The artistic association "World of Art" announced itself by issuing a magazine of the same name at the turn of the 19th-20th centuries. The publication of the first issue of the journal "World of Art" in St. Petersburg at the end of 1898 was the result of ten years of communication between a group of painters and graphic artists headed by Alexander Nikolaevich Benois (1870-1960).
The main idea of the association was expressed in the article of the outstanding philanthropist and connoisseur of art Sergei Pavlovich Diaghilev (1872 - 1929) “Complex questions. Our imaginary decline. The main goal of artistic creativity was declared to be beauty, and beauty in the subjective understanding of each master. Such an attitude to the tasks of art gave the artist absolute freedom in choosing themes, images and means of expression, which was quite new and unusual for Russia.
The World of Art opened up many interesting and previously unknown phenomena of Western culture for the Russian public, in particular Finnish and Scandinavian painting, English Pre-Raphaelite artists and graphic artist Aubrey Beardsley. Of great importance for the masters who united around Benois and Diaghilev was cooperation with symbolist writers. In the twelfth issue of the magazine for 1902, the poet Andrei Bely published an article "Forms of Art", and since then the largest symbolist poets have been regularly published on its pages. However, the artists of the "World of Art" did not close within the framework of symbolism. They strove not only for stylistic unity, but also for the formation of a unique, free creative personality.
As an integral literary and artistic association, the World of Art did not last long. Disagreements between artists and writers led in 1904 to the fact that the magazine was closed. The resumption in 1910 of the group's activities could no longer return its former role. But in the history of Russian culture, this association left the deepest imprint. It was this that switched the attention of the masters from questions of content to the problems of form and pictorial language.
A distinctive feature of the artists of the "World of Art" was the versatility. They were engaged in painting, and the design of theatrical productions, and arts and crafts. However, the most important place in their heritage belongs to graphics.
The best graphic works of Benois; among them, the illustrations for A. S. Pushkin's poem "The Bronze Horseman" (1903-1922) are especially interesting. Petersburg became the main “hero” of the whole cycle: its streets, canals, architectural masterpieces appear either in the cold severity of thin lines, or in the dramatic contrast of bright and dark spots. At the climax of the tragedy, when Eugene is running from the formidable giant, a monument to Peter, galloping after him, the master paints the city with dark, gloomy colors.
The romantic idea of opposing a lonely suffering hero and the world, indifferent to him and thus killing him, is close to Benois's work.
The design of theatrical performances is the brightest page in the work of Lev Samuilovich Bakst (real name Rosenberg; 1866-1924). His most interesting works are associated with opera and ballet productions of the Russian Seasons in Paris 1907-1914. - a kind of festival of Russian art, organized by Diaghilev. Bakst made sketches of scenery and costumes for the opera "Salome" by R. Strauss, the suite "Scheherazade" by N. A. Rimsky-Korsakov, the ballet "Afternoon of a Faun" to the music of C. Debussy and other performances. Especially remarkable are the sketches of costumes, which have become independent graphic works. The artist modeled the costume, focusing on the system of movements of the dancer, through lines and color, he sought to reveal the pattern of the dance and the nature of the music. In his sketches, the sharpness of vision of the image, a deep understanding of the nature of ballet movements and amazing grace are striking.
One of the main themes for many masters of the "World of Art" was the appeal to the past, longing for the lost ideal world. Favorite era was the XVIII century, and above all the Rococo period. The artists not only tried to resurrect this time in their work - they drew public attention to the true art of the 18th century, actually rediscovering the work of the French painters Antoine Watteau and Honore Fragonard and their compatriots Fyodor Rokotov and Dmitry Levitsky.
The images of the “gallant age” are associated with the works of Benois, in which the palaces and parks of Versailles are presented as a beautiful and harmonious world, but abandoned by people. Yevgeny Evgenievich Lanceray (1875-1946) preferred to depict pictures of Russian life in the 18th century.
With particular expressiveness, rococo motifs appeared in the works of Konstantin Andreevich Somov (1869-1939). He early joined the history of art (father
artist was the curator of the Hermitage collections). After graduating from the Academy of Arts, the young master became a great connoisseur of old painting. Somov brilliantly imitated her technique in his paintings. The main genre of his work could be called variations on the theme of the "gallant scene". Indeed, on the canvases of the artist, the characters of Watteau seem to come to life again - ladies in magnificent dresses and wigs, actors of the comedy of masks. They flirt, flirt, sing serenades in the alleys of the park, surrounded by the caressing glow of the sunset light.
