Roerich

SHCHUSEV’S PSKOV EXPEDITIONS

Sergei Koluzakov

Magazine issue: 
Special edition "St. Anastasia Chapel in Pskov. An Artistic Collaboration Between Alexei Shchusev and Nicholas Roerich"

In 1910, upon the recommendation of Igor Emmanuelovich Grabar, the Pskov zemstvo (local elected government) turned to Alexei Viktorovich Shchusev, who was the only person able to manage the difficult undertaking of creating a design for the chapel (St. Anastasia Chapel - S.K.) in the Pskov spirit. And indeed, Shchusev had, by then, earnt a reputation for having a thorough knowledge of the Novgorod and Pskov architecture and for designing several structures inspired by the arresting images and features of this school. The architect, who, at that time, lived and worked in St. Petersburg, regularly travelled to Veliky Novgorod and Pskov to study the architecture. He brought scores of photographs and sketched images of famous paintings and landmark buildings from his trips and he also brought measurements. The depth of his knowledge of the subject is evidenced in the chapters that Shchusev co-wrote with V. Pokrovsky for the first volume of Igor Grabar’s “A History of Russian Art” - “St.Sophia Cathedral of Novgorod and the Beginnings of the Original Architecture”, “The Best Period of Novgorodian Architecture” and “Civil Buildings and Fortifications in Novgorod and Pskov” - and in his array of photographs published in this tome. However, the visits to Veliky Novgorod and Pskov that Shchusev made before the Revolution have been omitted almost entirely from monographs and academic publications about on his work.

SHCHUSEV’S PSKOV EXPEDITIONS

NICHOLAS ROERICH’S “ARCHITECTURAL SKETCHES” OF PSKOV

Magazine issue: 
Special edition "St. Anastasia Chapel in Pskov. An Artistic Collaboration Between Alexei Shchusev and Nicholas Roerich"

We feel affection for the area of and around Pskov for many reasons. This is where many generations of my grandmother Tatiana Ivanovna Korkunova-Kalashnikova’s family lived. These family names have been connected with Pskov since time immemorial. One of my first archaeological ventures took place in the Pskov region as well. And these areas around Pskov possess real beauty and a wealth of old settlements.

NICHOLAS ROERICH’S “ARCHITECTURAL SKETCHES” OF PSKOV

We feel affection for the area of and around Pskov for many reasons. This is where many generations of my grandmother Tatiana Ivanovna Korkunova-Kalashnikova’s family lived. These family names have been connected with Pskov since time immemorial. One of my first archaeological ventures took place in the Pskov region as well. And these areas around Pskov possess real beauty and a wealth of old settlements.

Nicholas Roerich. “Pskov”. 1939

 

St. Anastasia Chapel in Pskov. AN ARTISTIC COLLABORATION BETWEEN ALEXEI SHCHUSEV AND NICHOLAS ROERICH

Sergei Koluzakov

Magazine issue: 
Special edition "St. Anastasia Chapel in Pskov. An Artistic Collaboration Between Alexei Shchusev and Nicholas Roerich"

A small but unique creation by Alexei Shchusev (1873-1949), the St. Anastasia Chapel in Pskov is one of the few church buildings designed by Shchusev to have survived to the present day in Russia, and its murals are among only a handful of surviving works of public art by Nicholas Roerich (1874-1947). Neither artists’ biographers have written much about this landmark, the construction and decoration of which was an important milestone in their artistic collaboration. Despite its significance, in the Soviet period, the chapel suffered serious losses and the deformation of its original appearance. Only now - given the opportunity to study the previously unpublished archival materials, photos taken before the Bolshevik Revolution and technical drawings - can researchers trace the history of the chapel’s creation, compare its architecture and decor, and gain a better understanding of its creators’ vision.

St. Anastasia Chapel in Pskov. AN ARTISTIC COLLABORATION BETWEEN ALEXEI SHCHUSEV AND NICHOLAS ROERICH

To dear Alexei Viktorovich Shchusev, as a token of my heartfelt admiration for his truly monumental talent, which will be considered in the future as one of Russia's jewels, in memory of our common thoughts, aspirations, hopes and faith, yours truly and sincerely, Nicholas Roerich.
November 15, 1913

Nicholas Roerich's dedication in his "Collected Works”, 1914

A Funerary Memorial for Arkhip Kuindzhi

Sergei Koluzakov

Article: 
POSTSCRIPTUM
Magazine issue: 
#3 2018 (60)

Commissioned by the “Kuindzhi Society of Artists”, Alexei Shchusev worked on the monument to his mentor over the course of two years, modifying his vision together with his collaborators, notably the artist Nicholas Roerich. Such a process, involving a synthesis of the arts, would prove significant in Shchusev’s later work, including the Lenin Mausoleum.

