Pavel Pavlinov

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EVGENY EVGENIEVICH LANCERE IS ONE OF THE FEW DOMESTIC ARTISTS WHO NOT ONLY CAUGHT, BUT ALSO CAPTURED MANY EVENTS OF BOTH THE FIRST AND SECOND WORLD WARS. IN THE WINTER OF 1914-1915 HE WENT TO THE TURKISH FRONT TO DRAW TYPES OF LOCAL RESIDENTS, COSSACKS, AND MILITARY EVENTS 1. THAT WAR WAS CALLED THE GREAT PATRIOTIC WAR. THEN THERE WAS THE REVOLUTION OF 1917 AND THE CIVIL WAR. BUT FEW PEOPLE EXPECTED THE START OF A NEW WORLD WAR SO SOON. ON SEPTEMBER 4, 1939, THE ARTIST WRITTEN IN DIARY 2: “WORLD WAR II! EVERYTHING IS GOING TO HELL AGAIN! AND STILL, BY INERTIA, BOTH I AND OTHERS INTERPRET AND CARE ABOUT THE SUBTLES OF PROPORTIONS, ABOUT THE SHADES OF COLOR!.. I THINK ABOUT THE PARISIANS, ABOUT COLE 3.” SEPTEMBER 9: “OLYOK 4 IS DEPRESSED BY THE THREAT OF WAR. THE PUBLIC APPEAR TO BE STOCKING UP ON PROVISIONS. THERE ARE LINES EVERYWHERE. CRUSH IN THE SAVING CASSES.” “HISTORICAL EVENTS FOLLOW EACH OTHER AT LIGHTNING FAST: ON THE 17TH THE ENTRY OF SOVIET TROOPS ON POLISH TERRITORY. THE FINAL DEFEAT OF POLAND, YESTERDAY DIVISION OF IT; EVERYONE IS WONDERING WHO IS WARSAW, WHICH IS JUST AT THE TURN” (FROM A DIARY ENTRY OF SEPTEMBER 24, 1939). BUT THE WAR CAME TO THE TERRITORY OF RUSSIA ONLY IN JUNE 1941.

Recent years before the war they were very active for Lansere creatively. His sketches for the design of the album “Lermontov's Masquerade in Golovin's Sketches” (M.; Leningrad, 1941), books by A.V. Lebedev “F.S. Rokotov" (M., 1941), M.V. Nesterov “Old Days” (Moscow, 1941). However, many projects monumental painting for various reasons were not implemented: sketches of panels for the main hall and lampshades above the stairs State Library USSR named after V.I. Lenin (1935-1940); sketches of a mosaic frieze for the art hall at the World Exhibition in New York (1938), paintings of the ceiling of the auditorium Bolshoi Theater(1940, the Arts Committee abandoned the project in April 1941). Committee members often spoke about the lack of a “deep socialist” idea, which is fair, since Lanceray tried to use universal humanitarian symbols and allegories. And building a composition based on clear sculpting of volumes, rather than decorative spots, seemed outdated. Many projects were canceled due to pre-war and wartime difficulties - interior design project Great Hall Palace of the Soviets (1938-1941), theatrical projects. In August 1942, the Art Fund refused to print a book about Svaneti with drawings by Lansere for political reasons. On June 13, 1941, Lansere was taken to the Musical Theater named after K.S. Stanislavsky's latest sketches and layouts of the scenery for the opera by S.S. Prokofiev's "Engagement in a Monastery", but due to the war the production was not carried out 5. And just two days before the start of the war, on June 20, 1941, the railway authorities approved sketches of two panels in the lobby of the Kazan station (“Taking of the Winter Palace” and “Celebration on Red Square on the occasion of the adoption of the USSR Constitution in 1936”). The war delayed the implementation, and already in 1943 the artist completely abandoned these subjects.

