Sergey
Ivanovich Lobanov

His "Fauvist landscapes" exhibited at the "knave of diamonds" (1910 and 1912).

Lobanov studied at the studios of F. I. Rerberg (1906) and I. I. Mashkov (1907), the Moscow School of painting, sculpture and architecture (1907-1913), but already in the years of studying at the school he becomes an expert in the history of art (seeing in 1908 in a tour of European museums of his teacher Mashkov who has never been to Europe Lobanov detail explained to him what cities to visit and a Museum to look). In 1914, Lobanov took part in courses in art history at the Moscow Archaeological Institute, and in 1918 he was enlisted in the Department for museums and monuments protection at the people's Commissariat. In 1922 he was appointed Keeper of the nationalized collections of Sergei Shchukin. Within one and a half decades, Sergei Ivanovich Lobanov was the Deputy Director of the State Museum of new Western art (later a considerable part of the collection of the real Museum was donated to the Pushkin Museum to them. A. S. Pushkin, becoming the Foundation of the collection of French painting of the second half of the XIX and XX century).

After a short stay in the ranks of the Association of artists of revolutionary Russia (1924 excluded "as an alien ideology AHRR and overall social life") Lobanov was not involved in art associations and exhibitions he participated only when he was invited. The artist is constantly pursued by the lack of materials. "You should be happy – Lobanov wrote in Paris the real Museum Director B. N. Ternovca – seeing in the Windows of shops paints, pencils, canvases, albums... which I can only dream of! If you want to please me, buy a tin box of watercolors Winsor – new York 18-24 cups."

If the majority of Soviet artists 1920-1930-ies sought to create large canvases designed to meet the "greatness of the revolution" or "building a new life", the canvases remaining from the Lobanov – mostly small landscape sketches – a kind of "pictorial shorthand".

Lobanov was not only a major critic (in 1925, he published a pamphlet on Polenov and Levitan, and in 1935 was awarded the degree of candidate of Sciences), but also an inveterate tetromino. In 1924-1925 years, using the acquaintances among theatre artists, he becomes a "citizen of the scenes" of the Bolshoi theatre, performing "three hundred drawings on the theme of ballet." This outline with the dancers, preparing to exit, stagehands or actors grimiruetsya. Note that even under cursory sketches, almost hints at a pattern where the barely distinguishable figures of dancers, Lobanov, left next to the monogram "CL" extensive record "of the sylph. 6/IV 925" or "Tikhomirov. La Bayadere. 31/V 925".

But did this mean privacy purely artistic pursuits Lobanov its loss from the evolution of art 1920-1930-ies? Of course not.

You can compare creative development Lobanova during the period of study in the School of painting with its evolution in the Soviet era. In late 1900-ies from gray-buff, almost "Serov" tones ("portrait", 1908) Lobanov goes to the Fauvist intense color ("Cold sun", 1909; "woman portrait", 1910). "Knave of diamonds" in 1912 he made a group of close to each other Fauvist landscapes ("Water night", 1911; "White house garden", 1911). Early Lobanov gravitated to the German participants of the "jacks of Diamonds" (A. G. Jawlensky and Munter) with their commitment to purple, lilac, Aqua green, to the intense "exposure of colors," a comparison of pure "color emanations".

From the late 1910-ies of the pan-European (including Soviet) scenic evolution went rather in the opposite direction – "from painting to the object." However, the best artists committed "the emancipation of color" is thus already not disappeared: the color remained the "self-worth" and when the value of the items increases again.

In the works Lobanova years 1920-1922 more obvious "fighting" nature and "Nude" colors: top picks the painting ("Khimki", 1920), nature ("Spring on noeway the country", 1922), but already in the works, 1924 ("At Trinity", "Trinity Village") reached equilibrium. Subsequently, for example, in the group of sketches from the mountains (1932, Gaspra) – Lobanov made even more convincing identities "gradation palette" and "States of nature".

Similar processes occurred in the field of drawing. In European drawing of the early twentieth century was not observed as a sharp "Nude graphic", as in painting – "Nude pictorial"; however, among the sketches of 1910-1911 Lobanov had an outline similar to his painterly Fauvist landscapes with "Jack of diamonds" (1912), with black contours of the green trees or purple paths in the garden. In Lobanovsky figures of the 1920-ies tangible is the same as in painting, an increased "intrinsic value" of fine tools – sanguine drawing, pastels, charcoal.

