Flowers of all life . “From the service pantries”: the Hermitage hosts an exhibition of imperial porcelain

A year ahead, starting this spring, four exhibitions dedicated to porcelain are planned in the State Hermitage. They will feature works by artists of the Imperial Porcelain Factory, the State Porcelain Factory named after. M.V. Lomonosov.

Reality and magic. Porcelain by Nelly Petrova

The exhibition will be held from May 23 to September 3, 2017 at the General Staff Building, where visitors will be able to see 200 pieces of porcelain, drawings and graphics for porcelain items - the author's works of the chief artist of the Imperial Porcelain Factory Nelli Petrova, created in the 2010s . These are new sculptural forms of vases, ceremonial service ensembles and several original art objects for a modern interior. The painting on large vases depicts the theme of hunting. Their forms were restored at the factory according to samples of imperial vases from the Hermitage collection.

Vladimir Kanevsky. porcelain flowers

The exhibition will be held from July 6 to October 1, 2017 in the Main Museum Complex (Arapsky Hall, Rotunda), which will feature more than 50 flower compositions by artist Vladimir Kanevsky. The master is especially proud of his porcelain compositions, which were included in the collections of art galleries of many famous designers, and became the decoration of the royal houses of Europe, in particular, in the palace of the Princess of Monaco and the German princess Gloria von Thurn und Taxis in Regensburg Castle.

Metamorphoses of porcelain sculpture by Inna Olevskaya

The exhibition will be held from September 30, 2017 to January 14, 2018 at the General Staff Building, where guests will be shown over 50 works by the artist and sculptor of the Imperial Porcelain Factory Inna Olevskaya, created on the theme of literature and poetry. Works dedicated to understanding the heritage of avant-garde art will be presented.

Voice of time. Soviet porcelain: art and propaganda. From the cycle “Christmas Offering“

The exhibition will be held from December 23, 2017 to April 1, 2018 in the Main Museum Complex (West of the Eastern Gallery of the Winter Palace). 100 years ago, the October Revolution took place, which turned the entire course of Russian history upside down. Soviet porcelain has become the voice of the times, telling about a complex and dramatic era and its people. The exhibition will present the works of the first Imperial Porcelain Factory in Russia. Visitors will see propaganda porcelain, about 150 works of the 1920s-1980s dedicated to memorable and anniversaries: the Red Army, industrialization and collectivization of the country, the development of the North, physical culture and sports will be exhibited. Also, the guests will be shown the works of contemporary artists of the porcelain factory, who continued the traditions of propaganda porcelain.

The Winter Palace is hosting an exhibition “From service pantries. Decoration of the Russian Imperial Table of the 18th – Early 20th Centuries” (until March 20, 2017).

The leading place in the exhibition is occupied by unique services created at the Imperial Porcelain Factory in St. Petersburg from the moment the first Russian porcelain production was founded in 1744 under Empress Elizabeth Petrovna until the time of Emperor Nicholas II.

The Hermitage collection contains Russian porcelain sets from the second half of the 18th - early 20th centuries: Empress Elizabeth Petrovna's own services (1750-1760s), Cabinet (1793-1801) and Yusupov (1798) sets from the times of Catherine II and Paul I, Gothic service ( 1832) during the reign of Nicholas I, the Banquet table and dessert service of Grand Duke Alexander Nikolaevich (1841), the Alexandrinsky Turquoise Service (1899-1902), created under Nicholas II.

The exposition includes more than 1200 items. Its main part is the works intended for the ceremonial decoration of the "Highest Tables". In everyday life, such things, as a rule, were not used, they were carefully stored in specially equipped rooms - Service pantries, where both porcelain sets and dishware made of faience, glass, silver, bronze and other materials, as well as sculptural table decorations were located. .

The creation of service ensembles was associated with the names and personal tastes of the imperial family and its inner circle, outstanding personalities, as well as memorable events and diplomatic gifts. Services were purchased for the needs of the Court or were presented as offerings to the emperors. The owners' monograms and heraldic images recreate the specifics of public and private orders.