The beginning of the war found Evgeniy Lansere in Moscow working on sketches for the painting of the Kazan station 6. “Well, here comes the war... About an hour ago there was a call from Ida Fedorovna, she said - war, bombs in Kyiv, Chisinau, Kaunas, Sevastopol, Zhitomir. I couldn’t believe it,” he wrote on the evening of June 22. On June 27-28, the artist worked on the commission for the defense of diplomas and took exams at the Academy of Architecture 7. Only after this did he go to his family’s dacha in the village of Peski near Kolomna. The house itself was built according to his son’s drawings in 1939-1940. In the summer of 1941 they wanted to finish building the house, but did not have time. Despite the bombings and offers to evacuate 8, by the end of August they decided not to leave. During the heaviest bombings (in October-November 1941), neighbors offered to go “to the forests.” The situation was aggravated by rumors. On October 18, Lanceray wrote: “The rumors are very vague; it is clear that there is huge panic in Moscow; trains - trains with refugees. Rumors about the capture of Kashira... But we don’t believe it.” At the beginning of November, they were afraid of a German attack from Kashira and began to dig trenches at the edge of the forest. But already in December, when the Germans were forced to retreat, they began to return to artistic projects. On December 5, son Zhenya took sketches for the opera “Suvorov” to Moscow. But the health of E.E. Lancer was getting worse. On December 28, the artist was in a clinic in Moscow: “... a general examination of me revealed weight loss and exhaustion - hence the hernia.” However, the new year, 1942, was celebrated at the dacha in good mood: “...Christmas tree, candelabra with candles; very warm despite severe frost. Kolobovs, Kuprin, “Amirovs”, and Tanya and I = 8.”

In Peski Lansere lived with his wife, her niece Tatyana Igorevna Artsybusheva, son Evgeniy and daughter Natalya, who had to work on a collective farm to get bread and potatoes, with her husband, architect Georgy Ippolitovich Voloshinov, and their children Andrey and Maria. To feed themselves, they drove or walked 12 kilometers to Kolomna: they sold things and exchanged them for food. February 24, 1942 “Olyok exchanged his gold watch for 2 pounds of black flour and a bag of potatoes.” They kept goats, and in 1943 they managed to buy a cow and bring bees. On February 15, 1944, in a letter to V.P. and V.A. Belkin in the recently liberated Leningrad Lansere spoke about the ups and downs of 1941-1943: “In the first war autumn and the beginning of winter, we were all at the dacha, it was a very terrible time: in front of the dacha they dug trenches, made rubble, bombed the station line - about 1 kilometer from the dacha; cattle, refugees, and the ever-approaching roar of guns drove past us; But still, the Germans did not reach our place by 40-50 kilometers, and they were driven away, but we sat safely and thus saved the dacha and property. The time, of course, was difficult both in terms of food and earnings. But still not comparable, of course, to what you suffered.” Communication with other residents of the “Soviet Artist” village helped - with A.V. Kuprin, P.P. Konchalovsky, Yu.I. Pimenov, Fedorov, Kolobov, Fomin and others. At the same time, life at the dacha contributed to the development of the easel line in the master’s work. He paints a self-portrait (1942), landscapes of Peskov, a triptych “Lake Gek-Gol” (1943-1944), 9 still lifes (“Pumpkins”, 1943; “Hunting Still Life”, 1944), in which he develops the principles of realism.

Since the beginning of 1942, military themes have interested the artist. He has to spend more and more time in Moscow working on graphic orders. In January-March, he compiled sketches of the cover for the album “Artists of Moscow to the Front” and the layout of the collection “Great Patriotic War", a little later creates the autolithograph "On Patrol". On January 29, 1942, Lanceray wrote that he “would really like to work from life (at the front).” He didn’t get to the front, but he didn’t want to go to the rear either. Following news of deaths in besieged Leningrad 10 the number of proposals for evacuation increased (from A.M. Gerasimov, S.D. Merkurov, B.M. Iofan, who proposed moving to Sverdlovsk) 11.

Lanceray strived to be truthful in conveying details. To paint the painting “The Defeat of the German Heavy Battery” in February 1942, he went to look at German guns at the Central House of the Red Army. In June he sketched a performance folk artists USSR N.A. Obukhova and E.A. Stepanova in a military hospital in Khavsko-Shabolovsky Lane in Moscow for the painting “Concert in the Hospital” (the painting is not completed). On September 21-25, together with Alexei Viktorovich Shchusev and his son, he studied the destruction in the city of Istra. Later, in 1944, he created the cover, front page, intros and endings for the book by A.V. Shchusev “Project for the restoration of the city of Istra” (Moscow, 1946). At the same time, before Easter in April 1942, Lanceray, by order of the Art Fund, began work on his latest easel series, “Trophies of Russian Weapons,” consisting of five historical paintings: “After the Battle of Lake Peipsi” (“After the Battle of the Ice”), “Fighters at captured guns” (“1941 near Moscow”), “Evening after Borodino” (“Night after the Battle of Borodino”), “On the Kulikovo Field” , “Peter after Poltava” (“Poltava Victory”). Completed by October, on November 7, 1942, the series was exhibited at the large exhibition “The Great Patriotic War” in the Tretyakov Gallery 12, placed instead of the evacuated exhibits. On March 19, 1943, the artist received the USSR State Prize, 2nd degree, for this series. As he wrote in his autobiography, “the awarding of the Stalin Prize to me changed the structure of thoughts and moods - both faith in myself and hopes for the future appeared” 13. And after the end of the exhibition at the end of 1943, the series was transferred to the gallery’s collection.

