Psychologism of sculptural portraits with Golubkina. The work of the sculptor A. S. Golubkina

Anna Semyonovna Golubkina (January 28, 1864, Zaraysk - September 7, 1927, Zaraysk) - Russian sculptor.

Anna was born in the city of Zaraysk, Ryazan province, into a large and friendly peasant family. In addition to Anna, the family had six more children. Grandfather Anna was once a serf, but was able to buy his own freedom. WITH early childhood the girl loved to listen to various legends, fairy tales and traditions. Later she reinterpreted them more than once in her sculptures. Anna was not even three years old when her father died. Serious education could be given up. Of the entire family, only Semyon studied at a normal school. Anna met the Glagolev family of teachers at the age of 15. If not for them, Anna’s fate could have turned out completely differently. The Glagolevs helped Anna get an education. The friendship between Anna and the Glagolevs lasted a lifetime. To the surprise of all her relatives and friends, the girl perfectly sculpted a variety of figures from clay. Her brother showed her drawings to one of the teachers at his school. He agreed to give Anna some advice. Anna Golubkina began to seriously study sculpting. In 1894 she sculpted a bust of this teacher. Back in the 1880s, Anna sculpted several busts. She also captured her grandfather. One day, guests from the capital saw her drawings and figures, and it was they who advised Anna to go to study in Moscow.

Anna Golubkina, thanks to the sculptor Volukhin, who noted her compositions, was able to study for free. She studied not only in Classes fine arts, she also entered the painting and later sculpture department of the Moscow School of Painting, Sculpture and Architecture as a volunteer student. Leaving this school, Anna heads to St. Petersburg, where she enters the Imperial Academy of Arts. However, she did not study there for a long time. In 1895, Anna went to Paris, she decided to study with the Italian sculptor Philippe Colarossi. She writes letters to her mother and describes in detail her life in France. Alas, her mother does not realize that Anna works 12 hours a day, since there is catastrophically little money, Anna also eats poorly. She developed a nervous breakdown from overexertion. Friends took her to Moscow, and there Anna was even treated in a clinic for some time.

In 1897, working hard, Anna created the image of a worker exhausted by overwork, but determined to fight, and called him “Iron.” In the history of Russian sculpture this was the first such image. In the same year, Anna moved to Paris. She dreamed of studying with Auguste Rodin, but, alas, she only used his advice. Her works enjoyed great success at the Paris Autumn Salon. In his hometown Anna Zaraysk also worked for several years. Her brothers built a workshop for her. At this time, her works “Bushes”, “Earth”, a portrait of M. Lermontov, as well as “Elephant”, “Worker” appeared.

When Anna went to Paris for the third time, she intended to learn how to work in marble and wood. She made many new friends, became close to the wife of a famous scientist, artist Olga Mechnikova, and also listened with interest to Marie Sklodowska-Curie’s report on radium, and visited London and Berlin. In 1903, Anna returned to Russia and began working in marble. One of her first works in this style was the bust “Maria”. In 1906-07, the Golubkin family was involved in distributing proclamations. In 1910, Anna was able to find a workshop in Moscow. She worked there until her death in 1927. Many works were embodied in this workshop: “Sleeping”, a portrait of Zakharyin, “Music and Lights in the Distance”, “Motherhood”, “Mitya”. About a hundred of her works were translated into bronze after her death.

Tatiana Galina

HERITAGE

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MOSCOW IS THE SECOND HOMETOWN OF ANNA SEMENOVNA GOLUBKINA ALONG WITH ZARAIK, WHERE THE ARTIST WAS BORN ON JANUARY 28, 1864. GOLUBKINA BECAME A MOSCOW IN 1889, SINCE THE BEGINNING OF HER ARTISTIC EDUCATION IN THE FINE ARTS CLASSES OF THE ARCHITECT A.O. GUNSTA. THEN FROM 1891 TO 1894 SHE STUDYED AT THE MOSCOW SCHOOL OF PAINTING, SCULPTURE AND ARCHITECTURE. THE ARTIST LIVED IN MOSCOW FOR LONG YEARS. DESPITE THE FACT THAT GOLUBKINA RETURNED TO ZARAYSK MANY TIMES, MOVED TO ST. PETERSBURG TO CONTINUE EDUCATION, AND MOVED TO EUROPE FOR A LONG TIME FOR THE SAME PURPOSE, SHE CONTINUALLY STRIVED TO STAY IN MOSCOW, TO HAVE A WORKSHOP HERE, PARTICIPATE IN THE ARTISTIC AND INTELLECTUAL LIFE OF THE CITY.