In the drawings 1920-1930-ies is more direct than in painting, "road to objectivity". Very characteristic landscapes of the Crimean places where Lobanov had a holiday, Feodosia, Bakhchisarai, Sudak. Graphic sheets Lobanov easy to distinguish from the pictures of other contemporaries. He paints mythological "Cimmeria", and the modern towns, but also takes them like a "revived legends". Sagindie and pastel image of Bakhchisaray, Feodosia or – certain types of sun parched landscapes where there are sloping mountains, and town with one-story houses with tiled roofs. These sheets are basically used to take the exhibition Association "Fire-color" and others. Many of them hung on personal exposure Lobanov, arranged on 13 February 1929 at his home with the help of another artist – K. V. Kandaurova.

In the Preface to the catalogue almost the only "Museum" exhibition Lobanov (Kazan, 1926), K. A. Zelenin wrote that the artist not provided genre subjects. However, the second half of 1920-ies in genre scenes often appear on the drawings Lobanov. "Increased weight" of working people ("the Porter of the grapes. Sudak. Crimea"; "children's home in Feodosia. Duty yard", 1929). It was a way not only to "the subject", but to people – however, in the same way art has evolved not only in the Soviet Union, but also in the West (theme work or work with Fernand Leger, etc.).

Opening of artists of such caliber as S. I. Lobanov, – the event in the cultural life of the country. And critics and audiences have yet to learn his legacy. This exhibition – the beginning of this process, which should have their say and the leaders of our museums, and our collectors, whose number steadily growing.

(For the text of the Gleb Pospelov)

5 (18) September 1887 — he was born in Moscow. Father — Ivan Lobanov, of the believers of the Yaroslavl province.

1899 — Sergei receives a gift from his father oil paints, easel and canvas. The first artistic impressions associated with his father's collection of old believer icons, struck with its fabulousness and beauty.

1900 — enrolls in Aleksandrovskoe commercial College, which ends in 1907. In the first class drawing teaches the student of Ilya Repin, Alexander Mikhailovsky.

1906 — entered the Studio of A. N. Michael and Fi Rerberg. At the same time with him in the Studio working Kazimir Malevich.

1907 — moving closer to Alexander Nikolayevich Mikhailovsky, as well as brothers Maxim and Peter Konchalovsky and Ilya Mashkov. The opening of the Studio Mashkov and Michael (Small kharitonievsky, 4); Together with other students, Rerberg Lobanov enters the Studio of Michael and Mashkov. Exams at the school and enters the class of Sergei Ivanov.

1908 — studying in class V. S. Ivanova, L. O. Pasternak, N.. Kasatkin, then in the Studio under the guidance of K. A. Korovin.

1909 — the trip to Dagestan. The essay "the Ethnography of Dagestan" published in the anthology "Ethnographic journey". The beginning of artistic creation Lobanova should be considered in 1909, when it was written in the picture, later exhibited at the first exhibition "Jack of diamonds. Lobanov actually performs the duties of Secretary of the Society, helping Mashkov, officially it was.

10 Dec 1910 — opening of the first exhibition Association "Jack of diamonds. Lobanov among the thirty-eight participants. The exhibition acts mainly as a portraitist. Work has received criticism. The greatest interest is the "portrait of the brother in the grey jacket on a red background" and "Portrait of V. V. Muraveva.

5 Jan 1912 — announcement of the establishment of the society "the Jack of diamonds and 23 (or 25) January opening of the exhibition companies To discover the Moscow public with the latest trends in European art, invited a group of French artists, including Pablo Picasso, Fernand léger, Henri Le Fauconnier, Henri Matisse, Kees van Dongen. The second exhibition "Jack of diamonds", in contrast to the first, in the works Lobanova dominates the landscape. The most celebrated criticism of the work — "White house garden" and "Way". Most of the paintings exhibited at the exhibition subsequently fell in the museums of Russia. Further, in connection with the ultimatum of the Council of the School to the pupils of the school not to participate in the exhibitions of the Society, Lobanov decides not to exhibit at the "knave of diamonds".

1913 — graduates from the Moscow school of painting at the workshop of K. A. Korovin and S. V. Malyutin.

1914 — he teaches graphic arts at a private girls ' school Winkler on Chistoprudny Boulevard. Ideologically at odds with the main group "Jack of diamonds". In subsequent years, included in different groups, not adhering essentially to any of them. Engaged in courses on art history at the Archaeological Institute (opened in Moscow in 1907) as an auditor.

1915 — participated in the exhibition "Artists — fellow soldiers."