Evgeniy Lanceray always paid special attention to history, which was reflected in his work. In February 1943, he met with historians E.V. Tarle and A.I. Yakovlev, who spoke about the victory in Stalingrad as turning point war and compared it with the Battle of Poitiers in 732. A day after the surrender of the 6th Army of the Third Reich, Lanseray proposed to the Committee for Arts under the Council of People's Commissars of the USSR to write the triptych “War and Peace”. The artist designed only two of its parts (“Mobilization” and “Artillery battle in the forest”). The right part, which was much more difficult to think through during the war, like the entire triptych, remained at the level of sketches. But the theme of the right-wing composition “Peace” nevertheless found its embodiment in monumental painting after, on February 7, 1945, Lanceray received a letter from the head of the Kazan station A.I. Popov with the requirement to complete by November two panels for the Syuyumbeki tower of the Kazan railway station, ordered back in 1939. “Since lunch I’ve been tormented by figuring out how to replace the previous sketches. And now - 11 pm - it came up, it seems to me. I take the figures of “Peace” and “Victory” from the sketch being assembled; as if it would be possible to make from them something that had long been dreamed of,” the master wrote that day. The compositions on the walls were created already in 1946. Completed in May 1946, "Peace" is depicted as a woman in a cloak with a child and a laurel branch; “Victory,” begun on the wall only on August 3 and completed after the death of the academician by his son, was initially conceived in the form of Pallas Athena, but in May 1945 in the sketches it turned into a warrior in chain mail, a helmet and a cloak, with a sword and a spear (but without machine gun, as requested). Around the figure of a woman in “The World” there are single-color compositions reflecting peaceful life(“Science”, “Art”, “Family”, “Recreation”, “Work at the Machine” and “Work in the Fields”). On the sides of the warrior are inscribed in gold letters the names of ten cities associated with victories. Soviet army. In a letter to I. Charlemagne dated November 7, 1945, the master admitted that “I was afraid - if the interpretation of the plots would not have frightened me, they would not have said - ‘here Mother of God with baby Jesus and St. George with a pike,” but everything went well.”

Victory in the war was preceded by two years of no less active creative activity masters May 10, 1943 in the halls Tretyakov Gallery An exhibition of works by seven masters of the older generation opened. Together with E.E. Lansere exhibited V.N. Baksheev, V.K. Byalynitsky-Birulya, I.E. Grabar, V.N. Meshkov, I.N. Pavlov and K.f. Yuon. On July 15, all artists except I.E. Grabar, were awarded the Order of the Red Banner of Labor. This was Lanceray's last major lifetime exhibition. The catalog, published in the fall of 1944, lists more than a hundred works of painting, graphics, sketches of monumental and decorative works, theatrical productions starting in 1907 and only seven wartime works (1941-1942). Nevertheless, it was too early to draw conclusions. Lansere's experience was very important in various fields artistic life. In November-December 1943, on behalf of the Committee for Arts and the All-Russian Theater Society, he visited Tbilisi to study the work of painters and consult on improving art education with a proposal to introduce a department at the Tbilisi Academy of Arts applied arts. Lanseray's talent as a monumentalist was very useful. On March 7, 1944, he read a report at the Moscow Union of Artists, “My work in the field of monumental painting,” and on April 19, 1945, in the newspaper “ Soviet art“his article “On monumental painting” was published. Since 1943, the artist worked on projects for the restoration of the Theater. E.B. Vakhtangov, which was hit by a bomb in 1941, in 1944, at the suggestion of the architect D.N. Chechulina created sketches for painting the ceiling of the foyer and the central ceiling of the Mossovet Theater (not implemented). The breadth of his capabilities is evidenced by his consultations on the design of metro stations (ZIS), on the development of new military orders (including for women), on the resumption of the production of “Woe from Wit” at the Maly Theater, and meetings on food industry labels. Merits of Lancere in development various directions national culture received recognition in public circles, and on February 26, 1945, the 69-year-old master was awarded the title of People's Artist of the RSFSR, and on September 4, 1945, he was awarded the second Order of the Red Banner of Labor.

