The creative union “Blue Rose” arose at the beginning of the 20th century, in those years when such a trend in art as symbolism was very popular. The backbone was composed by artists Peter Utkin, Pavel Kuznetsov, sculptor Alexander Matveev. Soon, other participants appeared. Symbolist artists in the Soviet Union had nothing to do, however, most of the members of the Blue Rose after the revolution remained in Russia. And some of them contributed to the development of domestic sculpture and painting.
Background
At the beginning of the 20th century, the names of the French Symbolists Henri Fantin-Latour, Paul Seryuuxier, Pierre Puvis de Chavannes were world famous. In Russia, this direction was still underdeveloped. Representatives of the Blue Rose considered their predecessor Mikhail Vrubel. The work of this artist was close to the Symbolists: his canvases attracted with their colorfulness, subtlety of the palette, and the desire to portray the unreal world. However, V. Borisov-Musatov had a direct influence on the formation of the creative association. The images on his canvases are shrouded in a kind of nap, the characters live in a world of peace.
Borisov-Musatov was born in Saratov, in his youth he left for Paris, but often visited his hometown. In the nineties of the XIX century, he met with Pavel Kuznetsov, Alexander Matveev, Peter Utkin. Borisov-Musatov, being an experienced painter, taught novice artists several lessons of symbolism and expressionism.
All three soon left for Moscow, where they entered the School of Painting, Sculpture and Architecture. That is, the founders of the Blue Rose association were natives of Saratov and graduates of an educational institution, which in pre-revolutionary Russia was considered one of the best. During the years of study, young artists became close to other painters, who later became members of the creative union.
"Red rose"
Three years before the founding of the creative association, an exhibition of paintings by Utkin and Kuznetsov took place. True, there were canvases of other painters, including Borisov-Musatov and Vrubel (thus, the organizers of the exhibition emphasized the influence of the masters on their work).
The exhibition was called "Scarlet Rose." Where this name came from is unknown. This flower at different times inspired both romantics and symbolists. A few years later another exhibition was held, which was already called the same as the association founded by Kuznetsov, Utkin and Matveev.
Why a rose?
Blue Nile - a variety of roses, bred at the end of the last century. By the way, the petals of such a rose are not blue, but pale lilac. In European open spaces, flowers of saturated blue do not grow, except for indoor violet. The blue rose was launched only in 2004. All that has been seen before is just flowers painted using a special technology.
A description of the blue rose will not be given here. We will only say that this flower was considered by poets as a symbol of an unattainable ideal. "Blue Rose" is an association of artists who depicted abstract images on their canvases (at an early stage of creativity). If they were adherents of realism, they would call their union differently.
Early work of the founders of the Blue Rose
In the photo below - reproductions of paintings by Utkin and Kuznetsov. But basically these are canvases created after the foundation of the creative association. Artists were connected by many years of friendship. They have repeatedly worked on common projects for the design of private houses and theatrical productions. Young artists borrowed pastel pink and gray-blue houses from Borisov-Musatov, they learned from him about the latest trends in art and the principles of the symbolism fashionable at that time.
Other artists
The members of the creative association, which the founders met during their studies, are Nikolai Sapunov, Martiros Saryan, Sergey Sudeikin, Anatoly Arapov, Nikolai Krymov, Vasily and Nikolai Milioti, Nikolai Feofilaktov, Ivan Knabe. For some time, Kuzma Petrov-Vodkin also collaborated with the Blue Rose. However, he did not become its member.
At first, the artists worked mainly on theatrical scenery. Even before the founding of the Blue Rose, Sapunov and Kuznetsov created sketches for Wagner’s opera Valkyrie. A little later they worked on the scenery at the Hermitage Theater.
And it should be said that the work of young artists caused unfavorable reviews from critics. Utkin, Kuznetsov and Petrov-Vodkin worked on a project to paint one of the most famous Saratov churches. The frescoes created by them were recognized as "non-artistic" and destroyed.
Nikolay Ryabushinsky and the Golden Fleece magazine
The Blue Rose association might not have gained wide popularity if it were not for a philanthropist known at that time. Nikolay Ryabushinsky was the editor of the Golden Fleece magazine. He also organized the first exhibition of Blue Rose artists.
The magazine was published in 1906. Ryabushinsky did not spare money for him. The magazine had many colorful illustrations, each page was decorated with vignettes, gold accents. A total of 34 issues of the Golden Fleece were released. There was no clear concept for this publication. Fedor Sologub, Konstantin Balmont, Ivan Bunin, Leonid Andreev, Korney Chukovsky collaborated with the magazine . However, the first issues were devoted exclusively to the work of symbolist artists.
