Creative Association "Blue Rose"

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

The Blue Rose Creative Union arose at the beginning of the 20th century, in those years when such a trend in art as symbolism was very popular. The backbone was made up of artists Pyotr Utkin, Pavel Kuznetsov, sculptor Alexander Matveev. Other members soon showed up. Symbolist artists in the Soviet Union had nothing to do, nevertheless, most of the Blue Rose members remained in Russia after the revolution. And some of them contributed to the development of domestic sculpture and painting.

Backstory

At the beginning of the 20th century, the names of the French symbolists Henri Fantin-Latour, Paul Serusier, Pierre Puvis de Chavannes were world famous. In Russia, this direction was still little developed. Representatives of the "Blue Rose" considered Mikhail Vrubel their predecessor. The work of this artist was close to the Symbolists: his canvases attracted by their colorfulness, subtlety of the palette, and the desire to depict the unreal world. However, V. Borisov-Musatov had a direct influence on the formation of the creative association. The images on his canvases are shrouded in a kind of drowsiness, the characters live in a world of peace.

Borisov-Musatov was born in Saratov, went to Paris in his youth, but often visited his native city. In the nineties of the XIX century, he met Pavel Kuznetsov, Alexander Matveev, Peter Utkin. Borisov-Musatov, being an experienced painter, taught novice artists several lessons in symbolism and expressionism.

All three soon left for Moscow, where they entered the School of Painting, Sculpture and Architecture. That is, the founders of the Blue Rose association were the natives of Saratov and graduates of an educational institution that was considered one of the best in pre-revolutionary Russia. During the years of study, young artists became close to other painters, who later became members of the creative union.

Scarlet Rose

Three years before the founding of the creative association, an exhibition of paintings by Utkin and Kuznetsov was held. True, there were paintings by other painters, including Borisov-Musatov and Vrubel (in this way, the organizers of the exhibition emphasized the influence of the masters on their work).

The exhibition was called "Scarlet Rose". Where this name came from is unknown. This flower at different times inspired both romantics and symbolists. A few years later, another exhibition was held, which was already called the same as the association founded by Kuznetsov, Utkin and Matveev.

Why rose?

Blue Nile is a variety of roses bred at the end of the last century. By the way, the petals of such a rose are not blue, but pale lilac. In European expanses, flowers of a rich blue color do not grow, except forroom violet. The blue rose was bred only in 2004. Everything that has been seen before is just flowers dyed using a special technology.

Description of the blue rose will not be given here. Let's just say that this flower was perceived by poets as a symbol of an unattainable ideal. "Blue Rose" - an association of artists who depicted abstract images on their canvases (at an early stage of creativity). If they were adherents of realism, they would call their union differently.

Early work of the Blue Rose founders

The photo below shows reproductions of paintings by Utkin and Kuznetsov. But mostly these are canvases created after the founding of the creative association. The artists were bound by many years of friendship. They worked more than once on common projects for the design of private houses and theatrical productions. From Borisov-Musatov, young artists borrowed pastel pink and gray-blue houses, from him they learned about the latest trends in art and the principles of symbolism that was fashionable at that time.

Other artists

Members of the creative association, whom the founders met during their studies, are Nikolai Sapunov, Martiros Saryan, Sergey Sudeikin, Anatoly Arapov, Nikolai Krymov, Vasily and Nikolai Milioti, Nikolai Feofilaktov, Ivan Knabe. For some time, Kuzma Petrov-Vodkin also collaborated with Blue Rose. However, he never became a member.

At first, the artists worked mainly on theatrical scenery. Even before the founding of the Blue Rose, Sapunov andKuznetsov created sketches for Wagner's opera Valkyrie. A little later they worked on the scenery at the Hermitage Theatre.

And it should be said that the work of young artists caused unfavorable reviews from critics. Utkin, Kuznetsov and Petrov-Vodkin were working on a project for painting one of the most famous Saratov churches. The frescoes they created were declared "non-artistic" and destroyed.

Nikolai Ryabushinsky and the Golden Fleece magazine

The Blue Rose Association might not have gained wide popularity if it were not for the well-known patron of the time. Nikolai Ryabushinsky was the editor of the Golden Fleece magazine. He also organized the first exhibition of Blue Rose artists.

The magazine came out in 1906. Ryabushinsky did not spare money for him. The magazine had many colorful illustrations, each page was decorated with vignettes and gold inserts. A total of 34 issues of the Golden Fleece were published. There was no clear concept for this edition. Fyodor Sologub, Konstantin Balmont, Ivan Bunin, Leonid Andreev, Korney Chukovsky collaborated with the magazine. However, the first issues were devoted exclusively to the work of symbolist artists.