A special place is occupied by the famous Russian order services produced by the Gardner factory, used on holidays in honor of the holders of the four highest state awards. These include four porcelain complexes from the State Hermitage collection: Georgievsky (1777-1778), Andreevsky (1778-1780), Alexandrovsky (1778-1780), Vladimirsky (1783-1785). Each of the ensembles is decorated with orders, stars and ribbons of the corresponding state awards. Porcelain sets were intended for ceremonial receptions of gentlemen in the Winter Palace.

Ceremonial services created at the Imperial Porcelain Factory for special occasions were an important state order. In the days of the accession to the throne of the reigning monarch, during coronation dinners, porcelain was used, decorated with images of Russian double-headed eagles. Among the exhibits of the exhibition is the first Coronation service, performed at the St. Petersburg factory in 1826 for the celebrations in Moscow, timed to coincide with the accession to the throne of Nicholas I.

Russian services for other palaces are also on display: the Greater Peterhof, Gatchinsky, Pavlovsky, Ropshinsky, Krasnoselsky, Tsarskoye Selo, Mikhailovsky, Anichkov and others. Expressive examples of this section are decorative compositions from the Stamp (1827) and Gold (1828) services with luxurious sculptural decorations from the Pavlovsk State Museum-Reserve.

Nelli Lvovna Petrova - painter, sculptor; Honored Artist of the Russian Federation, Honorary Member of the Russian Academy of Arts, currently the chief artist of the Imperial Porcelain Factory.

The monographic exhibition includes more than 200 porcelain works created by the artist over the past decade, as well as drawings and design graphics.

The traditions of folk costume have always inspired Nelly Petrova to new creative searches. The richness of colors, the variety of ornaments of ancient clothes, homespun fabrics, hand embroidery provide the artist with unlimited material for working on a gallery of female lyrical images full of spirituality. This is evidenced by the plate paintings “Holiday” (2011), “To the Fair” (2011), “Mothers and Daughters. Valentina Alexandrovna" (2014), "Mothers and daughters. Maria Nikolaevna" (2014). Portraits of women masterfully executed by Nelli Petrova on porcelain are bright and expressive. “The female image excites me, studying it, in my work I want, at least in part, to convey the amazing depth and versatility of an incomprehensible female being,” the artist notes.
Nature for Nelli Petrova is an inexhaustible source of inspiration. The feeling of peace and silence lurks in the soft rhythm and color of its landscapes. The artist opposes this peace with the power and movement of the animal world (“The Chase” (2012), “Big Snow” (2012), “Early Morning” (2014)).

The murals of the service "Russian Field" (2005-2006), the decorative composition "Path to Grandfather" (2016) are a hymn to chamomile - one of the artist's favorite flowers, associated with the expanses of Russian meadows, the aroma of a summer day and the sunny July sky.
In a series of animalistic dishes, the attention is drawn to the porcelain calendar, which represents the seasons with images of horses. The exhibition features four dishes from this series: "Winter", "Spring", "Summer" and "Autumn".

Unusual compositional solutions and angles were chosen by Nelly Petrova for painting the cobalt layers "Snow Leopards" (2014).
The work of Nelly Petrova is characterized by the language of allegories. The allegorical images in the paintings of paired dishes "Physics and Lyrics" (2015), "Gravity" (2015) are diverse; comic series "Hare named Empire" (2015).

For his paintings, the artist uses forms restored at the factory based on samples of imperial vases from the Hermitage collection. Among them are the vases “Midday rest of lions” (2016), “Leopards” (2014), “Noble Nest. Capercaillie" (2016), "Noble Nest. Curlews" (2017).

Nelly Petrova is also a sculptor of many modern porcelain forms, for example, the “Cradle for a Star” form is presented in the interior compositions “On the Hills of Karelia” (2016), “In the Floodplain of a Blooming Lotus” (2016), and “The Path to Grandfather” ( 2016).

The porcelain exposition is complemented by drawings, sketches, sketches of paintings and compositions, sketches and sketches made by the master in recent years.