Gallery on Myasnitskaya
In March 1907, thanks to the efforts of Ryabushinsky, the exhibition "Blue Rose" was held, in honor of which the creative association was later named. Sixteen artists presented their work in the gallery on Myasnitskaya. Almost all of them were future members of the association. This event was held after the death of the main mastermind - Borisov-Musatov. The idea of the name - "Blue Rose" - belonged to Sapunov, who drew inspiration from the works of the English artist Aubrey Beardsley.
The interior of the house in which the exhibition was held was decorated accordingly: everywhere there were vases with roses, the walls were painted in blue tones. The music was played by Alexander Scriabin.
The paintings of the Goluborozovites caused a mixed reaction. One of the prominent Russian art critics called the work of Symbolist artists insignificant, close to decadence. However, the critic Sergei Makovsky responded with enthusiasm about the paintings. The work of symbolist artists was praised by one of the most mysterious Russian artists - Kazimir Malevich.
In 1909, Ryabushinsky organized another exhibition. By this time, the philanthropist preferred such a direction as cubism. The exhibition featured paintings by Derain, Braque, Matisse, Marche. Mikhail Larionov and Natalya Goncharova also exhibited their canvases.
The third exhibition was held in early 1910. By that time, the Golden Fleece magazine was no longer published due to financial problems, which was the reason for the unpopularity of the last event. However, the names of the members of the Blue Rose were well known to both art lovers and philanthropists. Artists were invited to various projects, but they sought not only to create works of painting and sculpture, but also to synthesize the arts. That is, the "Blue Rose" was conceived as a union of not only painters, but also all those who give preference to symbolism in their work.
Oddly enough, the members of the creative association as such did not have a common idea. After the exhibition, held in January 1910, the artists stopped working on joint projects. And their paintings had little in common. So, Kuznetsova, who traveled a lot in Central Asia, was inspired by oriental motifs. Saryan painted native Armenian landscapes. Krymov and Feofilaktov imbued with the ideas of neoclassicism and the plots of ancient Greek myths.
After the revolution
Emigrated Sergei Sudeikin, Nikolai Milioti, Nikolai Ryabushinsky. The rest, who were somehow connected with the organization of the Blue Rose, remained in Russia. Although Soviet censorship did not accept symbolism. Some engaged in teaching activities. Others got into state institutions for the protection of cultural monuments. In the late twenties, Kuznetsov, who had worked for several years in the magazine “The Way of Liberation”, was fired due to negative feedback about his work. It is worth telling in more detail about the brightest members of the Blue Rose.
Pavel Kuznetsov
The future artist was born in 1878, as already mentioned, in Saratov. His father was an icon painter. In childhood and youth, Pavel Kuznetsov attended a painting and drawing studio. Here he met in Borisov-Musatov. In 1897 he entered the Moscow School of Painting, Sculpture and Architecture. The gift of this artist was combined with extraordinary energy. Kuznetsov lived a long, interesting life.
He became close to the Symbolists in 1902, and above all, to Valery Bryusov. At that time, Kuznetsov’s collaboration with the Golden Fleece magazine began. In 1906, Kuznetsov traveled to Paris. In the French capital, he visited the studios of famous artists and took part in exhibitions, as a result of which he became a member of another creative union.
After 1910, a crisis broke out in his work. In Kuznetsov's paintings, repeated motifs were observed. It seemed that the artist had exhausted himself. In his work, a new rise was outlined only after visiting Central Asia. Pavel Kuznetsov worked until the last days of his life. He died in 1968 in Moscow. Famous works of the master: “Blue Fountain”, “Evening in the Steppe”, “Sleeping in a nightmare”, “Birth”, “Uzbek”, “Mountain Bukhara”, “Tabachnitsa”.
Peter Utkin
The future member of the Blue Rose association was born in Tambov in 1877. He received his primary art education in Saratov. Utkin studied under Serov, Levitan. Most of the work of this artist is made in blue tones. Peter Utkin died in 1934, in Leningrad.
Alexander Matveev
This sculptor is one of the brightest figures in Russian art of the early 20th century. He took part in the organization of not only the Blue Rose, but also other creative associations. After the revolution, Matveev worked at the Petrograd College of Technical Drawing, made a significant contribution to the development of the Soviet art school. Most of his life was engaged in teaching. Matveev died in 1960.