In the middle of the twentieth century, he held high positions in the Soviet art community, including being the first secretary of the board of the Union of Artists of the USSR. At the same time, he did not stop his creative searches, creating works that have now become classics of Soviet painting. And although Konstantin Fedorovich Yuon did not leave any notes about visiting the city of Kuibyshev and the region, nevertheless he maintained close ties with many creative people in our city (Fig. 1).
He was born on October 12 (according to the new style on October 24), 1875 in Moscow, in a German-speaking Swiss family. His father worked as an employee of an insurance company, later - its director, and his mother was an amateur musician.
From 1892 to 1898, the young man studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ). His teachers were such masters as K.A. Savitsky, A.E. Arkhipov, N.A. Kasatkin. After graduating from college, Yuon worked for two years in the workshop of V.A. Serov, and then founded his own studio, in which he taught from 1900 to 1917 together with I.O. Dudin. His students were, in particular, A.V. Kuprin, V.A. Favorsky, V.I. Mukhina, Vesnin brothers, V.A. Vatagin, N.D. Colley, A.V. Grishchenko, M. G. Reuter.
In 1903, Yuon became one of the organizers of the Union of Russian Artists. He was also a member of the World of Art association. Since 1907, he worked in the field of theatrical scenery, led an art studio at the Prechistensky working courses together with I.O. Dudin. One of his students at that time was Yu.A. Bakhrushin. At this time, K.F. Yuon painted one of the most famous self-portraits (1912) (Fig. 2).
During the period of revolutionary events and the civil war in Russia, Yuon sided with the Soviet government, and in 1925 joined the Association of Artists of Revolutionary Russia (AHRR), although there is every reason to believe that, at least at first, he did not sympathize with Bolshevism.
In particular, in the painting “New Planet” created by him in 1921-1922, the artist depicted a cosmic catastrophe, which symbolizes the October Revolution. In another "space" picture "People" (1923), the contours of the Solovetsky Special Purpose Camp (SLON) are guessed (Fig. 3, 4).
To this day, his painting “Domes and Swallows. Assumption Cathedral of the Trinity-Sergius Lavra "(1921). This is a panoramic landscape, painted from the bell tower of the cathedral on a clear summer evening, at sunset. Under the gentle sky, the earth prospers, and in the foreground domes illuminated by the sun with golden patterned crosses shine. The motif itself is not only very effective, but also very bold for the era when the Soviet government waged a merciless fight against religion (Fig. 5).
In addition to working in the pictorial genre, he actively engaged in the design of theatrical productions (Boris Godunov at the Diaghilev Theater in Paris, The Inspector General at the Art Theater, Arakcheevshchina, etc.), as well as artistic graphics.
In 1943 K.F. Yuon became a laureate of the Stalin Prize of the first degree, in 1947 he was elected an academician of the Academy of Arts of the USSR, and in 1950 he was awarded the title of People's Artist of the USSR. In 1951 K.F. Yuon joined the ranks of the CPSU.
From 1948 to 1950 the artist worked as director of the Research Institute of Theory and History of Fine Arts of the Academy of Arts of the USSR. From 1952 to 1955 K.F. Yuon taught as a professor at the Moscow Art Institute named after V.I. Surikov, as well as in a number of other educational institutions. In 1957, he was elected first secretary of the board of the Union of Artists of the USSR, and he held this post until his last days.
At the end of K.F. Yuon left memories of his fellow student, the Samara artist V.A. Mikhailov. Here is the entry.
“Mikhailov was my friend during the years of teaching at the Moscow School of Painting, Sculpture and Architecture. We were in the same group with him and moved from class to class together. He was a very witty man, the soul of a comradely environment, joked endlessly, he had a lot of humor.
Every year during the Christmas holidays, student exhibitions were organized at the school, which were very popular among art lovers. Patrons have always been at student exhibitions. They had a desire to guess the future master and buy as many of his things as possible.
With Mikhailov V.A. I had to be among the so-called stewards of student exhibitions for two years in a row. I have a photograph of a group of exhibitors, including Mikhailov. The steward Mikhailov could not help but joke here and attached a label with the inscription "sold" to his heart.
I remember Mikhailov's student work. He did not study well. As an artist, Mikhailov painted with great feeling. I have his Ural sketch - mother-of-pearl, play of morning colors he did well.
