canvases. This costs pretty expensive.

- You said that you're getting into debts, but do you still earn decently?

- In order to invite students, I have no money, and I start to poke someone, nothing to do with the art of not having: This is not a state and not funds - just people who can lend me a dozen there, twenty.

- So you, in fact, do everything at your own expense?

- Yes, but I can't quit all this. True, the Chelyabinsk group is paid.

I understand that the question is delicate, but still ... there was a time when rumors went that you are one of the richest emigrant artists. Attlatova even had a small noteworthy in the book, where he collected such anecdotes about everyone, supposedly you transferred it to the phrase: "I willingly change my growth to your earnings."

Seryozha even got for it!

How did this get it?

But I got it. He ghostly told me in an essay "riding on the snail", and then wrote something like: "Shemyakin, having no contracts, in the hussar boots, drunk from despair and constantly drinks in the middle of his workshop." First, it was all wrong, I, in general, I saw him in New York for the first time, I crossed very little. I drew attention to his growth. When I opened the door in my hotel's room, he came to be interviewed, I said, I remember: "Neither fig is height." And he said: "I change my growth to your greatness." Maybe at that moment he sincerely expressed himself, and then he reincarnated everything. I called him when it was a shameful letter, when he crushed us all, as they say, from the legs to the head. The letter was called "letter from there." It was published in the newspaper, and everything was clear that this is, so to speak, the work of Assistov. When I called him, he told me: "My style, but not I wrote." By the way, there is about it in my play.

- What kind of performance?

- The performance in the theater in Stas Namina is called "New York. 80s. We". The New Gazette had a wonderful article called the "Fatherland's pain." Very smart, I did not even expect that the author would understand the essence of this performance as accurately, in the name of which he thought. This problem is low, but which may arise. This is the problem of expulsion forever. Today, my students do not even understand what kind of era they live. They go to the Louvre, they buy tickets to France. And at that time we could not even think about the fact that somewhere in Bulgaria or Poland. It was easier to fly into space, rather than travel abroad.

- By the way, for some modern artists, this story is relevant. Here Pavlensky received political asylum in France. Partly his fate is slightly similar to yours?

Do not hurt me so, otherwise we just stop the interview. We are not similar in any way in motion, nor in the desire to attract attention, as he does it, he does not have any art, he has behavior.

- I'm more likely about fate, about the fact that the person turns out to be forced ...

- You're attempting Krenovin. To me, a man who passed the most terrible crazy houses. I had a 64th article, execution, understandable? Now the 10th Tom of the KGB history was released, and there was described what was the surveillance for me, the inner, external, how many cars followed me, although I didn't do anything anti-state, I just cleaned the rest, and I wrote pictures at night. That was the situation. Therefore, when I see that a person took, he already prepared a journalist, and went set up the door of the KGB, and then it turns out that he still turns out, in France, in Paris gets refuge, I'm just ridiculous - see what sufferer. Do you know what would happen if we set fire to our time or at least spit on this door ... If someone had enough gunpowder, what would happen to us? Here is my friend, for example, with friendship with whom I am proud of, is Volodya Bukovsky, who spent almost half a fullness in the camps. These are real people, he was brought to the West in handcuffs and exchanged for Korvalana. And I was familiar with Volodya before he was sent, our friendship was held between the landings. These are real people who walked, realizing that in the name of freedom they will sit in camps, pass the terrible circles of hell. And this desire to attract attention ... Eggs, he nodded to the pavement! He needed to send simply a little bit.

- And he was sent to the Serbian Institute, there, where and Bukovsky at one time.

That's all, well, it means that they were not accounted for, if so ... a person has a simple thirst to glorify. This story was still with these, pussyket or as their ...

- Pussy Riot.

- Yes, Pussy Riot. Well, first, a stupid story. They jumped at the moment when you can jump, it was Maslenitsa. The illiterate Russian priests do not understand that a lot of things were allowed in Maslenitsa, there is no such great blasphemy there. But when I started to inflate Cadyl, so to speak, here are such people, the masters of the Performance, like this Pavlovsky, woke up the feeling of envy. Because, look, the girls were dug, a little deceived ... Let's not come up with the scratched stories today: camp and all this. For those people who passed them then, today's situation is simply comic. Nothing such is superframed. This story was generally swollen to the limit. As a result, you open any western magazine - entire interviews, they are already jumping in the West, on each other, in these masks, without masks.

- But you were also not alien to performances?

