{"id":3489,"date":"2021-07-07T06:24:21","date_gmt":"2021-07-07T06:24:33","guid":{"rendered":"http:\/\/mediateka.online\/learnrussian\/liechtensteins-tsar-of-the-avant-garde.html"},"modified":"2021-07-07T06:24:21","modified_gmt":"2021-07-07T06:24:33","slug":"liechtensteins-tsar-of-the-avant-garde","status":"publish","type":"post","link":"https:\/\/mediateka.online\/learnrussian\/liechtensteins-tsar-of-the-avant-garde.html","title":{"rendered":"LIECHTENSTEIN\u2019S TSAR OF THE AVANT-GARDE"},"content":{"rendered":"

BY RA+C INTERNATIONAL EDITOR SIMON HEWITT<\/em><\/p>\n

THE LAST TWO \u2018RUSSIAN AVANT-GARDE EXHIBITIONS\u2019 I reported on turned out to be not very Avant-Garde at all: a show in Mantua in 2013 (which had at least a handful of works that might have been authentic), and the infamous Toporovsky Collection in Ghent (which had none at all, and cost Museum Director Catherine de Zegher her job). So it was a relief to arrive in darkest Liechtenstein \u2013 after an hour\u2019s train from Zurich, then 40 minutes on a bus from Sargans \u2013 and find a hallful of decent caboodle, awash with colour and stylishly displayed, supplied by the great Kensington Collector Vladimir Tsarenkov.<\/p>\n

Kunstmuseum Liechtenstein would not look out of place on Berlin\u2019s Potsdamer Platz: an anthracite blockhaus that, beneath the Prince\u2019s medieval castle atop its rocky crag, squashes central Vaduz \u2013 a cute little town the size of Blandford Forum \u2013 underfoot. The Museum\u2019s colossal, windowless, rectangular halls are chillingly, clinically white. Bringing them to life is no easy task. The Tsarenkov show does so with some outstanding works of art \u2013 and with the help of a partition that splits the hall into less minion-crushing proportions.<\/p>\n

\"\"

“Russian Avant-Garde from the Tsarenkov Collection”. Photo by Simon Hewitt<\/p>\n

Each of the show\u2019s six walls has a theme. The first wall, to the right as you enter, is devoted to the Jack of Diamonds<\/em>. The far wall is the preserve of Goncharova and Larionov. Then comes a wall dominated by geometric works. The near wall, devoted to Baranoff-Rossine, faces a partition smothered with Malevich. The other side of the partition hosts David Yakerson. A handful of sculptures are dotted around.<\/p>\n

Two of them are brightly painted wooden figures by Baranoff-Rossine, positioned in front of his psychedelic paintings. The largest of these, Nymphs & Centaurs<\/em> (1914), features interlocking concentric circles redolent of Sonia Delaunay \u2013 who, like Baranoff, was based at La Ruche in Paris before World War One. There are seven Baranoffs in all, one of them a startling Counter-Relief<\/em> from 1916\/17. The Kunstmuseum\u2019s wide open spaces offer a stimulating contrast to the intimate, black-walled St Petersburg Gallery on Cork Street where several of them were displayed in 2013.<\/p>\n

\"\"

TSAR VLADIMIR \u2013 BEHIND A BARANOFF, BETWEEN TWO MASHKOVS. @Simon Hewitt<\/p>\n

The Jack of Diamonds<\/em> wall at the Kunstmuseum is lent equal visual punch by the strident figures of Mashkov, Lentulov, Konchalovsky and David Burliuk. Lentulov\u2019s 1913 Portrait of S<\/em>ergei<\/em> Lobach<\/em>o<\/em>v<\/em> (youthful patron of the Jack of Diamonds<\/em>) is an atypical but accomplished work by the master of tutti frutti<\/em> onion-domes. Burliuk\u2019s\u00a0Night Rider<\/em> (c.1911) catches the eye with its surface of rough jute. The work nearest the entrance, however, is out of place: a 1922 Mashkov Still Life with Pear<\/em> that post-dates the Jack of Diamonds<\/em> by over a decade. Mashkov\u2019s pair of Female Nudes<\/em> (1908), next door, have superior pedigree.<\/p>\n

Representing artists by a couple of works is a curious tendency of the exhibition, and recurs further along the wall with first Burliuk, then Alexander Deineka. It\u2019s always good to see Deineka brought to the attention of a Western audience, but to find him in a show devoted to the Avant-Garde is disconcerting \u2013 even if, with their flattened perspective, his early works are among the most innovative in 20th century art.<\/p>\n

\"\"

Alexander Deineka. Football, 1912.<\/p>\n

His Football<\/em>ers<\/em> (1924) on show here anticipate the two-tiered composition of Deineka\u2019s most famous work, his 1928 Defence of Petrograd<\/em> \u2013 which just about justifies their presence in Vaduz. A whole exhibition could be devoted to whether, before the onset of Socialist Realism in the early 1930s, Deineka deserves the accolade of Avant-Garde<\/em> or whether \u2013 like the writings of Ilf & Petrov \u2013 his 1920s paintings epitomize the short-lived era of post-Lenin, pre-Stalin freedom associated with the New Economic Policy.<\/p>\n

