Ivan Ilyich Glazunov(born October 13, Moscow) - Russian painter. Professor, Head of Department history painting Russian Academy painting, sculpture and architecture by I. S. Glazunov. Active member of the Russian Academy of Arts (2007). Honored Artist of the Russian Federation (1998). Ivan Glazunov's works are in public and private collections in Russia and abroad.
Biography
Born October 13, 1969 in Moscow. Father - Glazunov Ilya Sergeevich, artist. Mother - Vinogradova-Benoit Nina Alexandrovna, artist.
2003 - Participation in the painting of the temple of Julia of Ancyra. Moscow region, Solnechnogorsk, with. Lopotovo.
2005 - Author of the project of the iconostasis of the Smolensk Skete of the Valaam Monastery.
2005 - Work on the iconostasis and icons in the monastery of the Holy Royal Passion-Bearers (in the Ganina Yama tract). Temple in honor of the icon Mother of God"Sovereign". Ural.
2010 - Artistic director murals in the church of St. Alexander Nevsky, built by the patronage of A. A. Kozitsyn ("UMMC"). Yekaterinburg, Upper Pyshma.
2013 - Author and performer of the interior decoration and murals of the Small Ascension Church in Moscow.
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An excerpt characterizing Glazunov, Ivan Ilyich (artist)
Indeed, soon after that he closed his eyes and fell asleep. He didn't sleep long and suddenly woke up in a cold sweat.Falling asleep, he thought about the same thing that he thought about from time to time - about life and death. And more about death. He felt closer to her.
"Love? What is love? he thought. “Love interferes with death. Love is life. Everything, everything that I understand, I understand only because I love. Everything is, everything exists only because I love. Everything is connected by her. Love is God, and to die means for me, a particle of love, to return to the common and eternal source. These thoughts seemed to him comforting. But these were only thoughts. Something was lacking in them, something that was one-sidedly personal, mental - there was no evidence. And there was the same anxiety and uncertainty. He fell asleep.
He saw in a dream that he was lying in the same room in which he actually lay, but that he was not injured, but healthy. Many different persons, insignificant, indifferent, appear before Prince Andrei. He talks to them, argues about something unnecessary. They are going to go somewhere. Prince Andrei vaguely recalls that all this is insignificant and that he has other, most important concerns, but continues to speak, surprising them, with some empty, witty words. Little by little, imperceptibly, all these faces begin to disappear, and everything is replaced by one question about the closed door. He gets up and goes to the door to slide the bolt and lock it. Everything depends on whether or not he has time to lock it up. He walks, in a hurry, his legs do not move, and he knows that he will not have time to lock the door, but all the same, he painfully strains all his strength. And a tormenting fear seizes him. And this fear is the fear of death: it stands behind the door. But at the same time as he helplessly awkwardly crawls to the door, this is something terrible, on the other hand, already, pressing, breaking into it. Something not human - death - is breaking at the door, and we must keep it. He grabs the door, exerting his last efforts - it is no longer possible to lock it - at least to keep it; but his strength is weak, clumsy, and, pressed by the terrible, the door opens and closes again.
Once again, it pressed from there. The last, supernatural efforts are in vain, and both halves opened silently. It has entered, and it is death. And Prince Andrew died.
But at the same moment he died, Prince Andrei remembered that he was sleeping, and at the same moment he died, he, having made an effort on himself, woke up.
“Yes, it was death. I died - I woke up. Yes, death is an awakening! - suddenly brightened in his soul, and the veil that had hidden the unknown until now was lifted before his spiritual gaze. He felt, as it were, the release of the previously bound strength in him and that strange lightness that had not left him since then.
When he woke up in a cold sweat, stirred on the sofa, Natasha went up to him and asked what was wrong with him. He did not answer her and, not understanding her, looked at her with a strange look.
This was what happened to him two days before Princess Mary's arrival. From that very day, as the doctor said, the debilitating fever took on a bad character, but Natasha was not interested in what the doctor said: she saw these terrible, more undoubted, moral signs for her.
From that day on, for Prince Andrei, along with the awakening from sleep, the awakening from life began. And in relation to the duration of life, it did not seem to him more slowly than awakening from sleep in relation to the duration of a dream.
There was nothing terrible and sharp in this relatively slow awakening.
His last days and hours passed in an ordinary and simple way. And Princess Marya and Natasha, who did not leave him, felt it. They did not cry, did not shudder, and Lately, feeling it themselves, they no longer followed him (he was no longer there, he left them), but for the closest memory of him - for his body. The feelings of both were so strong that they were not affected by the outer, terrible side of death, and they did not find it necessary to exasperate their grief. They did not cry either with him or without him, but they never talked about him among themselves. They felt that they could not put into words what they understood.