- Performances were made in our communal apartment for themselves, we did not even think that these are performances. We just wondered to create an atmosphere and make interesting photos. It's like a stop-frame movie. Cynokameras were not with us, and we did such slurry photos, which today are embodied in our until the finished film, which we did with Anton Adasinsky and with Few Polunin. There, I jump naked Anton Adasinsky jumps, climbs on some kind of beams in the castle, Glory Polunnunny makes some strange things.

- It's amazing how sharply you do not take shares of your young colleagues.

You know, here is such a shpan from this performance, she is just sorry for the expression, we are saturated very much. I am not against the performance, on the contrary, it is very interesting, and I think that it is in Russia where Meyerhold, Mayakovsky, Misteria-Buff and Other, some crazy carnival of these extraordinary productions, as it did at one time Peter I is "The All-Easy Cathedral," here is the performance, the grandiose, completely crazy. But when I read these stories, it's just ridiculous. Pavlensky received political asylum in France ...

- I read again at Dovlatov, that in my time pompidu for you burned out!

- Yes, no one never burned for me, that for nonsense. TRAVELOVA ARTICLE Writer.

- That is, he came up with everything just?

"When he wrote that I was lying drunk, I called him and say:" What are you writing like that? " About all of us, we are all in shit, one you are in a white coat. At least once in New York would go to my workshop. " I hung up, and never communicated in my life. I am from the breed of people who passed a pretty harsh school, and for us so: crap once - all, Basta!

- When we met in St. Petersburg, it was 7 years ago, you said you feel dangerous and afraid for your life when you are in Russia. Do you still have such feelings?

- Russia has an unpredictable past, that's the worst. And from the unpredictable past we can create a very sad, predictable and guessing future. I'm talking about danger to marry in the obscuration, you know? The obscurantism simply comes with terrible force. If you give the will today raging Popam, then where will we come at all? Soon the fires are backed and new Avvakum will appear?

And all the time there is a tendency to plant someone, someone grab someone to nourge the article for "insulting the feelings of believers." But this article also insults the feelings of people who believed in communism, who believed in the Lenin idea? In our society, many atheists, people of other religion, and today it can already remind some kind of Orthodox Wahhabism.

- Maybe this is our answer to what is happening in the east?

- Completely, I even read a program somewhere that they plan to destroy in France. Already 6 times there were attempts to blow up the Strasbourg Cathedral, in the list, naturally, the Cathedral of the Parisian Our Lady, even the Eiffel Tower as a symbol of France. They act very actively, and I think that the victory will still be behind them.

- Behind them?!

- For the Muslim world, of course.

- Are you seriously?

- Yes.

- Your old buddy Eduard Limona has not recently from television channels, participates in television programs and a talk show. He remained a citizen of France - follows the press, comments the election of the president and so on. So, he predicted that France would be inevitably divided into two sides, two states, and this is already inevitable: the North, where the French will live, and the South, which will be the Muslim republic.

- I look much gloomily on all this. Once I left France, I left for 30 years to live in America. I left, because I was simply annoyed by their inability, the inability to work, the Sibertism is monstrous. But when I returned 30 years later, I realized that I left it simply raging, energetic. It turned into such, you know, a powerful graveyard is beautiful.

- That is, all the dead?

- Well, you know, perhaps something there and happening: Theaters and Other ... I am not theater and I do not own French. But as for the visual art, there is zero. People do not want to work, Socialism killed all the energy there. France is the country of the winning proletarian, everything for them, you do not have the right to dismiss a person. And this taught people just not to do.

- And how do you want the results of American elections? You lived there for a long time, right? Nobody expected the Americans to choose Trump by President, however.

- Election of Trump I equal to the collapse of two towers. When such a great power begins to control a person, mentally not quite normal (I'm not talking about his mental abilities), it is dangerous for the whole globe.

- Do you consider it unpredictable?

- He is simply stupid. We were not in the election, naturally, my wife and I vote by mail. But I saw, showed Americans in New York: the young guys, the elderly faces were filled with tears, see? Because Americans understand that this is a shame for America. And here I saw how I shouted "Bravo!" So what is the result? He recently said that it was necessary to unite to fight terrorism that there are two threats: it is terrorism, and he called it - Russia. And I have many, when I said: "Bravo, defeated the Trump," answered: "Stools. Soon you will scratch the pumpkin. "

Vysotsky dedicated to Shemyakin 12 songs and poems; And Shemyakin recorded a series of 7 vinyl records of his songs. In addition, Shemyakin - author of the book about Vysotsky and Monument to the poet in Samara

You were the closest friend of Vladimir Vysotsky. I understand that this is a completely hypothetical question, but since you knew him very well, what do you think now, in the current cultural and political situation, how would he feel, to whom would he join? For example, how would I get to the return of the Crimea?

