978-3-86384-960-3
Кто бы мог сейчас представить себе, что выставка Кузьмы Петрова-Водкина, подготовленная Русским музеем в середине 1960-х годов, открылась тогда с большим трудом, после месячных согласований на высоких уровнях? Однако это было именно так! К тому времени Русский музей обладал прекрасной коллекцией работ художника, поступивших от самого автора, его друзей и коллекционеров, из семьи. Но большинство из них не было известно публике до выставки в Русском музее. Середина 1960-х оказалась временем открытия Петрова-Водкина, как, впрочем, и других художников, считавшихся до того формалистами или уехавших из страны и потому не достойных остаться в истории русского искусства (Зинаида Серебрякова, Александр Бенуа и другие). Но в середине 1960-х и чуть позднее музеям удалось, преодолевая все препоны, представить публике единицы ранее запрещенных художников, работавших в фигуративных формах. Прежде всего именно их произведения стали собирать коллекционеры, о них писались книги. Их работы начали...
978-3-86384-960-3
Who could imagine now that Kuzma Petrov-Vodkin's exhibition prepared by the Russian Museum in the mid-sixties has opened then with great difficulty, after monthly approvals at the high levels? However it was quite so! By then the Russian Museum possessed a fine collection of the works of the artist which have arrived from the author, his friends and collectors from a family. But the majority of them was not known to public to an exhibition in the Russian Museum. The middle of the 1960th was time of opening of Petrov-Vodkina, as, however, and other artists who were considered before as formalists or left the country and therefore not worthy to remain in the history of the Russian art (Zinaida Serebryakova, Alexandre Benois and others). But in the mid-sixties and slightly later the museums managed, overcoming all obstacles, to provide to public of unit of earlier prohibited artists working in figurative forms. First of all collectors began to collect their works, books were written about them. Their works have begun to include in different exhibitions. Once again it happened so that in a shadow of the masters who have become already known there were their many contemporaries, quite often powerful artists possessing the person, style and ideas. It would seem, in the 1970-1990th years when in families, at friends and acquaintances their works were still stored, it is possible and it was necessary to fill up with them large collections, to organize exhibitions, to publish works, as well as information on authors. But in the 1970-1990th the accent of historians and judges of art was displaced towards radical vanguard. Only now, when pointlessness in Kazimir Malevich, Vasily Kandinsky, Alexander Rodchenko's creativity and others has stopped being the closed, unknown part of cultural heritage of Russia, collectors and researchers have paid attention to artists of the figurative line again. The book devoted to Petrov-Vodkina and his environment - a fine example of the huge work done in the last decade, in particular by Pyotr Aven, Roman Babichev, Alla Esipovich-Roginskaya. They have found and collected works of pupils, followers and Petrov-Vodkina's adherents. Employees of the Russian Museum - Alexander Borovsky, Olga Musakova and others - have systematized the information about artists: both already published, and recently found. In articles preceding the edition, perhaps for the first time ratios in creativity of many masters of the author's, individual and borrowed from pedagogical system Petrov-Vodkina are analyzed. For history of the Russian art it is very important stage when not only features of school come to light, but, in fact, new names with the creative persons, styles and manners open.
978-3-86384-960-3
Who could imagine now that Kuzma Petrov-Vodkin's exhibition prepared by the Russian Museum in the mid-sixties has opened then with great difficulty, after monthly approvals at the high levels? However it was quite so! By then the Russian Museum possessed a fine collection of the works of the artist which have arrived from the author, his friends and collectors from a family. But the majority of them was not known to public to an exhibition in the Russian Museum. The middle of the 1960th was time of opening of Petrov-Vodkina, as, however, and other artists who were considered before as formalists or left the country and therefore not worthy to remain in the history of the Russian art (Zinaida Serebryakova, Alexandre Benois and others). But in the mid-sixties and slightly later the museums managed, overcoming all obstacles, to provide to public of unit of earlier prohibited artists working in figurative forms. First of all collectors began to collect their works, books were written about them. Their works have begun to include in different exhibitions. Once again it happened so that in a shadow of the masters who have become already known there were their many contemporaries, quite often powerful artists possessing the person, style and ideas. It would seem, in the 1970-1990th years when in families, at friends and acquaintances their works were still stored, it is possible and it was necessary to fill up with them large collections, to organize exhibitions, to publish works, as well as information on authors. But in the 1970-1990th the accent of historians and judges of art was displaced towards radical vanguard. Only now, when pointlessness in Kazimir Malevich, Vasily Kandinsky, Alexander Rodchenko's creativity and others has stopped being the closed, unknown part of cultural heritage of Russia, collectors and researchers have paid attention to artists of the figurative line again. The book devoted to Petrov-Vodkina and his environment - a fine example of the huge work done in the last decade, in particular by Pyotr Aven, Roman Babichev, Alla Esipovich-Roginskaya. They have found and collected works of pupils, followers and Petrov-Vodkina's adherents. Employees of the Russian Museum - Alexander Borovsky, Olga Musakova and others - have systematized the information about artists: both already published, and recently found. In articles preceding the edition, perhaps for the first time ratios in creativity of many masters of the author's, individual and borrowed from pedagogical system Petrov-Vodkina are analyzed. For history of the Russian art it is very important stage when not only features of school come to light, but, in fact, new names with the creative persons, styles and manners open.
978-3-86384-960-3
Kto by mog sejchas predstavit sebe, chto vystavka Kuzmy Petrova-Vodkina, podgotovlennaja Russkim muzeem v seredine 1960-kh godov, otkrylas togda s bolshim trudom, posle mesjachnykh soglasovanij na vysokikh urovnjakh? Odnako eto bylo imenno tak! K tomu vremeni Russkij muzej obladal prekrasnoj kollektsiej rabot khudozhnika, postupivshikh ot samogo avtora, ego druzej i kollektsionerov, iz semi. No bolshinstvo iz nikh ne bylo izvestno publike do vystavki v Russkom muzee. Seredina 1960-kh okazalas vremenem otkrytija Petrova-Vodkina, kak, vprochem, i drugikh khudozhnikov, schitavshikhsja do togo formalistami ili uekhavshikh iz strany i potomu ne dostojnykh ostatsja v istorii russkogo iskusstva (Zinaida Serebrjakova, Aleksandr Benua i drugie). No v seredine 1960-kh i chut pozdnee muzejam udalos, preodolevaja vse prepony, predstavit publike edinitsy ranee zapreschennykh khudozhnikov, rabotavshikh v figurativnykh formakh. Prezhde vsego imenno ikh proizvedenija stali sobirat kollektsionery, o nikh pisalis knigi. Ikh raboty nachali...