They both saw him sinking deeper and deeper, slowly and calmly, away from them somewhere, and both knew that this was how it should be and that it was good.
He was confessed, communed; everyone came to say goodbye to him. When they brought him his son, he put his lips to him and turned away, not because he was hard or sorry (Princess Marya and Natasha understood this), but only because he believed that this was all that was required of him; but when they told him to bless him, he did what was required and looked around, as if asking if there was anything else to be done.
When the last shudders of the body left by the spirit took place, Princess Marya and Natasha were there.
- Is it over?! - said Princess Mary, after his body had been motionless for several minutes, growing cold, lying in front of them. Natasha came up and looked into dead eyes and hastened to close them. She closed them and did not kiss them, but kissed what was the closest memory of him.
“Where did he go? Where is he now?..”
When the dressed, washed body lay in a coffin on the table, everyone came up to him to say goodbye, and everyone wept.
Nikolushka wept from the pained bewilderment that tore at his heart. The Countess and Sonya wept with pity for Natasha and that he was no more. The old count wept that soon, he felt, he was about to take the same terrible step.
Natasha and Princess Mary were weeping now too, but they were not weeping from their own personal grief; they wept from the reverent tenderness that seized their souls before the consciousness of the simple and solemn mystery of death that took place before them.
The totality of the causes of phenomena is inaccessible to the human mind. But the need to find causes is embedded in the human soul. And the human mind, not delving into the innumerability and complexity of the conditions of phenomena, each of which separately can be represented as a cause, grabs at the first, most understandable approximation and says: here is the cause. In historical events (where the subject of observation is the actions of people), the most primitive convergence is the will of the gods, then the will of those people who stand on the most visible historical place, - historical heroes. But one has only to delve into the essence of each historical event, that is, in the activities of the entire mass of people who participated in the event, to make sure that the will historical hero not only does it not direct the actions of the masses, but is itself constantly directed. It would seem that it is all the same to understand the meaning of a historical event one way or another. But between the man who says that the peoples of the West went to the East because Napoleon wanted it, and the man who says that it happened because it had to happen, there is the same difference that existed between people who said that the land stands firmly and the planets move around it, and those who said that they did not know what the earth was based on, but they knew that there were laws governing the movement of both her and other planets. There are no and cannot be causes of a historical event, except for the single cause of all causes. But there are laws that govern events, partly unknown, partly groping for us. The discovery of these laws is possible only when we completely renounce the search for causes in the will of one person, just as the discovery of the laws of the motion of the planets became possible only when people renounced the representation of the affirmation of the earth.
After the battle of Borodino, the occupation of Moscow by the enemy and burning it, the most important episode the war of 1812, historians recognize the movement of the Russian army from the Ryazan to the Kaluga road and to the Tarutinsky camp - the so-called flank march beyond Krasnaya Pakhra. Historians attribute the glory of this brilliant feat to various persons and argue about who, in fact, it belongs to. Even foreign, even French, historians recognize the genius of the Russian generals when they speak of this flank march. But why military writers, and after them all, believe that this flank march is a very thoughtful invention of some one person that saved Russia and ruined Napoleon is very difficult to understand. In the first place, it is difficult to understand what is the profoundness and genius of this movement; for in order to guess that the best position of the army (when it is not attacked) is where there is more food, no great mental effort is needed. And everyone, even a stupid thirteen-year-old boy, could easily guess that in 1812 the most advantageous position of the army, after retreating from Moscow, was on the Kaluga road. So, it is impossible to understand, firstly, by what conclusions historians reach the point of seeing something profound in this maneuver. Secondly, it is even more difficult to understand in what exactly historians see this maneuver as saving for the Russians and harmful for the French; for this flank march, under other, preceding, accompanying and subsequent circumstances, could be detrimental to the Russian and saving for French troops. If from the time this movement took place, the position of the Russian army began to improve, then it does not follow from this that this movement was the cause.
How well do we know contemporary Russian artists who paint their works in a classical manner? Most likely no. On hearing a couple of names and all. In Russia, more avant-garde, all sorts of installations and other newfangled things are now being promoted. Russian traditional painting better known outside of our Motherland, where she is admired and appreciated. In our country, they scold, snort and despise for "Russianness". Among these masters is the Honored Artist of the Russian Federation Ivan Ilyich Glazunov, who worthily continues the traditions of the Russian school of realism.
