Biography of life and grabar. Grabar Igor Emmanuilovich Grabar's paintings are unique in the purity and brightness of the sound of colors, as well as in their safety. In general, during these years, his increased demands on himself suppresses in him the creative freedom necessary for him.
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Grabar Igor Emmanuilovich (1871-1960), Russian artist, art historian, museum worker.
Born in Budapest on March 25, 1871 in the family of E.I. Grabar, a prominent public figure, who in 1876 was forced to move to Russia because of the persecution he was subjected to, speaking out against the anti-Slavic policy of the Austro-Hungarian authorities. He studied at the St. Petersburg Academy of Arts (1894-1896), in particular with I.E. Repin, as well as in the studio of A. Ashbe in Munich (since 1896); having organized a school together with Ashbe, he taught there in 1898-1901. Lived in St. Petersburg (since 1889) and Moscow (since 1903). He was a member of the World of Art and the Union of Russian Artists associations.
I don’t remember myself not drawing, I can’t imagine myself without a pencil, an eraser, without watercolors and brushes.
Grabar Igor Emmanuilovich
At first, his artistic production was dominated by landscapes simple in motive, but saturated in color (White Winter. Rook's Nests, February Blue, March Snow, all three works 1904) and still lifes (Untidy table, 1907; all - in the Tretyakov Gallery). At the same time, his talent as a portrait painter, as well as an architect, was revealed (Neo-Renaissance-Palladian estate Zakharyino near Moscow, 1909-1914).
Actively worked as an art critic (in the magazines "World of Art", "Old Years", "Apollo", etc.). Since 1906, together with the publisher I.N. Knebel, he carried out a series of monographs about the greatest masters of new Russian art, wrote books for this series about I.I. Levitan (1913, in collaboration with S. Glagol) and V.A. Serov (1914) . A significant role in the self-determination of the national art school was played by the preparation of the multi-volume History of Russian Art (1906-1916; due to the war, the publication was interrupted at the 6th volume), where he was the author of a number of important sections.
Grabar made a great contribution to Russian culture, becoming a trustee and director of the Tretyakov Gallery (1913-1925), as well as the organizer and director of the Central Restoration Workshops in Moscow (1918-1930, from 1944 - scientific director), which were later named after him. Grabar's research expanded knowledge of the Russian medieval culture (specifying, in particular, the creative image of Theophan the Greek and Andrei Rublev) and improved the restoration methodology.
In the Soviet period, Grabar was actively engaged in painting, willingly turning to the landscape and portraits of "ancient Russian people" (N.V. Klyuev, 1932, Tretyakov Gallery). He also painted official canvases (V.I. Lenin at the direct wire, 1933; Peasant walkers at the reception of V.I. Lenin and I.V. Stalin, 1938; both paintings in the museum in Gorki Leninskie). Grabar's two-volume book on Repin (1937; Stalin Prize 1941) and the memoir "automonograph" My Life (1937) are of capital importance. With his participation, most of the new History of Russian Art was published (vols. 1-13, 1953-1969). In later years, Grabar acted as director of the V.I. Surikov Institute (1937-1943), the All-Russian Academy of Arts (1943-1946), the Institute of Art History of the USSR Academy of Sciences (since 1944).
- (1871 1960), Soviet painter and art critic. People's Artist of the USSR (1956), full member of the Academy of Sciences of the USSR (1943) and the Academy of Arts of the USSR (1947). He studied at the St. Petersburg Academy of Arts (1894-96) and at the school of A. Azhbe in Munich (1896-98). He taught at Moscow State University (professor with ... ... Art Encyclopedia
Grabar, Igor Emmanuilovich- (b. 1871) painter, art historian, museum worker. Since childhood, painting, after graduating from St. Petersburg University (1893) he entered the Academy of Arts (Repin's workshop), which he graduated in 1896. Further art education ... ...