Our senior artists performed at student exhibitions. Here Mikhailov could get acquainted with some of them, in particular, Byalynitsky and Zhukovsky were still exhibited at the exhibitions of the school.
It seems that Gundobin also studied with me.
At the school, teaching was organized in such a way that from class to class you fell into new hands. In the first primary class, only one teacher taught - it was Kasatkin. There were two teachers in the second, head, class: Gorsky and a teacher in S., I can't remember his last name. In figure, the third class, where the human figure was drawn, teachers Pasternak and Arkhipov. Later, Arkhipov moved to the natural class. Serov and Arkhipov were with me. The following year, Serov received a personal workshop at the school, and he no longer taught in the classroom.
After graduating from college, Mikhailov moved to Samara and took up teaching activities. At first we corresponded, and then each of us went our own way.
These memories of K.F. Yuon "Comrade in studies" about V.A. Mikhailov are given according to a shorthand record made from his words in 1958. Now in the Samara Regional Art Museum there is a sketch by K.F. Yuon "Monastery" with a dedicatory inscription: "To dear V.A. Mikhailov. K. Yuon. The sketch entered the museum collection as a gift from V.A. Mikhailov (Fig. 6-8).
At present, other works by K.F. Yuon (Fig. 9-11).
Konstantin Fedorovich Yuon died on April 11, 1958 and was buried in Moscow at the Novodevichy Cemetery (Fig. 12).
Bibliography
Apushkin Ya.V. K.F. Yuon. M., 1936.
Volodin V.I. From the history of the artistic life of the city of Kuibyshev. Late 19th - early 20th century. M., Publishing house "Soviet artist". 1979. 176 p.
Generalova S.V. 2003. The role of the regional department of culture in the preservation of cultural heritage in the city of Samara. - On Sat. "Unknown Samara". Digest of articles. Materials of the city scientific conference of the Municipal Museum "Children's Art Gallery" of Samara. Samara. Publication of LLC "Cultural Initiative", pp. 3-4.
Yuon Konstantin Fedorovich, painter
Yuon Konstantin Fedorovich(1875-1958), Soviet painter. People's Artist of the USSR (1950), full member of the USSR Academy of Arts (1947). He studied at MUZHVZ (1892-98) with K. A. Savitsky, A. E. Arkhipov, N. A. Kasatkin (upon graduation he worked there in the workshop of V. A. Serov in 1898-1900). He taught at his own studio in Moscow (together with I. O. Dudin; 1900-17), Moscow Art Institute (professor in 1952-55) and other educational institutions. Member of the association "World of Art", one of the organizers of the Union of Russian Artists, member of the AHRR (since 1925). Director of the Research Institute of Theory and History of Fine Arts of the Academy of Arts of the USSR (1948-50), first secretary of the board of the Union of Artists of the USSR (since 1957). Yuon turned to the motives of the Russian province, revealed the historical and national originality of its life and landscape in a juicy, bright pictorial manner, formed under the influence of impressionism ("To the Trinity. March", 1903, "March Sun", 1915). In Soviet times, he began with the embodiment of the revolutionary theme in symbolic and allegorical compositions ("New Planet", 1921); later he acted as the guardian of the realistic traditions of Russian art ("Domes and Swallows", 1921: "The End of Winter. Noon"), captured the events of revolutionary history ("The Storming of the Kremlin in 1917", 1947), images of people of the Soviet era ("Parade on Red Square on November 7, 1941", 1949; "Morning of Industrial Moscow", 1949; all the works mentioned are in the State Tretyakov Gallery). Yuon's works of this period are characterized by colorful decorativeness, freshness of perception, and lyrical penetration. Also known as a theater artist, worked in the field
Russian artist, representative of symbolism and modernity, master of landscape. Born in Moscow on October 12 (24), 1875 in the family of a bank employee. In 1892 he entered the School of Painting, Sculpture and Architecture, where his mentors were K.A.Savitsky, A.E.Arkhipov and K.A.Korovin. After graduating from college (1898), he studied in the workshop of V.A. Serov (until 1900). He was a member of the "World of Art", "Union of Russian Artists" (one of the founders of the latter) and AHRR. Lived in Moscow.