April 1916 — participated in the exhibition "Free art" in Moscow.

December 1916 — the Exhibitor of the exhibitions "World of art" in Moscow and St. Petersburg.

February 1917 — exhibited at "Moscow salon" and at the XXIII exhibition of the Moscow Association of artists (mtkh).

1918 — working on a ceramic factory Abramtsevo Savva Mamontov for Butyrskaya gate. In may of this year established by the Department for the Affairs of museums and protection of monuments of art and antiquities at the people's Commissariat of the RSFSR, the employee will soon become Lobanov.

November 1918 — the decree on the nationalization of art galleries S. And Shchukin, I. A. Morozov, A. V. Morozov and Ostroukhov. Lobanov admitted to the number of employees of the Department of museums, appointed Deputy head of the provincial sub-Department of museums (1918-1922).

1919 — the decree on the reorganization of the Shchukin and Morozov collections of the First and Second museums of new Western painting. A Keeper, and then as the head of the Second (Morozov) Museum (later the United — the State Museum of new Western art) has been appointed bn. Ternovets.

1920 — Lobanov wrote a series of self-portraits.

December 1920 — participates in the exhibition "Moscow salon" (XX exhibition of Department of fine arts Narcompros RSFSR).

1921 — directed by the Division for museums Prilepy to the estate of the breeder and collector Y. I. Butovich. Together with the former owner is the description of his art collection. In October participates in the exhibition "World of art" in Moscow.

January 1922 — Soviet Russia leaves the daughter of Sergei Shchukin, Ekaterina Keller with the family From November 1918, E. S., Keller held the post of Keeper of the gallery of the father, which some months later would be appointed Lobanov.

June 1922 — the opening of the second exhibition "AHRR" in Moscow (Exhibition of sketches, sketches, drawings and graphics from the life of the worker-Peasant red Army) at the Museum of fine arts. Lobanov exhibits two works. Meets with the artist Nikolai Ulyanov. Ulyanov invited to participate in exhibitions CPX, but by the Union Council rejected the candidacy Lobanov. Together with members of the AHRR making sketches in the Fleet on Khodynka field in Moscow.

November 1922 — on the order of the Museum Department of the people's Commissariat of the RSFSR S. I. Lobanov appointed senior warden of the First (Shchukin) of Department and Deputy head of the First and Second GMNZI. Director of the First and Second branch GMSG appointed B. N. Ternovets.

March 1923 — appointed head of the First (Shchukin) office and the Deputy Director of the First State Museum of modern Western painting; member created by the Museum academic Council and academic Secretary. Making sketches behind the scenes of the Maly theater. Participates in the exhibition of Russian art in Amsterdam.

December 1923 — joins the members of society "Fire-Color" (1923-1929), established at the initiative of artist Vladimir Kandaurov; among the founders also K. F. Bogaevsky, a close friend Lobanov.

January-February 1924 — participated in the sixth exhibition "AHRR" in Moscow (Revolution, life and labor).

March 1924 — the last exhibition of the group bubnovy Valet (organized by the Russian Society of the red cross). The Commission re-AHRR decides to exclude from among its members a number of artists, "as an alien ideology AHHR and General social life. To exclude people as inactive, which unnecessary ballast of the organization do not meet ideologically Lobanov, Rodionova, Maksimova, Vysheslavtseva".

Participates in the first exhibition Association "Fire-Color".

1924-1925 — paints landscapes. Works at the Bolshoi theatre. Takes three hundred paintings on ballet themes.

1925 — the book of S. I. Lobanov "Polenov and Levitan" in a series of monographs edited by p. P. Muratov.

In April-may participates in the first exhibition society "4 art", created at the initiative of participants of the exhibitions "World of art" and "Blue rose". Autumn goes to the Crimea. Bakhchisarai, Alupka, Churuk-su, the road to Calaca — Bakhchisarai. Working in the Crimea with K. F. Bogaevsky (at the same time in the Crimea also works Mashkov).

Participates in the second exhibition of society "Fire-Color" and in the exhibition of the society Moscow painters (founded by former Bubnovene, joined by the youth from among their disciples and followers).

1926 — appointed guardian (two offices) and Deputy Director of the real Museum. In the summer lives and works in Feodosia.

Personal exhibition in Kazan Central Museum of the Tatar ASSR. The exhibition is accompanied by a small catalogue with articles by K. A. Zelenina on the work of S. I. Lobanov, and N. G. Mashkovtseva. Participates in the exhibition society "4 art".