However, all the means of Somov's painting are aimed at showing the "gallant scene" as a fantastic vision that flared up for a moment and immediately disappeared. All that's left is a memory that hurts. It is no coincidence that among the light gallant play the image of death appears, as in the watercolor "Harlequin and Death" (1907). The composition is clearly divided into two planes. In the distance, the traditional “set of stamps” of Rococo: a starry sky, couples in love, etc. And in the foreground, there are also traditional mask characters: Harlequin in a colorful suit and Death - a skeleton in a black cloak. The silhouettes of both figures are outlined by sharp broken lines. In a bright palette, in a certain deliberate desire for a template, a gloomy grotesque is felt. Refined elegance and the horror of death turn out to be two sides of the same coin, and the painter seems to be trying to treat both with equal ease.
Somov managed to express his nostalgic admiration for the past especially subtly through female images. The famous work "The Lady in Blue" (1897-1900) is a portrait of the contemporary master artist E. M. Martynova. She is dressed in old fashion and is depicted against the backdrop of a poetic landscape park. The manner of painting brilliantly imitates the Biedermeier style. But the obvious morbidity of the heroine's appearance (Martynova soon died of tuberculosis) evokes a feeling of acute longing, and the idyllic softness of the landscape seems unreal, existing only in the artist's imagination.
Mstislav Valerianovich Dobuzhinsky (1875-1957) focused his attention mainly on the urban landscape. His St. Petersburg, unlike Benois' St. Petersburg, is devoid of a romantic halo. The artist chooses the most unattractive, "gray" views, showing the city as a huge mechanism that kills a person's soul.
The composition of the painting “The Man with Glasses” (“Portrait of K. A. Syunnerberg”, 1905-1906) is based on the opposition of the hero and the city, which is visible through a wide window. At first glance, the motley row of houses and the figure of a man with a face immersed in shadow seem isolated from each other. But there is a deep inner connection between the two planes. Behind the brightness of colors is the "mechanical" dullness of city houses. The hero is detached, immersed in himself, in his face there is nothing but fatigue and emptiness.
Russian Art Association. Formed in the late 1890s. (officially in 1900) on the basis of a circle of young artists and art lovers, headed by A. N. Benois and S. P. Diaghilev. As an exhibition union under the auspices of Mir magazine ... ... Art Encyclopedia
Association (1898 1924) of artists, created in St. Petersburg by A.N. Benois and S.P. Diaghilev. Representatives of the World of Art rejected both the academicism and the tendentiousness of the Wanderers; relying on the poetics of symbolism, they often went into the world of the past ... Modern Encyclopedia
"World of Art"- "WORLD OF ART", an association (1898 1924) of artists, created in St. Petersburg by A.N. Benois and S.P. Diaghilev. Representatives of the "World of Art" rejected both the academicism and the tendentiousness of the Wanderers; relying on the poetics of symbolism, they often ... ... Illustrated Encyclopedic Dictionary
E. E. Lansere. Ships of the time of Peter I. Tempera. 1911. Tretyakov Gallery. Moscow. "World of Art", Russian art association. Formed in the late 1890s. (officially in 1900) on the basis of a circle of young artists and art lovers ... Art Encyclopedia
- (1898–1904; 1910–1924), an association of St. Petersburg artists and cultural figures (A. N. Benois, K. A. Somov, L. S. Bakst, M. V. Dobuzhinsky, E. E. Lansere, A. Ya. Golovin, I. Ya. Bilibin, Z. E. Serebryakova, B. M. Kustodiev, N. K. Roerich, ... ... Art Encyclopedia
- "World of Art", Russian art association. Formed in the late 1890s. (officially in 1900) in St. Petersburg on the basis of a circle of young artists and art lovers, headed by A. N. Benois and S. P. Diaghilev. As an exhibition union under ... ... Great Soviet Encyclopedia
"World of Art"- "World of Art", art association. Formed in the late 1890s. (the statute was approved in 1900) on the basis of a circle of young artists, art historians and art lovers (“self-education society”), headed by A. N. Benois and ... ... Encyclopedic reference book "St. Petersburg"
An association of Russian artists who opposed the tendentiousness, partisanship and anti-aestheticism of their contemporary "leaders of public opinion", the dictates of the taste of academism and itinerantism. It took shape in the late 1890s in St. Petersburg on the basis of a circle ... ... Russian history