We were so big friends, we did not arise any differences, especially, although he was older in age, but he, oddly enough, was treated as a senior - well, because of my experience, and The life, and experience of the exile. I think he would have thought just like me. Disagreements did not arise. He perfectly understood that there was a danger to fall into the obscurantism, and just as I would probably worry, like me, about why people have such short memory and why there is a completely absent ability to analytical thinking.

Well, for example, we know perfectly that until 1917, Russia is mainly 90%, was an Orthodox power. Tsar-Batyushka, went before shelves of priests, froined with holy water, sprinkled with holy water guns. Said - not to death. That is, the priest, it turns out, encourages the war. Although I understand that it is necessary to arm, you need to fight, but if you are so confiscated clearly, then say: "Everything. You go to war - I do not bless you, because it is impossible to kill anyone. " Such there are assholes, right? For example, Viktor Erofeev. I just performed in some kind of newspaper against what he said: "Why did you need to arrange the blockade of Leningrad? It was possible to pass at all and we would not lose ... "Well, how? People just went, in order to defend this city, died, these people are heroes. And they chose death, because they did not want the other. And we sit and bleak, drinking a cocktail: "You could pass." Well, how can such things talk? What do I say to? Please - Lenin came with a small gang and how it turned out at all that the church that the centuries impose this Orthodox consciousness and so on, how in a short time in the 17th year began to shoot priests, blow up the cathedrals? So something was in them such that people abandoned it very quickly. And today youth - it is generally different. I have been watching these believers - well, it is mostly women, very few young people, well, there is some kind of fanatically configured, yes, but by and large, this is completely different, and the approach of the church to young people and to believers should be completely different. Not this is medieval, but simply, they need to understand that today even with believers need to speak modern tongue and concepts should be different. Staying Christians, we must understand that we live in the XXI century, and not in XV.

- But it may happen that this whole world fundamentalism will take such power that there will be no place for something else, culture and what are you promoting?

- As long as it is for this in the shade standing gang, it will all continue and take pretty ugly forms, scary, because, let's say how much money is allocated to fight terrorism. The source of income of entire huge organizations, he falls because you can take, let's say, to fight terrorism - Well, we take America - 300 or $ 500 million. Operation allegedly failed. Can you explain why she failed? You have no right because it is a secret operation. Who took part in it, you also do not know.

- So do you think this is corruption?

- I believe that if we wanted to stop the war, and did not get fat on it, the war could have stopped a long time ago. In the meantime, we are moving according to the formula, which, shortly before the death of Kapitsa, formulated in the newspaper "Arguments and Facts": "The world will not destroy the atom, not cancer, but will destroy the greedy fool."

October 12, 2017 The official opening of the exhibition "Mikhail Shemyakin was held at the Museum of Russian Impressionism. A completely different artist, "where an experimental format of dating with the life and creativity of the master - Soundpromened" Shemyakin "was presented. In him characters come to life, communicate, enter into a dialogue with the viewer, provoke, buffet, fall in love and die. The exhibition will be open to visiting from October 13, 2017 to January 17, 2018.

The retrospective of the works of the Russian artist-Impressionist of the first half of the 20th century Mikhail Fedorovich Shemyakina, the student Valentina Serov and Konstantin Korovina, united more than fifty works from the Museums of Russia, near abroad and Moscow private collections. Among them, the State Tretyakov Gallery, the State Russian Museum, the Nizhny Tagil Museum of Fine Arts, Astrakhan Art Museums, Penza, Tula, Ryazan and many others. One of the works, the portrait of the legendary founder of the confectionery company "Factory-Trade Association A. I. Abrikosov and Sons" (now the concert "Babaevsky") has never been presented before. The Tretyakov Gallery, where the portrait is now being stored, handed over the museum the right for the first time to submit to the canvas to the general public.