IN different times Golubkina had several workshops. The most famous one was located in Bolshoi Levshinsky Lane, where in 1932 the Memorial Museum-Workshop of A.S. was established. Golubkina, now included in the All-Russian museum association"State Tretyakov Gallery". Another, no longer preserved, workshop was located in Krestovozdvizhensky Lane, where Golubkina performed her most significant works of the early 20th century. V.A. came here in 1901. Serov together with S.P. Diaghilev: the artist wanted to show the “Fire” fireplace that amazed him. O.L. wrote about her visit to this workshop in 1903. Knipper A.P. The actress told Chekhov about the bas-relief for the Moscow Art Theater, which was soon to be installed on the facade of the theater.

In her studio on Krestovozdvizhensky Lane, the artist completed a significant number of sculptural portraits, both from models she chose herself and from commissioned ones. Works were created here large shape: the already mentioned fireplace “Fire” (1900)*, sculpture “Earth” (1904, both works - tinted plaster), “Walking Man” (1904, bronze), relief “Wave” (1903, tinted plaster, installed above the entrance to Moscow Art Theater). Golubkina worked on arts and crafts products and on architectural decor projects. During these same years, she completed the design of a city monument to the pioneer printer Ivan Fedorov (1902, tinted plaster, Tretyakov Gallery).

The beginning of the 20th century was the time of the artist’s first meetings with the domestic audience. Living in Moscow provided the opportunity to participate in exhibitions of the most famous associations. Exhibiting her works from year to year without significant breaks, the sculptor strove for constant contact with the viewer, for an interested perception of her figurative and plastic statements. In 1899, having returned to Moscow from her second trip to Europe, Golubkina demonstrated at the 19th exhibition of the Moscow Society of Art Lovers (MOLKH) the sculpture “Old Age” (1899) and a portrait of the French zoologist E.Zh. Balbiani (1898, both works - tinted plaster). These works were awarded the medal of the Academy of Arts and Letters of Provence at the Paris Salon of 1899 and were noted by the French press, becoming evidence of the professional maturity of the master. Subsequently, her collaboration with MOLKH continued until the outbreak of the First World War.

Anna Golubkina annually took part in exhibitions of the Moscow Association of Artists (MTH), and in 1906 she became one of its members. Typically, the artist submitted significant and large-scale works to MTH exhibitions, executed in the year between two exhibitions, such as, for example, portraits of A.M. Remizov and A.N. Tolstoy, the composition “Caryatids” (all - 1911), and “Caryatids” were shown in plaster in 1911, and then a year later, in 1912, in wood. She demonstrated her chamber sculpture, created in the first decade of the 20th century, in 1910 at the Exhibition of watercolors and sketches of the Moscow Art Theater, where viewers saw the impressionistic sketches “Puddle”, “Flight” (later called “Birds”), “Bushes” (all - 1908, tinted plaster). Golubkina also participated in the famous exhibitions of the World of Art, where she exhibited works close to the new trends of symbolism and modernism: the vase “Fog” (1899), the portrait of M.Yu. Lermontov (1900, both works are tinted plaster), the already mentioned “Old Age” and the fireplace “Fire”. The culmination of exhibition activities was the exhibition “For the Benefit of the Wounded” at the Museum of Fine Arts in the winter of 1914-1915. Man, History, Artist, Truth, Wisdom - this is how we can designate the coordinates of the semantic field of the exhibition, which has become a plastic expression of basic cultural and philosophical ideas Silver Age.