After the end of the war, on May 18, 1945, Eugene wrote to his sister in Paris, spoke about the death of their brother Nikolai back in 1942, but ended with hope: “Now that this terrible war has ended in victory, we all believe that contact with all of you, so distant and so close, and maybe we’ll see each other.” But they were not destined to see each other. Back on November 19, 1942, Lanceray wrote: “What interests everyone is whether there will be changes after the war; the majority [thinks] no, it will be worse if we win. I’m usually the only one hoping for evolution and slowing down.”

1. See article: Pavlinov P.S. Evgeny Lansere on the Caucasian front. Drawings and notes of the master // Collection. 2005. No. 2. P. 16-23.
2. Here and further without indication - Lanceray family archive.
3. Evgeniy Lanceray's sister Zinaida Serebryakova moved to Paris in 1924. In 1925 and 1928, respectively, her children Alexander and Ekaterina came to her. During the war they remained to live in Paris. Eugene's brother, architect Nikolai Lansere, was arrested for the second time on charges of espionage in 1938. Evgeniy wrote letters to Zhdanov, Kaganovich and prosecutors, but Nikolai was sentenced to 5 years in the camps. On July 18, 1939, he was deported to Kotlas without a meeting, and in the fall - to the Komi Republic, to the village of Kochmes, Ust-Usinsk region. In August 1940, he was transferred to Moscow, and in the summer of 1941 he was transported to the Saratov transit prison, where he died in May 1942.
4. Evgeny Lansere's wife is Olga Konstantinovna, nee Artsybusheva.
5. Evgeny Lanceray worked on the sketches of “Engagement in a Monastery” together with his son, painter, architect, and book graphic artist Eugene (1907-1988). Sketches for F. Schiller’s drama “Cunning and Love” for the Maly Theater, performed in 1941, as well as sketches of the scenery for the opera by S.N. also remained unfulfilled. Vasilenko "Suvorov" for Musical theater named after K.S. Stanislavsky, developed in 1941-1943.
6. About the life and work of E.E. Lancer in the second half of 1941, see: V.M. Bialik"Witness to War" // Russian art. M., 2005. No. 4. P. 136-139.
7. Soon the Academy of Architecture will be evacuated to Chimkent, and Lansere’s teaching activity, which began in the 1910s and almost continuous since 1922, will be interrupted.
8. We are talking about a proposal to evacuate on August 8, 1941 by train to Nalchik. I.E. left on it. Grabar, V.A. Vesnin, M.N. Yakovlev and many others.
9. The triptych “Lake Gek-Gol” was exhibited at the Landscape Exhibition of the Moscow Union of Soviet Artists in the hall of the Moscow Association of Artists from August 1, 1944.
10. From diary entry February 15, 1942: “Terrible news from St. Petersburg - famine. The death of Peterhof, Tsarskoye, Oranienbaum, Gatchina.” March 2: “Terrible news: V.A. died. Frolov, I.Ya. Bilibin, Petrov, Naumov, Karev... they say there are only 47 artists.” It is impossible to read later entries without shuddering. April 16, 1944: “We have the Frolovs; Andrey's stories about Leningrad. The Zarudny sisters lost their food card in February 1942, and their death from hunger.”
11. Lansere's niece Tatyana Serebryakova and her husband Valentin Filippovich Nikolaev left for Sverdlovsk in January 1942. Tatyana's brother Evgeny Serebryakov and his wife remained in evacuation in the city of Frunze until the summer of 1945.
12. 255 artists were exhibited. Among the exhibited works is “The Fascist Flew” by A.A. Plastov, triptych “Alexander Nevsky” by P.D. Corina.
13. E. Lanceray. Autobiographical sketch // V.N. Baksheev, V.K. Byalynitsky-Birulya, I.E. Grabar, E.E. Lansere, V.N. Meshkov, I.N. Pavlov, K.F. Yuon. [Exhibition catalogue]. M., 1944. P. 46.

