A few words about the craft of the sculptor. Golubkina Anna - biography, facts from life, photographs, background information

GINZBURG Evgenia Semenovna (1906-1977), writer, mother of the writer Vas. Aksenova 103 Steep route. books of memoirs about "corrective labor camps" (part 1 published in 1967

abstract in the academic discipline "Culturology"

on the topic: "The work of the sculptor Golubkina A.S. (1864 - 1927)"

Plan

1. Introduction.

2. Childhood and adolescence, the beginning of professional activity.

3. Pre-revolutionary period: the rise of skill.

4. Portraits from nature.

6. New rise of creativity.

7. Conclusion.

8. List of references.

1. Introduction.

A.S. Golubkina (1864 - 1927) - the pride of Russian sculpture. The value of her artistic heritage has long been beyond doubt; she has long been recognized as a master of sculpture. The more paradoxical is the fact that there is no detailed biography of the artist and a small number of art criticism studies of her work. This is largely due to the fact that Golubkina herself prevented the collection and publication of materials about her personality and art. This is how the artist's credo was expressed: to move away from the world, from herself, in order to completely indulge in creativity. For the same reason, she did not create self-portraits, practically did not take pictures, did not pose for other artists, while she herself created a magnificent gallery of images of her contemporaries, many of whom were the largest representatives of the era, the Silver Age. It is known that V.A. Serov (1865 - 1911) begged the artist to paint her portrait, to which she resolutely refused.

A.S. Golubkina is one of those masters who renounced the joys of life for the sake of art. It was in art that she saw joy, consolation and the meaning of life. Having risen to the heights of creativity from the very bottom, she created sculptures marked by the stamp of genius.

Golubkina's works are perfect not only from the technical side. They are filled with deep meaning, spirituality and attract with high humanism. The artist, who experienced all the hardships of life, sought not to satisfy her own ambitions with the help of art, but to become the true voice of the era. She honed her skills to perfection in order to create real works of art with a free and knowing hand, in which thought, soul and sincerity would live.

Golubkina's creative code was so strict that there were no passing things in her legacy, which is a rarity. The deeply psychological portraits made by Golubkina are a kind of reflection of the spiritual life of the era. This is their enduring value, as, in fact, of all her work.

A.S. Golubkina made a significant contribution to the development of artistic pedagogy and the theory of sculpture. Without her work, it is impossible to imagine the domestic art of the first half of the twentieth century. Legacy of A.S. Golubkina is one of his brightest and most original pages.

2. Childhood and adolescence, the beginning of professional activity.

Anna Semenovna Golubkina was born in 1964 in the city of Zaraysk near Moscow in a large family. From the very beginning, the life of the future sculptor was difficult. Parents, although they kept an inn and grew vegetables in their own garden, could not fully provide for the family. The situation was complicated by the early death of his father, and the mother had to take care of herself. She was a strong and extraordinary woman. Being a simple peasant woman who did not receive any education, she was naturally endowed with an outstanding mind and a cheerful disposition. She managed to create an atmosphere of friendship and joy within the family, to accustom children to hard work. It was in such conditions that the character of A.S. Golubkina. And in the future, the mother had a huge impact on the fate of her daughter in spiritual and moral terms. She remained a devoted friend of Anna even when she became an adult and independent and grew into a large, subtle, deeply feeling the world, artist.

The years of Golubkina's childhood and youth were filled with constant work: work in the garden, help with the housework, agricultural work. In such conditions, she was unable to receive a systematic education, because she did not go to school. Later, the artist recalled that she learned to read and write from a deacon [Golubkin; eleven]. The circumstances of her life look all the more tragic, because Anna strived for knowledge with all her might. In her free time, which was very rare for her, she only did what she read, taking books from the library of her brother, who studied at a real school.

According to L.P. Trifonova, the range of issues that interested her was very wide and went far beyond the school curriculum. The assimilation of simple truths did not suit Anna, she wanted to learn how to analyze, draw independent conclusions, give her own assessments of the phenomena and processes being studied [Trifonova; four].

Even then, in early youth, Golubkina's personality traits appeared - an independent, freedom-loving nature. She did not immediately realize her vocation, at first she wanted to become a teacher, to bring enlightenment to children. However, her artistic abilities showed up even then. She painted a lot, sculpted from clay. And it so happened that the work of young Golubkina attracted the attention of people close to art, and they gave the girl advice to get an education in this direction. So Golubkina decides to go to Moscow. At first, her goal is devoid of grandiose plans: she intends to master the technique of making faience dishes and painting on porcelain. But later, thanks to the emerging qualities of the artist and a strong personality, Golubkina changes her orientation. She enters the fine arts classes of the artist-architect A.O. Gunst (1858 - 1919), and then - to the Moscow School of Painting, Sculpture and Architecture.