The new, increasingly complex language of art at the beginning of the twentieth century presupposed the presence of a viewer capable of interpreting the imagery of works within the framework of their organically inherent poetics. The poet Andrei Bely explained the way of perception, built on the principles of symbolism: “A work of art is not limited by time, place and form; and limitlessly it expands itself in the depths of our soul... I take the statue away from its shell in my perception; perception is forever with me; I'm working on it; from my work there arise moving shoots of the most magnificent images; the motionless statue flows in them, grows in them<...>and pours outward with a row of statues and colorful sounds, comes out like a rain of sonnets; their impression is created again in the souls that listen to them” 1. Golubkina’s sculpture often remained misunderstood, but over time, more and more connoisseurs of the new sculpture appeared, and the master’s works became the subject of collecting. Her creations were kept in the collections of A.A. Lamm, M.P. Ryabushinsky, E.M. Tereshchenko, M.S. Shibaeva. The most significant collection was that of I.S. Isadzhanova 2. In 1906, the Tretyakov Gallery began purchasing works by the sculptor.

IN creative heritage Golubkina has many works related to Moscow, and above all these are portraits of Muscovites created at different times: actresses and translators M.G. Sredina (1903 and 1904), architect A.O. Gunsta (1904), artist N.Ya. Simonovich-Efimova (1907), entrepreneur and philanthropist N.A. Shakhov (1910s, all four - tinted plaster), collector and collector G.A. Broccarat (1911), art critic A.V. Nazarevsky (1911, both - tinted wood), the famous doctor G.A. Zakharyin (1910, marble, First Medical Institute named after I.M. Sechenov, Moscow). One of the first portraits of the painter V.V. was executed in Moscow. Perepletchikova (1899, bronze).

Golubkina knew Vasily Perepletchikov well and was grateful to him for his help during her stay in Paris. Having settled in Moscow, she often visited his house at evenings where art lovers gathered. Golubkina captured Perepletchikov ready to enter into an argument, with a characteristic tilt of his head and a sarcastic, drilling gaze. Another portrait, executed in 1904 in a similar impressionistic manner, preserved the appearance of the artist’s wife V.K. Shtember (tinted plaster), the hospitable hostess of another art circle. Both portraits are examples of sculptural impressionism in the traditional sense of style: whimsical free sculpting, along with seemingly random movements of the head and body, gives the images a casualness that enhances the impression of the transience of the moment, which the artist clearly sought.

Such evening meetings, as in the houses of Perepletchikov and Stember, were not uncommon in Moscow at the beginning of the 20th century. The artist visited the circle of her Parisian friend T.P. Barteneva, in the family of the director of the Commercial School A.N. Glagolev (Golubkina taught sculpture classes at the school), in the house of A.A. Khotyaintseva, artist, good friend of A.P. Chekhov and close friend his sister Maria Chekhova. In 1899 A.A. Khotyaintseva and E.M. Zvantsev was organized private studio, where such celebrities as V.A. taught. Serov and K.A. Korovin, as well as Serov’s student N.P. Ulyanov. With the latter (Golubkina and Ulyanov studied together at MUZHVZ), she opened a similar studio and shared a workshop in Krestovozdvizhensky Lane. It was here that the artist commissioned K.S. Stanislavsky and S.T. Morozov famous relief for the facade of the new building of the Moscow Art Theater "Swimmer" (1903, tinted plaster), as well as a portrait of Morozov himself (1902, tinted plaster). These are examples of a completely different style. In the portrait of the famous philanthropist, impressionistic modeling, depriving the image of certainty, takes it out of the world of everyday life, including it in the circle of symbolic interpretation. Morozov is transformed into a kind of pagan deity, the personification of the natural elements, which paradoxically connects with the idea of ​​him as a theatergoer, inventor, joker.