The illustrated edition “Reality and Magic. Porcelain by Nelly Petrova (Russian Collection Publishing House, 2017). It is preceded by an introduction by Mikhail Borisovich Piotrovsky, General Director of the State Hermitage - "Personal Porcelain"; and greetings from Galina Viktorovna Tsvetkova, Chairman of the Board of Directors of the Imperial Porcelain Factory, and Tatyana Alexandrovna Tylevich, General Director of the Imperial Porcelain Factory.
The curator of the exhibition is Inna Kasielevna Maistrenko, senior researcher at the Museum of the Imperial Porcelain Factory Department of the State Hermitage. Head of the Department Anna Vladimirovna Ivanova.

Introduction to the catalog

Personal porcelain

The Hermitage and the Imperial Porcelain Factory are old friends. This friendship is embodied in the Museum of Porcelain at the factory, in the exhibitions of the Christmas Present cycle, in the creation of replicas of the Hermitage collections, in unique public projects (for example, "In Colors Alone"), and in many other ways. The basis of this friendship, of course, is history, but history embodied in mutual inspiration. The Hermitage science draws its knowledge and enthusiasm from the creative energy that comes from the factory's artists, from the beauty that the porcelain makers give birth to over and over again. The artists of the Plant live, as it were, in the Hermitage, their eye is brought up on the Hermitage collections, their taste is guided by the traditions of the Russian court and world art. At the same time, each artist is an outstanding personality who loves the Hermitage and is loved by the Hermitage.

This love finds different expressions, including solo exhibitions. Today we are presenting a personal retrospective of the latest works by the chief artist of the plant, a charming craftsman - Nelli Petrova. The work of a porcelain artist is, by definition, very diverse: large and small forms, tradition and modernity, figurativeness and ornamentation, movement and peace. All this is present both together and separately, in bright and delicate colors. Vases, plates, cups, sets, plates. Flowers, horses, bears, naked and naked beauties, "Russian" luxury and "Danish" tranquility. All this is Nelli Petrova, and all this is the tradition of Petersburg porcelain. She perfectly and naturally combines loyalty to tradition with emphatically personal diversity. And in this it absolutely corresponds to the Hermitage, its style and spirit.

M.B. Piotrovsky,
General Director of the State Hermitage

"I took nature as my mentor, the teacher of all teachers"

Leonardo da Vinci

On July 6, 2017, the exhibition “Vladimir Kanevsky. porcelain flowers». Vladimir Kanevsky- a modern artist and sculptor who can compete with nature in the filigree of craftsmanship.

The exhibition includes works created from 2014 to 2016. Porcelain floristic works have already become traditional for Hermitage.

The work of Vladimir Kanevsky is difficult to classify as a specific "ethnos". For 30 years he has been living and working in New Jersey, USA, although he was born and studied in Kharkov (Ukraine), in 1978 he moved to Leningrad and emigrated to the USA 10 years later, where he discovered his passion for porcelain. The son of documentary filmmaker Aron Kanevsky, a graduate of the Kharkov Civil Engineering Institute, Kanevsky nevertheless found his vocation in art.

The master developed a unique technology for making porcelain flowers in an individual, unique manner, which distinguishes the artist from masters with a similar technique and floral motifs. The simplicity and naturalness of Kanevsky's works attract the eye and contribute to the full perception of art.

The artist himself notes: “Sometimes I paint with a matte underglaze over a glossy glaze. They don't, but it doesn't bother me at all. And it’s a great joy for me if a professional says: “I don’t understand, but how is it done?”.

All the creations of Vladimir Kanevsky are handmade, two identical works cannot be found.

The creative process begins with what Vladimir Kanevsky selects for starters - fresh flowers. Especially interesting are those that have noticeable flaws, such as traces of insects and caterpillars. Such elements give porcelain plants not only greater naturalism, but also a certain charm and mood, making them alive.

The pride of Vladimir Kanevsky is the porcelain compositions kept in the collections of the royal houses of Europe: the Princess of Monaco and the German Princess Gloria von Thurn und Taxis in Regensburg Castle. The artist's works adorn the art galleries of many famous designers, fashion designers and jewelers. Among them are Oscar de la Renta, Carolina Herrera, Tommy Hilfiger, Joel Arthur Rosenthal.