Deineka adapted to changing political circumstance so adroitly that in 1935 (again like Ilf & Petrov) he was granted permission to visit the United States, where he produced stylized sketches of skyscrapers that evoke Malevich architectrons. None of these sketches have made it to Vaduz \u2013 unlike an unduly large close-up of two Baseball<\/em>ers<\/em> that is not so much Avant-Garde as sloppily painted Kitsch, of note solely for the batter\u2019s hands, which (a) are the wrong way round, and (b) would be re-used by Deineka for the giant, grenade-wielding hero of his 1942 Defence of Sevastopol<\/em>.<\/p>\n

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It seems a little incongruous to find Deineka\u2019s Baseballers<\/em> next to a couple of works by Boris Grigoriev painted nearly two decades earlier (few exhibition visitors are likely to be aware of the stylistic similarities between Deineka\u2019s youthful portraits and Grigoriev\u2019s). A 1916 Self-Portrait with Cigarette<\/em> is an arresting work, and it would be nice to know in which narrow-streeted, red-roofed, Central European town Grigoriev was unleashing his Mayakovsky scowl (strikes me the setting is inspired by Grand-Rue<\/em> in Nyon, Switzerland). Come to think of it \u2013 with the fag, the scowl and the black hat \u2013 the figure looks like Mayakovsky as well, so maybe isn\u2019t a self-portrait after all.<\/p>\n

The best of the three Goncharovas is her Rayonist Oarsmen<\/em> from 1912 (below)<\/em>; the best of the three Larionovs his quasi-abstract City By Night<\/em> (1912-14). The next wall starts with a Rayonist Composition <\/em>(1914) by Alexander Bogomazov. Good to find this glittering but under-rated Ukrainian artist in such elevated Avant-Garde company. The implied correlation between Larionov, Bogomazov and Rayonist Abstraction is thought-provoking, but would be more evident if City By Night<\/em> and Rayonist Composition <\/em>were hung side-by-side rather than round the corner \u2013 and if the Bogomazov were shown inside the thick black frame it had when shown by James Butterwick at Maastricht in 2016. The silver frame in Vaduz lessens its impact.<\/p>\n

\"\"

Natalia Goncharova, Oarsmen, 1912<\/p>\n

The geometric works that take over from the Bogomazov, authored by Popova, Vesnin, Kliun and Chashnik, cover the years 1916-26. The largest, at 107 x 90cm, is a Colour Composition<\/em> by Alexander Vesnin, probably the least familiar artist among the four. The deftest, a 1917 gouache-on-paper Composition<\/em> by Liubov Popova, has the feel of an origami Chinaman, anticipating Matisse\u2019s famous cut-out paper Snail<\/em> by over 40 years.<\/p>\n

A small, square, oil-on-panel Suprematist Composition<\/em> by Ivan Kliun (c.1922) involves a white circle with blurred edges on overlapping Black-and-Tan diagonals. The colour scheme probably doesn\u2019t pay homage to the constables appointed in 1920 to fight Irish Independence, but the blurred circle may pay homage to the optical experiments of Olga Rozanova in 1917 \u2013 culminating in her slightly fuzzy Green Stripe<\/em>, arguably the greatest of all Minimalist paintings.<\/p>\n

\"\"

Connecting the austere geometrics on the side-wall to the coloured exuberance of Baranoff-Rossine on the back-wall can have been no easy curatorial task. The aesthetic gap is breached by Exter, Matyushin and Jawlensky \u2013 the lynch-pin being an aggressively geometric, kaleidoscopically coloured Exter from 1921 (above)<\/em>. It is again a case, here, of two-by-two, \u00e0 la<\/em> Noah\u2019s Ark. The second Exter is a clumsy still life from 1913. Matyushin\u2019s Abstract Composition<\/em> (1919) embodies his pioneering, take-no-prisoners approach to colour-contrast; his diddy canvas from 1912, speculatively entitled Trees In Blossom<\/em>, looks like a quirky experiment in brush-wiping.<\/p>\n

A Woman with Head Bandage <\/em>(1909) by Alexei Jawlensky is more important than his Flowers in a Vase <\/em>from 1918, which could almost have been daubed by his friend and contemporary Emil Nolde. It\u2019s nice to look at Jawlenskys that aren\u2019t stylized heads, but it would have been even nicer to have a Filonov or a Petrov-Vodkin instead of a second Jawlensky \u2013 and an Elena Guro instead of a second Matyushin.<\/p>\n

\"\"

The Malevich wall features three small, early Figurative works from before 1910; two small paper sketches; and a glass cabinet containing 11 figurines and 15 architectons made from plaster (above)<\/em>. Tsarenkov obtained these from Malevich\u2019s descendants, and considers them among the jewels of his collection (the much larger architectons presented at Tate Modern\u2019s Malevich<\/em> show in 2014 were reconstitutions produced in the late 1980s).<\/p>\n