The Mkhatov relief “Swimmer” was Golubkina’s first work from her “theater series”. In 1923, she, being a sincere fan of the Maly Theater, took part in the competition for the installation of a monument to A.N. Ostrovsky and performed a whole series sketches in plaster. The image of the playwright created in them is in tune with the poetics of his plays and the traditions of the Maly Theater, while the relief “Swimmer” is a unique response to the reform activities of the Moscow Art Theater troupe. IN new aesthetics The art theater had what Golubkina called the capacious word “truth” and which she did not find in brilliant productions Parisian theaters, about which she wrote in letters from the French capital: “so beautiful and deceitful.” The strength and depth of the impression from the productions of the Berlin theater directed by Max Reinhard, who came to Moscow in 1913 on tour, is captured in reliefs depicting the Italian actor Sandro Moissi (1913, limestone), performing the role of King Oedipus. His performance shocked the sculptor.

Zaraisky was a mirror of Golubkina’s Moscow theatrical passions folk theater, organized by the youth of the city with their active support. The repertoire included plays by Gogol, Ostrovsky, Hauptmann, Ibsen, and Maeterlinck, which the artist had already seen on Moscow stages. Even the Moscow Art Theater actresses took part in the performances along with the Zaraysk youth, but Nina Alekseeva, an actress with a deep and passionate soul, invariably remained the prima. The appearance of this “Zaraisk Amazon” is captured in one of Golubkina’s first symbolic sculptures, “Nina” (1907, tinted marble). Having moved to Moscow, Nina studied vocals in the studio of the House of Song, which opened in 1908, in close proximity to the workshop in Bolshoy Levshinsky Lane. Her sister Lyudmila entered the Higher Women's Courses in 1907 and at the same time studied at the Moscow dance school of Ellie Ivanovna Rabenek, a follower of Isadora Duncan. The new direction in the art of modern ballet - “plastic dance” - aroused enthusiastic interest; the performances of Ellie Rabeneck’s studio were always especially crowded with people of art, artists and musicians. Golubkina was among the admiring spectators. It was she who gave Lyudmila Alekseeva a letter of recommendation to Rabenek. Golubkina’s creative heritage includes graphic images of dancers and the relief “Lady” (1912, limestone), a supposed portrait of Alekseeva. Lyudmila danced the main roles in Rabenek's productions, and then she began teaching and directing. One of the plastic studies was created by her under the impression of Golubkina’s composition “Flight (Birds)” (1908). Traditions of L.N. Alekseeva today are preserved in the Studio of Artistic Movement of the Central House of Scientists of the Russian Academy of Sciences, and her choreographic miniatures are included in the repertoire of studio 3.

Living in Moscow, Golubkina had the opportunity to meet representatives of the then new movement - symbolism. The mutual attention and mutual attraction of the creator of plastic images and symbolist philosophers was stable and constant. The interest in Golubkina’s work shown by philosophers and critics, whose works became a theoretical component of Russian symbolism, especially Vyach, is indicative. Ivanov and V.F. Ern. It was V.F. Ern, a friend of Pavel Florensky (Golubkina knew the latter well), has a significant guess that interprets the nature of the sculptor’s work. It is close to Florensky’s theory about the heuristic role of art in the general process of cognition. For Golubkina, making a portrait meant getting to know a person, understanding him in the broadest sense of the word, and conveying her knowledge in sculptural forms.

Vasily Rozanov, Maximilian Voloshin, Sergei Bulgakov 4 wrote about Golubkina’s work. In an article dedicated to the exhibition “For the Benefit of the Wounded” at the Museum of Fine Arts, Bulgakov spoke about the drama and depth of the sculptor’s images: “This universal sorrow shimmers either with heavy Gogolian melancholy or with light Chekhovian pity<.>. And its highest tension is this ecstasy of melancholy in the sculptures that captivate and grab the heart: “Prisoners” and “Music and Lights in the Distance.” For every soul is such a captive, although it does not always know about it, and every living soul hears distant music and sees lights in the captivating “Dali”, the impulse into which is so musically conveyed in the relief of this name” 5 .