Golubkina's studies began rather late - at the age of twenty-five. At this age, most artists, on the contrary, are already completing their education. This circumstance was a negative factor in her career, since a lot had to be made up for, and the flexibility and ease inherent in youth had already disappeared. At twenty-five, Anna Golubkina was already a mature, established personality. But there was also a positive side to late learning, and it consisted in the consciousness with which Golubkina approached the creative process and learning. She did not receive professional skills, but embodied her own ideas, paving the way to her own place in art.

While studying at the sculpture department of the school, Golubkina stood out favorably among other students, although really gifted people studied at this educational institution. S.T. Konenkov (1874 - 1971), a classmate of Golubkina and an outstanding representative of Russian sculpture, recalled: “... She sought to find a special expression in nature ... That barely distinguishable and such a special expression that she managed to convey amazed us” [Konenkov; 48].

As emphasized by L.P. Trifonova, Golubkina has a heightened emotionality, a bright mind, a broad outlook, knowledge of life and people. That is why she grew into a true artist, a person who perceives the world subtly and deeply [Trifonova; 5]. The artistic nature of Golubkina was clearly manifested in everything, she did not stop in her creative search and development. For this reason, she continues her studies, this time at the St. Petersburg Academy of Arts in the workshop of V.A. Beklemishev (1861 - 1919).

Gradually, Golubkina's corporate style was formed, while her methods of constructing a sculptural form, the nature of modeling went beyond the traditional system. Due to the inclination towards innovation, self-will manifested, Golubkina began to have conflicts with teachers. This struggle did not give the sculptor pleasure, but she could not retreat from her positions, which is why she often fell into despair.

Golubkina made attempts to find answers to her questions in the center of the artistic life of Europe in the late 19th - early 20th centuries - in Paris. She went there, despite the lack of funds. She was provided with material and moral support by her mother, who believed in her daughter's special talent.

In Paris, Golubkina intensively studied and absorbed everything that could develop and deepen her artistic talent. She worked very hard, despite the fact that her food was meager. As a result, she began to have a nervous breakdown, and the sculptor returned to Russia in a serious condition. After treatment, she was forced to take a break from her creative activities, because the stress of work was dangerous to her health. But even inaction could not satisfy Anna Semyonovna. And then she and her sister went to Siberia to help the peasants who left the hungry provinces. Charitable work heals Golubkina, and she is again able to create.

3. Pre-revolutionary period: the rise of skill.

In 1897, Golubkina created the most significant of her early works, entitled "Iron" (bronze). This is a figure of a worker, made in a passionate and expressive manner. With the Iron sculpture, Golubkina opposed the school of academism, which had become obsolete, putting passion and rebelliousness into this work, thereby expressing a protest against evil and grief. Because the sculpture turned out so excited and impulsive. It was a very bold and important step in the work of the young sculptor, and it meant a lot to Golubkina. But at the same time, it should be understood that "Iron" is only the beginning of her innovative art. And Golubkina, being a professional, understands that not all the secrets of mastery have been comprehended by her, and without this it is impossible to move forward. And she goes back to Paris. This time she has a very definite goal: to get to study with Auguste Rodin himself (1840 - 1917). She manages to do this, although not to the full extent, since she does not have money to pay for tuition. But Rodin agreed to give her advice, compiled a program for her and checked the sketches she completed. He noticed the undoubted talent of Golubkina and treated her in a special way, because he felt in her not only a vein of genius, but also a readiness to devote herself completely to art.

A short period of study with Rodin was a very important period of formation in the creative evolution of Golubkina. Rodin helped her not only professionally, but also in the matter of gaining faith in herself, because until now almost all her teachers told her that she was on the wrong path [Kamensky; 26].

In Paris, in addition to sketches, Golubkina creates a portrait of Professor E.Zh. Balbiani and a composition called "Old Age" (1898). Rodin's model posed for this sculpture. It was from her that he blinded his famous sculpture “The One Who Was Beautiful Omier” (1885). Golubkina interpreted this topic in her own way. Unlike Rodin, who depicted the merciless action of time with great dramatic force, Golubkina puts deep compassion into her work, thereby demonstrating the quality that later became one of the main ones in her work - high humanism.

Golubkina did not stay long in France. According to her warehouse, she was primordially Russian in nature, and therefore she aspired to her homeland, with which all her thoughts were connected. Thoughts about Russia, feelings for her fate with the greatest completeness and depth were reflected in her work. And since she did not know how to speak in an undertone, her thoughts are embodied in large forms, broad generalizations, symbolic images. She compares the events experienced within herself with the eternal elemental forces of nature. This is how the sculptural compositions "Water", "Fire", "Fog", "Wave", "Earth", "Swamp" are born. They turn out to be close in character and intent to such compositions as "Sleepers", "Prisoners", "Music and Lights Away". These works are marked by the influence of Rodin, you can find imprints of symbolism and impressionism in them; they are filled with pain and despair, reflect the emotional anguish and fragility of the images.