Evgeniy Lanceray interpreter of Russian classics

Book artists of the twentieth century

Evgeny Nemirovsky

It is very rare for one family to gather so many the most talented people, as in the family from which the hero of our today’s essay came. The craving for art was passed on to him from Alberto Camillo, or, as he was called in Russia, Albert Katarinovich Cavos. This man, who built the Bolshoi Theater in Moscow and the Mariinsky Theater in St. Petersburg, was the grandfather of Alexander Nikolaevich Benois and the great-grandfather of Evgeny Evgenievich Lanceray. Thus, the artist we are about to tell you about was the nephew of one of the founders of the World of Art, although the uncle was only five years older than the nephew. Like Benois, Evgeny Lanceray also started at the World of Art and was also fascinated XVIII century. One of the most famous paintings Lanceray, exhibited in 1905, is called “Empress Elizaveta Petrovna in Tsarskoe Selo.”

But over time, the paths of the Miriskus students diverged: most of them ended their lives in exile, and Evgeniy Evgenievich Lanceray remained in Soviet Russia, became People's Artist of the RSFSR, laureate of the Stalin Prize. Did he have to bend his soul for this? In general, no, because the artist Lanceray was a convinced realist. Both before and after the revolution, he happily illustrated works of Russian classical literature. True, from time to time he had to perform work that seemed out of character for him. And if the portrait of young Sergo Ordzhonikidze, painted in 1922, is imbued with sympathy for the young, romantic revolutionary, then the same cannot be said about the painting of the main staircase State Museum in Georgia “J.V. Stalin leads the first political uprising of the Transcaucasian proletariat” or about overly straightforward and ideological sketches of murals for the Kazansky railway station in Moscow.

Eugene Lanceray was born on August 23, 1875, that is, this year we will celebrate his 130th anniversary, if, of course, our press remembers this date. His father Evgeniy Alexandrovich was a talented sculptor. Mother Ekaterina Nikolaevna, sister of A.N. Benois, who drew well and attended classes at the Academy of Arts, could also become an artist. “She married for love,” recalled A.N. Benois, “to the young, talented and soon to become famous sculptor Evgeniy Aleksandrovich Lanceray, and this “romance between Katya and Zhenya,” which began in the summer of 1874, continued until Zhenya’s grave. happened in February 1886, Katya, who was only 36 years old at the time of her husband’s death and who was still lovely, remained faithful to him until the end of her life.” Evgeniy Alexandrovich was driven to the grave by tuberculosis, but in his marriage Ekaterina Nikolaevna gave birth to six children. After the death of her husband, she and her children moved to a spacious parents' house, and Evgeniy’s childhood years were spent together with Alexander Benois. “I was especially pleased with the fact,” he later recalled, “that under the same roof with me was now my beloved nephew Zhenya, or Zhenyak, Lanceray, who very early began to discover an extraordinary artistic talent. Conversations with this charming, gentle and at the same time youth filled with inner fire gradually began to turn for me from fleeting entertainment into some kind of necessity.” Evgeniy's younger brother Nikolai became an architect, and the youngest of the sisters became a famous artist who went down in the history of Russian art under the name of Zinaida Evgenievna Serebryakova.

After graduating from high school, Evgeniy became a student at the drawing school of the Society for the Encouragement of the Arts, and in 1896, together with Lev Bakst, he went on a traditional trip for World of Arts students to Paris - the artistic Mecca turn of the XIX century and XX centuries. Together with friends, Lansere traveled through Italy, Germany, Switzerland and England. K.A. Somov wrote to one of his correspondents in September 1899: “In May, my St. Petersburg friends, Nouvel and Nurok, came to us in Paris, bringing a new note to our company, and with them we, i.e. I, Shura B[enois] and J. Lancer, went to London.”

The beginning of Evgeny Evgenievich’s work in the field of book art dates back to 1897, when he received his first order - to design the book “Legends of the Ancient Castles of Brittany” by Elizaveta Vyacheslavovna Balobanova. The drawings, made in ink and white, pen and brush, were made from life in the summer of the same year, when Lanceray, together with A.N. Benois, was in this coastal French province. “Both I and our faithful companion Zhenya Lanceray,” Alexander Nikolaevich recalled many years later, “dreamed about wild and monstrous rocks, about ancient granite churches and chapels, about prehistoric menhirs, in general about everything that gives a fabulous feel...” . About Lancer’s drawings made at that time, he said that they were permeated with a truly Breton mood. At home, these drawings were appreciated differently. “Was it worth it for E. Lancer to go to Paris and study and live there for a long time,” wrote Vladimir Vasilyevich Stasov (18241906), “in order to later draw his illustrations for “Breton Tales” and his decorative drawings, where human figures crooked and oblique waves stick out, without the slightest nature, in the form of regular rhombuses of a mosaic. Some colossal melted candles in the dungeon, then unprecedented bushes and plants, anything except what actually exists in the world.” Stasov, of course, conveyed his impressions of Lanseray’s works in a clearly exaggerated form, not wanting to acknowledge the possibility of stylization and the artist’s right to his own vision.