The sculptor’s library, in turn, contained a number of symbolist and close to symbolism periodicals- issues of the magazines “Libra”, “Apollo”, “Golden Fleece”. There were also works by Andrei Bely, Vyacheslav Ivanov, Georgy Chulkov, and Alexei Remizov. In the period from 1907 to 1914, Golubkina created a kind of “symbolist gallery”: portraits of leading theorists of symbolism, poets Andrei Bely (1907) and Vyach. Ivanov (1914, both - tinted plaster), as well as the writers in their circle A.N. Tolstoy and A.M. Remizov (1911, both - tinted wood), philosopher V.F. Erna (1914, stained wood). Images of Vyach. Ivanov and M.A. Voloshin was captured in cameos (1920s). Portrait images combined in themselves as an undeniable value at the same time specific personal qualities, accurately captured shades psychological state and the general spiritual tone of the personality. The brilliant completion of the portrait series of Russian writers and philosophers was the portraits of L.N. Tolstoy (tinted plaster) and V.G. Chertkova (tinted wood, State Museum L.N. Tolstoy, Moscow), performed by Golubkina in 1926, commissioned by the Tolstoy Society. The artist paid tribute to the scale of the great writer’s personality and guessed tragic conflict in his soul.

Despite all the difficulties of life in the 1920s, Golubkina did not leave Moscow. She taught at VKHUTEMAS and taught classes in the studio, which she organized in her workshop, still engaged in decorative and applied arts, mastered the art of making cameos and created a unique collection of these small-form works. As before, Golubkina sought to participate in the exhibition life of Moscow. In particular, in 1923, at the exhibition of the Moscow Salon, the artist showed her cameos, and in 1926 she took part in the State Art Exhibition modern sculpture, becoming one of the founders of the Society of Russian Sculptors (ORS). Here she demonstrated two portraits, executed in 1925, of her student T.A. Ivanova and molder G.I. Savinsky (both are tinted plaster). To last days in her Moscow studio on Bolshoy Levshinsky Lane, Golubkina continued to work on a project that was dear to her - the sculpture “Birch” (1926, tinted plaster). This work was supposed to be the embodiment life philosophy female artists. The poet Georgy Chulkov, who knew Anna Semyonovna well, dedicated lines to her, born under the impression of their conversations. He said: Golubkina lived holding in her hands “the keys to the sky” and “listening to the songs of the luminaries” 6.

* The present storage location for the works of A.S. mentioned in the article. Golubkina is indicated if they do not belong to the Tretyakov Gallery collection.

1. Bely A. Revolution and culture // Bely A. Symbolism as a worldview: Sat. articles. M., 1994. P. 298.
2. Polunina N., Frolov A. Collectors of old Moscow. M., 1997. pp. 176-179.
3. Alekseeva L. Move and think. M., 2000; Kulagina I.E. Lyudmiliana of immortality (lost and restored). M., 2009.
4. Rozanov V.V. The successes of our sculpture // World of Art. 1901. No. 1-2. pp.111-113; Rozanov V.V. Golubkina’s works // Among artists. M., 1914. S. 341-343; Voloshin M.A. A.S. Golubkina // Apollo. 1911. No. 10. P. 5-12; Bulgakov S. Tosca. From articles of 1914-1915. M., 1918. P. 53-62.
5. Bulgakov S. Quiet thoughts. M., 1996. P. 43.
6. Golubkina A.S. Letters. A few words about the craft of a sculptor. Memoirs of contemporaries. M., 1983. P. 295.

The Silver Age gave Russia not only great poets, but also no less outstanding architects and sculptors. Anna Golubkina is one of the leading masters of this period. This student of Auguste Rodin was characterized by the features of impressionism, but they did not turn out to be self-sufficient - they did not limit her to a narrow circle of formal plastic tasks. In her works, deep psychologism and social overtones, drama, internal dynamics, sketchiness and features of symbolism, greedy interest in man and the contradictions of his inner world.