Glazunov I.I. In Nizhny Novgorod costume 2006
Russian folk wisdom that nature rests on the children of great people, this time turned out to be erroneous. Ivan Glazunov is a worthy successor to the work of his father, Ilya Sergeevich Glazunov, and his mother, also an artist, Nina Alexandrovna Vinogradova (Benoit). Although the paintings of Ivan Glazunov are somewhat different from the works of his father, and some even believe that he has already surpassed him.
Ivan Ilyich Glazunov at work
Ivan Glazunov was born on October 13, 1969 in Moscow, where he now lives. In 1988-1994 he studied at the Moscow State Academic Art Institute. V. I. Surikov, in the workshop under the guidance of his father, Professor I. S. Glazunov. Ivan, speaking of his father, notes: "He is the most interesting teacher. His program is based on tradition Imperial Academy arts. He managed to combine the pre-revolutionary academic school with ours and saturate with our own methodology. "And this is so, just look at the very first large-scale work by Ivan Glazunov, written in 1994, the canvas" Crucify Him! "Christ, tormented, in a crown of thorns and a torn robe, asks:" What will you choose Are you the path of Truth or the path of betrayal?"
Glazunov I.I. Crucify Him 1994
Circle artistic interests Ivan Glazunov is very wide. He is interested in history and collects a collection of Russian national costume, collects materials about the Russian North, paints landscapes .. Passion national costumes came from mom. Nina Alexandrovna Vinogradova-Benoit created costumes for the theater, and her father created scenery. Ivan Glazunov and his wife Yulia did a lot to find and restore the splendor of sundresses, headdresses, scarves in the North of Russia. As a result of this, paintings also appeared - portraits of women in unusually beautiful Russian costumes.
Glazunov I.I. Wearing a black scarf
Glazunov I.I. In a Kargopol costume
In 1997-1999 Ivan Glazunov worked on the design of the Grand Kremlin Palace (portraits, interior sketches). Another area of the artist's activity is painting. Orthodox churches. In 2003-2007, the artist worked on the iconostasis of the temple in honor of the icon of the Mother of God "Sovereign" in the monastery in honor of the Saints royal martyrs in the Ganina Yama tract near Yekaterinburg, took part in the murals of the church in the name of the Holy Martyr Julia of Ankirskaya in the Moscow region and in the murals of the Church of the Small Ascension on Bolshaya Nikitskaya Street in Moscow.
Glazunov I.I. First snow on the Dvina
Glazunov I.I. Artist's family 2004
Glazunov I.I. Procopius of Ustyug with a prayer removes a stone cloud from the city of Ustyug
Glazunov I.I. Grand Duchess Evdokia, in confirmation of her pious life, opens her emaciated body
Ivan Glazunov awarded national award"Person of the Year - 2007" in the nomination "Culture" for his great contribution to Russian culture and received the title of Academician of the Russian Academy of Arts. First personal exhibition the artist was held in 2008 ... in Venice. There was another small one in the Kolomenskoye estate a little later. Perhaps that's all, but it's a pity ... a very interesting and talented artist.
Other paintings, icons and photographs can be viewed here:
The fantastic success of the artist's father, now worldwide famous master Ilya Glazunov, memories of the long queues lining up for his exhibitions at the most prestigious halls of the capital, finally, weighty volumes of luxurious reproductions released in many countries of the world, and next to my son - also an artist - all this extremely embarrassed me. The successes of his father could not but be reflected in the worldview of Ivan, who is finishing his fifth year of study at Surikov, in creative team the same Glazunov Sr., a teacher at the school.
Nature is stingy with talent. The great mystery of genes is usually not passed on from parents to children. And if this happens, it is extremely rare: the Roerich dynasty, the elder and junior artists Palm tree in Italy, father and son Dumas, David and Igor Oistrakh.
Enthusiasm, passion, creative obsession is transmitted ... But talent - almost never.
- And what about Ivan Glazunov?
The atmosphere in the workshop of the 24-year-old artist literally shocked me. Sometimes I felt like I was in ethnographic museum, packed to the limit with the rarest exhibits. And what is not here! Here you can find old Russian painted spinning wheels and unusually shaped samovars. Here are the icons different writing, different times.
Here are peasant chests painted with metal fittings, and carved rustic cabinets that are striking in their invention. Here, finally, ancient Russian clothing, festive and everyday, is in abundance. Women's, men's ... She is hung on the walls, she is in chests ...