1) artistic association. Formed in the late 1890s. (the statute was approved in 1900) on the basis of a circle of young artists, art historians and art lovers (the “self-education society”), headed by A. N. Benois and S. P. Diaghilev. How … St. Petersburg (encyclopedia)
"World of Art"- WORLD OF ART art. during the Silver Age. It existed from 1898 to 1927 intermittently, taking different organizations. forms: magazine, exhibition, about artists. The 1st period of M.I. Russian humanitarian encyclopedic dictionary
Books
- World of Art. 1898-1927, G. B. Romanov, This publication is dedicated to the 30-year period in the history of the association "World of Art". The publication contains portraits, biographies and works of artists. In preparing this encyclopedia for… Category: History of Russian art Publisher: Global View, St. Petersburg Orchestra,
- World of Art. Art Association of the early twentieth century, Vsevolod Petrov, `World of Art`, Russian art association. Formed in the late 1890s. (officially in 1900) in St. Petersburg on the basis of a circle of young artists and art lovers, headed by A. N. ... Category: History and theory of arts Publisher:
“A work of art is important not in itself, but only as an expression of the personality of the creator” (Sergei Diaghilev).
In these words of S. Diaghilev, the essence of the work of the artists of the association "World of Art" is expressed. For them, the priority was the aesthetic principle in art, the ideas of the Wanderers were not only alien to them - they opposed them.
Association history
The founders of the artistic association "World of Art" were the St. Petersburg artist A.N. Benois and theater figure S.P. Diaghilev.
The "world of art" has existed since the late 1890s. and intermittently until 1924. The main core of the association was A.N. Benois, L.S. Bakst, K.A. Somov, M.V. Dobuzhinsky, E.E. Lansere, I.Ya. Bilibin. Adjoined the association of K.A. Korovin, A.Ya. Golovin, B.M. Kustodiev, N.K. Roerich, S.Yu. Sudeikin, B. I. Anisfeld and others. At various times, the association included V. Serov, I. Levitan, M. Nesterov, M. Vrubel. Shared the views of Miriskuniki and Ilya Repin.
As we have already said, the activities of the association "World of Art" opposed itself to the Wanderers and the Academy of Arts. But what did they offer? Their program was quite controversial. On the one hand, the artists of this association were supporters of "pure art". On the other hand, they did not break with realism, and in the 1910s. The "World of Art" opposed decadence and formalism, although at the beginning of their activity they strove for modernity and symbolism. The strongest trend in their work was a retrospective, a fascination with the culture of the 17th-18th centuries.
Leon Bakst. Costume design for I. Stravinsky's ballet The Firebird (1910)
Most of all, the activities of the "World of Art" manifested itself in book graphics and theatrical scenery. Defending the content and integrity of the performance solution, the active role of the artist in it, the "World of Art" continued the reform of theatrical and decorative art, begun by the opera's decorators S.I. Mamontov.
A. Benois. Illustration for the poem by A.S. Pushkin "The Bronze Horseman"
The scenery works of the artists of the World of Art are characterized by high culture, the enrichment of the theater with the achievements of modern painting, the artistic integrity of solutions, the delicate taste and depth of interpretation of stage works, including ballet ones.
Prerequisites for the creation of the association "World of Art"
B.M. Kustodiev "Group portrait of the artists of the society" World of Art "" (1916-1920). State Russian Museum (Petersburg)
The preconditions were dictated by time itself. By the end of the XIX century. many young artists were disillusioned with academic painting, which was officially supported by the Academy of Arts. First, several young artists united, who did not always even have an art education (for example, Alexander Benois studied at the law faculty of St. Petersburg University).
The artists were united by a craving for the past, the search for ideals in the art of the era of Peter I, in the baroque of the middle of the 18th century, in the Empire of the times of Paul I. They also respected the cultural heritage of Western Europe.
Critic V.V. Stasov was hostile to the members of the new association, tk. they were far from democratic art. He saw in them only representatives of decadence.
Russian Seasons by S. Diaghilev
V. Serov. Portrait of Diaghilev (1909)
An important role belonged to the artists of the "World of Art" in the design of the performances of "Russian Seasons" abroad, organized by S.P. Diaghilev, one of the leaders and ideological inspirers of the "World of Art". In 1899-1904. Diaghilev published a magazine of the same name in St. Petersburg.
