Eduardovich Mako

Russia • 1850−1925

Biography and information

Alexander was born Mako in Barnaul. His father was a class artist, academic, citizen of Russia, the Austrian Joseph I. Mako (1). No information about the sporting art of Mako Sr. has not survived. Subsequently, Mako-son used a different middle name - E..

After graduating from the Tomsk gymnasium in 1869, he goes to a pupil at the Munich Academy of arts: a young Mako was supposed to feel like a cosmopolitan (2). It is important, but so continued a dynasty of artists Mako (later his son, Sergei, becomes a painter). About life and studies in Germany A. Mako unknown. After a few years he associated with the Academy of arts in St. Petersburg, sending three works to provide them and to "seek to honor him with the title of a Free artist" (3). In 1874, on the academic exhibition presents works by Mako: "Different things", "the Horse in the manger" and "Dog". They received positive feedback, and... he was awarded the title "class" of the artist with a commitment to withstand scientific examinations (4).

Satisfied with the decision, Mako grade school in the late 70-ies arrived in Tomsk and becomes a teacher at a girls ' school. His classes did not go unnoticed. "It was also devoted to the interests of art; he, like P. M. Kosareva, was conductor art to the masses. Mako was so fond of Altay that we had made there. that went every summer and I sketched there" (5). In the article "About the art in Tomsk" A. V. Adrianov, wrote: "Of his works, he arranged the exhibition, willingly visited by the public, which the picture Mako liked. These exhibitions were diverse - there were paintings in oil, watercolor, charcoal and pencil; besides the scenery, there were paintings and sketches of ethnographic character; but especially Mako loved to paint scenes from the hunting life and animals" (6). Information about these shows was the famous Barnaul audience. In his memoirs "Notes of the head of Barnaul" Alexander Cherkasov, by the way, comes to the artist's cousin, reproduced the description of ethnographic sketches of the artist (7).

Not content with teaching in the gymnasium, Mako begins to work in a private Studio, which lasted several years. "Once a week Mako organized evening classes which were practice sessions real nature... From this school stood out, among other things, two artists, a calling which is defined here. V. F. Orzeszko... a talented architect, and S. I. Golubin, the artist" (8).

To 70-80 A. Mako professionally mastered artistic skill, founded and developed the Siberian "regional" approach to the art. He also owned a curious, not quite the typical experience of the artist-animal painter. From the perspective of the artist, trained in Germany, such artistic practice is no exception to the rule. So "himself" Ivan Ivanovich Shishkin, "being on probation" abroad, showed interest in animalism, wanted to write animal figures (9). This genre A. Mako was part of the circle of professional education. However, this interest could be due to their own hunting preferences (do, A. Mako was an avid hunter).

Two Siberian researchers of creativity of A. E. Mako there are two opposing views. The first one belongs to V. P. Tokarev: "Mako was not known in Metropolitan circles and among the artistic community" (10). The second sentence of G. I. Pribytkova: "among artists of Biysk is (was - D. Z.) and a true academician - full member of the Petersburg Academy of arts A. Mako (the third (!) in the history of the development of artistry in the Altai - D. Z.). It is the court painter of Grand Duke Michael, the artist-animal painter, received the title of academician for his pictures of animals (11).

These are completely conflicting views relate to different life time of A. Mako.

In 70-80 of the Mako, doing local history, was not known to the public. (Note that at the same time in the early 1890s, the famous Russian animal was N.E. Crickets, A. S. Stepanov, now completely forgotten A. N. Garanovich, P. O. Kovalevskiy (12)). Their background results A. Mako was more than modest.

"Since the beginning of the 1890s in the life of Mako appear episodes, the true meaning of which remains unclear. First, Mako asks IAH to fix it has issued the certificate indicating his noble status. . Then inexplicably changes its name to the E. and moved to Ukraine" (13). A. Mako is known. It acts as a "portraitist" of purebred dogs.

In the first decade of the century A. E. Mako lives in Kiev, is among a group of artists that was called the "Society of artists of Kiev." Activities of the Society were mostly confined to the device exhibitions, participation in which is not allowed nonresident (14). Other members of the Society actively worked in animalism. "On the 7th autumn exhibition in St. Petersburg in 1912 two members of the Society, A. E. Mako and G. K. von Meyer, showed a whole series of works devoted to the hunt" (15).

Before the First world war A. Mako uses his popularity. Works of talented animal painter willing to buy, are reproduced in periodicals and on postcards (15).