Such moods cannot be called dominant in Golubkina's work, since she strove for vitality, for displaying real life. Obviously, in this way, the author's sympathy was expressed for suffering, humiliated and offended people; manifested her inherent high humanism. These two directions - symbolism and realism - reveal the inconsistency of the sculptor's work.

Interesting in this regard is the composition "Kochka" (1904, bronze). It reflects the popular belief in the author's small homeland that the souls of dead children move to swampy hummocks. L.P. Trifonova, commenting on the sculpture, writes: “As if two small touching creatures appear before the eyes of the viewer. They are children, almost babies. They are like two twins. Both curled up into a ball. Each has the delicate, soft body of a small child and an exorbitantly large head. The look of their forward-looking eyes is piercing, in them is a bottomless longing - longing for inaccessible happiness, their childish naivety, and almost senile wisdom, insight, bitter knowledge of life. The created images are deeply symbolic and at the same time they are tangibly concrete, full of vibrant life, truthful and authentic” [Trifonova; 13 - 14].

The above analysis of the sculptural composition shows that the works of Golubkina, like the poems of A.A. Akhmatova (1889 - 1966) can be called "compressed novels", their inner content is so deep and ambiguous. And Golubkina looks at the most acute problems of our time through the prism of symbolism.

As a symbolist, Golubkina established herself with the Fog vase (option in plaster - 1899; in marble - 1908). According to I.N. Sedova, this sculpture belongs to the mythological theme, in which the motif of duality is very clearly implemented - one of the main ones in the work of the artist. I.N. Sedova writes: “But if in most works the artist implements the binary opposition man/nature (“Earth”, “Bushes”, “Kochka”, “Puddle”, “Gorgon”), then “Fog”, according to the typology of imagery, certainly stands out from this series, since here the binary opposition acquires a new interpretation: not man/nature, but man/celestial element. The figurative binarity is emphasized by the binarity in the presentation of the material, namely, in the collision of two directly opposite methods of processing marble, and initially gypsum: the smoothed surface of the faces of the characters and the loosened swirling forms of texture, symbolizing the air element” [Sedova; 222].

The sculpture “Wave” (1903) is also symbolic. Here one of the characteristic features of Golubkina's work is revealed - the reflection in sculpture not of a state of rest, but of movement, its development in time. The sculpture seems to overcome the limits set for it, symbolizing the stormy and restless time in which its author lives. Golubkina conveys the impression of a gradually growing and impending wave, which gradually arrives from the depths and rises furiously on the surface of the relief. Golubkina managed to create a high shaft of bronze, foaming and bubbling water. This image of the raging elements is a symbol of the troubled state of Russia at the beginning of the 20th century. Golubkina's contemporary A.A. perceived the era in approximately the same context. Blok (1880 - 1921), who foresaw "unprecedented changes" and "unheard of revolts" [Blok; 132]. The bas-relief "Wave" entered the architectural appearance of Moscow - it was installed on, built by the architect F.O. Shekhtel (1859 - 1926), the building of the Art Theater.

In 1903, Golubkina created the sculpture "Walking" (bronze), which is a portrait of a new person - her contemporary. The figure of the depicted person is far from the ideals of male beauty, it is rude and somewhat awkward. In its proportions there is no harmony and lightness. On the contrary, it is squat and heavy, and seems to be a protest against ancient statues depicting beautiful gods and heroes. The irregularities of the sculpture do not mean the author's imperfections, but are traces of the living touch of his hands, part of the concept of the work. Therefore, there is a different beauty in “The Walking One” - this is the beauty of character and a clear individuality, a living person who was seen by a talented and unique artist in his originality. “”Walking,” writes V.I. Kostin, - outgrows the framework of the etude of the naked body, acquires a deep meaning" [Kostin; 88]. In The Walking One, the impressionistic style characteristic of Golubkina in the initial period of creativity clearly comes through.

Close in concept to the "Walking" work is the sculpture "Slave" (1909, wood). But if in "Walking" expression and movement are conveyed through the body, in the new work the author has focused on the face. The hero of Golubkina is a forced, reduced to the level of a downtrodden creature, devoid of a spiritual beginning. It is obvious that his only destiny is slave labor. But the strength of the author's skill is such that she was able to show the origin of thought in this creature. Let slowly, clumsily, but both thought and consciousness awaken in him. Like a flaring spark, the thought “uncontrollably and powerfully captures his whole being” [Trifonova; 17]. Gradually, the rough features of his face begin to fill with spirituality and light, an unprecedented strength grows. To convey such an inner movement in sculpture is an undoubted manifestation of the genius of Golubkina, the sculptor.