B. Anisfeld "The Underwater Kingdom", a composition based on the fantastic ballet of the same name to music from the opera "Sadko" by N. Rimsky-Korsakov. "Russian Seasons" abroad, entreprise S. Diaghilev (1911). Theater Chatelet (Paris)
"Russian Seasons" - tour performances of Russian ballet and opera dancers (1908-1929), organized by the famous cultural figure and entrepreneur Diaghilev abroad: from 1908 - in Paris, from 1912 - in London, from 1915 - in other countries. The main activity of the entreprise was ballet. Operas were staged mainly until 1914. But the beginning of the Russian Seasons was 1906, when Diaghilev brought an exhibition of Russian artists to Paris. In 1908, the opera Boris Godunov was performed in Paris, in the production of which A. Benois, K. Yuon, E. Lansere took part; costume sketches were created by I. Bilibin; opera soloists were Chaliapin, Kastorsky, Smirnov, Yermolenko-Yuzhina and others. In 1908-1909. the operas The Maid of Pskov by Rimsky-Korsakov, Prince Igor by Borodin and others were performed.
A. Benois. Sketch for the ballet "La Sylphides"
In 1909, ballets by M.M. Fokine: "The Pavilion of Armida" (art. A.N. Benois), "Polovtsian Dances" (art. N.K. Roerich); Sylphides (Chopiniana) to music by Chopin, Cleopatra (Egyptian Nights) by Arensky (artist L.S. Bakst) and divertissement Feast to music by Glinka, Tchaikovsky, Glazunov, Mussorgsky.
The ballet troupe consisted of artists from the St. Petersburg Mariinsky and Moscow Bolshoi Theaters. Soloists: A.P. Pavlova, V.F. Nijinsky, T.P. Karsavina, E.V. Geltser, S.F. Fedorova, M.M. Mordkin, V.A. Karalli, M.P. Froman and others. Choreographer - M.M. Fokin.
Since 1910, the "Russian Seasons" were held without the participation of the opera. In 1911, Diaghilev decided to create a permanent troupe, which was finally formed by 1913 and received the name Diaghilev's Russian Ballet.
Leon Bakst. Costume design for Nijinsky's The Afternoon of a Faun (1912)
With the new season of 1912, Diaghilev began to change the nature of his enterprise, moving more and more away from the traditional idea of ballet and moving towards new, experimental forms. After Diaghilev's death in 1929, his troupe broke up.
"Russian Seasons" played a huge role in the promotion of Russian art abroad and in the development of the world artistic process of the 20th century.
Magazine "World of Art"
Leon Bakst. Cover of the magazine "World of Art" No. 2 for 1902
One of the organizers and ideologists of the artistic association "World of Art" was Alexander Benois, and the magazine was organized by Sergei Diaghilev at the expense of Princess M. Tenisheva and Moscow patron Savva Mamontov. After its bankruptcy, V. Serov took care of providing state support to the journal. The editorial secretary of the publication was the Russian publicist, art and literary critic D. Filosofov.
The further history of the artistic association "World of Art"
The classical period in the life of the association refers to 1900-1904. At that time, the association was distinguished by a special unity of aesthetic and ideological principles. February 24, 1900 in the editorial office of the magazine "World of Art" held a meeting of participants in the exhibitions of the magazine, which was attended by artists L. Bakst, A. Benois, I. Bilibin, I. Braz, I. Walter, Ap. Vasnetsov, N. Dosekin, E. Lansere, I. Levitan, F. Malyavin, M. Nesterov, A. Ober, A. Ostroumova, V. Purvitis, F. Rushits, S. Svetoslavsky, K. Somov, V. Serov, Ya. Zionglinsky, S. Diaghilev.
After 1904, the association expanded, but lost its ideological unity. In 1904-1910. most of the members of the "World of Art" were part of the "Union of Russian Artists". In 1910, the art society "World of Art" was revived, N.K. was elected chairman. Roerich.
After the revolution, many of its leaders emigrated. The association actually ceased to exist by 1924. The last exhibition of the World of Art was held in Paris in 1927.
We will talk about the work of some artists, members of the World of Art association, in separate articles.