The symbolist poetics of Yuon most sharply manifested itself in the cycle of drawings The Creation of the World (1908-1909) - with nature and luminaries emerging from primordial chaos. Developing this theme, he later captured the revolution in the form of a formidable cosmic cataclysm (New Planet, 1921). But more typical for him are rural and architectural landscapes, clear in composition and dense in color, giving not a fleeting impression, but a stable image of the inhabited land or historical “soil”, famous or completely ordinary (To the Trinity, 1903; Spring Sunny Day, 1910; March Sun, 1915; Domes and Swallows, 1921; all works in the Tretyakov Gallery, Moscow). Motives of the Trinity-Sergius Lavra occupied a special place in his painting and graphics (in 1922, Sergiev Posad published an album of lithographs).
In the strict system of socialist realist exhibitions, Yuon's landscapes, sometimes "thematic" (Storm of the Kremlin in 1917, 1947; ibid.), invariably attracted with their heartfelt historicism or simply sincere lyrics. He fruitfully worked as a theater artist (he was, in particular, the chief artist of the Maly Theater in 1945–1947) and a teacher (since 1900 he taught at his own studio, and later at the Leningrad Academy of Arts and the Moscow Art Institute named after V.I. Surikov). He served as director of the Research Institute of the Academy of Arts of the USSR (1948–1950) and first secretary of the Board of the Union of Artists of the USSR (1956–1958).
Konstantin Fedorovich Yuon (1875-1958) - Russian and Soviet painter, landscape master; theater artist, art theorist.
People's Artist of the USSR (1950). Laureate of the Stalin Prize of the first degree (1943). Active member of the Academy of Arts of the USSR (1947). Brother of P.F. Yuon. Member of the CPSU (b) since 1951.
KF Yuon was born on October 12 (24), 1875 in Moscow into a Swiss-German family. Father - an employee of an insurance company, later - its director; mother is an amateur musician.
Konstantin Yuon studied at MUZhVZ from 1892 to 1898. His teachers were such masters as K. A. Savitsky, A. E. Arkhipov, N. A. Kasatkin.
After graduating from college, he worked for two years in the workshop of V. A. Serov. Then he founded his own studio, where he taught from 1900 to 1917 together with I. O. Dudin. His students were, in particular, A. V. Kuprin, V. A. Favorsky, V. I. Mukhina, the Vesnin brothers, N. D. Kolli, Reuter, Mikhail Grigorievich.
In 1903, Yuon became one of the organizers of the Union of Russian Artists. He was also a member of the World of Art association.
Since 1907 he worked in the field of theatrical scenery.
1906. Near the bank of the Pskov River. B on cardboard, aqua, white, charcoal. 68x104. GTG
Since 1925, Yuon has been a member of the AHRR. In addition to working in the pictorial genre, he was actively engaged in the design of theatrical performances, as well as artistic graphics.
From 1948 to 1950 the artist worked as director of the Research Institute of Theory and History of Fine Arts of the Academy of Arts of the USSR.
From 1952 to 1955 he taught as a professor at the Moscow State Art Institute named after V. I. Surikov, as well as in a number of other educational institutions. Since 1957 he was the first secretary of the board of the Union of Artists of the USSR.
K. F. Yuon died on April 11, 1958. He was buried in Moscow at the Novodevichy Cemetery (site No. 4).
1890s Landscape with a church. Cardboard, oil.