- Vacation for me is the time of expeditions, - Ivan explains. - And everything you see is the result of our trips. We, students, all these years traveled to the North, to Siberia, to Far East in search of national treasures. Probably, in no country there is such an abundance of domestic art as in Rus'! Icons, household items, clothes... Here, in Russia, all this beauty is for the soul. In the West - for the eyes. That's the difference...
I began to get acquainted with the artist's paintings and suddenly realized that I was not dealing with a student, but with a nascent master. It was almost unbelievable: large multi-figure compositions on historical theme, created as a young man, a student who did not even graduate art school. The beginning of the journey and such originality!
Diploma work "Crucify him!". On a wide canvas is the tragic figure of Christ. He stands in front of Pontius Pilate against the backdrop of an apocalyptic stormy sky, of which there is a lot - in the whole canvas. A burst of light falls on the face of Christ, surrounding him with a rainbow halo. The crowd and the guards demand the crucifixion of the Lord. He is human. He is remarkably calm. He is above what is happening. He is God.
Painting "Dawn before the Battle of Kulikovo". The endless expanse of Russia is drowning in the predawn haze. The vast boundless sky above the combat units of Russian soldiers. In the vague mosaic of clouds, two legendary figures of Saints Boris and Gleb, the inspirers of the future victory, are vaguely visible.
The painting "Baptism of Veliky Novgorod" - it's hard to believe that this course work student, our ancestors, their clothes are so masterfully written out, the psychological atmosphere of the historical event is conveyed.
Excellent work. There is no doubt that we are not dealing with an amateur, but with an emerging young artist who thinks and has his own style of writing.
You become even more convinced of this when you get acquainted with the gallery of large-format portraits and with the beautiful landscapes of Russian open spaces, permeated with primordial melancholy.
Once Alexander Blok famously said: the artist is characterized by a sense of the way.
The question is natural: “What is the young Glazunov's sense of the way? Where is he heading in his work?
It seems that the main thing for him is the feeling of the Motherland, the bright feeling of devotion to Russia.
- today before pictorial art two ways, - says Ivan. - One - purely practical - extortion of money on supposedly unfashionable realism. Now for nice scenery they pay well. Hence the apartment painting, which poured into the Arbat lanes, in Izmailovo - for the needs of everyday life.
And the second path - deep responsibility, connected with the fate of the fatherland, its traditions, history and future. I am for this path. I start with history; However, I want politics to be visible in my work as well. I am convinced that the hour will come and I will do something serious in modern times.
By the way, I am not alone in my aspirations. Such students as Yu. Sergeev, D. Slepushkin, V. Shain, I. Kuznetsov, it seems to me, created a special atmosphere in the school of a kind of sacred rite before national history, its traditions, treasures of folk art. We are all fond of ancient Russian clothing. I dream of eventually publishing a book on this topic. Mother didn't get to do it...
Ivan's passion for Russian costume began with childhood. He was 14 years old when his parents, Ilya Glazunov and Nina Vinogradova-Benois, began work as decorators for famous Russian operas. Queen of Spades"for the Berlin Opera," City of Kitezh ", for the Bolshoi Theater.
I remember that then these performances were perceived as a revelation on the Russian theme; scenery, costumes, everything was in harmony with the extraordinary music and story of the action. In their time, these operas were an event, as I now understand.
Working with Russian costume plays a special role in creative life Ivan Glazunov. His portraits of women in folk costumes are both a tribute and psychological nature, and the unfading beauty of the clothes of those distant days. 
Why are your portraits mostly female? - I ask the artist.
- female image much more perfect than the male. And is it not because of this that I began to turn to the icon more and more often? The best of my icons - the Mother of God - I presented to the Cathedral of Veliky Ustyug. I do not forget the wonderful words once said by the artist Viktor Vasnetsov: "All my art is a candle lit before the face of God."
Someday I dream of a whole temple, - Ivan finishes, - but this is a matter of the future. It is necessary to finish school with dignity - a diploma is ahead ... Tests ...
I leave the artist's studio with a sharp feeling that Ivan Glazunov managed to defend the main test of his life. This is a test for the originality of creative talent.
Having adopted from his father and at the same time his teacher his boundless love for Russia, his obsession with preserving domestic traditions art, Ivan retained the main thing that nature happily endowed him with - the magical, genetic chain of transferring talent from father to son. And it is very important that Ivan is original, he does not repeat his father in manner.
Now, following the high criteria of the Glazunov school with its Russian spirituality, knowledge of the beauty of the world, filial responsibility for destinies national culture, Ivan Glazunov will have to defend the creative positions he has chosen in life. Let us wish him success in this difficult but holy work. 