The exhibition was prepared by the Department of the History of Russian Culture (OIRK) of the State Hermitage, head Vyacheslav Anatolyevich Fedorov. The author of the concept, curator of the exhibition and coordinator of the project is Ekaterina Sergeevna Khmelnitskaya, senior researcher at OIRK, Doctor of Arts.

Lyudmila Lunina - about the path to the recognition of the artist Vladimir Kanevsky An exhibition of porcelain flowers by Vladimir Kanevsky has opened in the Hermitage. About the long journey of the artist, strewn by no means with roses, tells the columnist for Ogonyok Lyudmila Lunina ... February 2017. The news feed brings a message that US First Lady Melania Trump presented Vladimir Kanevsky's porcelain flowers (Rose in Bloom composition, "Rose in Bloom") to the wife of Japanese Prime Minister Akie Abe. After reading this, I write to Kanevsky on Facebook: “Wow, how cool!” To which convinced democrats Vladimir and Edita answer that yes, it's great when your works become a US government gift. “But much more important for us is the upcoming exhibition in the Hermitage. And, by and large, this fact (a gift from Melania Trump. - “Oh”) does not add any additional artistic value to art.” The Power of Weakness Volodymyr Kanevsky is a Russian-Ukrainian-American artist who has been living in the United States for over 25 years. What Kanevsky does is so fragile and ephemeral that, by definition, he cannot win anyone over. It is sold-surrendered at the mercy of the winner. And the prices on checks are growing from year to year. This is that weakness, a whisper, which is stronger than any loud statement. Kanevsky makes porcelain flowers: mallows, hydrangeas, lilies of the valley, lilacs, and so on. Such deceptions. With his art, he is embedded in two centuries-old traditions: firstly, botanical drawing, and secondly, fake paintings, but continues them, so to speak, in a sculptural, plastic version. Vladimir Kanevsky was born in Kharkov in 1951. In the same city, he spent his childhood, graduated from high school and received an architectural education. He designed quite a lot, at the age of 25 he joined the Union of Architects of the USSR. Once, already living in America, using the wonders of Google Earth, he found on the map, in the city of Lozovaya, Kharkov region, the area he worked on in his youth. “Not even 50 years have passed - it was still built!” - Kanevsky says not without irony. In his youth, he dreamed of large-scale projects and, in search of an interesting life, left for Leningrad. ... 1982, a little more and the country will change. But Vladimir Kanevsky, of course, does not foresee anything of the sort. He has no time, he has November 7, the October Revolution holiday, for which the whole city will be lit up with posters and banners. He, as the main artist of Leningrad, is responsible for all street decoration. These years were the apotheosis of his Soviet career. The documents authorizing the decoration of Palace Square for the May Day and November demonstrations had two signatures: one - Kanevsky, and the second - the first secretary of the Leningrad Regional Committee Grigory Romanov. His life in Leningrad did not immediately develop so wonderfully. At first, disillusioned with architectural work, he labored at the Artistic Combine: the posters that he designed there did not pass a single artistic council, Kanevsky was kept in the losers. But once he was entrusted with the design of the tasting shop "Nectar" on Nevsky. Nobody wanted to take on this job: it was not clear how to fill 26 large showcases. Kanevsky placed frames in the showcases, and ceramic figurines in them. With the help of figurines, he played the history of winemaking from Dionysian processions to the production of Agdam port wine. Small plastic he did himself, for the first time trying his hand at sculpture. The store was located in the center, the work was noticed, and, unexpectedly for himself, Kanevsky headed the artistic council that had previously wrapped his posters. American dawn ... When the entire artistic and ideological system of the USSR collapsed with the beginning of perestroika, art factories lost orders and money, artists rushed into the abyss of capitalism, began to make shop signs and produce erotic calendars, Vladimir decided to emigrate. It was that cruel time when people were let out of the country with practically nothing - with personal belongings in a couple of suitcases. Potential immigrants were kept in quarantine in Italy for several months, and then they were already issued permission to enter the United States or Israel. Entrepreneurial compatriots, leaving