A Funerary Memorial for Arkhip Kuindzhi

Commissioned by the “Kuindzhi Society of Artists”, Alexei Shchusev worked on the monument to his mentor over the course of two years, modifying his vision together with his collaborators, notably the artist Nicholas Roerich. Such a process, involving a synthesis of the arts, would prove significant in Shchusev’s later work, including the Lenin Mausoleum.

Sergei Diaghilev's "Ballets Russes" on the Tretyakov Gallery Stage

Yevgenia Ilyukhina, Irina Shumanova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2009 (24)

Sergei Diaghilev occupies a special place in the culture of the 20th century – many publications have analysed his personality and artistic projects. But who can state that the puzzle of Diaghilevʼs infinite creativity has been unriddled. For many, he is not so much a real person as a composite figure of the ideal impresario, in whom the talent of an organizer was married to an exceptional sensitivity and receptivity to any innovation in art and, of course, the faculty for finding like-minded individuals and financing for his projects.

Sergei Diaghilev's "Ballets Russes" on the Tretyakov Gallery Stage

SERGEI DIAGHILEV OCCUPIES A SPECIAL PLACE IN THE CULTURE OF THE 20TH CENTURY - MANY PUBLICATIONS HAVE ANALYSED HIS PERSONALITY AND ARTISTIC PROJECTS. BUT WHO CAN STATE THAT THE PUZZLE OF DIAGHILEV'S INFINITE CREATIVITY HAS BEEN UNRIDDLED? FOR MANY, HE IS NOT SO MUCH A REAL PERSON AS A COMPOSITE FIGURE OF THE IDEAL IMPRESARIO, IN WHOM THE TALENT OF AN ORGANIZER WAS MARRIED TO AN EXCEPTIONAL SENSITIVITY AND RECEPTIVITY TO ANY INNOVATION IN ART AND, OF COURSE, THE FACULTY FOR FINDING LIKE-MINDED INDIVIDUALS AND FINANCING FOR HIS PROJECTS.

The St. Alexius Church at Tsarskoye Selo. Alexei Shchusev’s “Unknown” Project

Sergei Koluzakov

Article: 
HERITAGE
Magazine issue: 
#1 2016 (50)

In the years preceding the revolution, Alexei Shchusev worked predominantly on church architecture and made a name for himself as a professional in that field. In 1901, he was assigned, “as an addition to the existing staff”, to the office of the Holy Synod’s Attorney General. However, by 1910 Shchusev had already become a member of the Imperial Academy of Arts “in recognition of his artistic reputation”. After the 1917 revolution, the artist accepted the new government and wrote his own chapter in the history of Russian architecture, creating many outstanding monuments.

The St. Alexius Church at Tsarskoye Selo. Alexei Shchusev’s “Unknown” Project

Sergei Diaghilev's "Ballets Russes" on the Tretyakov Gallery Stage

Yevgenia Ilyukhina, Irina Shumanova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2013 (40)

Sergei Diaghilev occupies a special place in the culture of the 20th century – many publications have analysed his personality and artistic projects. But who can state that the puzzle of Diaghilevʼs infinite creativity has been unriddled. For many, he is not so much a real person as a composite figure of the ideal impresario, in whom the talent of an organizer was married to an exceptional sensitivity and receptivity to any innovation in art and, of course, the faculty for finding like-minded individuals and financing for his projects.

2013_3_art_09_th.jpg

SERGEI DIAGHILEV OCCUPIES A SPECIAL PLACE IN THE CULTURE OF THE 20TH CENTURY - MANY PUBLICATIONS HAVE ANALYSED HIS PERSONALITY AND ARTISTIC PROJECTS. BUT WHO CAN STATE THAT THE PUZZLE OF DIAGHILEV'S INFINITE CREATIVITY HAS BEEN UNRIDDLED? FOR MANY, HE IS NOT SO MUCH A REAL PERSON AS A COMPOSITE FIGURE OF THE IDEAL IMPRESARIO, IN WHOM THE TALENT OF AN ORGANIZER WAS MARRIED TO AN EXCEPTIONAL SENSITIVITY AND RECEPTIVITY TO ANY INNOVATION IN ART AND, OF COURSE, THE FACULTY FOR FINDING LIKE-MINDED INDIVIDUALS AND FINANCING FOR HIS PROJECTS.

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