Especially for the exhibition of the Museum of Russian Impressionism together with the playwright of Julia Pospelova and created audio, based on unpublished memories of the Son of the artist and documentary materials - soundpromenad "Shemyakin". This is a fundamentally new format of acquaintance with the exhibition, where the audience is waiting for a meeting with dozens of characters, for each of which is the life of a real person. Here you can hear how the soloist of the Bolshoi Theater executes Aria from the new opera C.V. Rachmaninov, learn how F.I. Shalyapin tried to portray the monk with a portrait of the authorship of Shemyakina and to try on the role of Scripacha I.V. Grymy, who is preparing for the most important performance in his life. That melmy himself, Vladimir Spivakov played on whose violin.

On this evening, they were the first to go to the Soundpromenad for the exhibition Mikhail Fedorovich Shemyakina Boris Shcherbakov, Mikhail Grushevsky, Snezhina Kulova, Svetlana Abramova, Elena Iskheev, Andrei Nazimov, Angelica Kashirina, Marie Kobheridze, Antonina Klimenko, Bart Dorsa, James Corrigan, Joseph Raheelgauz and others.

The founder of the Museum of Russian Impressionism Boris Mintz and Julia Petrov, Director of the Museum, were solemnly opened the exhibition.

The author, the playwright of MCAT themselves told about the audio spectacle. A. P. Chekhov Yulia Pospelova and actor "Workshop Dmitry Brusnikna" Vasily Butkevich: "It turned out to be incredibly interesting to engage in this project, and even more so launch it in the museum space. The idea itself was made to us: on the exhibition you drive not a guide, but the artist himself. Four actors were recorded, but the whole world was created from their votes. The implementation process delivered both authors and actors a great pleasure.

This exhibition Museum of Russian Impressionism appeals to his mission - to talk about Russian impressionists, namely, the master who Korovin compared with Rafael, and Mayakovsky recognized as a "realist-impressionist-cubist" - about Mikhail Shemyakin. No, not about our contemporary, but about "a completely different artist."

An illustrated directory with previously not published archival materials is published to the exhibition.

Audio at the exhibition "Mikhail Shemyakin. A completely different artist. "

You come to the exhibition Mikhail Shemyakina. You only know that he is not Mikhail Shemyakin, who created the sculpture of Peter, and a completely different artist. Somewhere you read that he is an original Russian impressionist, a student of Serov and Korovina. These words seem to be called upon to tell about him, but did they become clearer from them that before you for a person?

"…Christmas.

The Christmas tree dressed in the living room.

We can not go to the living room.

We are standing near the closed doors and wait ...

In the halls you will find dozens of portraits. Among them there is a tall static old old man, gentle nude in pearl colors, an elegant lady with a smarter, a clumsy cab driver in blue to whip Kaftan, but you never know who you will meet there! All of them are real characters, for each of them there is their own story, everyone has their own fate. Who are they, what life lived and why today did you see them to see them?

... in the hall dark, I look out the window,

at the big Nikitan evening.

Christmas is when God became a man.

Dad, probably, now lays gifts.

Here I would have a set of guardsmen in the box.

Blue twilight,

And the sky, and snow, and all around - blue ...

Unique materials were in our hands - unpublished memories of the artist's son. He was also called Mikhail, like the Father. In them, he talks about life in a conservative apartment (yes, he lived in a conservatory at the Big Nikitskaya), about the meeting of the Father with P. I. Tchaikovsky, F. I. Shalyapin, N. A. Berdyaev and another hundreds of contemporaries, Which we can read in books. He recalls Lily Bric with Vladimir Mayakovsky gathered pink peonies in the courtyard of their giving on shark grief and as S. V. Rakhmaninov convinced the Bolshoi Theater soloist. Saline to fulfill the party in his new opera. Having studied the materials, we realized that we can tell our viewer more, make the heroes of paintings by volume and alive.

This dad goes to the door,

Now he will open high doors

and the holiday will begin.

Now there will be a Christmas tree,

all in multicolored shiny balls

and different figures - hares, bears, angels,

clappers, silver tinsel.

Here the doors open ...

Relying on archival documents and memories of the artist's son, together with dramaturgome Julia Pospelova and actors "Workshop Dmitry Brusnikna" Created an audio at the exhibition, where they spoke from the first person about the heroes with the artist's cavalo.

on a small table

at the christmas tree itself

wicker basket -

hyacinths in pots.

Basket grandfather presented

Father smiles.

Fedya with a very serious person -

Bored her lip, he unpacks a gift ... "

Here the characters live, communicate, enter into a dialogue with the viewer, provoke, buffet, die and fall in love. All that is required is just to wear headphones, click the "Start" button and go after the artist on the Promenade on its simple and at the same time amazing life.