Another highlight is an ensemble of 13 works by David Yakerson: ten on paper (monochrome except for two works in paint) and three sculptures.<\/p>\n

If you want to know anything about the sensationally gifted Yakerson (1896-1947), other than that he came from Vitebsk and taught at Chagall\u2019s school, you won\u2019t find it in the catalogue (where his Cubist-Suprematist Composition<\/em> is curiously reproduced horizontally, despite being hung vertically) but in Alexandra Shatskikh\u2019s extensively researched, superbly illustrated Vitebsk \u2013 The Life of Art<\/em>, published by Yale University Press in 2007 (that said, knowledge of Yakerson\u2019s career remains scant).<\/p>\n

\"\"

Fronting the Yakerson display (above left) <\/em>is his 51cm high plaster model for a 1920 monument to the Socialist martyr Karl<\/em> Liebknecht<\/em> (executed in January 1919, when the Spartacist Uprising was crushed in Berlin). The full-size monument (above right) <\/em>\u2013 which has sadly not survived \u2013 was chiselled from half-set cement, a technique pioneered by Paris sculptor Joseph Bernard, whose Vitebsk-born assistant Oskar Meshchaninov had a brother married to Yakerson\u2019s sister. The extraordinary asymmetric pedestal inspired the base for Sergei Evseyev\u2019s statue of Lenin outside St Petersburg\u2019s Finland Station, designed in 1925 by the architectural partners Vladimir Shchuko\u00a0&\u00a0Vladimir Helfreich (best known for their constructivist Drama Theatre in Rostov-on-Don).<\/p>\n

The other Yakerson sculptures are also from 1920, and in painted plaster: a \u00a0Standing Nude<\/em> 75cm tall, and a smaller, aggressively angular Cubist-Suprematist<\/em> Figure<\/em> that looks like a design for a caf\u00e9 waitress at Prague\u2019s U \u010cern\u00e9 Matky Bo\u017e\u00ed<\/em> (House of the Black Madonna).<\/p>\n

Three more sculptures complete the show. One is a startling concoction made from iron, wood and a glass rod by Vladimir Stenberg in 1920, when he was 21. The other two are by Alexander Arkhipenko: a bronze Femme Pench\u00e9e<\/em> (c.1911), and a marble Turning Torso<\/em> (1922). It\u2019s a pity the early bronze is not placed closer to the Bogomazov painting: he and Arkhipenko were rebellious art school buddies in Kiev. In fact, no fewer than six of the artists in the show were Ukrainian (Malevich, Exter, Burliuk and Baranoff-Rossine being the others).<\/p>\n

The 63 works constitute a generous permanent loan from Vladimir Tsarenkov to the Liechtenstein Museum, where they are complemented by a reconstruction of Rodchenko\u2019s Worker\u2019s Club<\/em>, installed in 2015, and early20th century art West European art from the Hilti Art Foundation. The Liechtenstein Museum has previously staged exhibitions devoted to Chashnik\u2019s Suprematist Lexicon<\/em> (2013) and Malevich\u2019s Black Square<\/em> (2018).<\/p>\n

Tsarenkov\u2019s loan, however, concerns only part of his collection \u2013 which was shown in full in another offbeat venue, Chemnitz (ex-Karl Marx Stadt) in east Germany, in Winter 2016\/17. That show also contained The Tsar\u2019s extensive collection of Soviet Porcelain, and was accompanied by a more substantial catalogue than the lightweight effort available in Vaduz (which lacks data about provenance and exhibition history). Tsarenkov began to acquire works of the Russian Avant-Garde in the early 1980s; a number were shown at the Mus\u00e9e de Montmartre in Paris in 2002, and several at TEFAF Maastricht in 2015\/16.<\/p>\n

Russian Avant-Garde from the Tsarenkov Collection <\/em>runs at Kunstmuseum Liechtenstein until 5 September 2021. Open Tuesday\u2013Sunday 10\u20135 (Thursday till 8). Admission CHF 15<\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

BY RA+C INTERNATIONAL EDITOR SIMON HEWITT THE LAST TWO \u2018RUSSIAN AVANT-GARDE EXHIBITIONS\u2019 I reported on turned out to be not very Avant-Garde at all: a show in Mantua in 2013 (which had at least a handful of works that might have been authentic), and the infamous Toporovsky Collection in Ghent (which had none at all, […]<\/p>\n","protected":false},"author":1,"featured_media":3490,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.russianartandculture.com\/wp-content\/uploads\/2021\/07\/IMG_4507.jpg","fifu_image_alt":"","footnotes":""},"categories":[86],"tags":[],"class_list":["post-3489","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-russian-culture"],"yoast_head":"\nLIECHTENSTEIN\u2019S TSAR OF THE AVANT-GARDE - Learn Russian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/mediateka.online\/learnrussian\/liechtensteins-tsar-of-the-avant-garde.html\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"LIECHTENSTEIN\u2019S TSAR OF THE AVANT-GARDE - 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