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Grabar Igor Emmanuilovich- Grabar, Igor Emmanuilovich painter, born in 1871; studied in Moscow at the Lyceum of Tsarevich Nikolai and at the Faculty of Law of St. Petersburg University. At the end of it (1893) he entered the Academy of Arts, then studied in Paris and ... ... Biographical Dictionary
Grabar, Vladimir Emmanuilovich- lawyer. Genus. in 1865. He graduated from the course at the Faculty of Law of Moscow University. Served in the Moscow commercial court; was a class teacher at the Konstantinovsky Land Survey Institute in Moscow. Consists of a professor of international law in ... ... Big biographical encyclopedia
Grabar Vladimir Emmanuilovich- , Soviet scientist, specialist in the field of theory and history of international law, Doctor of Law (1918), professor. He graduated from the Faculty of Law of Moscow University in 1888, in 1893 1918 ... ...
Grabar Vladimir Emmanuilovich- Grabar, Vladimir Emmanuilovich lawyer. Born in 1865. He graduated from the course at the Faculty of Law of Moscow University. Served in the Moscow commercial court; was a class teacher at the Land Survey Institute in Moscow. Consists of a professor ... ... Biographical Dictionary
Grabar Igor Emmanuilovich- (25. 3. 1871, Budapest, 16. 5. 1960, Moscow), Soviet painter and art critic, People's Artist of the USSR (1956), full member of the Academy of Sciences of the USSR (1943) and the Academy of Arts of the USSR (1947). He studied at the St. Petersburg Academy of Arts (1894 96) with V. E. Savinsky, N. A. Bruni and I. E. ... ... Great Soviet Encyclopedia
GRABAR- Vladimir Emmanuilovich (1865-1956), Russian lawyer. Brother I.E. Grabar. Fundamental works on the theory and history of international law ... Modern Encyclopedia
GRABAR Vladimir Emmanuilovich- (1865 1956) Russian scientist, Doctor of Law, Professor. Brother of I. E. Grabar. Fundamental works on the theory and history of international law ... Big Encyclopedic Dictionary
Books
- History of Russian art. T. 1. Architecture. pre-Petrine era. , Grabar I .. The book is a reprint edition of 1910. Despite the fact that there was a serious…
It was not for nothing that contemporaries called this Russian painter "a man-orchestra". An artist, a restorer, a museum figure, an art critic, a teacher - he could do almost everything. A multifaceted personality, completely devoted to art, has been creating for more than sixty years. Grabar Igor Emmanuilovich, who specialized in portraits and landscapes, was the first in the Soviet Union to receive the title of Honored Art Worker.
Passionate about painting
The future genius was born in Budapest in 1871. Five years later, his family emigrated to Russia. A boy studying at a Moscow lyceum dreams of art: he visits all the exhibitions, studies the paintings of the Tretyakov Gallery, makes copies of portraits from old magazines. Studying at the historical-philological and law faculties in St. Petersburg, the young man enters the Academy of Arts, where Ilya Repin himself notices him. The young man constantly draws from life, makes sketches and portraits of others. He is included in a narrow circle of people involved in art, illustrates the publication "Niva".
New stage of creativity
While still a student, Grabar Igor Emmanuilovich visits Germany, France and Italy. Fascinated by the art of the Renaissance and the work of the Impressionists, he returned to Russia in 1903 with new ideas. As the master himself admitted, a new stage and the most creative period had begun in his life. His works are noticed by contemporaries in Russia and abroad, and each new work receives flattering reviews.
Admired by the beauty of nature, he does not skimp on bright colors. According to researchers, the artist was greatly influenced by French impressionism, but he works in a native Russian style. He does not imitate anyone, but writes in his own way.
Multifaceted personality
Beginning in 1910, Igor Emmanuilovich Grabar moved away from painting. He is immensely passionate about architecture and museum activities. The talented author saves architectural monuments that were crumbling before our eyes, writes books and even creates a hospital-memorial in the "Palladian" style in memory of the Russian doctor G. Zakharyin. Heading the Tretyakov Gallery, he is reforming the exposition and placing paintings in historical sequence. Having a reputation as a rebel, Grabar arranges an exhibition of Russian works in London and goes against the will of Tretyakov, who bequeathed not to touch his collection.
From impressionism to realism
And only since 1924, the master again turns to painting, being carried away not only by the landscape, but also by the portrait genre. Working in the best traditions of realistic painting, he strives for the truth of life and amazingly conveys nature. His works at numerous exhibitions are appreciated by critics, who believe that the canvases of the artist Grabar Igor Emmanuilovich deserve special attention.