Frankly, against the backdrop of the mercantile spirit, which, alas, has engulfed the field of art today, I was pleased to see a young artist who devoted himself to the development and upholding of the spiritual foundations of national art.
Ivan Glazunov is not alone, next to him are creative youth - active like-minded people and associates, professing the same life-giving principles.
The older generation plays an important role in this process. folk artist Ilya Glazunov, Rector of the Russian Academy of Painting, Sculpture and Architecture.
“We will still fight for our art,” Ivan says confidently.
And I believe him.
Ivan Ilyich Glazunov(born October 13, 1969, Moscow) - Russian painter. Professor, Head of the Department of Historical Painting of the Russian Academy of Painting, Sculpture and Architecture I. S. Glazunova. Active member of the Russian Academy of Arts (2007). Honored Artist Russian Federation(1998). Ivan Glazunov's works are in public and private collections in Russia and abroad.
Biography
Born October 13, 1969 in Moscow. Father - Glazunov Ilya Sergeevich, artist. Mother - Vinogradova-Benoit Nina Alexandrovna, artist.
In 1988-1994 studied at the Moscow State Academic Art Institute. V. I. Surikov, in the studio of the portrait of Professor I. S. Glazunov. In 1994-1996 was an assistant trainee at the Russian Academy of Painting, Sculpture and Architecture, then became a teacher at the academy. 1996-1999 - Associate Professor, Head of the Department of Composition of the Russian Academy of Painting, Sculpture and Architecture. From 1997 to the present day he has been in charge of the workshop of historical painting. In 1999 he received the title of professor.
Since 1996 he has been a member of the professional creative union Russian artists ( International Federation artists).
In 1998 he received the title of Honored Artist of the Russian Federation.
Since 2001, he has been the head of a group of artists RAZhViZ, who, according to his author's sketches, are painting the church of the Assumption of the Virgin in the city of Verkhnyaya Pyshma near Yekaterinburg.
Since 2007 he has been a full member (academician) of the Russian Academy of Arts.
October 2008 Venice, Italy - the author's exhibition project "Russia in Tradition", which includes a personal exhibition of the artist, concerts of piano and ancient Russian sacred music, a conference at Ca'Foscari University (Venice), dedicated to the place of tradition in modern Russian culture.
May-October 2009 Moscow. Moscow State United Museum-Reserve Kolomenskoye - personal exhibition "Non-Contemporary Art". Painting, as well as Russian ancient costume and household items of the 17th-18th centuries from the artist's collection.
June-October 2010 Vologda. State Art Gallery - personal exhibition of the artist "Save and Preserve" in the exhibition hall of the Vologda State Art Gallery. Painting, as well as Russian ancient costume and household items of the 17th-18th centuries from the artist's collection.
2013 - Artistic director exhibition project"Romanov jubilee" to the 400th anniversary of the Romanov dynasty. The project includes art exhibitions, scientific conferences, concerts, anniversary editions, souvenirs and so on.
Connoisseur and collector of Russian antiquity, folk costume. Author of articles on Russian arts and crafts, the history of Russian costume.
From 1991 to this day, the artist travels around the Russian North, studying its traditions, folk art. This theme is often present in the artist's paintings.
The range of scientific and historical interests of Ivan Glazunov is focused on arts and crafts and painting XVII century.
Picturesque works of I. I. Glazunov often illustrate articles and albums on Russian history and culture.
Wife - Julia Alexandrovna Glazunova, actress, documentary filmmaker, producer.
Four children.
Creation
Painting:
"Crucify him!" (1994)
Series paintings on the theme of the Russian North (portraits, landscapes, historical paintings, sketches) (since 1991)
"Permogorsky bank of the Dvina" (1996)
"Family Portrait" (2003)
"Pinezhsky forest. Vow Cross (2003)
Series portraits of women in Russian costumes (2000s)
Series "Ancient Gates" (since 2005)
“Grand Duchess Evdokia, in confirmation of her pious life, opens her body exhausted by fasting to her sons” (2005)
"Mirror" (2005)
"Song of the Sirin" (2008)
"Song of Alkonost" (2008)
"Midsummer" (2010)
"Portrait of Tsar Mikhail Fedorovich Romanov" (2013)
portraits, landscapes
Ivan GlazunovThe artist Ivan Glazunov, the son of the famous Russian painter Ilya Glazunov, the leader of a new generation of Russian realist artists, shares in an interview his very pessimistic view of the future of world art...