To some extent, the development of the theme of modernity and major social events, including revolutionary ones, is completed by the work “Seated” (1912, plaster). The rebellion of a slave is opposed here by other qualities: calmness, endurance, inner composure, willpower. The grain of this image should be called extraordinary internal energy, clarity of thought, which is clearly expressed in the sharply defined, masculine features of the hero's face. He is "sitting" only up to a certain point. A little time will pass, and the hero will get up to go into any, even the most dangerous battle for his ideas.

Golubkina confirmed her revolutionary views not only with art, but also with active social activity, she was arrested several times. For this reason, it was she who was the author of the first in Russia sculptural portrait of Karl Marx (1905, plaster), which opened a new important stage - the portrait line in the work of A.S. Golubkina.

4. Portraits from nature.

Portraits sculpted from life are a real element in the artistic activity of the artist. They have extraordinary power and depth. From nature, she created a whole gallery of magnificent images, which included people of various social strata - the intelligentsia, workers, the aristocracy, financiers, individuals with a difficult fate. They are not similar to each other, differ in diametrical characters and bright individuality. Some of the people they met attracted the attention of the artist themselves, and some ordered their portraits to the now famous sculptor.

Golubkina's work on the portrait underwent a complex evolution. Before sculpting, she always studied her model for a long time and carefully, trying to comprehend the character and the spiritual world. She needed to penetrate the model with sympathy, even love. Only after that she began to work on the portrait, filled with knowledge about the person. Therefore, Golubkina's works in this genre outgrow the boundaries of the usual external resemblance. They turn out to be a revelation of the unique spiritual world of a person.

A special factor in the sculptural portraits of Golubkina is the attitude towards the prototype of the author himself. The interpretation of personality in these works does not raise doubts among the viewer. And at the same time, the author's assessment is far from an impartial assessment. Golubkina always invested her attitude in the portrait, and not necessarily positive. In the gallery of portraits of the author, you can find a whole range of feelings: sympathy, hostility, hatred, love, friendliness, indignation, etc. At the same time, Golubkina the artist does not simplify the nature of the model, but conveys it in all its diversity and contradiction.

Golubkina's sculptural portraits combine fresh impressions and careful thoughtfulness. The most used material in this genre is clay, but bronze and gypsum (casting) are also found. True masterpieces of sculptural portraiture are such works by Golubkina as Marya (1905, clay, bronze, later in marble), Ivan Nepomniachtchi (1908, clay). Here, the individuality of the appearance with distinctly expressed unique features grows into a significant image.

The face of Ivan Nepomniachtchi is sculpted with true inspiration. L.P. Trifonova writes: “The plastic language of Golubkina achieves here extraordinary expressiveness, flexibility, acquires a wide range of shades, and the plasticity of the face is created either by sharp, contrasting juxtapositions of form, then by subtle transitions, then by small fractional strokes that form a complex immobile mass, sliding chiaroscuro, quivering vibration light” [Trifonova; 22].

Thanks to the masterful use of these techniques, Golubkina achieves the effect of a "living" sculpture, in which not only the face is humanized. In the portrait of Ivan Nepomniachtchi, the viewer sees a living soul. The hero of Golubkina is a middle-aged and ugly man, tired of life; his face looks tired and haggard, his eyes - half-sighted and even extinct. But the inner life of this man did not die out. The consciousness, and kindness, and the beauty of the soul still glimmer in him. The image of Ivan Nepomniachtchi is the image of the entire Russian people who have endured many sufferings, but have not lost their spirituality and purity. Thus, this sculptural portrait acquires universal human value.

The image of Marya echoes the previous portrait in its ideological design. In it, Golubkina sang the Russian peasant woman, giving her appearance lyricism and warmth. Next to this image of a toiler, the portrait of L.I. Sidorova (1906, marble). Here Golubkina finds other colors and techniques, introduces the viewer into another world. This woman is not an easy worker, and her personality is complex, somewhat arrogant, but very strong and smart. It is impossible to break her, but in addition to strength and intelligence, the viewer can catch other shades of her personality - irony and insight.

In addition to marble, bronze and clay, Golubkina was able to reveal the magnificent structural qualities of another material common in sculpture - wood. She managed to fully embody his expressive possibilities. The artist created a large number of works in wood. One of the best among them is the portrait of the writer A.M. Remizov (1911). Charles Baudelaire (1821 - 1867) defined the art of the portrait as "a dramatized biography of a model", as "the disclosure of the natural drama inherent in man" [Baudelaire; 233].

Sculptural portraits of Golubkina are the best confirmation of this peculiar designation. She managed to penetrate Remizov's inner world, to understand his complex essence and character. In the portrait of Remizov, his confusion, rebelliousness, passion, despair, colossal tension of thought, desire to find the truth are quite clearly expressed.