Balobanova’s book was published in 1899, and at the same time Lanceray took part in the design of the anniversary edition of Pushkin, in which A.N. Benois and K.A. Somov participated - making the title cards for “Dubrovsky” and “The Shot”.

E.E. Lansere. Title for the magazine "World of Art". 1904

Then there was collaboration in the magazine “World of Art”, which Soviet art criticism was, to put it mildly, wary of. However, Soviet art critics strongly emphasized the “special place” that Lanceray occupied in this “aesthetic artistic association" And how could it be otherwise? After all, the world artists, according to M.V. Babenchikov, written in 1949, in the midst of the struggle against “rootless cosmopolitanism,” “proclaimed the “supra-class character” of art, supposedly standing “above all earthly things,” and thereby immediately revealed their class belonging." And further: “The World of Art workers slavishly worshiped all types of “foreignness” and, due to their hatred of the realistic exploration of the world, closely aligned themselves with Western modernist movements in literature, theater and music.” According to the same author, “Lancere was never a typical or consistent world artist. On the contrary, the artist’s exceptional demands on himself prompted him every year to be more and more critical of the conventional stylistics of the “World of Art” and the idealistic worldview of this dying group, who were exponents and preachers devoid of high ideological and public importance, and therefore a distant and alien culture to the people.”

Meanwhile, A.N. Benois always emphasized the cohesion and complete unanimity of the people who stood at the origins of the “World of Art”. At the end of his life path in a letter to the artist and art critic Igor Emmanuilovich Grabar (1871-1960) dated November 8, 1946, in which he decided to “express all his grief over the death of our dear Zhenya Lanceray,” Benoit recalled the days gone by: “And what a life it was.” flock”! How many of us there were! And how united everyone is, and how everyone is needed by everyone, and everyone is devoted to one cause - the protection and dissemination of genuine art, or what we considered with full conviction to be such.” And he noted bitterly: “Well, now something completely different is considered “real art,” and we can’t do anything about it.” Evgeniya Lansere he is up to last days considered him a like-minded person.

E.E. Lansere collaborated with the magazine “World of Art” from the very first issue, which featured his excellent lithograph “Kazan Cathedral” and other works dedicated to St. Petersburg. While publishing easel graphics, the artist simultaneously decorated the magazine with amazingly decorative ornamental decoration. “His headpieces and endings,” wrote the famous art critic and bibliologist Alexey Alekseevich Sidorov (1891–1978), “always very cleverly either begin or end pages of printed text.” Ornamentation is a difficult art, always balancing between empty decoration and true craftsmanship. A. A. Sidorov called Lansere’s vignettes in Nos. 15 and 16 of “The World of Art” “unsophisticated,” thereby denoting their exciting simplicity and the absence of anything superficial. Lansere also made covers for the World of Art. In the issues of 1902, lithographs of the artist were published, and in issue No. 9 of 1903, his full-page title “The Death of the Gods” was placed, in which one can see the motives of the work of William Blake, which was very far from the world of art. Beardsley's influence, which is easily visible in the graphics of Lev Bakst and Konstantin Somov, is minimal in Lanceray's works. Another frontispiece by E.E. Lansere opened the section “Medieval Poetry in Miniatures.”

Among Evgeny Evgenievich’s other works for the World of Art, one should mention three drawings published in its very last issue (twelfth) for a cycle of poems by Konstantin Dmitrievich Balmont (1867–1942) and the unusually decorative headpieces and endings accompanying this publication. Among the works that no artist can do without are covers for the magazine “Children's Holidays” and illustrations for A. Osipov’s story “Varyag”, published in St. Petersburg in 1902.

Evgeny Evgenievich was always easy-going: in 1902 he again went on a long trip, but this time not to the West, but to the East. Lanceray visited Siberian cities, traveled to Manchuria and Japan. From this trip Lanceray brought a lot of drawings, which, however, did not have much public resonance. The following year, the artist visited the Pskov region (the ancient monuments of this land admired Lansere, although they did not have any noticeable influence on his work), and then traveled around the Kursk and Kyiv provinces, painting landscapes.