"ABC of the World of Art"
In 1911, M. Dobuzhinsky compiled a comic "ABC of the World of Art" - a series of watercolor caricatures of the "World of Art" from A to Z.
The World of Art association, which embodied the artistic ideals of symbolism and modernity, played a significant role in the formation of the avant-garde, contrary to its own aspirations. Despite the confrontation that existed between the World of Art and avant-garde artists (the most striking example is the newspaper controversy between A.N. Benois and D.D. Burliuk), the relationship between the two phenomena at the historical and artistic level is obvious.
Acquaintance of Russia with modern Western art was carried out thanks to the activities of the World of Art. The process began as early as 1897-1898, when S.P. Diaghilev organized exhibitions of English, German, Scandinavian and Finnish artists.
The next step of the "World of Art" was more daring. In 1899, the first international exhibition of the editors of the magazine took place, at which works by famous European artists appeared. Although the organizers of the exhibition continued to take a half-hearted position in relation to contemporary world art, the general composition of the invited foreign artists turned out to be quite diverse. Of the French Impressionists, the choice fell on Claude Monet, Auguste Renoir and Edgar Degas; there were also other masters, in one way or another close to Art Nouveau, academicism and realism. There were no works by Paul Cezanne, Vincent van Gogh and Paul Gauguin at the exhibition. The English group was represented by Frank Brangwyn and American James Whistler. There were works by German (Franz von Lenbach and Max Liebermann), Swiss (Arnold Böcklin) and Italian (Giovanni Boldini) artists. Despite the well-known one-sidedness of the selection, dictated by a certain orientation of the "World of Art", whose members - by their own admission - "overlooked" the Impressionists, Cezanne, Gauguin and other most significant masters of the late 19th century, this exhibition marked a decisive breakthrough into the territory of new European art.
As for the masters of the World of Art themselves, they just at the same time began to win certain positions at European exhibition sites. In the mid-1890s, Benois received a proposal from one of the leaders of the Munich Secession to organize a special Russian section at one of the exhibitions. During the 1900s, there was a process of penetration of Russian artists to foreign exhibitions. In Germany, one of the most popular Russian artists was K.A. Somov, who exhibited at the Vienna and Berlin Secessions in 1901–1902, his personal exhibition was held in Hamburg in 1903, and the first monograph about him was published in 1907 in Berlin. Another leader of the "World of Art", L. S. Bakst, took part in the Munich Secession from the end of the 1890s, in 1904 he exhibited in Paris, demonstrating his work at the Grand Palais; success came to him in the 1910s, after participating in the Diaghilev entreprise and solo exhibitions in Paris and London.
At the same time, together with the World of Art, works by artists of the latest trends began to appear at their exhibitions. In February-March 1906, even before the official creation of the World of Art society in 1910, Diaghilev arranged an exhibition under the same name. It was attended by M.F. Larionov, brothers V.D. and N.D. Milioti, N.N. Sapunov, A.G. Yavlensky.
In the early 1910s, the World of Art shows a certain openness to new art. So, after the success of the Jack of Diamonds in 1910, some of its representatives turned out to be exhibitors of the World of Art exhibitions (P.P. Konchalovsky, A.V. Lentulov, I.I. Mashkov, A.A. Morgunov, V.V. Rozhdestvensky , R.R. Falk, Burliuk brothers). In 1910-1911, N.S. Goncharova, Larionov, P.V. Kuznetsov, M.S. Saryan, G.B. Yakulov participated in the World of Art exhibitions. The press was indignant about this. “Having declared themselves leftists and raising the Diaghilev banner of the “World of Art”, the participants of the reporting exhibition ... invited ... “anarchists”” (Early morning. 1911. No. 47. February 27. P. 5). “There is no “World of Art”, and instead of it – “Jack of Diamonds” with a tiny pale branch “World of Art”. Guests<...>settled down like at home, with such swagger that there was almost no room left for the owners ”(S. Glagol. World of Art // Stolichnaya rumor. 1911. No. 217. December 5. P.3).
Only Goncharova, Larionov and Yakulov participated in the Moscow exhibition of the World of Art (November-December 1912) (they were also exhibited at the St. Petersburg exhibition in January-February 1913). The members of Diamonds Mashkov and Lentulov refused to participate by decision of the general meeting of the Jack of Diamonds. The Moscow exposition of the "World of Art" (December 1913 - January 1914) brought together a larger number of left-wing artists: N. I. Altman and A. V. Shevchenko were added to Goncharova, Larionov and Yakulov. VE Tatlin exhibited "Picturesque Relief" without agreement with the organizers.