Museum of Russian Impressionism

The Museum of Russian Impressionism was opened for visitors in May 2016. It is located in the historical complex of industrial buildings of the late XIX century. A unique project of restoration and the creation of a modern museum space was implemented by the British architectural bureau John Mcaslan + Partners.

The main exposition is paintings from the collection of the founder of the Boris Mint Museum: the work of the prominent Russian artists Konstantin Korovina and Valentina Serov, Stanislav Zhukovsky and Igor Grabar, Konstantin John and Boris Kustodiev, Peter Konchalovsky and Alexander Gerasimov.

The mission of the Museum considers the popularization of Russian art as a whole and its impressionistic component in particular, both in Russia and abroad. The museum has earned respect for the International Museum Community and is a member of the International Council of Icom Museums.

More than a thousand square meters of exhibition space, multimedia hall, educational interactive area, training studio, cafe, shop with book and souvenir products - the new museum is a cultural space that unites exhibition work with scientific, publishing and educational activities.

Playwright. Pieces are published in the magazines "Modern Dramaturgia", "Ring A", "Process". In 2016, an author's collection of plays called "Gray Boys" was released. Performances on the plays of Julia Pospelova put in MCAT them. Chekhov, St. Petersburg City Theater, Sevastopol Thai, Vysnevolotsk Drama Regional Theater, Ugra Art Theater, Northern Scene theater, etc.

"Dmitry Brusnikna Workshop"

Roles voiced: Vasily Butkevich, Maria Krylova, Vasily Mikhailov and Ekaterina Borovikova.

Dmitry Brusnikin's course at the Studio School MCAT (2011 - 2015).
On the course, directed by Yuri Kvyothkovsky, Marina Brusnikna, Alena Khovanskaya, Sergey Shchedrin, Mikhail Mokseev, Alexey Rosin, Maxim Didenko, Natalia Sparbit, etc.
Course leader - actor MHT. Chekhov, Director, Professor, Honored Artist of Russia, Honored Artist of the Russian Federation Dmitry Brusnikin.
The magazine "Poshisha" called the course of Dmitry Boultrynika at the Studio School of Studios by the event of the season 2012-2013. The performances of the workshop go to the leading Moscow theaters - "Practice", theater.doc, training theater of the MCAT Studio.

From October 13 to January 17, the Museum of Russian Impressionism will present a retrospective of the works of the original Russian artist-Impressionist of the first half of the XX century Mikhail Fedorovich Shemyakina - "Mikhail Shemyakin. A completely different artist. " The exposition of a well-known master will include more than fifty works from the Museums of Russia, near abroad and Moscow private collections. Among them, the State Tretyakov Gallery, the State Russian Museum, the Nizhny Tagil Museum of Fine Arts, Astrakhan Art Museums, Penza, Tula, Ryazan and many others. Some works will be exhibited for the first time.

This exhibition of the Museum of Russian Impressionism appeals to his mission - to speak precisely about Russian impressionists. It will be about the master who Korovin compared with Rafalem, and Mayakovsky recognized as a "realist-Impressionist-Kubista", - about Mikhail Shemyakin. No, not about our contemporary, but about "a completely different artist."

Russian impressionist

Mikhail Shemyakin studied at Valentina Serov and Konstantin Korovin in the Moscow School of Painting, Scary and Architecture. From mentors a young artist adopted love for the genre of the portrait and a bold impressionistic letterpress letter. The skill of the pander Shemyakin was honed in Munich, in the studio Anton Azhebe. One of the last "monk" drawings made by the artist at the Azhbe school will be presented at the exhibition. Fedor Shalyapin was noticed this work and rated this work, one day, Ivan Mrzyryli, who went to visit the apartment. The son of the artist recalled: "Going to the drawing, without turning around, he silently looked at him. Then I looked around, and the guests saw two "monks": one in the picture, and the other is great, as soon as he could do it, "played" Shalyapin. Differed friendly applause. "Great!" Said Shalyapin and shook his hand to my father. "

Interestingly, at this time, Mikhail Shemyakin prefers a three-color monochrome palette, thereby filling the work by special pearl light. The artist accounted for Bellyl, a bright ocher and a burning ivory, giving velvety warm black. Subsequently, Mikhail Shemyakin dedicates several years of life with a study of black and its shades.