However, the author himself does not hesitate to call some of his creations frank failures. That is how he spoke about the works "Turkestan apples" and "Red apples on a blue tablecloth". But the audience saw in them the contrast of textures, the opposition of a cold shade to a warm one, and appreciated the plasticity of the volumes.
The painter also works on chamber canvases of his relatives and colleagues. So, he created an amazing "Portrait of V. M. Grabar, the artist's wife", an impressive "Portrait of Academician S. A. Chaplygin". Distinguished by realism and impeccable transmission of light, the paintings of Grabar Igor Emmanuilovich have always aroused the admiration of his devoted admirers.
In 1937 he created a two-volume monograph about Repin, his favorite author. Soon he was awarded the Stalin Prize for his work.
The artist died in 1960 in Moscow.
The greatness of nature
The master dreamed that his creations would be more in line with the viewer's ideas about nature. Starting work, he immediately stood in the place of the public. Perhaps the most famous masterpiece of the ingenious author is "February Blue". Grabar Igor Emmanuilovich recalled how one day he came to visit friends at a dacha in the Moscow region. Nature was waking up from a long hibernation and celebrating a new stage in her life. Staring at the beautiful birch, the author admired the view that opened to him. The artist, having dug a hole in the snow near a tree and looking only upwards to remember the extraordinary spectacle, made a sketch in the open air that delighted viewers and critics. Grabar did not pay attention to severe frosts, but was overwhelmed with happiness from the beauty he saw, which he wanted to convey.
Unusual effect
The audience was delighted to see the fabulous play of bright and pure colors, united into a single whole by the azure of the sky. The painter imposes bright blue shadows with dark emerald and brownish patches on a snow-white canvas. Trunks of birch trees, shrouded in lacy hoarfrost, literally bathe in the shining sunlight and sparkle like rainbow beads.
It is curious that the author created a canvas that makes the viewer look into the rich blue of the sky from the bottom up. In the very appearance of the primordially Russian tree, the author's joyful perception of the nature of his native land affected. The artist saw an amazing charm in the Russian landscape and sought to capture it in pure colors, conveying all the gradations of the blue sky.
The last plein airist of Russia
The generalized image of Russian nature in the painting by Igor Emmanuilovich Grabar "February Blue" (1904) was liked by the public, who called the master "the last plein-air painter of Russia." The talented painter, who found his own style, continued and developed all the best that appeared in the work of Serov, Levitan and other famous landscape painters.
He reached the limit of color saturation, applying thick strokes in a dense layer. And painting a picture from a low point is an unusual technique that gives the creation an amazing effect. The author does not try to oversaturate the canvas with light colors, and dark thawed patches and dirty snow speak of the imminent approach of spring. All the colors used by the master merge into a single palette of bright and pastel-transparent shades. Grabar hears the music of spring and feels a slight sadness of parting with his beloved time. An attractive canvas, revealing the poetic world of Russian winter, cheers up, and this is exactly the feeling that the artist, who paints his native land, achieves.
Grabar Igor Emmanuilovich: paintings with names
The canvas "Autumn. Rowan and birch" (1906) was created under the impression of the works of the Impressionists. The master creates a real miracle with careless, slightly blurry strokes of yellowish, brown and purple hues. The painter admires the wonderful times and makes the viewer do it. Here is not even a specific image of golden autumn, but the author's impression of what he saw. And this delight is transmitted to the public, which does not pass indifferently past the picture. It seems a little more, and you can hear the quiet rustle of the leaves of tall birches, feel the last warmth of the autumn sun. The master plays with colors, trying to convey the freshness and transparency of the air, and he succeeds.
In 1937, the work "Sunflowers" appeared, which bribed the audience with its simplicity. There is no particular play of light here, but the harmonious combination of golden sunflowers, a light blue sky covered with clouds, and foliage of a very dark, almost blue-green color attracted the attention of the public.
The heads of sunflowers bowed under their weight and thin birch trees shyly clinging to each other make a huge impression.
