Was born in Kharkov. He studied at the Kharkov HU. In 1915 he left his studies, began working in local theater Sinelnikov, designed productions under the guidance of Director B. Glagolin. In 1917 – 1920 was part of the group of the Kharkov avant-garde. Organized a group of artists "Union of seven", collaborated with the groups "Liren" and "Group Three", took part in the compilation album "Seven plus Three" in the first exhibition of paintings of the Union of arts (1918). Co-author of the decoration of the foyer of the Kharkov circus and the House of actors. Was a friend of V. Khlebnikov, M. mane-Katz, V. Ermilov, Boris Kosarev and D. Gordeev. Emigrated to Constantinople, participated in exhibitions of the Union of Russian artists in Constantinople (1921 – 1922). In 1923 he moved to the United States. Engaged in scenography, applied graphics, and developed advertising. Performed a series of graphic portraits, in particular of D. Burliuk and B. Glagolin. Pictures repeatedly reproduced in American magazines. Participated in the International exhibition in Philadelphia (1923), exhibition of Russian paintings and sculptures in Wilmington (1932), exhibitions of the Art Directors Club in new York.
Painter, graphic and theatre artist. He studied at the Kharkov art College. Further information gleaned largely from HERE. “Around 1915 he dropped out and became a decorator in the theater Sinelnikov, where. dir. B. Glagolin designed the performances: “Back on earth” and “pan” W. van Lerberghe, “brand” H. Ibsen, “the Miracle of St. Anthony” By M. Maeterlinck, “Princess Dream” By E. Rostand, “The Exchange” By P. Claudel. Avant-garde directing Glagolin significantly influenced all subsequent creative in Bobrikovo”.
Other sources (XX; the monograph is Rough on Kosarev) indicated that the performances of “pan” and “brand” made out B. Kosarev. In fact, Bobritsky and Kosarev designed productions together, but in the conditions of Soviet censorship to mention in the provincial publications the name of the emigrant was impossible. In the Kharkiv journal “ways of creation” (1919. No. 4. P. 23) placed the reproduction: V. Bobritsky, B. Kosarev: “pan”. Curtain 3rd act.
In ВХ1917 specified address: Bobritsky You[Eli] Konst[Antonovich], NS. 88 — St. Ekaterinas[auska] 89 , 34. Lived there at this time B. with parents or separately is unknown.
In HRA written further: “After 1917 became an active worker of Kharkov. lit.-hood. avant-garde: organized a group of “Union of Seven” ”. These allegations are in need of substantial clarification. First of all, is not quite correct is the assertion that B. became the avant-garde, so to speak, overnight — that “after 1917”. Further, it is unknown from what source the authors HERE learned information that Bobritsky created the “Seven” — it would be extremely interesting to see this source . Third, the “Union of Seven”, according to some (see, for example, references in Anonim. the article “Union of Seven” in the “Collection of new art”, 1919. P. 8) has existed since 1916, according to others (“Ears”. 1918. No. 11. P. 15), even with 1914, and since the group throughout its activities, the names are not changed, this implies that from the outset it consisted of seven known artists Bobritsky, clerks, Kalmyks, Kosarev, Mishchenko, Tsapok and Tsibis (i.e. a “worker vanguard” B. became in 1914 — 19 1 6 gg!).
In may 1918 B. participated together with Kosarev, Hoe, Zibycom etc. — in the 1st exhibition of paintings “Union of arts” in Kharkiv. hood. school 90 . Around the same time participated in the publication of the famous collection-album “Seven plus Three”.
In HRE said further that [after 1917] B. “collaborated with the groups “Liren” and “Three””. Perhaps the authors-compilers HERE is inaccurate: I don't know “Liren” — I know the Kharkov publishing house “Liren” led by poet G. Petnikova. However, according to testimony . Ermilova, a group of “Liren” existed: there were D. P. Gordeev, Bozidar, Khlebnikov, Aseev, Petnikov, M. Sinyakova-Urechina (Vogel. P. 16). As for the cooperation with the “Troika”, it was expressed, in particular, that around the beginning of summer 1918 “Seven” issued a collective anthology album “Seven plus Three”.
“Among his friends at this time, the poets Khlebnikov, N. Aseev, artists Dmitry Gordeev and “adjacent” to the “Union of Seven” by mane-Katz and V. Ermilov 91 , colleagues in the “Union of Seven” sculptors G. Tsapok and B. Tsibis” ( HRA )...
Add — and Kosarev: their names constantly occur next. Kosarev and Bobritsky both members of the “Seven” were exhibited together, along scored at least two performances, in 1918 participated in the exhibition “Union of arts” together released the album “Seven”, painted cabaret “House of artist”, designed the magazine “Ears”; in 1919 he was involved in the “Collection of new art”...
In the autumn of 1918 B. collaborated with the magazine “Theatre Journal” (№№ was announced in the list of the permanent staff of 92, was placed in the magazine their work). In early 1919 he was appointed to the Board (was a “friend of the chair” — G. petrikova 93 ) “trade Union Leaders of the Left art in Kharkiv.” In the same year, among other things, worked closely with the magazine “Paths of creativity”, published the same Petnikova: participated in the design of the drawn numbers (for example, No. 1 — 2 ending at p. 11 — his work), and in No. 4, released may 1, 1919, contains an article by B. and two reproductions of his works.