"Artist of Musicians"

In 1901, the artist married his fellowship Lyudmila Grymali, the daughter of the famous Czech violinist Ivan Voytyuhovich Gramali. For many years, Mikhail Shemyakin lived in the day the daytime located right in the right wing of the Moscow Conservatory. In the living room, the master has repeatedly wrote his relatives-musicians and their friends, often in a hospitable family. Mikhail Shemyakina was called the "chronicler of the music Moscow" of the first half of the twentieth century, and therefore the central place on the exhibition is reserved by the portrait of the musicians. Visitors are waiting for a meeting with a series of images of the great performers, among which the student of the artist Ivan Gremali, the composer Alexander Gediq, the violinist of Frantishek Ondřichek, Cean Chana Lyubovichitz, singer, soloist of the Bolshoi Theater Nadezhda Salina.

Dynasty: Apricot - Shemyakins

A separate block is represented a series of family portraits. Mikhail Shemyakin loved to write his wife Lyudmila Grymali, the sons of Fyodor and Mikhail (in the future, too, the artist). Mikhail Fedorovich managed to be bright and poetically to transfer the joy of motherhood, the charm and significance of ordinary home care, a serene world of the child. Especially Colorite, the portrait of the famous grandfather of the artist - the manufacturer Alexei Abrikosov. The head of the confectionery company "Factory-commercial partnership A. I. Abrikosov Sons" (now the Concern "Babaevsky"), the grandson of the Orthodox peasant, Alexey Ivanovich the boy was in the service of the German who traded sugar, and later became the owner of one of the three largest confectionery Factories in Russia. The portrait was so similar that the stroke with knitting firewood in the Cabinet in the morning in the morning, saying: "Sorry, Alexey Ivanovich, I didn't know what you got up." After admission to the museum funds, this work has never been exposed. The Tretyakov Gallery, where the portrait is now being stored, handed over the museum the right for the first time to submit to the canvas to the general public.

Welding female images

Shemyakinsk women portraits deserve separate attention. Among them, they can be distinguished by numerous images of the artist's wife, a luxurious "lady in the light" - Portrait of Sister Lyudmila Shemyakina, Anna Egorova. But the most attractive images of simtors seem. Shemyakin repeatedly wrote a favorite model Valentina Serov - faith Kalashnikov. Its expressive gray-green eyes and a drain of dark, laid in a high hair hairstyle are instantly recognized and attracting a look. The master was unhappy with his first etude with faith: in the hearts he threw the car in the corner of the workshop, where she was put on almost 20 years, until the Apollinarian Vasnetsov was found. Etude so liked the artist that he hung over his bed. A year later, Mikhail Shemyakin took another attempt to portray faith Ivanovna. The drawing turned out to be unusually subtle, for which the painter earned approval from a very stupid on Valentina Serov's praise, and Konstantin Korovin did not hide delight: "Rafael!".

Hyacinths

It is impossible to imagine the exhibition Mikhail Shemyakin without hyacinths. The artist had a special love for them: he repeatedly wrote these gentle flowers, which always appeared in the Gramali-Shemyakini House for the New Year. On the Czech tradition of the house for Christmas was made to decorate spring flowers. The Son of the artist, Mikhail Mikhailovich Shemyakin, recalled: "The Christmas tree was big. There were a lot of decorations on it. Burned colored candles. Multicolored shiny glass balls and figures were shining glare in the living room there were a lot of live plants and colors: big ficus, hydrangea, cacti, hyacinths. We, children - I and my older brother, were waiting at the door in a large neighboring room - "Hall". Pope swallowed high doors, and before us was a Christmas tree, in all its shine and shine! Her my father wrote in the painting "Hyacinths at Yolka". A woven basket with hyacinths in the pots, which the master depicted, at one time was presented by I. V. Gramali Lvy Tolstoy.

Realist Impressionist Cubist

HISTORY OF LIFE Mikhail Shemyakina Pestrite similar details. Fate reduced him with a lot of outstanding contemporaries, each of which could not remain indifferent to the artist's creativity. One day, collecting mushrooms with children near the shark mountain, where Shemyakins shot the house, the artist met Vladimir Mayakovsky. Together with Lily Bric, they often came to them into the courtyard behind pink peonies. "Suddenly, we grew up a high, broad-speaking figure without a shirt, in smoothed trousers, with a towel on the shoulder. Briefly chosen head. - remembered the son of the artist Mikhail. - A, Shemyakin! Said the poet. - I saw your work at the exhibition. You are a realist - an impressionist - a cubist. " This paradoxical characteristic is surprisingly insightful. As a realist, Shemyakin did not allow himself to simplify and distort the nature for the sake of a pictorial effect. Like the Kubistam, he approached the nature at the same time analytically and with fervent curiosity - as if he saw a person's face or a bouquet of hyacinths for the first time. But from the very beginning of the creative path and until the end of the life, the techniques of impressionism were his loved ones.