On the early canvases of Grabar Igor Emmanuilovich, whose biography and work excites his fans, one can notice a dense grid of dense strokes of different colors. From a distance, they blend into a single whole, forming realistic works filled with light and love. The author of stunning masterpieces, who adored snowy winters and frosty landscapes, admitted that nature in the spring, when snow is replaced by emerald foliage, ceases to attract him. “Sometimes my palette lacks shades that can convey the incredible beauty of a frosty day,” the master said. Namely, such nature played for him with rich colors.
One of the most consistent Russian impressionists owned the secret of the iridescent radiance of colors, allowing you to look at the world around you with joy. Later, under the influence of socialist realism, his manner of writing changed dramatically.
In the works of Igor Emmanuilovich Grabar, endowed with many talents, echoes of the heritage of the past were reflected and the most daring ideas of painting of the future were realized. The author of numerous works went down in history as a poet of the Russian winter, although he wrote both autumn and summer. He opened the Russian landscape to the world and showed the unusual in the ordinary.
Grabar Igor Emmanuilovich
G Rabar, Igor Emmanuilovich - painter, born in 1871; studied in Moscow at the Lyceum of the Tsarevich and at the Faculty of Law of St. Petersburg University. At the end of it (1893) he entered the Academy of Arts, then studied in Paris and Munich. Returning, he entered the workshop, but did not stay there for long and again left for Munich, where he entered the Ashbe school; A year later he became a teacher at this school. In 1901, he settled in St. Petersburg, where, together with Prince Shcherbakov, he began a large art enterprise "Modern Art", arranged a number of exhibitions of individual artists, applied art, Japanese painting, etc. Grabar undertook a trip to the North of Russia, studying ancient wooden architecture. Since 1902, Grabar has been taking part in the exhibitions of the World of Art, in the Salon and the Union; exhibits abroad: in Munich, in Paris, in the "Salon d" Automne ", in 1906 at an exhibition of Russian art, arranged in Rome at an international exhibition in 1909, etc. In the first period of Grabar's artistic activity remains a realist and adjoins the circle of Moscow landscape painters, then takes a great interest in solving technical problems in painting and becomes the largest representative of the pointillist school in Russia.In a number of large paintings and vivid sketches, he depicts Russian nature and gives workshops "nature morte".The Tretyakov Gallery has paintings : "Ray of the sun" (1900), "February blue" (1904) and "Untidy table" (1907), in the Museum of Alexander III: "Lilac and forget-me-nots" (1905), in the collection of V. Girshman in Moscow "September snow" (1903); "Weeping Birch" (1904) and "Chrysanthemums" (1905); in the collection of I. A. Morozov "March Snow" (1904); in the literary and artistic circle in Moscow "Hoarfrost" (1906); in the National gallery in Rome "Morning Tea" (1904). Grabar wrote a lot about art ve: in "World of Art", "Scales", "Old Years", "Apollo", "Niva", etc., text in Knebel's edition: "Paintings of Contemporary Artists in Colors", of which he is also an editor; he is also the editor and the largest collaborator of the publication undertaken by Knebel: "The History of Russian Art", as well as a number of monographs: "Russian Artists". At the beginning of 1913, the Moscow City Duma elected him a trustee of the Tretyakov Gallery. In addition to painting, he studied architecture in Munich. According to his designs, in 1912-13, a whole hospital town "Zakharyinskaya Hospital" was built in Khimki, near Moscow. - See, "Russian School of Painting"; and S. Glagol, "Art Gallery of P. and S. Tretyakov". S. R-va.
Other interesting biographies.
Igor Grabar (March 13 (25), 1871, Budapest, Austria-Hungary - May 16, 1960, Moscow, USSR) - Russian Soviet painter.
Biography of Igor Grabar
Born in the family of Emmanuil Grabar, Galician-Russian public figure, member of the Austrian Parliament. Baptized by an Orthodox priest of Serbian origin, the godparent was Konstantin Kustodiev, uncle of the artist Boris Kustodiev. Grabar's maternal grandfather was Adolf Dobryansky, an outstanding figure in the Galician-Russian movement, and his mother was Olga Grabar, who was also engaged in Russian educational activities in Galicia. Soon after the birth of his son, the father and his family were forced to flee from Hungary to Italy, where he got a job as a home teacher for the children of the millionaire P.P. Demidov, and after about three years he moved with them to Paris.