Kharkov is associated with the last name of a dynasty of artists Mako Sergei Alexandrovich Mako (1885, Tomsk province, - 1953, nice), which at that time was close to avant-garde circles. Later known events Serge Mako permanently emigrated. (In recent years there appeared articles about his work, including from abroad) (17).

Before the war, or at the beginning of the First world war Alexander E. Mako moved to Biysk. It is unclear what caused this place to stay. The daughter of the sculptor V. A. Sagalevich, G. E. Gnedkova., who with his mother lived in the city and personally knew the artist, believed that the choice of location was due to the order. Supposedly the artist was asked to depict purebred dogs. How reliable is this information - is anyone's guess. The beginning of events abruptly dashed the plans of the artist. Mako in Biysk became involved in teaching activity, as head of the Central children's Studio of fine art (18).

G. E. Gnedkova. remembered the vision of the artist, numerous images of dogs, horses, and remember the highly professional nature of their performance. In her memory, Mako left a lonely old man with a gray beard (19).

From biyskiy period remained separate picturesque, most famous, work in museums, Biysk, Omsk and Tomsk (20).

In those years, the artist acted as a painter. But did not leave his beloved animals theme. In "the Battle of the Russian armed forces", 1914 (TKM), the artist is drawn to battle art depicting an equestrian battle (perhaps the plot is taken from the events of the war in Novgorod province).

In the early 20-ies of the A. E. Mako returned to Tomsk. Soviet time imposes a kind of imprint on the artist's work. A. Mako leaves of animalism. His recent works are: "the Partisans of Altai", "Partisans", "Guerrillas on horseback" (21).

In 1925, Alexander E. Mako died in Tomsk.


1. Tokarev V. P. Artists Of Siberia. Of the NINETEENTH century. // A. I. Mako. Novosibirsk. 1993. S. 71.

2. Ibid. S. 71.

3. Ibid. S. 71.

4. Ibid. S. 71.

5. Adrianov A.V. About art in Tomsk // Free Supplement to the newspaper "Siberian life". The City Of Tomsk. Tomsk, 1912. S. 339.

6. Ibid. S. 339.

7. Cherkasov A. Notes of the Barnaul city head // Altay. Barnaul. 1993. N 2. S. 99.

8. Adrianov A.V. About art in Tomsk... 1912. S. 339.

9. Shishkin I. I. Correspondence. Diaries. Contemporaries. L. 1978. P. 79.

10. Tokarev V. P. The Decree. CIT. p. 71.

11. Gain G. I. Altai artist - teacher of D. I. Kuznetsov. Biysk. 1994. S. 41.

12. Novitsky A. P. M. Tretyakov Gallery // the Russian review. M., 1893. S. 305.

13. Pankratov V., To Russia with love // Russian hunting newspaper. 2000. 4 Oct. P.14.

14. Severyukhin dy Leikind O. L. the Golden age of art associations in Russia and the USSR (1820-1932). Reference. P. 1992. S. 201.

15. Pankratov V. Decree.Op. P.14.

16. Pankratov V. Decree. CIT. p.14.

17. Severyukhin dy, Leikind O. L. the Golden age of art associations in Russia and the USSR (1820-1932). Reference. P. 1992. P. 90; Severyukhin dy, Leikind O. L. artists of the Russian emigration (1917 - 1941). Biography. Dictionary. P. 1994. S. 303-305; Leikind O. L., Makhrov K. W., D. Y. Severyukhin artists of the Russian Diaspora. 1917-1939. Dictionary. SP. 2000. 401 S.; Pankratov, V., To Russia with love // Russian hunting newspaper. 2000. 4 Oct. P.14.

18. Gain GI Of The Decree. CIT. p. 41.

19. Zolotarev D. E. Life journey: Rome, Warsaw, St. Petersburg, Novosibirsk... //Altai week. 2000. 12. P.11.

20. Tomsk regional art Museum. Directory // Mako A. E. Tomsk. 1993. S. 82-83; Omsk state Museum of fine arts. Directory // Mako A. E. L. 1986. S. 71.

21. Tokarev V. P. The Decree. CIT. p. 71.

(From the article Dmitry Zolotarev "Russian Germans-the artists of Altai")

  • Artworks liked by
    2 users
  • Artworks in 1 selection
  • Styles of art
  • Techniques
  • Art forms
  • Subjects
    Landscape, Portrait, Genre scene, Animalism
  • Artistic associations
  • Learning
  • Students