the USSR, tried to convert rubles into goods for export, for example, into then-fashionable commander's watches. The markets of Italy were flooded with watches, and it became increasingly difficult to sell them. And Vladimir Kanevsky came up with a move: to draw on dials, over red stars, a paratrooper or a submarine. For "tuning" one dial, he was paid $10. Within a few hours he was earning $200 and the rest of the time he was lazy on the beach. In a couple of months he got stronger and tanned, he liked Italian cuisine and women, he did not want to leave anywhere. And then America called him. In America, he met the decorator Howard Slatkin, who needed ceramic artists. This is how porcelain entered his life: first, melon-shaped tureens and dinner sets, and then the idea of ​​making porcelain flowers arose. At first, their relationship was far from idyllic. Vladimir Kanevsky was shy about flowers. He said that in this way he earns on renting an apartment. But the flowers that came out from under his hands became more and more complex and beautiful, everyone definitely liked them, they were bought. When we first met in New York, in his studio in the town of Fort Lee, across the river from Manhattan, Kanevsky showed his work and said, a little justifying himself: “I also do sculpture, I even participated in the Venice Biennale. But they don’t buy a sculpture, but there is a queue for flowers.” Moreover, his Russian acquaintances were, like him, cautious. Admiring the porcelain lilacs and bells, the Russians said: “Probably, there is something in this. You know, maybe that will work." While the American circle… Now it’s hard to remember what became the point of no return: Tommy Hilfiger’s order for 20 bouquets of lilies of the valley for the presentation of Lily of the Valley perfume or the exhibition at the Bergdorf Goodman store on 5th Avenue: Caroline Roem bought all the porcelain compositions then , famous New York decorator. Or the day when Oscar de la Renta first called and then personally came to his workshop: he bought eight black porcelain mallows. When, ten years later, Vladimir Kanevsky's client list already included all European princesses, he did not seem to be very surprised. Kanevsky does not make exotic flowers such as orchids. Its flowers are a little tattered by life. These are creatures after storms and suffering, in dusty pots... I personally realized the originality of these works by chance in a very unexpected place - at the iSaloni exhibition in Milan. This is the world's largest exhibition of interior items, where there is literally everything from rock crystal bathtubs to super-sophisticated ovens. And in one pavilion, I found a fairly large section of German, Italian and Austrian companies that make porcelain flowers. They decorate the frames of family photos, containers for cosmetics and perfumes, church utensils, Easter gifts and tombstones of columbariums. This is a very sentimental genre, on the verge of vulgarity. And now, against the backdrop of a professional circle, reflecting on the art of porcelain flowers, Kanevsky suddenly rose like hosts above meek seraphim. Let's start with the fact that its flowers are not entirely porcelain: their buds are made of ceramic mass, and the stems and leaves are brass, then painted and patinated. These two materials, brass and porcelain, should never be combined until the final installation, otherwise irremovable brown spots will appear on the porcelain surface. So brass compositions are created as an architectural frame: they are complex, take up a lot of space, look different from different angles. From everything that was created in this genre before, they differ approximately like a Gothic cathedral from the catacombs of the first Christians. Kanevsky strictly monitors not to go overboard with "mercy". He does not make exotic flowers, like orchids, which are beautiful in themselves, but inconspicuous daisies are his model, he can add beauty to them. Its flowers, for all their amazing delicacy, are a little battered by life. These are creatures after storms and suffering, in dusty pots, with rotten leaves. Actually, they are variations on the eternal theme of art - memento mori. Porcelain Language France, 2005. - Mr. Kanevsky, I am very glad to see you in my house. Finally we met! The gray-haired gentleman with black penetrating eyes looks politely and appraisingly. He leads Vladimir and Edita into the living room of a three-story mansion, shows a collection of porcelain flowers, presses a porcelain melon to his cheek. He is very excited, there are tears in his eyes. This was the first visit to the legendary