It is noteworthy that when creating the image of this writer, Golubkina turned specifically to the tree, which under her hands literally spiritualized, came to life, ceased to be a dead material. The personality of the writer is embodied by Golubkina in all her life's inconsistencies.

The power of talent and realism A.S. Golubkina appeared in sculptural portraits of many outstanding writers and poets of Russia: M.Yu. Lermontov (1900), S.T. Morozov (1902), A. Bely (1907), A.N. Tolstoy (1911), S.T. Morozov. These works are of great importance for the national culture of Russia, helping to better understand the personalities of great people.

5. Activities Golubkina during the First World War.

The outbreak of the First World War (1914 - 1918) tragically affected the worldview and fate of A.S. Golubkina. Sculptor Z.D. Klobukova (1887 - 1968) recalled that Golubkina was haggard from this news in a few days: “After all, it’s terrible,” she said, “to be left without eyes, without arms, without legs - it’s better to die! And families without breadwinners” [Zagorskaya; 44].

Having survived the first impressions of the war, Golubkina decides to bring real help to the country. To do this, she arranges an exhibition of her works, the proceeds from which she sends in favor of the wounded. This exhibition was opened at the Museum of Fine Arts. It featured one hundred and fifty works. The exhibition itself attracted great attention of Muscovites, and several thousand citizens visited it. Thus, the work of Golubkina became known to wide circles of Russian society. All the works presented at the exhibition allowed the audience to appreciate the talent of the artist at its true worth. But this circumstance did not improve the quality of her life.

Creative tension, constant unrest, a half-starved existence, being in prison for political reasons, a hunger strike - all this had a negative impact on Golubkina, and her health was severely undermined. A serious illness for a long time chained Anna Semyonovna to bed. Being a true artist by her calling, she could not imagine her life without creativity. But due to illness, she was forced to stop working, which became the most difficult period in her life. And then she turned to the plastic of small forms, creating models for figurines, children's toys, ivory miniatures and sea shells.

The revolution of 1917 opens a new period in her life. Despite her illness, she takes an active part in measures to protect ancient monuments, to eliminate child homelessness, and teaches at the Higher Artistic and Technical Courses created already in the Soviet period.

Golubkina devotedly taught, showing great sensitivity to the work of emerging artists. For them, she creates a kind of instruction called "A few words about the craft of the sculptor", which in fact was a fascinating analysis of the art of plasticity and a very interesting reflection of a great master on the laws of artistic creativity. This small work is of value not only for sculptors, but also for other representatives of the fine arts.

Analyzing in detail the foundations of sculpture and focusing on its basic laws, Golubkina emphasizes that this is not the main thing in sculpture. What she describes is just a guide to action, a starting point. The main thing is an independent action, one's own self-expression and perception of the model. Golubkina warns against blindly following the teacher's instructions, as this kills creativity in a young artist, which is unacceptable. The development of creativity is the first task facing the teacher and the student.

Both the pedagogical and artistic heritage of Golubkina convince us today that she was a true realist. In the tense and controversial 20s of the twentieth century, when traditions and foundations were overthrown, she defended the positions of realism.

6. New rise of creativity.

In 1922 A.S. Golubkina underwent an operation, and she was able to return to her previous work, to a large form. She took part in the competition for the monument to A.N. Ostrovsky, made portraits of T.A. Ivanova, I.I. Bednyakova, G.A. Savinsky, V.G. Chertkova, L.N. Tolstoy.

The best creation of these last years Golubkina was the portrait of the master molder G.A. Savinsky (1925, plaster). He himself cast her works, and to some extent he could be called an accomplice in creativity. Golubkina created a portrait of her assistant in record time - in two hours. Here, not only skill, but also innovation of the artist was manifested: the portrait opened a new stage of creativity. The tragic perception of the world and pain, the desire to free the human soul from captivity remain in the past. Savinosky's portrait is made in a different mood. It feels the confident and light hand of a professional sculptor, somewhat similar to the hand of a musician.

Golubkina's new hero is cheerful, his face lit up with a radiant smile. This is a real hymn to life and work. It is obvious that the changed system impressed Golubkina, who got out of the very bottom. Now she interprets a person in a new way, seeing him as clear, harmonious, optimistically perceiving reality. This will be the mood of all her sculptural portraits of this period.

It is interesting that the later work of Golubkina, although it is the antithesis of the early one, at the same time logically continues it. This refers to a deep penetration into the image, which was characteristic of Golubkina the sculptor, no matter how she looked at the world around her: tragic or optimistic.

The last work was a portrait of L.N. Tolstoy, which was a true masterpiece of the master. Premature death did not allow Golubkina to complete the portrait of the great writer, but even unfinished, he makes the deepest impression on the viewer, he clearly feels “the mighty talent of the sculptor, her excited soul, confident strong hand, bringing to life the image of a brilliant writer” [Trifonova; 35].