Following the exhibition of works by Arnold Lakhovsky and Elena, the Kisel Museum of Russian Impressionism continues to acquaint the public with the work of undeservedly forgotten masters. Non-format, not suitable for the standards of Soviet ideology authors, their names were not found in the past century, but more than half a century, they again acquire their viewer, because the real art of time.

The exhibition will be published an illustrated directory with previously not published archival materials.

How to prepare in the exhibition?

1. Ageeva M.V. Mikhail Shemyakin. Series "Master of Painting". Publishing house "White City". 2009

2. Shemyakin M.F. Memories. To the 100th anniversary of the Moscow School of Painting, Basic and Architecture. 1845-1945 // Panorama of Arts, 12. Stories about artists and writers. M.: Soviet artist, 1989. P. 264

3. Ageeva M.V. Mikhail Fedorovich Shemyakin. 1875-1944: Album-catalog - Nizhny Tagil: "Nizhny Tagil Museum of Fine Arts", 2006.

4. Mikhail Shemyakin. A completely different artist: Catalog of the exhibition - M.: Museum of Russian Impressionism, 2017.

Well, it was necessary to reach the last days of the exhibition, while the frosts do not hit, and gather on a weekend, but to push to some special promotion, so that the people do not push back, but how else ... despite the fact that last time on the constant The expositions of MRE I noted the presence of Mikhail Shemyakin museum in the collection, and it is aware of the "very different" Shemyakina, the artist of the first half of the 20th century -

For some reason I did not immediately realize that the current exhibition is exactly what "this", current, modern Shemyakin and is dedicated. And then against the background of the current exhibition boom, when the eyes are running out, the legs are driving around and easier to go to anything, than choosing, where to go first, Mikhail Fedorovich Shemyakin, of course, many will give a priority, especially to its contemporaries, and European, as sewn With Climom in GMI, and local, as, let's say, Nikolai Andreev with El Lisitsky in GTG. But still his personal retrospective, the first of the forty years in Moscow, attention deserved, especially since about a third of the works were issued from private assembly, and almost all the others, with the exception of several of its own MRI funds, from GTG and TRM (but also After all, as for Russian and the Tretyakov, from the stoves!), Borrowed from the provincial art galleries, from only one of the Nizhny Tagil Museum received before half a goodbye!

"Mikhail Fedorovich has a spiritual" Sphumato ", which is obliged to recreate the musician from his listeners," the statement of Grabar about M.F. Smeyakin cited, but this is already on the "epilogue" to the exhibition, in the permanent exposition hall for minus the first floor, where Usually hanging his own owned by Mri Shemyakin, and now three "touring" canvases: a great "portrait of a Dukmasovaya" (1914) and sketching canvas "Mother and Child" (1900E) from private collections, as well as good "worst hyacinths" (1910) From Tula, from which I, it happened, began acquaintance with the exhibition, and then rose above, in the gallery.

The main genre at the exhibition is uniquely portrait. There are self-portraits, the wonderful - 1919 and "Self-portrait with the Son" (1907), there is a "portrait of Alexey Abrikosov", the grandfather of the artist on the motherboard, the famous chocolate "tycoon" (1902) from GTG, but first of all pay attention to herself Female images, as well as the plot motif "Mother and Child", repeating many times: "Mother with a child" (1908) from the Ryazan Museum, "Portrait of a wife with his son on his knees" (1910), magnificent canvas "Mother and Child in the Sun" ( 1907) From the timing, "Mother and Child" (1905) from GTG. There is a separate "sweating of his wife" (1911) from the Tula Museum, and "Feed Fedi in the chair" (1910) - the son of the artist then became a chemical professor, great scientists. The student of Serov, in many ways close in style and spirit Korovina, "Other" Mikhail Shemyakin - Exactly that the "people love", but unlike Serebryakova with her (also wonderful, there is no dispute, although sometimes wealthy) female and children's portraits Shemyakin is practically unknown, because of which, naturally, and unpopulates, although during his life, rushing and forgetting, according to the standards of the Soviet 1920-30s, they were not very persecuted, did not destroy, and he did not emigrate as the same Serebryakov, but it remained In the shadow of their more famous contemporaries and now with difficulty it goes back to the light.