Anna Semyonovna Golubkina was born in 1864 in the city of Zaraysk, Ryazan province (now the Moscow region) into a bourgeois family that made a living in gardening. While working as a weeder, while still a girl she sculpted expressive figures from clay. As Golubkina herself said, she was born at night during a fire, so her character is that of a firefighter. Possessing a powerful artistic temperament and a rebellious soul, at the age of twenty-five she left for Moscow and entered the Fine Arts Classes organized by A. O. Gunst (1889-1890), where her abilities were noticed famous sculptor and teacher S. M. Volnukhin. In 1891 she entered Moscow school painting, sculpture and architecture and studied there until 1894 under the guidance of S.I. Ivanov. In the same year, she studied for several months at the St. Petersburg Academy of Arts with V. A. Beklemishev. At that time, her talent seemed too spontaneous and unbridled to her mentors. Despite financial difficulties, she went to Paris three times. In 1897, she was lucky: O. Rodin himself agreed to give lessons to the “Russian savage.” Even before the revolution, Golubkina’s work was classified as one of the largest phenomena of Russian sculpture. The hands of one of the most famous Russian female sculptors created many works that have become classics of easel sculpture. The works are in largest museums and collections (Tretyakov Gallery, Russian Museum and others). She left behind a whole gallery of sculptural images of famous contemporaries.She taught at the Moscow Commercial School (1904-1906), at the Prechistensky workers' courses (1913-1916) and at VKHUTEMAS (1918-1922). Author of the book “A few words about the craft of a sculptor.”. She died in Zaraysk in 1927, where she was buried in the city cemetery.

A.N. Golubkina rented house 12 on Bolshoi Levshinsky Lane as a workshop in 1910, when she was 46 years old. Many of her masterpieces were born in this workshop. A house typical of post-fire buildings in Moscow (first quarter of the 19th century). It is known about him from the “Notes of a Survivor” by S.M. Golitsyn, who as a child lived here for a short time with his relative Prince A.M. Golitsyn. " MWe moved to house No. 12 on Bolshoi Levshinsky Lane, where we occupied low mezzanine rooms. Thanks to the authority of grandfather Vladimir Mikhailovich, my father was chosen as a vowel, and only a Moscow homeowner could be a vowel. Grandfather Alexander Mikhailovich gave him a notarized power of attorney for himself. Subsequently, after the revolution, my father could not prove in any way that he was not a Moscow homeowner.In the front rooms of the lower floor there was a grandfather and grandmother's bedroom, a living room, and a large hall.The museum in this house was opened in 1932 through the efforts of her older sister Alexandra Semyonovna. And niece Vera Mikhailovna became the first director of the museum. Such a tolerant attitude of the authorities towards the artist of the Silver Age is explained by the fact thatA.N. Golubkina was the author of the first bust of K. Marx (1905).

The museum operated until 1952, when, on the initiative of E. Vuchetich, it was closed, and the collection moved to the Tretyakov Gallery, the Russian Museum, etc. I do not know the events of those years, but I cannot unequivocally blame it. In my opinion, sculptural works, especially those of a monumental nature, collected in a limited space, give the impression of crowding and do not reveal their artistic essence. You can see it in this photo. The museum was restored in 1976 as a branch Tretyakov Gallery in the same building. However, as I understand, not all of the exhibits were returned. Those who returned are exhibited mainly on the ground floor. Here the sculpture “Walking” immediately attracts attention. Either Adam, or a Golem, or a proletarian. HerselfA.N. Golubkina said a single phrase about her formidable creation: “He goes and sweeps away everything in his path.”

There is a memorial workshop on the second floorA.N. Golubkina. Here we meet her inscription: “If a person becomes interested in art, he will never be able to satisfy this thirst.” Authentic tools, stands, a rotating full-scale machine, and unfinished works on the shelves have been preserved. Anna Semyonovna worked with different materials - marble, wood, bronze. But my favorite was clay. In the corner of the studio there is a box with silver-gray Zaraisk clay, which the sculptor valued for its fine consistency and noble soft color. The master selected the tools for working on marble and wood especially carefully. She brought many of them from trips abroad, such as a dotted machine for transferring work into solid material.

On the second floor there is also a small hall for events (formerly a room for classes with students). There is a lot of work on display here.A.N. Golubkina “The Last Supper” (1911) is visible in the background and is also shown on the first page. The high relief, made based on a gospel story, does not fit into the canonical norms of Christian iconography. it is devoid of descriptiveness and everyday details. Golubkina gives the event a timeless and spaceless character. Restorers revived it practically from oblivion: it was split into small pieces. In general, the museum premises make a rather depressing impression and clearly require a good renovation. As the director, Irina Sedova, told me, the Tretyakov Gallery already has certain plans for its branch. All that remains is to wait for them to be implemented.