“In 1919 he married Lydia Pavlovna Tretyakova, wife of the former V. Ermilova, and soon emigrated. (Apparently, while Kharkiv was occupied by the Volunteer army: from June 25 to December 12, 1919 — V. J.), Jan. 1923 he settled in the United States. In 1920s he was engaged in the design, developing ideas Glagolin and eng. the constructivists. D. Burlyuk wrote: “...trying to apply. Rus. theatre. the style on the Americans. scene V. Bobritsky saw that for America to adopt this style now.” In the future, focused on applied graphics. Drew for magazines “Wanity Fair” and “Vogue”; he performed a cover of the book. decorations for various Americans. ed-in; developed advertising for businesses “sax”, “Stanway”, “Altman”, etc. to approval Burliuk, had a significant influence on “all obywatelskie the art of the New World.”
Performed a series of graphic. portraits, including D. Burliuk and B. Glagolin in which a realistic manner combined with the deliberate incompleteness that brings them some works of Yu. p. Annenkov.
Participated in the International exhibition (1923) and the exhibition of Contemporary Russian art (1932) in Philadelphia, in the exhibitions Art Directors club in new York. Advertising drawings and easel graphics published in magazines: “Gebrauchsgraphik” (1932 — 1933), “Studio” (1939), “American Artist” (1942 — 1946), “Art news” (1944 — 1945), “Graphis” (1952), etc.” (HRA ).
Reproduction: the Collection-album “Seven plus Three” [Kharkov: ed. The “Union of Seven”, 1918]: the cover sheet (Vogel. P. 50); “loop Mr Eros’. pencil” — p. 7; “portrait of wife, oil varnish, black, grey, blue, red. the texture is smooth, polished SAF any varnish. size 140х140 s.” — p. 11; “bobritsky. a sketch of the scenery of the second act of the mystery boyl e, honey’ on the ground` autolithograph” — p. 13
S. 94 Bobritsky. B. S. Glagolin in the role of Paul I-th // Theatre Journal. No. 2. Kharkov. On October 20, 1918. Individuals. S..
[Outro work B.] // the way of creativity (Kharkov). 1919. No. 1 — 2. P. 11
V. Bobritsky, B. Kosarev. Fig. curtain 3rd act of the play “pan” W. van Lerberghe at theatre N. N. Sinel (Director B. Glagolin) // path of creativity (Kharkov). 1919. No. 4. P. 23
Fig. curtain for the play “the Exchange” by P. Claudel at theatre N. N. Sinel (Director B. Glagolin) // path of creativity (Kharkov). 1919. No. 4. P. 52
[Screen saver by B.] // Collection of new art (Kiev — Kharkov, 1919). C. 3 and 4
Portrait Of Evreinov. Pencil Collection of the new art (Kiev — Kharkov, 1919). P. 8
Lit.: VC 1917
M. Kin. Art exhibition “Union of arts” // Spikes (Kharkov). 1918. No. 2 — 3. P. 22
F. I. Shmit. [Note about the exhibition of the “Union of arts”] // Our day (Kharkovsk. newspaper). 1918. No. ?
Letter to the editor [the Council of Seven: an open letter] // Ears. 1918. No. 6 — 7. P. 23
Art in Kharkov // Ears. 1918. No. 9. S. 13 — 14
Seven plus Three. — Kharkov: publishing of the “Union of Seven”, 1918]. — 56 S. — 200 copies.
On the books [on sat-ALB. “Seven plus Three”] // Ears. 1918. No. 11. P. 15
Paul Darwinii. Bookshelf [on] “Seven plus Three”] // Theatre Journal. No. 7. Kharkov. 22 Dec 1918. S. 13 — 14
Theatrical chronicle [on the opening of “House artist” and painting the premises by members of the “Union of Seven”] // Ears (Kharkov). 1918. No. 18. P. 14
L. Viktorov. “House of artist” [about the opening and about the mural] // Theatre Journal. No. 6. Kharkov. 15 Dec 1918. P. 10
Local Department [Prof. Union Leaders Left the Art in Kharkov] // the way of creativity (Kharkov). 1919. No. 1 — 2. P. 58
V. Bobritsky. To the upcoming construction of a new theatre // the way of creativity (Kharkov). 1919. No. 4. P. 29 — 31
A collection of new art. — Kyiv — Kharkiv, 1919. — 24 S., fol.
Z. Vogel. Vasily Ermilov. — M., 1975 (P. 16, 50)
HRA – indicating sources
B u R l Yu K, 29; Vollmer, 1/240; AI 1/204, 2/194, 4/182, 5/128, 6/169, 7/192, 8/190
I. Postupalsky. Lit. the work of David Burliuk. N.-Th., 1931. P. 4 (Il.)
Z. Vogel. Vasily Ermilov. — M.: Owls. artist, 1975. P. 16, 51
G. Warren. Bobri // Gebrauchsgraphic, Bd. 10. 1933 Jan. S. 32 — 33
S. Yalkert. Bobri // Art and industry. V. 28. 1940. P. 104 — 109
E. W. Watson. Bobri // American Artist, V. 6. 1942. P. 12 — 17.
(FROM the article Vladimir Jaskowy "Khlebnikov. Kosarev. Kharkiv."