1903. Holiday. Cardboard, tempera. 95.5x70. timing
1905. Lubyanka Square in winter. B., aq., white. 47.2x57. GTG
1907. Elder bush. Decorative landscape. Pskov. H., M. 70.5x123. Tashkent
1908. Blue bush. Canvas, oil. 71x107. GTG
1909. Night. Tverskoy boulevard. B., aq., white. 60x73. GTG
1910. Trinity Lavra in winter. Canvas, oil. 125x198. timing
1913. Mill. October. Ligachevo. Canvas, oil. 60x81. GTG
1914. Winter. Bridge. Canvas, oil. 68.6x104. Penza
1913. Carousel. Uglich. B., aq., white. 51x68. emergency
1920. Portrait of A. A. Bakhrushin. B., k. 50x35. GTsTM them A. . Bakhrushin
1921. New planet Cardboard, tempera 71x101 State Tretyakov Gallery
1922. Russian province. From alb. lithographs. Moscow, ed. Berendei, 1922
1922. Symphony of action. X., M. 78x92. Private collection. Moscow
1923. Parade of the Red Army. H., M. 89.5x111. GTG
1923. People. X., M. 91x121. Kharkiv
1924. Portrait of K. A. Yuon, the artist's wife. X., M. 50x55. Collection of OI Yuon. Moscow
1925. Rainbow. Ligachevo. X., M. 63x81. GTG
1926. In those days At the House of Unions during the funeral of V. I. Lenin. B., aq., white. 32x49. Central Museum of V. I. Lenin
1927. Subject to full cooperation. Poster
1927. The first appearance of V. I. Lenin at a meeting of the Petrosoviet in Smolny on October 25, 1917. Canvas, oil 132x191. timing
1929. Departing province. H. on plywood, m. 79x104. Voronezh
1942. Morning of Moscow. Canvas, oil. 100x150. Irkutsk
1947. An open window. Ligachevo. H., M. 115x132. GTG
1954. Esk. to sk. Marshak "To be afraid of grief - not to see happiness." Royal chamber. B., aq., to 29.3x48. Muses. theater them. Vakhtangov
1954. Songs of collective farm youth. Ligachevo. X., M. 65x100. Muses. music. cult. them. Glinka, M
1956. Moscow. View of the Lenin Stadium in Luzhniki. emergency
Fully
. October 12, 1875 (Moscow) - April 11, 1958 (Moscow).
Painter, graphic artist, set designer. Born in the family of an insurance agent, a native of Switzerland. In 1894 he entered the MUZhViZ, the architectural department. Soon he moved to the painting department, studied with K. A. Savitsky, A. E. Arkhipov, L. O. Pasternak, in 1899 he worked in the studio of V. A. Serov.
From 1896 until the end of the 1900s he repeatedly visited Paris, where he studied in private studios. From 1898 he gave private lessons. In 1900–1917 he headed the School of K. F. Yuon and I. O. Dudin in Moscow. I became interested in the culture of Ancient Rus'. In the late 1890s - 1900s, he repeatedly traveled to ancient Russian cities. He also visited Italy, Austria, Switzerland, Germany. Lived in Moscow, in Sergiev Posad (1903, 1911, 1918-1921), Tver province (1905-1906, 1916-1917), Pereslavl-Zalessky, Yaroslavl.
He took part in exhibitions of the Moscow Association of Artists (1899, 1902), the Association of Traveling Art Exhibitions (1900), the World of Art (1901, 1906). From 1903 he was a permanent exhibitor of the Union of Russian Artists, from 1904 he was a member of the Committee of the Union. He worked mainly as a landscape painter, gaining "wide fame" among the Moscow and St. Petersburg public.
In the late 1900s and early 1910s, he designed opera productions of Russian Seasons by S. P. Diaghilev in Paris. Yuon's undoubted success in the field of scenography was the design of M. P. Mussorgsky's opera Boris Godunov, staged on the stage of the Champs Elysees Theater in Paris in 1913. The scenery and costumes showed knowledge of Russian culture and history, which distinguished many of the master's paintings.
Since 1910, the artist collaborated in the theaters of K. N. Nezlobin, the Opera House of S. I. Zimin, the Maly Theater, and the Moscow Art Theater. In 1916, he took part in the design of the literary and artistic collection "Half a century for the book: On the 50th anniversary of the publishing activity of I. D. Sytin."
After the revolution, he was one of the initiators of the creation of schools of fine arts at the Moscow Department of Public Education. In 1920 he received the first prize for a curtain design for the Bolshoi Theatre. In 1921 he was elected a full member of the Russian Academy of Artistic Sciences. Since 1925 - member of the AHRR. In 1938-1939 he directed a personal workshop at the All-Russian Academy of Arts in Leningrad.
In 1940 he completed sketches of the mosaic decoration of the Palace of Soviets. In 1943 he was awarded the Stalin Prize, in 1947 he was elected a full member of the Academy of Arts of the USSR. From 1943 to 1948 he worked as the chief artist of the Maly Theatre. In 1950 he was awarded the title of "People's Artist". In 1948-1950 he headed the Research Institute of History and Theory of Fine Arts of the Academy of Arts of the USSR. Doctor of Arts. In 1952-1955 he taught at the Moscow State Art Institute. V. I. Surikova, professor. Since 1957 - First Secretary of the Board of the Union of Artists of the USSR.