interior designer Alberto Pinto, who in the 1980s turned the idea of ​​​​the profession of a decorator upside down. When Mr. Pinto passes away in 2012 at the age of 69, he will be mourned by all of Paris, and indeed the whole world, as he designed interiors from Los Angeles to Doha and did everything from yachts to palaces and airplanes. Mr. Pinto surrounded himself with the best artisans of France, excellent masters of lacquer, gilding, glass, and fabrics worked for him. He was fantastically attentive to detail. And he had a weakness: he collected porcelain, dishes and flowers, which he bought in the Dior boutique, in the only Parisian department of the world brand that offered home accessories. Dior kept the name of the author of these masterpieces a secret. Until finally Mr. Pinto saw the author in a magazine and invited him to visit. “A lovely lady worked at Dior, Doris Brynner, the widow of artist Yul Brynner,” says Kanevsky. - Now she is retired, and in those days she was famous for her bad temper, but she loved me, that is, if she scandalized, then not much. She did not disclose my name to anyone, assured me that I lived in the Russian outback and did not understand a word of English. When I got to Pinto, I was very surprised: he met me on the threshold, complimented my porcelain things. Probably the first time I was flattered. I had no idea how popular my flowers are in Europe. After that, I changed my point of view on porcelain, began to treat it not just as a way to make money, but as an art. Flower factory Town near Dresden, May 2010. Vladimir and Edita have breakfast under the arched arches of a medieval castle. They are honored guests of the Meissen manufactory, the most famous German luxury brand in the world. The company was very lucky: in 1945, the factory building was not destroyed by the most severe bombardments, and an archive of 200,000 porcelain molds was preserved intact here. And this citadel of porcelain art became interested in the works of Kanevsky. - Vladimir, we really appreciate your talent and we will be happy if you live in Germany for half a year or a year, as long as you need, use our factory, our craftsmen, and together we will create an exhibition in honor of the 300th anniversary of Meissen, - the young CEO of the German porcelain company Meissen Christian Kurzke radiated supreme German hospitality. He came to the company to breathe new life into old forges, initiated the release of new porcelain collections, as well as jewelry, home accessories and much more under the logo of two crossed blue skewers. He needed a landmark exhibition in honor of the company's anniversary. As a result, everything worked out (although Vladimir refused to live and work in Germany): 11 not even flower bushes, but almost flower trees, were made, they stood in giant flower tubs, in a darkened room, effectively snatched from the darkness by bright spotlights. First shown in Dresden, the Garden of Eden exhibition made a triumphant tour at the Maison&Objet in Paris. The flowers are today in the Museum of the German Porcelain Manufactory. In 2015, Christian Kurzke left for Porsche Design. They are still friends with Kanevsky. ... November 2013, Expocentre on Krasnaya Presnya. On the street - darkness, frost and eternal construction sites in the "City" area, inside the Expocenter - the light of dozens of crystal chandeliers, red carpets, French furniture of the 18th century and Italian paintings of the Renaissance. At the VII International Salon of Fine Arts in Moscow, 50 European antique galleries brought treasures worth half a billion dollars. Despite the fact that there are a lot of miracles around, there is only one stand in line - the one where Vladimir Kanevsky's flowers are generously "scattered" on a large round table. Gallery ArtConsul exhibited an unusually rare thing - "botanical" porcelain in the form of a large bouquet of flowers. Dahlias, tulips, roses, peonies and lilies of the valley hypnotize with their realism. Vladimir Kanevsky is declared as the only author of porcelain bouquets in the world. Brilliant "tricks" - trompe l "oeil - pose in the news of all TV channels. "Fans of his talent," the TV journalist says enthusiastically into the camera, "the Kennedy and Rothschild families, persons of the royal blood of Europe and the East, fashion and film stars. "... Among specialists fascinated by the colors of Kanevsky turned out to be employees of the State Hermitage Museum. Thus began a three-year epic - the preparation of a gigantic (59 works!) Exhibition in the largest art museum in the country and one of the five main museums in the world.