During the First Russian Revolution, E.E. Lansere, like his friends in the World of Art, actively participated in the design of opposition magazines. He, a man of pure spirit and painfully sensitive, was outraged by the blood shed on the streets of St. Petersburg on January 9, 1905. Much later, recalling these days, Lansere wrote: “General indignation at the regime, vague hopes for a more just order of life captured us, a small circle of artists... Any opposition to the government found sympathy in us.” In issue No. 2 of the magazine “Zhupel” there was a drawing by Lanceray “Moscow. Battle”, where our ancient capital was depicted from the bell tower of the Passionate Monastery, from which punitive forces shot the rebellious crowds.

After “Zhupel” was banned and its founders went to prison, Evgeny Evgenievich was not afraid to declare himself the publisher of the new magazine “Hellish Mail”, in the first issue of which his sharply satirical drawing directed against the notorious “Black Hundred” was published “Joy on earth for the sake of basic laws”, and in the next drawings “We are glad to try, Your Excellency” and “Trezna”. The last picture shows policemen celebrating the victory. The pictorial solution with a sharp contrast of white and black spots here seemed to come into conflict with the cult of line that is usual for World of Art artists.

Ending in the next issue

Evgeny Evgenievich Lansere (1875-1946) - Russian and Soviet artist. People's Artist RSFSR (1945). Honored Artist of the Georgian SSR (1933). Laureate of the Stalin Prize, second degree (1943).

Son famous sculptor E. A. Lansere, brother of the artist Z. E. Serebryakova and architect N. E. Lansere, nephew of A. N. Benois, who stood together with Sergeev Diaghilev and Dmitry Filosofov at the founding of the “World of Art”.

Graduate of the First St. Petersburg Gymnasium.
From 1892 he studied at the Drawing School of the Society for the Encouragement of Arts, St. Petersburg, where he attended the classes of Ya. F. Tsionglinsky, N. S. Samokish, E. K. Lipgart.
From 1895 to 1898, Lanceray traveled extensively throughout Europe and improved his skills at the French academies of F. Colarossi and R. Julian.

Since 1899 - member of the World of Art association. In 1905 he left for the Far East.

In 1906, he was the publisher of the weekly illustrated magazine of political satire “Hell Mail” (3 issues were published).

In 1907-1908 he became one of the creators of the “Ancient Theater” - a short-term, but interesting and noticeable phenomenon in cultural life Russia at the beginning of the century. Lanceray continued to work with the theater in 1913-1914.

1912-1915 - artistic director porcelain factory and glass engraving workshops in St. Petersburg and Yekaterinburg.

1914-1915 - war artist-correspondent on the Caucasian front during the First World War.
He spent 1917-1919 in Dagestan.
In 1919, he collaborated as an artist in the Information and Propaganda Bureau of the Volunteer Army of A. I. Denikin (OSVAG).
In 1920 he moved to Rostov-on-Don, then to Nakhichevan-on-Don and Tiflis.

Since 1920, he worked as a draftsman at the Museum of Ethnography and went on ethnographic expeditions with the Caucasian Archaeological Institute.
Since 1922 - professor at the Georgian Academy of Arts, Moscow Architectural Institute.
In 1927, he was sent to Paris for six months from the Georgian Academy of Arts.

In 1934 he moved permanently from Tiflis to Moscow. From 1934 to 1938 he taught at the All-Russian Academy of Arts in Leningrad.

E. E. Lanceray died on September 13, 1946. Buried in Moscow on Novodevichy Cemetery(site no. 4).

Since 1897 he worked in book graphics. He worked closely with the publishing house of the Community of St. Eugenia, in particular, in 1904 he designed the address part of the postcard, which lasted for ten years. He performed several works for the anniversary celebrations of St. Petersburg; in addition to decorative compositions, his military drawings from the Russo-Japanese and First World Wars were also published on postcards.

IN Soviet era The direction of the artist’s creativity was manifested with great completeness in monumental and decorative art. His works in this area are characterized by the dynamics of spatial construction, the splendor of the frame and general solemnity, reminiscent of the lampshades of the 17th-18th centuries:

Lansere worked in the field of design of theatrical productions in Moscow, St. Petersburg, Odessa, Kutaisi:

At exhibitions since 1900: “World of Arts”, “36”, Union of Russian Artists, etc. Being one of the members of the Northern Circle of Amateurs fine arts in Vologda, took part in art exhibitions organized by members of the circle.