And now a short overview of the exhibits. Let's start with the famous sculptural portrait of L. Tolstoy (1927 bronze), commissioned by the museum named after him. He is in the workshop. This was Golubkina's last completed masterpiece. She met the writer only once, but her memory tenaciously preserved the image and 24 years later she refused to work from photographs. At that time she was already over sixty, and her work required great physical effort. Despite this, five options were made. “Thick as the sea” - the sculptor started from this formula. The writer’s gaze is tense and piercing - “like that of a hunted wolf,” as Golubkina once noted in a conversation.

A very interesting work "Hummock" (1904 bronze). A unique combination of statuary form and high relief. To read the design, the round statuette form requires the viewer to turn around and change points of view. The models for the composition were Golubkina’s little nieces - Alexandra and Vera (future director of the museum). Their posture and facial expressions were noticed when the little ones were being washed in a bathhouse and one of them got soap suds in her eyes.

“Nina” (1907 marble) Nina Alekseeva, the general’s daughter, was a fellow countrywoman of Golubkina. In 1906, she returned from the Russo-Japanese War, where she went as an 18-year-old nurse. Golubkina looked closely at Nina for a long time, wanted to understand how she lived. This is one of the portraits that the sculptor made. trying on nature. The girl’s irregular face shows determination and drive. But Golubkina wanted to convey in it the “Echo of Suffering” that Nina saw during the war. “Identifying the idea of ​​essence by recreating the main thing in its entirety and ignoring the details of real everyday life is the highest realism,” wrote Golubkina. She apologized to the model for the relative portrait resemblance - “This is not just a portrait!” And she turned out to be right. Over time, Alekseeva became more and more like a portrait.

"Prisoners" (1908 marble). Prisoners of life - that’s the meaning Golubkina put into this symbolic work. The children's heads seem to be trying to escape from under the yoke of a stone block. The sculptor found one expressive composition that the viewer is conjecturing the plot. It seems as if the mother wants to close and protect her children. Interesting. that this work attracted a particularly large number of spectators at the exhibition in 1944.

"Vyacheslav Ivanov" (1914 bronze) - a crafty philosopher. creating a myth out of his life. The poet in the portrait is similar to the image that he described in the poem “The Waylayman,” dedicated to Velimir Khlebnikov.

Measure right, weigh right
I want a heart - and in a viscous gaze
I look slyly
Stele like a net. talk

Golubkina did not agree to take even very good orders. if I couldn't get carried away inner world heroes of their portraits. Many of them were created on her own impulse and completely free of charge.

"Andrey Bely" (1907 plaster). The portrait of the symbolist poet was also not created to order. This is a bust of a man who “traded his roots for wings.” “A captive spirit that has not found flesh” - this is how his contemporaries spoke of him. Golubkina created this image based on the poet’s poems. This idea is served by the brave compositional technique: the poet’s head appears against the background of a rising wave. He is at the mercy of the element of creativity, breaking out beyond the limits of material flesh.

"Mitya" (1913 marble). An expression of doom lies on this marble statue. Mitya was Golubkina's nephew. he was born sick and died before reaching the age of one year. A special feeling of pity and guilt will pierce everyone who stops in front of this fragile figure. This work is exhibited in the studio, on a special easel. She embodied the painful feeling of her unfulfilled motherhood. The contours of the mother's hands holding the baby are barely outlined. A feeling of gentle vibration of light is created. The words of the sculptor become clear: “Art does not like tied hands. You must come to it with free hands... Art is a feat, and here you need to forget everything, give everything.” This is what she did in her life, despite the fact that she dreamed of having children and loved them very much. According to eyewitnesses, Golubkina deliberately delayed the completion of this work. It was as if she was afraid of losing tactile contact with this marble relief.