The composition of the futurists (as critics of the left artists called it) at the World of Art exhibitions in 1915–1916 changed somewhat: in 1915, the leftists were represented by the names of L.A. Bruni, P.V. Miturich and N.A. Tyrsa, and in 1916 - K.L. Boguslavskaya, Konchalovsky, Mashkov, V.M. Khodasevich and Yakulov.
In March 1916, Konchalovsky and Mashkov left the Jack of Diamonds and became members of the World of Art society. In the same year, Goncharova joined the society. These facts testified to the assimilation of the once opposing artistic trends. The process continued for the next two exhibition seasons (1917–1918): in addition to Konchalovsky and Mashkov, works by S.I. Dymshits-Tolstoy, L.M. Lissitzky, S.A. Nagubnikov, A. F. Sofronova.
In May 1917, the "World of Art" entered the central federation of the Trade Union of Moscow Painters. In 1918, the society replenished its ranks with the former tambourines A.V. Kuprin, Lentulov, A.I. Milman, Rozhdestvensky, Falk and practically became the center of Moscow Cézannism. P. Kuznetsov was elected chairman of the World of Art in 1918, and Mashkov, Milman and Lentulov were included in the leadership of the society.
In the summer of 1921, the people of Diamonds again united under the banner of the "World of Art" - the exhibition of the society was open until November and brought together artists of various trends. In addition to the traditional Bubnovalet core, Inhukovites A.A. Vesnin, A.D. Drevin and N.A. Udaltsova, as well as V.V. Kandinsky and Shevchenko were exhibited.
On this occasion, Falk wrote to Kuprin: “A lot has changed in our society [World of Art]. Thanks to the efforts of Ilya Ivanovich [Mashkov] and [P.V.] Kuznetsov, it lost its intended appearance. A mass of new members entered, led by them in fuchs, like various students of Kuznetsov, Bebutov, etc. Mashkov wants to see his wife as a member, and so on. In general, the atmosphere begins to deteriorate badly” (RGALI, F. 3018, Op. 1, item 147, sheet 6).
The next Moscow exhibition (January 1922) testified to the crisis state of the "World of Art". Falk reported to the same addressee: “The exhibition left me with a dreary feeling. It seems to me that pathos is necessary in art, but this is not the case. All<...>we are some kind of sweet and sour, not hot and not cold. The revolution responded very hard to us, crushed us to the ground and made us everyday” (RGALI. F.3018. Op.1. Item 147. L. 10-11).
In the last exhibition of the society, which opened in Paris in June 1927, none of the avant-garde artists participated.
HISTORICAL INFORMATION "World of Art", Russian art association. Formed in the late 1890s. Petersburg on the basis of a circle of young artists and art lovers, headed by A. N. Benois and S. P. Diaghilev. It existed in its original form as an exhibition union under the auspices of the World of Art magazine until 1904; in an expanded composition, having lost their ideological and creative unity, in the majority of the masters “M. and." was a member of the Union of Russian Artists. In addition to the main core (L. S. Bakst, M. V. Dobuzhinsky, E. E. Lancers, A. P. Ostroumova-Lebedeva, K. A. Somov), “M. and." included many St. Petersburg and Moscow painters and graphic artists (I. Ya. Bilibin, A. Ya. Golovin, I. E. Grabar, K. A. Korovin, B. M. Kustodiev, N. K. Roerich, V. A. Serov and etc.). In the exhibitions "M. and." M. A. Vrubel, I. I. Levitan, M. V. Nesterov, as well as some foreign artists participated.
THE WORLD OF ARTS MAGAZINE The Mir Iskusstva art association announced itself by issuing a magazine of the same name at the turn of the 19th and 20th centuries. The release of the first issue of the magazine "World of Art" in St. Petersburg at the end of 1898 was the result of ten years of communication between a group of painters and graphic artists headed by Alexander Nikolaevich Benois ().
IDEA BASIS The main idea of the association was expressed in the article of the outstanding philanthropist and connoisseur of art Sergei Pavlovich Diaghilev () “Difficult questions. Our imaginary decline. The main goal of artistic creativity was declared to be beauty, and beauty in the subjective understanding of each master. Such an attitude to the tasks of art gave the artist absolute freedom in choosing themes, images and means of expression, which was quite new and unusual for Russia.