In his early work, Yuon often turned to the motives of the Russian village: the artist was interested in the state of nature, the change of seasons, the life of provincial towns and villages, the architecture of ancient churches and monasteries. His painting style was influenced by the lessons of Korovin and Serov. After the revolution, the individual handwriting of the artist has changed little, the range of subjects has become somewhat different. In the 1920s - 1950s, he created a number of portraits, paintings on the themes of the history of the revolution and contemporary life, in which he adhered to the realistic tradition. The landscapes of this time are close in the manner of execution to earlier works of the 1910s, in which elements of impressionism and "wandering realism" are closely intertwined. Filled with subtle lyricism, they are of the greatest value in the entire creative heritage of the master.
Yuon as a theater decorator is much inferior to Yuon the painter. Most of his theatrical works are not characterized by novelty and artistic imagination, which are characteristic of the scenography of many of his contemporaries.
Yuon's personal exhibitions were organized in 1926, 1945, 1955 at the State Tretyakov Gallery (they were dedicated to the 25th, 50th, 60th anniversary of his creative activity), 1931 - at the State Museum of Fine Arts, 1950 - at the USSR Academy of Arts. Posthumous retrospectives of the master's works took place in 1962 and 1976 at the Tretyakov Gallery, and in 1976 at the Russian Museum.
The artist's works are in the collections of many domestic museums, including the State Tretyakov Gallery and the Pushkin Museum im. A. S. Pushkin in Moscow, the State Russian Museum in St. Petersburg.
He was buried at the Novodevichy cemetery. There is a memorial plaque on the house where Yuon lived and worked (Zemlyanoy Val Street, 14-16).
(The article uses information from the site artinvestment.ru)
 Birches Petrovskoe. 1899. X.M. |
 Holiday. 1903. Cardboard, tempera. 95.5x70. State Russian Museum |
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Exhibitions:
Literature:
K. F. Yuon, Moscow in my work, M., 1958;
K. F. Yuon, On Art, vol. 1 - 2, M., 1959.
A p at sh k and N Ya. V., K. F. Yuon, M., 1936;
Tretyakov N., K. F. Yuon, Moscow, 1957;
K. F. Yuon. Man, artist, public figure. Teacher. [Catalogue], M., 1968;
[Romashkova L.], K. Yuon. [Album], M., 1973;
K. F. Yuon, Centenary of the birth, 1875 - 1975, M., 1976.
Yuon Konstantin Fedorovich
1875, Moscow - 1958, ibid.
Fate favored KF Yuon in every possible way. He lived a long life. He had an extremely happy marriage. The people around him loved him. He never had to struggle with need. Success came to him very early and always accompanied him. After the revolution, honors, high awards, titles, leadership positions, as it were, were looking for him.
There were fewer adversities - this was a quarrel for several years with his father (a bank employee) due to Yuon's marriage to a peasant woman and the early death of one of his sons. In 1892, Yuon entered the MUZHVZ, where he studied with K. A. Savitsky, N. A. Kasatkin, A. E. Arkhipov, V. A. Serov.
The public noticed his paintings even at student exhibitions and bought them up so willingly that student Yuon was able to travel around Russia and Europe. Subsequently, his paintings were always welcome at the exhibitions of the Wanderers, and at the exhibitions of the World of Art and the Union of Artists (of which he was a member). Leading critics and art historians of his time wrote about him - AN. Benois, I. E. Grabar, P. P. Muratov, then A. M. Efros, D. E. Arkin ... He himself acted as an art critic with works on the work of Russian artists, on the technique of painting, on artistic education.
Soon after graduating from college, Yuon began teaching and was engaged in it all his life, earning great appreciation from his students, among whom were V.I. Mukhina, animal sculptor V.A. Vatagin and others.
Yuon left many works of different levels. He was a painter, graphic artist and theater designer. He tried himself in thematic painting, painted portraits of his contemporaries, but landscape painting turned out to be his true vocation.
Like other masters of the Union of Artists, Yuon learned some of the principles of the French Impressionists, without breaking with the traditions of Russian realism of the second half of the 19th century, that is, without "dissolving" the form of objects in the environment. Like A.P. Ryabushkin and B.M. Kustodiev, he loved Russian antiquity, its decorativeness and colorfulness.