Ivan Glazunov is called the leader of a new generation of Russian realist artists, a successor to the traditions of ancient Russian painting, religious and historical picture. Today, Honored Artist of the Russian Federation, full member of the Russian Academy of Arts, head of the composition department of the Russian Academy of Painting, Sculpture and Architecture Ivan Glazunov is a guest of File-RF.
Visitors to exhibitions in Russia and abroad, getting acquainted with his amazing northern landscapes filled with deep emotions, with historical canvases "Procopius of Ustyug" and "Grand Duchess Evdokia", with portraits of northerners, his wife and children, beauties in Russian costumes, note the main thing - I want to linger on these pictures, they are so exciting.
The most famous painting artist "Crucify Him!" located in the Cathedral of Christ the Savior. IN last years Ivan Glazunov held landmark exhibitions: in Venice - the cultural project "Russia in Tradition", in the Moscow Museum-Reserve "Kolomenskoye" - "Non-Modern Art" and in the Vologda art gallery- "Bless and save".
The artist participated in the restoration of the Bolshoi Kremlin Palace: according to his sketches, the interiors of the Anteroom were decorated, decorative bas-reliefs “Glory of Russian weapons” were made, and he also painted 18 portraits of warrior kings. According to his sketches, the interiors of the palace of Tsar Alexei Mikhailovich in Kolomenskoye were recreated, and on his initiative, the restored 17th-century St.
According to Ivan Glazunov's sketches, a group of artists from the Russian Academy of Painting, Sculpture and Architecture painted two churches - Uspensky and Alexander Nevsky - in Verkhnyaya Pyshma near Yekaterinburg. The artist participated in the painting of the temple in the name of the Holy Martyr Julia of Ankira in the Moscow region, he created the iconostases of the temple in honor of the icon of the Mother of God "Reigning" in the monastery of the holy martyrs "Ganina Yama" in Sverdlovsk region, Church of St. Ambrose of Optina in Kirovograd. At present, the artist, according to his sketches, paints the Church of the Ascension of the Lord (Small) on Nikitskaya Street in Moscow and implements it interior decoration.
- Ivan Ilyich, do you agree that in Russia today there are many people who live, focusing on Holy Rus'? They say that the term arose in the 16th century, and in the 17th this concept became an element folk culture. The militias of Minin and Pozharsky, as well as the Muscovite militias of 1812, drew the motto "For Holy Rus'!" on their banners, put it in their hymns. He lived to this day: "Russia, Ukraine and Belarus - this is Holy Rus'!" - who does not know this saying of Patriarch Kirill? What does this concept mean to you?
— Well, not geography at all — Holy Rus' existed for hundreds of years, at times existing under a bushel, in the souls and hearts of the people who represented it, and if we talk in protocol, of course, this is the XV-XVII centuries — the heyday of Russian holiness. Creation of architectural monuments, which everyone still goes to look at - Novgorod Kremlin, Moscow Kremlin, Ferapontovo, Church of the Intercession on the Nerl.
These monuments and artifacts testify to the fact that once Holy Rus' existed on a vast territory, and its ideas were spread, apparently, by those special people who went into dense forests, and from these hermits at first, and then the founders of sketes and monasteries, light came to the people. About Holy Rus', voluntarily or involuntarily, all Russian writers wrote.
And I can’t say that she was and now she is gone, she still exists - in the most different people, in simple laity and in the torches of spiritual thought, and of course, in the holy elders. And it can be said that he takes an active part in social life. Holy Rus' is always a bit of a virtual state, it does not have clear boundaries and government bodies, but we can find its features in the Orthodox monarchy, and in the work of Russian icon painters, and in the artels of Palekh - it's all about human feelings.
— Your work is connected with the images of Holy Rus'. Where do you find them?
- In the Russian North, I often travel to the Vologda and Arkhangelsk regions. Here are preserved external attributes life pre-Petrine Rus'- these gray huts, which you will not see in the middle lane, wooden temples, a dense forest, a forest river with high banks. It is for this that artists have been going there for a hundred years, trying to raise their spirits.
And the people there are very good, and the customs in the village are completely different, but everything is empty before our eyes: the inhabitants board up their houses and leave, and it is only a matter of time when this will end. Artists are trying to slow down the collapse, I also had a hand in moving St. George's Church of 1685 to Moscow.
After my first trip to the North, I began to collect old Russian costumes: I buy, change, receive as a gift. I'm not chasing quantity - less is better, but better. The collection mainly includes costumes from the Vologda and Arkhangelsk regions, from everyday homespun clothes to gold-embroidered silk dresses.