At the Tchaikovsky memorial museum who came from the Memorial Museum (I do not remember this picture ...) "Czech Quartet" (1912), the first violin depicts Karel Hoffman, and the second Joseph SC. With Czechs Shemyakin threatened seriously, and the father of his wife, the violinist Ivan Gramali wrote eagerly, on the exhibition two of his portrait, the one from the museum. Glinka is more chamber, lyric. Another character from the same row - "Portrait of a violinist Frantisek Ondřichek" (1910x) from the Museum of Museum of Music Culture. Glinka. Present at the exhibition and still life "Violin", but already the later, 1930s, in my opinion is not very interesting. In general, the musical theme of Shemyakin was clearly close to see "Portrait of Cellos Anna (Khana) Sulovna Sail" (1907) from the timing, "Portrait of the Singer Salikova" (1905), later, post-revolutionary - excellent "Portrait of Antonina Nezhdanova" (1934) from Astrakhan, a stunning, nothing that Etude to the portrait of A. aged and another version of the portrait of Gediqa - a drawing of coal (both 1927, both of the museum. Glinka).

But just women's portraits, including Unnamed, Shemyakin perfectly managed: "Lady in Light" (1903) from the Nizhnya Museum, a dynamic "female portrait" (1900s), "female portrait in profile" (1907). Latest things of the same genre on the technique differ little from the early - only models: Wed. "Girl in a sailor pack. Sonechka" (1910) from Mrey, it is usually hanging in a permanent exposition of the museum, and "Katya in a green dress" (1937) or beautiful "Casu" (1939) from the private collection. On a separate wall, the images of the faith of Kalashnikova, the beloved model of Serov, made by young Shemyakin in the master's workshop and now brought one of Penza, the other from Minsk. From Minsk, from Belarusian Hood. Mouza delivered an impressive "male portrait" (1905). And Etude to the portrait of the Czech (again) of the poet Yaroslav Volitsky (1907) - from ... Khimkinskaya (!) Picture gallery. S. Gorshina. And also "Portrait of a girl. Cyrus" (1926) - also Khimkinsky, began to be in Khimki there is a decent art museum? I never heard, well, it's necessary ... And the most spectacular hero-man on Shemyakin's canvases is a definitely "Moscow District" (1910) from the Tula Museum: in a bathrobe, he looks Barine in a bathhouse.

Mayakovsky about Shemyakina (they communicated in the early 1920s) said: "Realist-impressionist-cubist," under the latter understanding, apparently, some "analytical" forms of Shemyakin portrait images, but also "cubism", and "realism" in relation to Shemyakina - the definitions are very conditional, in the extreme case as a metaphor, it is obviously "impressionist" not only on technology, in style, but also in the image of thinking. What is noticeable in his attempts to postponevolutionary, Soviet decades to fit into a new thematic context, without refusing to the usual manner: who came from Tyumen "Koshov" (1928) or "seamstress" (1930) not too sincerely and do not convince. "Pioneers on vacation" (1939) from Nizhny Tagil "honest", but for the Soviet fine art of that pore (Samokhvalov, Williams, the Yablonskaya ... Floors finally!) This is this yesterday ... It is a pity that The exhibition is little graphics - those single sheets, which are shown, cause a desire to see more, whether the early pencil drawing "Catholic monk" (1901-02) from Penza or later, also made by the pencil "Portrait of the playwright Sergey Razumovsky" (1938), while What I did not hear about such a playwright.

Scenery at Shemyakina, however, weak, how much can be judged by the few presented samples like "Evening. Salzburg" (1911) from the Ryazan Museum. Still lifes are different, florals are very good - "worst hyacinths in the Christmas tree" (1916) also "philosophy", but also ordinary decorative not bad - "Hyacinths at night" (1912) from their own assembly of MRE or "Still-life with Lilac" (1930s ). And in general, the exhibition is very representative, skillfully assembled, organized in space - it is a pity that Mri is located at all not at night, it is necessary to go there specially (once I lived in the neighboring complex of the former factory "Bolshevik" house on the race - but the museum Also in the project did not exist), but if you get to - in addition to the exhibition and a permanent exhibition, not more than the next circle pass.