"Old Age" (1898 plaster). This work was done by Golubkina in Paris. She invited the model who once posed for Rodin for his sculpture “She Who Was the Beautiful Olmier.” If Golubkina’s teacher had a ruthless, naturalistically challenging portrait, then hers has a completely different meaning. The fetal pose emphasizes the theme of the spontaneous cycle of life and death, and the pedestal, simple earth, symbolizes the place of temporary respite in this closed, inexorable circle.

"Fire" (1900, plaster), female figurine for the fireplace. The composition represents an image of a rough cave, where people warm themselves at the entrance primitive people: man and woman. Golubkina boldly deforms the figures, deepening the shadows in the woman’s eyes. You sense a sense of invisible danger in the compressed figure. Trembling is felt. permeating this primeval being. Light, along with volume, becomes an active means of expression. This sculpture is so plastically infectious that viewers often try to reproduce the poses of the characters in “Fire.”

"Birch" (1927). The workshop houses a bronze casting from Golubkina's last unfinished work - the study "Birch Tree". This is just a glimpse of the grand design: a statue of a girl in full human height, resisting the pressure of the wind. The combination of fragility, resilience and perseverance in confronting the elements conveys the meaning of the fate of a modest and great sculptor - the vulnerable and selfless Anna Golubkina.
The review is based on an article by art critic Marina Matskevich "One, but fiery passion."

Golubkina Anna Semyonovna - (1864 1927), Soviet sculptor. She studied in Moscow with S. M. Volnukhin (1889 90), at the Moscow Academy of Painting and Art (1891 94) and the St. Petersburg Academy of Arts (1894), at the Paris Colarossi Academy (1895 96). In 1897 98 she worked in her own workshop in Paris, using... ... Art encyclopedia

Golubkina Anna Semyonovna- A. S. Golubkina. Golubkina Anna Semyonovna (1864, Zaraysk 1927, ibid.), sculptor. She studied in Moscow in the Fine Arts Classes of the artist and architect A.O. Gunst in (188990), in (189194) in S.I. Ivanov, at the St. Petersburg Academy... ... Moscow (encyclopedia)

Golubkina Anna Semyonovna- (1864 1927), sculptor. In general symbolic images workers ("Iron", 1897), acute psychological portraits ("T. A. Ivanova", 1925). In Golubkina’s work there is a fluid plasticity of forms in the spirit of impressionism and Art Nouveau style (high relief “Swimmer”,... ... Encyclopedic Dictionary

Golubkina, Anna Semyonovna- Golubkina, Anna Semenovna GOLUBKINA Anna Semenovna (1864 1927), Russian sculptor. Generalized symbolic images of workers (“Iron”, 1897), portraits (“T.A. Ivanova”, 1925). Many works are characterized by features of impressionism (“Birch”, ... ... Illustrated Encyclopedic Dictionary

Golubkina- Golubkin surname, female version Golubkina. Famous bearers: Golubkina, Anna Semyonovna (1864 1927) sculptor. Golubkina, Larisa Ivanovna (1940) actress. Golubkina, Lyudmila Vladimirovna (1933) Russian playwright ... Wikipedia

GOLUBKINA- 1. GOLUBKINA Anna Semyonovna (1864 1927), sculptor. In Golubkina’s work, the fluid plasticity of forms in the spirit of impressionism and Art Nouveau style (the high relief Swimmer, or Wave, on the facade of the Moscow Art Theater, 1901) coexists with the search for constructive clarity of form... ... Russian history

Golubkina- Anna Semyonovna (1864, Zaraysk - 1927, ibid.), Russian sculptor. Founding member of the World of Art association, participant of the Moscow Society of Art Lovers, Moscow Association of Artists. She taught in the Second Free... ... Art encyclopedia

Golubkina A. S.- GOLUBKINA Anna Semyonovna (1864-1927), sculptor. In G.’s work, the fluid plasticity of forms in the spirit of impressionism and Art Nouveau style (the high relief Swimmer, or Wave, on the facade of the Moscow Art Theater, 1901) coexists with the search for constructive clarity of form... ... Biographical Dictionary