There are examples of the 18th century - for example, a Vologda-Kostroma costume with a manufactory handkerchief. In the Kolomna district, manufactories produced shawls with Russian ornaments for sale. Here is a silk scarf from the time of Paul I, but the old Vologda hat - a collection or a wrinkle, in general, in the North, all women's hats were called kokoshniks.
Amber was often worn with northern costume. The view of Rus' was especially preserved by the insulated women's clothing trimmed with fur. I must say that at first it was scary to pick up all these clothes, but my wife and I reanimated her and are already dressing 15 mannequins.
We held exhibitions in Venice, Moscow and Vologda. People correctly understood our idea - to create a world in which a person would remember where he comes from. In Vologda, those who left the village left touching comments: “I remembered my grandmother. I haven’t been at home for many years, I’ll go and pray.” And in Venice there was a complete delight, they didn’t see such a thing from Russia there.
There is also a biennale every year, I was last year at the architectural one, and at the Russian pavilion, a wonderful tower designed by Shchusev, you could see bare walls with photographs and in one of the rooms there was an installation: a fancifully folded rope on the floor. No abstruse idea from those that current people like to sum up for their work. Pure "wiring".
To create an exposition, they only needed to buy a ticket for one girl with a suitcase. The figures of "modern" art want to demolish or rebuild this tower, but the Venetians, I think, will not let them do it. In general, this brilliant idea is to make expositions of different European countries- was born at the beginning of the 20th century. But thanks to "modern" art, the charm is long gone, beautiful houses left, but there is nothing to see. By the way, no one was invited from our academy.
— And your exhibition did not take place at the Biennale?
- I had my own hall, which surprised many, because it is difficult to break through the cordon, which is arranged for dissidents. An artist, I think, can be different - left, right, not only a realist - but let what he does be art, and not piles of shit or piss cans.
All these ideas flourished in the West 20 years ago, and our actualists are speculating on the general illiteracy in the field of art and are trying to impale themselves on state support, because they have no customers, no one will buy either a stool covered with newspapers or a coil of rope.
I think these are echoes of the collapse program former USSR The same thing is happening in the West right now. Italy and France have wonderful people who love realism, but only these “ropes” are brought from Russia. International Foundation Guggenheim has several points around the world, where these "masterpieces" are shown.
And now Russia is simply being attacked - all these notorious icon cuttings or a TV set in the ass of a cow: you look, and it says “Russia” there. It is important for an avant-garde artist to be in the crowd, it is easier to issue invoices to the state - and there are those who pay them. Bought the same Tretyakov Gallery"Kissing policemen" - murals that someone passed off as art. And I didn’t remember at the same time that the English installation “Kissing Policemen” is already 40 years old and it is sold in all souvenir stalls.
- How far, in your opinion, has Russia gone from the model of Holy Rus' - does the name make it possible to think that the structure of the state was ideal?
- Of course, we are far from the Russia described by Leskov, but we have changed many times: in the days of the bright Middle Ages, before Peter I, it was one country, in the 18th century - another, after the war with Napoleon - the third, by the beginning of the revolution - the fourth , then all four were canceled by the fifth, and now the sixth.
They say - "we will revive Russia" ... Which of the six, you ask? Because, in fact, all six parts are in antagonism with each other: Peter's Russia - with science, ships, victories - mechanically canceled the merits of Muscovite Rus', and if we lived according to the rules established by it, modernity would be completely different.
This is how much was said about the backwardness of China and India: they say, some kind of ancient community, everything is in archaisms - and now the whole world is afraid of them: there is an atom, and science, and there are so many of them that they do not have enough of their own territory. Here is an example of how people lived without changing their traditions, they still wear saris and are not shy. And we know Rus' XVII century, perhaps, according to Bilibin's illustrations and exhibits in the museum.
This is a difficult conversation, I can’t say that Peter is bad. For Muscovite Rus', probably yes, but on the other hand, the rest of the world developed differently, and Rus' had to survive. In general, they love Peter, they erected monuments to him, even with Soviet power he was praised. Although Patriarch Kirill in one of his interviews aptly said that he violated our national code.
I think so too, and culturally, to tell the truth, Russia is loved for what was done before Peter. Take away our icons, St. Basil's Cathedral, wooden architecture, Kizhi, all the monasteries - there will be nothing left, Russia will become uninteresting.
Is there anything that bothers you about our times? Or is everything fine?
— I like that the borders are open, you can travel and make exhibitions in Venice. Temples, thank God, are not blown up and the bells are not dropped. But everything that I love is gone. Russia of the Russian North - I don’t even know how long she has left to live. It saddens me that few people care about this: the mass consciousness is drawn to entertainment, common man You can surprise with Disneyland, but it is indifferent to its history.