Gallery on Myasnitskaya

In March 1907, thanks to the efforts of Ryabushinsky, the Blue Rose exhibition was held, after which the creative association was later named. Sixteen artists presented their works in the gallery on Myasnitskaya. Almost all of them were future members of the association. This event took place after deaththe main inspirer is Borisov-Musatov. The idea for the name - "Blue Rose" - belonged to Sapunov, who drew inspiration from the works of the English artist Aubrey Beardsley.

The interior of the house where the exhibition was held was decorated accordingly: there were vases with roses everywhere, the walls were painted in blue tones. The music of Alexander Scriabin was playing.

Pictures of the Blue Bears caused a mixed reaction. One of the prominent Russian art critics called the works of symbolist artists devoid of content, close to decadence. However, the critic Sergei Makovsky responded very enthusiastically about the paintings. The work of symbolist artists was also praised by one of the most mysterious Russian artists, Kazimir Malevich.

In 1909, Ryabushinsky organized another exhibition. By this time, the philanthropist preferred such a direction as cubism. The exhibition featured paintings by Derain, Braque, Matisse, Marquet. Mikhail Larionov and Natalya Goncharova also exhibited their paintings.

The third exhibition was held in early 1910. By that time, the Golden Fleece magazine was no longer published due to financial problems, which was the reason for the unpopularity of the last event. However, the names of the Blue Rose members were well known to both art lovers and patrons. Artists were invited to various projects, but they sought not only to create works of painting and sculpture, but also to synthesize the arts. That is, the "Blue Rose" was conceived as a union not only of painters, but also of all those who prefer symbolism in their work.

Oddly enough, the general idea ofthere were no members of the creative association as such. After the exhibition, held in January 1910, the artists stopped working on joint projects. And their pictures had little in common. So, Kuznetsov, who traveled a lot in Central Asia, was inspired by oriental motifs. Saryan painted native Armenian landscapes. Krymov and Feofilaktov were imbued with the ideas of neoclassicism and the plots of ancient Greek myths.

After the revolution

Sergei Sudeikin, Nikolai Milioti, Nikolai Ryabushinsky emigrated. The rest, who in one way or another were connected with the Blue Rose organization, remained in Russia. Although Soviet censorship did not accept symbolism. Some have taken up teaching. Others got jobs in state institutions for the protection of cultural monuments. At the end of the twenties, Kuznetsov, who had worked for several years in the journal Path of Liberation, was fired due to a negative review of his work. It is worth telling more about the brightest members of the Blue Rose.

Pavel Kuznetsov

The future artist was born in 1878, as already mentioned, in Saratov. His father was an icon painter. In childhood and youth, Pavel Kuznetsov attended a painting and drawing studio. Here he met Borisov-Musatov. In 1897 he entered the Moscow School of Painting, Sculpture and Architecture. The gift of this artist was combined with extraordinary energy. Kuznetsov lived a long, interesting life.

With the Symbolists, he became close in 1902, and above all - with Valery Bryusov. At the same time, Kuznetsov's cooperation with the Golden Fleece magazine began. In 1906 Kuznetsov traveled toParis. In the French capital, he visited the studios of famous artists and took part in exhibitions, as a result of which he became a member of another creative union.

After 1910, a crisis came in his work. Repetitive motifs were observed in Kuznetsov's paintings. It seemed that the artist had exhausted himself. A new take-off was outlined in his work only after visiting Central Asia. Pavel Kuznetsov worked until the last days of his life. He died in 1968, in Moscow. Known works of the master: “Blue Fountain”, “Evening in the Steppe”, “Sleeping in a Shed”, “Birth”, “Uzbek Woman”, “Mountain Bukhara”, “Tabachniki”.

Peter Utkin

The future member of the Blue Rose Association was born in Tambov in 1877. He received his primary art education in Saratov. Utkin studied with Serov, Levitan. Most of the work of this artist is done in blue tones. Pyotr Utkin died in 1934, in Leningrad.

Alexander Matveev

This sculptor is one of the brightest figures in Russian art of the early 20th century. He took part in organizing not only the Blue Rose, but also other creative associations. After the revolution, Matveev worked at the Petrograd School of Technical Drawing and made a significant contribution to the development of the Soviet art school. Most of his life he has been teaching. Matveev died in 1960.