This work was not accidental in the creative life of Golubkina. The image of L.N. Tolstoy - the greatest artist of the word and truth seeker - has long worried her, like many representatives of the Russian intelligentsia, because it is difficult to overestimate his importance for Russian culture. Bowing before his talent, Golubkina thought a lot about his moral credo - non-resistance to evil by violence, trying to decide for herself whether such a worldview is correct. Independent in her judgments and views, Golubkina always tried to reach everything herself, often disagreeing with the generally accepted point of view.

In maturity, Golubkina was looking for a meeting with L.N. Tolstoy. His passionate spiritual and social quest was in tune with her own quest. The meeting of the two artists nevertheless took place, and during it Golubkina, according to her habit, began to argue with Tolstoy, directly expressing her disagreement with his theory of non-resistance. This meeting had a huge impact on the artist, contributed to the formation of the image of the writer in her imagination. What she said under the impression of the meeting “Tolstoy is like the sea…” became the basis for the concept of the future sculpture [Golubkin; 78].

Working on the image, Golubkina tried to find an expression of that passionate and huge element that she saw in him. She wanted to convey not only the elements, but also freedom, freedom. For this reason, the composition of the portrait is solved powerfully and widely, and the movements of the plastic masses are conveyed as a swaying, which is affected by an invisible volcanic force. All this suggests that the artist saw in Tolstoy a genius, a titan, wholly and completely embraced by the recalcitrant element of thought.

In parallel with the work on the portrait of the writer Golubkina was preparing an exhibition of her works. Her goal was to make and arrange the exhibition as best as possible, so the preparation process was lengthy. The artist changed the exposition, trying to ensure that every small detail turned out to be a harmonious part of a single idea. Golubkina realized that the wrong arrangement could ruin the whole impression. But, preparing for the long-awaited exhibition, she did not calculate her strength. Moving a heavy sculpture, she strained herself and fell ill again.

Her next mistake was ignoring the doctors. Arriving to her relatives in Zaraysk, Anna Semyonovna hoped for fresh air and native walls. They might have helped her if Golubkina had not taken part in the harvest. A sharp deterioration came almost immediately, it was not possible to save her. On September 7, 1927, the outstanding sculptor of the twentieth century A.S. Golubkina died, bequeathing all her work to the state.

7. Conclusion.

So, the creative path of A.S. Golubkina was difficult, but still led her to success. She belonged to that small cohort of Russian sculptors who broke the established dead canons and paved the way for the big, real truth in the art of plastic art. Golubkina's work was permeated with true transformative pathos and sincerity. She had to fight hard to defend her concept. But it was in this struggle that her skills were honed, and a new artistic language was developed. The efforts of Golubkina, as well as other outstanding sculptors - S.T. Konenkov (1874 - 1971), P.P. Trubetskoy (1866 - 1938), N.A. Andreev (1873 - 1932) and others - led to the revival of sculpture in Russian art.

Starting as an impressionist and symbolist, Golubkina, as a result of creative evolution, came to realism. Her creative heritage is really great. At the beginning of the 20th century, her works passed the severe test of time, but they withstood it. They continue to live even now, participate in the lives of other generations, allow new connoisseurs of art to identify other, previously invisible features in them. This proves that Golubkina's sculptures have not lost their significance, and today, when social upheavals have not disappeared anywhere, they continue to live and remain relevant.

8. List of references.

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11. Lukyanov S.I. Golubkina's life. - M.: Children's literature, 1965. - 112 p.

12. Sedova I.N. Plastic and verbal in Russian symbolism. Creative parallels of Anna Golubkina, Alexei Remizov and Mitrofan Rukavishnikov // Tretyakov Readings 2014. Proceedings of the reporting scientific conference. - M., 2015. - 480 p.

13. Trifonova L.P. Anna Semyonovna Golubkina /L.P. Trifonova. - L.: Artist of the RSFSR, 1976. - 55 p.

The Silver Age gave Russia not only great poets, but also no less outstanding architects and sculptors. Anna Golubkina is one of the leading masters of this period. This student of Auguste Rodin was characterized by features of impressionism, but they did not turn out to be self-sufficient - they did not limit her to a narrow circle of formal plastic tasks. In her works, deep psychologism and social coloring, drama, internal dynamics, sketchiness and features of symbolism, an avid interest in a person and the inconsistency of his inner world are evident.