My daughters, members of the Veretenets ensemble, somehow took the stage on tour in vintage costumes, and the hall, where there were a lot of young people, simply began to laugh: it was funny to them that their peers were dressed up like that. I think these are the spectators of "House-2", the youth who became a victim of civilization, burning out for many years spirituality from people.
Children live in an acidic environment; they do not develop an interest in history, in the traditions of their country, because there is no history textbook as such.
And the general environment in the country is unhealthy, it helps us to self-destruct in cultural sense. We will continue to live not only on food-sausage! We must love, cherish and restore our culture, thanks to which Russia has always been interesting to the world. See how thoroughly literature was studied even in Soviet schools- and now everything is emasculated, all the knowledge of children from the Internet.
In the Arkhangelsk region, in some villages, plates with 42 channels were installed: they began to drink less, the TV ate time, but they were even more reluctant to work! And what? Get benefits and sit in front of the screen from morning to night!
And how much talented people leaves for the West, having found no use here! I'm not judging them, but it's sad to watch.
- What did your parents teach you, in particular, father Ilya Sergeevich Glazunov, at the lessons at the academy and at home?
- The main thing he taught me is the ability to concentrate and find a solution to any problem in half an hour. creative task. He called it "shocks" and had them on Saturdays. It was a school of professionalism. My father argued that an artist should live not only by inspiration, but, having received a task, be able to ignite the ability to create in himself. And never put anything off until tomorrow.
My father always had many portraits. For example, after the first exhibition in Italy, where famous film directors and actors posed for him. And I was amazed that he “grabbed” a person in a maximum of half an hour. And he did not just a sketch, but immediately a portrait.
I remember my father and mother (Nina Alexandrovna Vinogradova-Benoit. - Ed.), when they worked on the design of the opera "The Legend of the Invisible City of Kitezh" in Bolshoi Theater, attracted me to work, and it was also a school.
I remember how the lamp was burning, my mother was sitting in front of a large white sheet, and in the evening, Prince Igor, the Queen of Spades or the maiden Fevronia, or the city of Kitezh itself appeared by magic on the sheet. I didn’t understand then that these were stage images, for me the characters simply came to life, and it was fantastic!
I also remember how my father made “The Mystery of the 20th Century” in the workshop. I didn’t understand everything, but I already wanted to take paints in my hands and do something myself. Mom was engaged in Russian costume and instilled in me a love for him. She had a pair of kokoshniks and a sundress at home, and the texture of these things, when I touched them, fascinated me. My mother and I traveled a lot, we were in the Crimea, she loved Chersonese very much, she was interested in ancient world and passed it on to me.
— Do you have your own formula for the development of world art?
- I believe, that world art ended. The indisputable authority Brodsky, whom they like to refer to, called the entire galaxy of modernist architects, led by Corbusier, “bastards,” because, thanks to them, the world ended with great styles.
Look, there was Egypt, Hellenism, Greco-Roman civilization, East style, the ancient style of Holy Rus', then Gothic, Baroque appeared, and that was it. Classicism is already a paraphrased Greco-Roman style, Art Nouveau is the search for Holy Rus'.
We can imitate, revive, but, apparently, we will not give birth to a new Great style until the end of time. We will not be able to create anything new, except for the boxes of Kalininsky Prospekt and high-tech houses. And, thank God, if someone will at least imitate the old masters and build something human. I don't know if there will be painting, but at the academy we are trying to carry on the tradition of Russian realism.
No one hides that our ideals are in the past, we do not see around us what would give direction to the development of art, as was the case in the Renaissance in Italy or in the Moscow kingdom in the 15th century. We exist “in spite of” and we are trying to preserve what the technocratic civilization is destroying.
All these iPhones, iPods, iPads have become the talk of the town. Here we were in Italy, every now and then it was heard: “Son, if you get a five, I’ll buy an iPad.” Nowhere in the world is a tablet perceived as a game console, businessmen look at their mail at the airport, conduct business correspondence. And we pay off children with electronic gifts.
I have my own small children, and I can’t forbid them to use computers, and I myself use them out of necessity, but if these technologies develop at such a pace, in 10 years no one will sit down to read a book. And so you hear from all sides - composers do not write symphonies, writers of novels, large forms people die in art, but I hope for God's miracle, that thanks to the rebirth of man, all obstacles will be overcome, the Renaissance will begin, and the realities will be a little different. In our time, whoever protects culture and does not allow monuments to collapse is already doing a great job.