In his memory, the discovery of ancient Russian icon painting took place. The restorers began to clean up the icons and discovered bright, pure colors. All this influenced the formation of Yuon's manner. He loved joy and beauty in nature and life; most willingly depicted the sun, snow, bright folk clothes, monuments of ancient Russian architecture ("Trinity Lavra in Winter", "Spring Sunny Day", both 1910; "March Sun", 1915). His painting "Domes and Swallows. Assumption Cathedral of the Trinity-Sergius Lavra" (1921) is very famous. This is a panoramic landscape, painted from the bell tower of the cathedral on a clear summer evening, at sunset. Under the gentle sky, the earth prospers, and in the foreground, sunlit domes with golden patterned crosses shine. The motif itself is not only very beautiful, but also bold for the era of the merciless struggle of the new government with the church.
Yuon also approaches historical topics - the revolution and the Patriotic War - through the landscape, and, generalizing, he strives to be extremely reliable ("Before entering the Kremlin. Nikolsky Gates on November 2 (15), 1917", 1926; "Parade on Red Square in Moscow November 7, 1941", 1942).
Among the later works of Yuon, those written in the village of Ligachevo near Moscow, where the artist had a house and where he worked from 1908 to 1958, stand out ("The End of Winter. Noon", 1929; "Russian Winter. Ligachevo", "Open Window . Ligachevo", both 1947), and those that are written based on the memories of youth and are associated with the poetic side of the life and life of old Moscow, which brought up the artist ("Feeding pigeons on Red Square in 1890-1900", 1946).
(According to staratel.com)
Yuon, Konstantin Fyodorovich
(born 1875) is a well-known painter. He studied at the Moscow School of Painting, Sculpture and Architecture (1893-98), working in the class of D. Serov for the last year (see).
At the same time Yu exhibited at student exhibitions and made several trips abroad.
In 1900, together with the artist Dudin, he opened an art school in Moscow, from which a number of major artists emerged (including Yakulov, Vatagin, and the Vesnin brothers).
From 1900, Yu. took part in the exhibitions of the World of Art, 36, and then the Union of Russian Artists (until 1920). Member of the Paris Autumn Salon (since 1906); repeatedly exhibited abroad.
Y.'s work is characteristic of the art of the heyday of prom. capitalism in Russia. With the reaction against the academic "literary" and the complexity of the storytelling of the Itinerant everyday life, interest in the very subject of the image arose, which, together with the new formal provisions proclaimed by French impressionism, created the conditions for the flourishing of the landscape in Russian painting.
Growing Russian. capitalism, which was acquiring European significance, was looking for national forms for its expression in art. Many prominent masters of the "Russian landscape" were the spokesmen for these aspirations, including Yu. In his landscapes, Yu willingly introduces people and things that emphasize the national, Russian character of nature. The influence of K. Korovin and Serov, who had already come close to the problem of the plein air, had an effect.
In his work, on the other hand, he uses themes and techniques first touched upon by Ryabushkin. Not limited to showing the endless distance, which at first glance is covered by a passive viewer, the artist in different plans puts a number of three-dimensional objects that serve as milestones, sliding along which the eye most convincingly perceives the illusory depth of the depicted space ("March Sun", 1916). The same role is played by three-dimensional forms of architecture - an inevitable motif in Yu's paintings. Yu's plot is always without plot.
In the very emotional landscapes of Yu., the main feeling does not receive resolution in the action of the central person, but is addressed to all elements of the picture equally. Gradually, this effective beginning is localized in the figures that "revive" the landscape (an example of which is the "Dance of the Matchmakers"), which subsequently led to the unification of disparate figures into a single-minded crowd. This facilitated Yu.'s transition to a purely superficially understood revolutionary theme and made it possible for him to join the AHPP in 1925.
An example of the work of the last period is the "Parade of the Red Army" (1923). Since 1912 Yu. has been working in the theater. He designed performances: "Boris Godunov" at the Diaghilev Theater (Paris), "The Inspector General" at the Art Theater, a number of performances at the Nezlobin and Zimin Theater, and after the revolution - "Arakcheevshchina" at the Moscow Maly Theater, etc. In the field of decorative art, Yu. worked a lot in Mosselprom.
His "cosmic" paintings stand apart (the cycle "Co-creation of the world", published in the journal "Balance", 1910, etc.). Since 1926 Yu - Honored Art Worker.
A large number of Yuon's works are in the Tretyakov Gallery in Moscow and the Russian Museum in Leningrad.
E. Kronman.