Anna Semyonovna Golubkina was born in 1894 in the city of Zaraisk, Ryazan province (now the Moscow region) into a philistine family that worked in gardening. While working at weeding, she sculpted expressive clay figures as a girl. As Golubkina herself said, she was born at night during a fire, so her character is a fireman. Possessing a powerful artistic temperament and rebellious soul, at the age of twenty-five she left for Moscow, entered the Classes of Fine Arts organized by A. O. Gunst (1889-1890), where her abilities were noticed by the famous sculptor and teacher S. M. Volnukhin. In 1891 she entered the Moscow School of Painting, Sculpture and Architecture and studied there until 1894 under the guidance of S.I. Ivanov. In the same year, she studied for several months at the St. Petersburg Academy of Arts with V. A. Beklemishev. At that time, her talent seemed to the mentors too spontaneous and unbridled. Despite the material difficulties, she went to Paris three times. In 1897, she was lucky: O. Rodin himself agreed to give lessons to the "Russian savage". Even before the revolution, Golubkina's work was classified among the largest phenomena of domestic sculpture. The hands of one of the most famous Russian female sculptors made many works that have become classics of easel sculpture. Works are in major museums and collections (Tretyakov Gallery, Russian Museum and others). She left a whole gallery of sculptural images of famous contemporaries.She taught at the Moscow Commercial School (1904-1906), at the Prechistensky working courses (1913-1916) and at VKHUTEMAS (1918-1922). Author of the book "A few words about the craft of the sculptor.". She died in Zaraysk in 1927, where she was buried in the city cemetery.

A.N. Golubkina rented house 12 on Bolshoi Levshinsky Lane as a workshop in 1910, when she was 46 years old. Many of her masterpieces were born in this workshop. House of a typical post-fire building in Moscow (first quarter of the 19th century). It is known about him from the "Notes of a Survivor" by S.M. Golitsyna, who in his childhood lived here for a short time with his relative, Prince A.M. Golitsyn. "MWe moved to house number 12 on Bolshoi Levshinsky Lane, where we occupied the low rooms of the mezzanine. Thanks to the authority of grandfather Vladimir Mikhailovich, the father was chosen as a vowel, and only a Moscow homeowner could be a vowel. Grandfather Alexander Mikhailovich gave him a notarized power of attorney. Subsequently, after the revolution, the father could not prove in any way that he was not a Moscow landlord.In the front rooms of the lower floor there was a bedroom of grandparents, a living room, a large hall.The museum in this house was opened in 1932 through the efforts of her older sister Alexandra Semyonovna. And niece Vera Mikhailovna became the first director of the museum. Such a tolerant attitude of the authorities towards the artist of the Silver Age is explained by the fact thatA.N. Golubkina was the author of the first bust of K. Marx (1905).

The museum worked until 1952, when, on the initiative of E. Vuchetich, it was closed, and the collection was transferred to the Tretyakov Gallery, the Russian Museum, etc. I do not know the re-drinking of the events of those years, but I cannot unequivocally blame it. In my opinion, sculptural works, especially of a monumental nature, collected in a limited space, give the impression of crowding and do not reveal their artistic essence. You can see it in this photo. The museum was restored in 1976 as a branch of the Tretyakov Gallery in the same building. However, the exhibits, as I understand it, not all returned. Returnees are exhibited mainly on the first floor. Here the sculpture "Walking" immediately draws attention to itself. Either Adam, or Golem, or proletarian. HerselfA.N. Golubkina said a single phrase about her formidable creation: "He goes and sweeps away everything in his path."

On the second floor there is a memorial workshopA.N. Golubkina. Here her inscription meets: "Already if a person is carried away by art, he will not fill this thirst forever." Authentic instruments, stands, a rotating full-scale machine, and unfinished works on the shelves have been preserved. Anna Semyonovna worked with different materials - marble, wood, bronze. But clay was my favorite. In the corner of the workshop there is a box with silver-gray Zaraisk clay, which the sculptor valued for its fine texture and noble soft color. The master selected the tools for working on marble and wood with particular care. She brought many of them from foreign trips, such as, for example, a dotted machine for translating works into solid material.

On the second floor there is also a small hall for events (formerly a room for classes with students). Great work on display hereA.N. Golubkina "The Last Supper" (1911) - visible in the background, and also shown on the first page. The high relief, based on the gospel story, does not fit into the canonical norms of Christian iconography. it is devoid of descriptiveness and everyday details. Golubkina gives the event a timeless and extra-spatial character. The restorers revived it almost from non-existence: it was split into small parts. In general, the premises of the museum make a rather depressing impression and clearly require a good repair. As the director, Irina Sedova, told me, the Tretyakov Gallery already has certain plans for its branch. It remains only to wait until they are implemented.

And now a small overview of the exhibits. Let's start with the famous sculptural portrait of L. Tolstoy (bronze in 1927), commissioned by the museum named after him. He is in the workshop. It was Golubkina's last completed masterpiece. She met the writer only once, but her memory tenaciously kept the image, and after 24 years she refused to work from photography. At that time she was already over sixty, and the work required great physical effort. Despite this, five variants were made. "Tolstoy as the sea" - the sculptor repelled from this formula. The writer's gaze is tense and piercing - "like a hunted wolf," as Golubkina once noted in a conversation.