In 1876 the family moved to the Russian Empire.
From 1880 to 1882 he lived with his family in Yegorievsk, Ryazan province, where his father taught at the local gymnasium; studied at the gymnasium and attended the classes of Varvara Zhitova, half-sister of the writer Ivan Turgenev.
From 1882 to 1889, Igor Grabar studied in Moscow - at the Lyceum of Tsarevich Nikolai (graduating in 1889 with a gold medal), then - at the Faculty of Law of St. Petersburg University, from which he graduated in 1893.
Unlike his older brother, Vladimir, who became a well-known lawyer, Igor chose a career as an artist.
While still in Moscow, he attended drawing classes of the Moscow Society of Art Lovers and in 1894 entered the St. Petersburg Academy of Arts, where I. E. Repin was his leader for some time. He graduated from the Academy in 1898, and then studied in Paris and Munich.
Participated in the work of the creative associations "World of Art" and "Union of Russian Artists".
Creativity Grabar
At first, his artistic production was dominated by simple in motive, but rich in color landscapes (White Winter. Rook's Nests, February Blue, March Snow, all three works 1904) and still lifes (Untidy table, 1907; all - in the Tretyakov Gallery).
At the same time, his talent as a portrait painter, as well as an architect, was revealed (Neo-Renaissance-Palladian estate Zakharyino near Moscow, 1909-1914).
In the Soviet period, Grabar was actively engaged in painting, willingly turning to the landscape and portraits of "ancient Russian people" (N.V. Klyuev, 1932, Tretyakov Gallery).
He also painted official canvases (“V.I. Lenin at the direct wire”, 1933; “Peasant walkers at the reception of V.I. Lenin and I.V. Stalin”, 1938; both paintings are in the museum in Gorki Leninskie). Grabar's two-volume book on Repin (1937; Stalin Prize 1941) and the memoir "automonograph" My Life (1937) are of capital importance. With his participation, most of the new History of Russian Art was published (vols. 1-13, 1953-1969).
In later years, Grabar acted as director of the Institute named after V.I. Surikov (1937-1943), the All-Russian Academy of Arts (1943-1946), the Institute of Art History of the USSR Academy of Sciences (since 1944).
The greatest stimulus in painting was the artist's love for winter. He himself admitted that with the end of winter, the landscape became less attractive to him and the pictures of nature successfully replaced the still life.
In 1905-1908, the winter theme acquired a certain stable line - the image of hoarfrost became its leading motif. "Under the sign" of frost passed January 1906 and 1907.
In his own words, working on the hoarfrost awakened his "picturesque enthusiasm." “There are few moments in the world that are so amazing in their colorful polyphony as a sunny day of hoarfrost, where the color gamut, changing every minute, turns into the most fantastic shades, for which there are not enough colors on the palette.” One of the main tasks in the development of this motif was the combination of graphic and pictorial effect, the expression of one through the other - this is what creates the most impressive feature of frost, which is difficult to convey in art.
Grabar wrote frost "in every way" - its various types, in the morning and evening hours, in the sun and on a sunny day. This was done in the form of small colored sketches, as the paint quickly hardened in the cold. Grabar has accumulated about a hundred such sketches - "there was no frost effect during the day, which I would not have recorded in this collection."
In the workshop, the sketches began to turn into compositions that made up the suite of paintings "The Day of Hoarfrost" (1907-1908).
Artist's work
Landscapes and still lifes
"Balustrade" (1901, Nizhny Tagil Art Museum of Fine Arts),
"September Snow" (1903, State Tretyakov Gallery),
"White winter. Rook's nests "(1904),
"February Blue" (1904, State Tretyakov Gallery),
"March Snow" (1904, State Tretyakov Gallery),
"Chrysanthemums" (1905, State Tretyakov Gallery),
"Untidy table" (1907, State Tretyakov Gallery)
"Pears on a blue tablecloth" (1915, Russian Museum),
"Clarifies" (1928)
"Last Snow" (1931),
"Birch Alley" (1940),
"Winter Landscape" (1954)
