Elena (Eleonora)
Henryhovna Guro (Notenberg)

Bibliography:

1. Kotovich T. V. encyclopedia of the Russian avant-garde. Minsk. 2003. P. 102 – 104

2. Usenko L. Russian impressionism and Elena Guro / Guro E. Heavenly babies showed themselves. Rostov-on-don. 1993

3. Bobrinskaya E. Naturphilosophie motifs in the works of Elena Guro // Questions of art. Vol. 2. 1997

4. Povelikhina A. (author). Elena Guro. The poet and the artist. Catalogue of the exhibition. Saint-Petersburg. 1994

5. Sinyavsky A. a short literary encyclopedia. Vol. 2. Moscow. 1964. P. 453

6. V. Khlebnikov Unreleased works. Moscow. 1940. S. 363 – 365

7. Gergiev N. Notes about Mayakovsky (Mayakovsky and Elena Guro) // Literary legacy.

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8. Matyushina O. Unquenchable spark. Autobiographical story. Leningrad. 1960

9. Kovtun E. Elena Guro. The poet and the artist // Monuments of culture. New discoveries. Yearbook 1976. Moscow. 1977

10. Soloviev V. D. (the author). Russian artists XVIII – XX centuries. Reference. Dnepropetrovsk. Thresholds. 1996

In the history of Russian avant-garde is no other such artist, for whom literature, poetry and painting would be so inalienable merged as it was in E. G. Guro. It may not be only as an artist or as a poet, the author of the diaries or the catalyst of artistic ideas. It did not create the systems or schools, do not hit the snare, let their own artistic platform, but looks and personality Guro influenced artists and poets around her, and is largely determined by the concept of at least two art groups - the "Union of youth" and "Gila".

Thirteen Guro entered the Drawing school of the OPH in St. Petersburg. In 1903-05 he visited the Studio of artist impressionist wing, J. F. Tsionglinskogo. There she met a talented musician and painter and later a theorist of art by V. M. Matyushina, who soon became her friend and soul mate. In 1906-07 years together they attend art school E. N. Zvantseva arts (located in the same St. Petersburg house, and the famous "tower" poet Vyach. I. Ivanov), where he taught such masters of modernism as M. V. Dobuzhinsky and L. S. Bakst.

The origins of Guro's work can be found in the symbolism of V. E. Borisov-Musatov and M. Vrubel, whom she deeply revered. It is necessary to highlight several periods in the work of the artist, defined by the directions of her quest: to 1906 - discipleship, absorption and reinterpretation of impressionism, "miriskusnicheskoy" style (the design together with N. Lubbenau books "jukebox"); 1906-07 years - symbolic stylization ("Growth and digestwhat or doing.

She built atudot, incompleteness, fragmentation in rank independent of the qualities of the creative act, and hence the fruit of his work. Guro did you first sketch the overall shape, for example a tree or cat, often just with a brush, while making sure the mutability of nature in time and stylizing it, that is closer to the essence of the object. Then portrayed the part of an object: a tree trunk or the head of a cat, trying not to lose the specificity of the whole. Finally, the fragment - tree bark, paw cat, - in which, as in the seed, preserved whole tree or animal.

For painting Guro characteristic light, transparent tone. So, one of her portraits of real life. Ivanov said that there is this "new Me, is absolutely permeable to light." Working with paints, Guro was engaged in searches of correlation of sounds with color and color with the music.

At the same time with paintings, sketches, illustrations, Guro created poems, plays, led diary entries. Last, as a kind of verbal translation of her painting, poetry and the life of the soul, possess a completely independent literary value. Word, line, color, music soprirodny, says Guro, because they have a common source and are connected again at an intuitive insight. In 1909, Guro and Matyushin founded in St. Petersburg publishing house "Crane" and in the same year initiated the creation of the society of artists "Union of youth" - one of the main pioneering groups of the Russian avant-garde. The authority of the "new preacher" had Guro and poets group "Gilea" by V. Khlebnikov and A. Kruchenykh.