Mikhailovna Bebutova (Kuznetsova)

Russia • 1892−1970

He studied at the Drawing school in Petersburg (1907-14) and Y. A. Rylov Tsionglinskogo in 1923-24 in the hood. the studios in Paris. Since 1923, the participant of exhibitions. In 1924-29 member of the ia "4 of art". Since 1917 he designed productions in Moscow. t-pax (incl. in Moscow. t-Ryo muses. buffoonery). Still lifes, landscapes, portraits, genre scenes, including paintings of "the Seine. New bridge" (1924), "Washerwoman" (1926), "Browsery" (1931), the cycle of suburban landscapes (1940-60).

E. M. bebutova came from a noble kind. Her childhood was surrounded by the intellectual atmosphere in which respects the traditions of Russian and Armenian culture. Art education in the Drawing school of Society for encouragement of arts (1907-1914). Among her teachers were J. F. Tsionglinsky, N. To. Roerich, I. Y. Bilibin. Of all the artistic groups and movements of Russian art of that time closest Bebutova was artists "World of art" and "Blue roses", especially the works of P. Kuznetsov.

In 1918 Bebutov met with P. Kuznetsov in the Commission for the protection of monuments of art and antiquities, where she worked as a Secretary and soon married him. They lived together for almost 50 years.

Since the beginning of his creative life Bebutov was fond of the theater and from 1916 worked as an assistant decorator in the Moscow Art theatre. During the 1920s it was decorated a number of performances in the theater TEO Narkompros, the theater of Vsevolod Meyerhold, she collaborated with the theater "Romanesc", theatre-Studio "Classic buffoonery".

In exhibitions Bebutov began participating in 1913. Her paintings show a confident professional skills, combining elements of cubism in them with expression. The painting "Circus" (1922, private collection, Moscow) is composed of angular and semi-circular shapes different in size and shading of human figures PA the foreground. The composition is dynamic not only thanks to the sharp movement of the characters, but the characterization of the space. The restrained color scheme is based on earth tones, but something - where are the cold spots, and form highlighted with black outline. The tension and power inherent in other works of the artist. The influence of cubism art is felt in the painting "still life. Glass." (1923, RM).

In subsequent years, she moved away from the futuristic design appealed to the picturesque decision. Her work has evolved, changing not without the influence of PV Kuznetsov. The artist moved to a more saturated color and a loose organization of space. After the exhibition, P. V. Kuznetsov and Bebutov in Moscow in may 1923, by the decision of the people's Commissar of education A. V. Lunacharsky, they were sent for exhibition in Berlin, then in Paris (the exhibition opened in November in the gallery, Barbacane). Artists were there for more than six months. They visited museums, exhibitions, artists ' workshops, a lot has impressed them, especially a visit to a Derain and exhibition of Negro art.. During his stay in Paris Bebutov engaged in private art studios.

After returning home, she participated in various exhibitions. Bebutov was a member of the society "Four arts", exhibition in which he exhibited his work. Her paintings were shown in Moscow, Leningrad, other cities of the country, in exhibitions of Russian art abroad: in Tokyo, Osaka, Nagoya (Japan); new York, Boston, Detroit, Pittsburgh, Baltimore, St. Louis, Chicago (USA); Vienna (Austria) Berlin (Germany); Stockholm (Sweden); Oslo (Norway). Works Bebutova was exhibited at the jubilee exhibition "Artists of RSFSR for 15 years" in 1932 in Leningrad, in 1933 in Moscow, and also at the exhibitions of Moscow painters.

His creativity Bebutov deliberately limited, considering the most important art of the wife of P. V. Kuznetsov, she tried to remain in her husband's shadow. However Bebutov was an artist who has his vision, his attitude to the environment, and she was able to convey in his works.

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