Of great importance for the masters who united around Benois and Diaghilev was cooperation with Symbolist writers. In the twelfth issue of the magazine for 1902, the poet Andrei Bely published an article "Forms of Art", and since then the largest symbolist poets have been regularly published on its pages.
ALEXANDER BENOIS Benois's best graphic works; among them, illustrations for the poem by A. S. Pushkin "The Bronze Horseman" (gg.) are especially interesting. Petersburg became the main “hero” of the whole cycle: its streets, canals, architectural masterpieces appear either in the cold severity of thin lines, or in the dramatic contrast of bright and dark spots. At the climax of the tragedy, when Eugene is running from the formidable giant, a monument to Peter, galloping after him, the master paints the city with dark, gloomy colors.
LEON BAKST The design of theatrical performances is the brightest page in the work of Lev Samuilovich Bakst (real name Rosenberg;). His most interesting works are associated with opera and ballet productions of the Russian Seasons in Paris. a kind of festival of Russian art, organized by Diaghilev.
LEON BAKST Particularly remarkable are the sketches of the costumes, which have become independent graphic works. The artist modeled the costume, focusing on the system of movements of the dancer, through lines and color, he sought to reveal the pattern of the dance and the nature of the music. In his sketches, the sharpness of vision of the image, a deep understanding of the nature of ballet movements and amazing grace are striking.
WORLD ARTISTS AND ROCOCO One of the main themes for many masters of the "World of Art" was the appeal to the past, longing for the lost ideal world. Favorite era was the XVIII century, and above all the Rococo period. The artists not only tried to resurrect this time in their work, they drew public attention to the true art of the 18th century, actually rediscovering the work of the French painters Antoine Watteau and Honore Fragonard and their compatriots Fyodor Rokotov and Dmitry Levitsky.
KONSTANTIN SOMOV With particular expressiveness, rococo motifs appeared in the works of Konstantin Andreevich Somov (). He early joined the history of art (the artist's father was the curator of the Hermitage collections). After graduating from the Academy of Arts, the young master became a great connoisseur of old painting.
KONSTANTIN SOMOV Somov brilliantly imitated her technique in his paintings. The main genre of his work could be called variations on the theme of the "gallant scene". Indeed, on the canvases of the artist, the characters of Watteau, ladies in magnificent dresses and wigs, actors of the comedy of masks, seem to come to life again. They flirt, flirt, sing serenades in the alleys of the park, surrounded by the caressing glow of the sunset light.
KONSTANTIN SOMOV Somov managed to express his nostalgic admiration for the past especially subtly through female images. The famous work "Lady in Blue" (gg.) Portrait of a contemporary master artist E. M. Martynova. She is dressed in old fashion and is depicted against the backdrop of a poetic landscape park. The manner of painting brilliantly imitates the Biedermeier style. But the obvious morbidity of the heroine's appearance (Martynova soon died of tuberculosis) evokes a feeling of acute longing, and the idyllic softness of the landscape seems unreal, existing only in the artist's imagination.
NICHOLAS RERICH Russian artist, philosopher, mystic, scientist, writer, traveler, archaeologist, public figure, freemason, poet, teacher. Creator of about 7,000 paintings (many of which are in famous galleries around the world) and about 30 literary works, author of the idea and initiator of the Roerich Pact, founder of the international cultural movements "Peace through Culture" and "Banner of Peace".
NICHOLAS RERICH Art will unite humanity. Art is one and indivisible. Art has many branches, but the root is one... Everyone feels the truth of beauty. The gates of the sacred spring must be opened to all. The light of art will illuminate countless hearts with new love. At first, this feeling will come unconsciously, but after that it will purify the entire human consciousness. How many young hearts are looking for something beautiful and true. Give it to them. Give art to the people where it belongs.
CONTROL QUESTIONS (CONTINUED) 7 - WHO WROTE THE PORTRAIT OF ZINAIDA GIPPIUS? 8 - WHO WAS FAMOUS FOR WORK RELATED TO OPERA AND BALLET STATIONS? 9 - WHO WERE CALLED "THE RAINBOW SINGER"? 10 - WHO EARNED THE REPUTATION OF THE SEER, THE GURU? 11 - NAME ROSENBERG'S NAME.
