Oil painting Village street Andreev Nikolay Andreevich

№Vern 1632


*** ABOUT THIS PAINTING ***
* TITLE: "Village street"
* ARTISTS: Andreev Nikolay Andreevich
* SIZE: 50x35 cm/'19.68x13.77 inches', frame size: 53x40 cm/'20.86x15.74 inches'
* MEDIUM: oil, cardboard
* HAND PAINTED: Original painting from our collection
* CONDITION: we tried to convey the maximum information with the help of photos about this product
* This item was auctioned in Kiev auction

About the artist: October 14 (26), 1873 (Moscow) - December 24, 1932 (Moscow)

Sculptor, graphic artist, monumentalist, stage designer

Born into the family of a carpenter contractor. In 1885–1891 he studied at the Stroganov School of Industrial Art at the Department of Fabric Decoration (later he taught there until 1918). In 1892–1901 he continued his studies at the Moscow School of Painting, Sculpture and Architecture with S. M. Volnukhin and P. P. Trubetskoy, which greatly influenced the formation of Andreev’s creative worldview.

In 1900 he traveled to France, where he attended private art schools in Paris. In the early works he was influenced by the Wanderers (for example, “The Reaper with the Child”, 1899), from 1902 he was an active participant in TPHV exhibitions, and in 1904 became a member of it. By this time belonged to the projects of monuments of Andreev’s work in realistic style: M. I. Glinka, K. D. Ushinsky, first printer Ivan Fedorov.

The sculptural portraits of Andreev of the period of the 1900s - P.D. Boborykin (1904), L.N. Tolstoy (1905) - are impressionistic. In some works, in particular in the portraits of A.P. Lensky, A.L. Vishnevsky, A.A. Fedotov (all - 1906) and especially in the portrait of the psychiatrist N.N. Bazhenov (1907) - there was a craving for the grotesque .

For five years, from 1904 to 1909, Andreev worked on the monument to N.V. Gogol, which became not only a real masterpiece of monumental art, but also the best sculptural image of the writer and the best urban sculpture in Moscow. The monument simultaneously violated and affirmed the tradition: the tragedy of the figure of the writer himself was combined in it with Gogol’s inherent irony and free combination of details (in the bas-relief figures of Gogol’s heroes).

By 1913, the first notable works of Andreev as a theatrical artist (Cleopatra by Potemkin, the Bat Theater) belong. For many years, collaborating with the Moscow Art Theater, he not only made out performances for him, but also made playful murals, caricature dolls, and the like. He proved himself to be an inventive cartoonist during the design of theatrical "skits". Together with K. S. Stanislavsky, he developed new, constructive and expressive principles for the design of the stage space.

Andreev owns a series of portraits of theatrical figures - sculptural portraits of V.I. Kachalov, Lensky, V.I. Nemirovich-Danchenko, Kachalov as Hamlet and others; graphic portraits of A. A. Yablochkina, G. N. Fedotova, Stanislavsky, A. I. Yuzhin, A. V. Nezhdanova. After the revolution, the artist created the scenery for the performances: “Cain” by J. G. Byron (1920, Moscow Art Theater), “Examiner” by N. V. Gogol, “Case” by A. V. Sukhovo-Kobylin, “The Man Who Laughs” by V. Hugo (1927, 1929, Moscow Art Theater 2nd). In his works, Andreev skillfully and reliably recreated the real environment of action on the stage.

After the 1917 revolution, Andreev worked actively on the monumental propaganda plan. In 1920 he created a sculpture for a monument to the Soviet Constitution (popularly called the monument, or obelisk, of Freedom), installed on the site of the demolished monument to General M.D. Skobelev and at one time a symbol of not only the capital, but the entire liberated state (blown up in 1941, miraculously preserved statue head is stored in the State Tretyakov Gallery). The powerful dynamic composition of the figure resembled ancient sculpture, art historians compared it to Nika of Samothrace. Monuments created by A.I. Herzen, N.P. Ogarev and Danton created in 1918–1922 gravitate toward cubism, but they are simpler in concept and did not reach the psychological depth inherent in the monument to Gogol.

In 1921–1922 he portrayed, as a rule, from life figures of political and cultural figures, delegates to the Congress of the Comintern (M. Gorky, Stanislavsky, M. A. Chekhov, F. I. Chaliapin, A. V. Lunacharsky, I. V. Stalin) .