November. 1927 — appointed guardian of the real Museum and Deputy Director. Participates in the exhibition of the society of Moscow artists (?) and the exhibition of Soviet art in Tokyo. The magazine "Red field" refers to Lobanov (along with Bogaevsky and Kandaurova) "most European" among the artists, noting that its decorative, it is close to the artists of the group "4 art". Critic Alexei Fedorov-Davydov in the review "the Artistic life of Moscow", published in the journal "Printing the revolution", notes that ""Heat-color" slowly but surely dry. the Crimean landscapes S. I. Lobanov — it's still art, even though the chamber, though yesterday". The article illustrates the painting "On the river, curuk-su". Working on the exhibition catalogue P. K. Bogayevsky in Kazan — the Central figure of society "Fire-Color". Visits Prilepy. Participate in the 3rd exhibition of paintings of contemporary Russian artists in Feodosia. Making sketches behind the scenes of the Bolshoi and Maly theatres. In Moscow, opened the exhibition dedicated to the 10th anniversary of the October revolution. In the State Tretyakov gallery — "Russian figure for ten years of October revolution". Part of the work, including Lobanova, purchased the state Tretyakov gallery. Participates in the Second exhibition of graphics, arranged by the Association schedules at the press house.

March 1928 — the decision to transfer the mansion of Sergei Shchukin, under the exposition of the Museum of porcelain Lobanov calls the "capitulation of the Shchukin Department." Merging the First and Second Museum in the State Museum of new Western art (the real Museum) in a single room. Directron the real Museum appointed B. N. Ternovets. Lobanov transferred to work in the real Museum. Together with Lobanov from the Shchukin branch to work cross K. A. Zelenina, E. K. and T. A. Rylov upland [Tatiana Borova (1899-1970), a specialist in French art of the late XIX — early XX century; since 1926, the employee GMSG, 1939 — the Keeper of painting and sculpture of the real Museum, since 1940, is the chief curator. From 1948 until the end of his life he worked in the Pushkin Museum. A. S. Pushkin, where they passed the archive of A. S. Lobanov]. Participates in the exhibition "4 art", exhibition in Venice and in the fourth exhibition of society "Fire-Color". Going to Crimea on the trip of the people's Commissariat of the RSFSR. Together with Tatiana Borova lives in the country, Maximilian Voloshin in Koktebel. Involved in 4-th exhibition of paintings by contemporary Russian artists in Feodosia. Writes a letter to the team trials in the name of tov. Pisarev, in protest against the planned merger of the state Tretyakov gallery and the real Museum in a single "plant".

November-December 1928. The beginning of export of the former collection of S. I. Shchukin from Znamenka in the former mansion of Ivan Morozov (St. Kropotkinskaya, 21).

1929 — Lobanov making sketches of animals (1928-1930). Involved in the fifth and the last exhibition of society "Fire-Color".

December 1929 — finalizing the creation of a new exhibition the real Museum. United in a shared space two outstanding collections presented by "art-historical"principle.

April 1930 — — S. A. Lobanov was appointed scientific Secretary of the real Museum. The beginning of a regular exchange of pictures between the real Museum and the Hermitage.

1932 — participates in the exhibition "15 years of Soviet graphic art" (the last part Lobanova in exhibitions).

June 1934 — Lobanov wrote to the Director about the dire financial condition of the Museum, noting that "no funds" on the completion of the Museum library. Making sketches at the theatre.

March 1935 — requests permission to give him three days to five days. His request motivated by the fact that he was "absolutely necessary" extra income, and you want to continue "to work as an artist-painter to maintain the qualification".

July-August 1935. Goes to Leningrad to study art collections and suburban palaces-museums. S. I. Lobanov was awarded the degree of candidate of art criticism.

January 1936 — in Paris on 82-m to year of life has gone collector Sergei Ivanovich Shchukin. The beginning of the struggle against formalism in Soviet art. Increasingly the attacks on the real Museum. All the art, beginning with impressionism, announced formalistic.

July 1936. S. I. Lobanov asks to release him of his post as scientific Secretary gmnzi own will in connection with the disease. Writes Pushkin places. Making sketches of the stadium "Dynamo" in Moscow. Working on postcards "Moscow space" under the contract with the publishing house "Art".

1937 — applying for obtaining a personal pension. Lobanov a petition signed by well-known artists.

1939-1940 (?) — making sketches of the play "Dog in the manger", "Romeo and Juliet".

1942 — died in Moscow.