Very interesting work "Kochka" (1904 bronze). A unique combination of statuary form and high relief. To read the idea, the round statuary form requires the viewer to turn around and change points of view. The models for the composition were Golubkina's little nieces - Alexandra and Vera (the future director of the museum). Their posture and facial expressions were noticed when the babies were washed in the bath and one of them got soap suds in their eyes.

"Nina" (1907 marble) Nina Alekseeva, a general's daughter, was Golubkina's countrywoman. In 1906, she returned from the Russo-Japanese War, where she left as an 18-year-old nurse. Golubkina looked closely at Nina for a long time, she wanted to understand how she lives. This is one of the portraits that the sculptor made. approaching nature. In the wrong face of the girl, determination and pressure. But Golubkina wanted to convey in it the "Echo of Suffering" that Nina saw in the war. “Revealing the idea of ​​essence by recreating the main thing in its entirety and ignoring the details of real everyday life is the highest realism,” wrote Golubkina. She apologized to the model for the relative portrait resemblance - "After all, this is not just a portrait!". And it turned out to be right. Over time, Alekseeva became more and more like a portrait.

"Prisoners" (1908 marble). Prisoners of life - this is the meaning Golubkina put into this symbolic work. The heads of the children seem to be trying to escape from the yoke of the stone block. The sculptor found such an expressive composition that the viewer thinks of the plot. It seems as if the mother wants to close and protect her children. Interesting. that for the exhibition in 1944 this work gathered especially many spectators.

"Vyacheslav Ivanov" (1914 bronze) - crafty philosopher. who created a myth out of his life. The poet in the portrait is similar to the image that he described in the poem "Watchman", dedicated to Velimir Khlebnikov.

Measure right, weigh right
I want hearts - and in a viscous look
I dip my eyes, slyly
Stele, like a net. talk

Golubkina did not agree to take even very yearly orders. if she could not get carried away by the inner world of the heroes of her portraits. Many of them are created on her own impulse and completely free of charge.

"Andrey Bely" (1907 plaster). The portrait of the symbolist poet was also created not by order. This is a bust of a man "who exchanged roots for wings." "A captive spirit that has not found flesh" - this is how his contemporaries spoke of him. Golubkina created this image based on the poet's poems. This idea is served by a bold compositional technique: the poet's head appears against the backdrop of a rising wave. He is in the power of the element of creativity, breaking out beyond the limits of the material flesh.

"Mitya" (1913 marble). The expression of doom lies on this marble statue. Mitya was Golubkina's nephew. he was born sick and died before he was a year old. A special feeling of pity and guilt will pierce everyone who stops in front of this fragile figure. This work is exhibited in the studio, on a special easel. She embodied the painful feeling of her unfulfilled motherhood. The contours of the mother's hands holding the baby are barely outlined. It creates a feeling of gentle vibration of light. The words of the sculptor become clear: "The art of bound hands does not like it. One must come to it with free hands ... Art is a feat, and here you need to forget everything, give everything away." So she did in her life, despite the fact that she dreamed of having children and loved them very much. According to eyewitnesses, Golubkina deliberately delayed the completion of this work. She seemed to be afraid of losing tactile contact with this marble relief.

"Old Age" (1898 plaster). This work was done by Golubkina in Paris. She invited the model who once posed for Rodin for his sculpture "The one who was beautiful Olmier". If the teacher Golubkina had a ruthless, naturalistically defiant portrait, then she has a completely different meaning. The pose of the embryo emphasizes the theme of the spontaneous cycle of life and death, and the pedestal, a simple earth, symbolizes the place of temporary respite in this vicious, inexorable circle.

"Fire" (1900 plaster), a female figurine for a fireplace. The composition represents an image of a rough cave, where primitive people are warming themselves at the entrance: a man and a woman. Golubkina boldly deforms the figures, thickening the shadows in the woman's eyes. You catch a sense of invisible danger in the compressed figure. Trembling is felt. permeating this primeval being. Light, along with volume, becomes an active means of expression. This sculpture is so plastically contagious that viewers often try to reproduce the poses of the heroes of "Fire".

"Birch" (1927). The workshop holds a bronze casting from Golubkina's last unfinished work, the Birch etude. This is just a reflection of a great design: a statue of a girl in full human growth, resisting the pressure of the wind. The combination of fragility, resilience and perseverance in resisting the elements conveys the meaning of the fate of the modest and great sculptor - the vulnerable and selfless Anna Golubkina.
The review is based on an article by art historian Marina Matskevich "One, but a fiery passion."