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Lansere Evgeny Evgenievich (1875-1946), graphic artist and painter.

Born on August 24, 1875 in Morshansk (now in the Tambov region) of the famous sculptor Evgeniy Aleksandrovich Lansere. My grandfather and uncles on my mother’s side are architects and artists Benois.

Lanceray received his professional training at the School of the Society for the Encouragement of Arts in St. Petersburg (1892-1895), and then at the Colassori and Julian academies in Paris (1895-1898).

IN creative heritage Lansere - hundreds of sketches, about 50 albums of drawings and sketches. He created landscapes, primarily urban, historical paintings. The artist made the most significant contribution to book illustration and monumental painting. He designed the magazines “World of Art”, “Artistic Treasures of Russia”, “Children’s Holidays”, satirical magazines “Zhupel”, “Hellish Mail”.

Since 1899 he actively participated art group and the editors of the magazine “World of Art”. Lanceray's greatest achievements were the cycles of illustrations for L. N. Tolstoy's stories "Hadji Murat" (1912-1941) and "Cossacks" (1917-1936). Of interest are the drawings made by the artist in 1914-1915. on the Caucasian front, as well as albums that were the result of numerous trips to the Caucasus and Transcaucasia, to Turkey, and Paris.

From 1917 to 1934, Evgeniy Evgenievich lived with his family in the Caucasus. From 1922 to 1932 he taught at the Georgian Academy of Arts in Tbilisi. Then he continued teaching at the Moscow Architectural Institute and the All-Union Academy of Arts in Leningrad (1934-1938).

Significant theatrical works artist. He created scenery and costume and makeup designs for opera, ballet and dramatic productions many theaters in the country (opera by C. Saint-Saëns “Samson and Delilah”, 1925; tragedies by W. Shakespeare “Macbeth” and “King Lear”, 1928; comedy by A. S. Griboyedov “Woe from Wit”, 1937 g.; opera by S. S. Prokofiev “Betrothal in a Monastery”, 1941, etc.). In the field of monumental painting, Lanceray worked even more intensively (painting, panels, stucco). The largest works are associated with Moscow: painting the halls of the Kazan Station (from 1916 to 1946) and the Moscow Hotel (1937), participation in the development of sketches for the painting of the Palace of the Soviets (1939), sketches of the ceiling lamps of the Bolshoi Theater (1937- 1939), majolica panels for the Komsomolskaya metro station (1933-1934) and much more.

• 28.02.2020 The Sotheby's Contemporary Art Evening and Contemporary Art Day auction catalogs will feature 26 works from this collection, with a total value of $55 million
• 28.02.2020 It is expected that the business mechanism, known as cost-sharing, is capable of strengthening the position of galleries against the backdrop of market turbulence and attracting new international dealers to the country’s art market
• 27.02.2020 The work Rubik Mona Lisa by the artist known under the pseudonym Invader went under the hammer for four times the starting price - more than $500 thousand.
• 27.02.2020 New format The fair, announced by the organizers, attracted a new audience. How far will it be possible to retain and re-educate her as part of the annual event - main question Synergy Art in the next 12 months
• 26.02.2020 The buyer of two cubist women's portraits became billionaire Steve Wynn

• 28.02.2020 14 lots out of 30 were sold, total revenue amounted to almost 5 million rubles
• 27.02.2020 The catalog contains 661 lots: paintings and graphics, porcelain, glass, silverware, etc.
• 27.02.2020 The consolidated catalog contains thirty lots: fourteen paintings, seven sheets of original and two printed graphics, two works in mixed media, four sculptures and one porcelain plate
• 26.02.2020 The management of the auction house was forced to make this decision due to the ongoing Covid-19 epidemic.
• 21.02.2020 At the pre-holiday February auction, 70% of the catalog lots were sold, total revenue amounted to just under 6 million rubles

• 28.02.2020 We see the names of these people in the news every now and then, the heads of the largest auction houses are guided by their tastes, their requests form what we will consider the most investment-attractive, popular and successful in the world of art
• 26.02.2020 In conclusion, the historical material in the “Tips for Beginning Collectors” section is about how New York displaced Paris from the pedestal of the art market and established collecting in its modern form
• 20.02.2020