Stories of faithful, touching, forgiving, sometimes uneasy, and sometimes difficult to explain friendship between artists in the series «Artiva».
It is difficult to imagine two more dissimilar people than Valentin Serov and Konstantin Kororin. Laconic, outwardly sullen, unhurried and thorough Serov. and Korarin-Smiley, a spoiled, extrovert: it would seem that these two were doomed at least to mutual dislike. But they converged-wave and stone, poems and prose, Ice and flame. And soon, like the Pushkin characters, became inseparable-«Serovin»-called them savva mammoths, so as not to waste unnecessary words. Sero
v and Korostin met in 1884 year in the School of painting. Serova was then 19, Korovina-23. In those days they often met in the manor of Mamontov in Abramitev.
- Valentin Serov. Winter in Abramitev. Church. 1986.
- Konstantin Kororin. The river of Vorya. Abramtsevo. 1980s.
According to numerous memoirs, the Abramtseva House of Mamattoks is represented by the Magical Palace, where the good elves sang, danced, painted pictures, embroidered with a smooth and painted ceramics in an atmosphere of endless celebration and universal love. The reality, of course, was not so similar to the story: the owners of this, certainly, hospitable house could not love all its guests the same. Savva Ivanovich, with all his kindness, no-no, and showed «merchant» Norov, especially with those who were not friendly. For example, he was able to besivrubel accustomed to the Countess Vrubel: «This wine is not for you-too expensive».
and Serova and Korin had different status and not quite equal rights in Abramitev. Serov, who often lived here as a child, loved mammoths more than biological parents, and for them was almost a son. He was at home in Abramitev. Cowin was welcome, but still a guest. And if Savva Ivanovich «Kostenka» loved, his wife-Elizabeth Grigoryevna-kept a distance: too impetuous, not serious, «bohemian».
Portrait of Savwa mamontovavalentin Alexandrovich Serov 1891 read in ARTVH: «The estate of Abramtsevo in the Faces and Destinies» (Part 1, Part 2) al
ready in the late infancy of Serov traveled to the half-Europe. At four years in Switzerland he was rolling on the Newfoundland of Richard Wagner. In nine Turgenev rescued him from the bad influence of Parisian prostitutes. In ten Serov already studied drawing at Ilya Repin-an old friend of his father (by the way, the famous composer).
Kororin was from another environment.
The son of an impoverished merchant, he grew up in the village. Disputes about art and tortural creative search for he preferred hunting or fishing, simple pleasures, to which prikipel even as a child. Already being a famous artist, in moments of crisis, he will run more than once with a gun from unfinished orders to some suburban wilderness. Or, having thrown down canvases and brushes, to shoot on Moscow yard rats.
Unsuccessful Konstantin Korovin 1880-E, 53 × 35 Smit wou
ld seem, Serov was supposed to consider the cow rustic and to converge in Abramtsevo with someone more suitable to it, if not on temperament, in the plan of seriousness of intentions-and at least with Mikhail Nesterov. But it came out exactly the opposite. Serov and Kororin somehow immediately became closer. Nesterov they were guarded and called for Eyes «Trekhlobym».
Marvelous This union perfectly illustrated the raskhozhy stereotype that opposites attract: At first sight, «Serovin» entirely consisted of contradictions.
Serov was an ascetic. According to the testimonies of his relatives, he was completely indifferent to the everyday aspects of life. He endured the need of stoically, and he tried to earn only to provide for the family. Korarin loved luxury, beautiful gestures and beautiful things, bought jewelry, he had a great number of rings and ring (for some he himself drew sketches). He was genuinely perplexed that his friend was indifferent to this kind of trinkets. And-since Serov himself such an «iron»-gave expensive brooches to his wife.
Autoportraits Valentin Alexandrovich serov1901, 49 × 35 Sm
serov dressed with needles, was always neat, well-groomed and fresh. Kororin usually looked as if it had just been awakened: hair in a mess, beard and moustache are twisted, between trousers and waistcoat is inflated with a sail shirt. Korarin's scrupulous negligence was seen by his idol, tenor Angelo Mazini. However, in his performance, the scrupulous negligence smoothly passed into ordinary sloppy.
Serov was a «great silent», that's why his words always had weight. Someone once joked that in the company Serov was so quiet imperceptible, «that it was possible to sit on it». Cowlin without incessantly joked, Balaguril, sang. He was a great storyteller. «A brilliant improviser,» said those who did not want to say directly: «Not a fool to lie.» It happened that he carried the perfect game with a very serious appearance, for example, claimed that in the Russo-Japanese war will win the Japanese, as they have «guts for fourteen Arshin longer.»
The portrait of the artist Konstantin Alekseevich Koryninalyn Alexandrovich Serov 1891, 111 × 89 S
mserov was an exemplary semyaninom, a sample of monogamy. Kororin was unhappy in marriage, and although he did not advertise his novels on the side, they were not uncommon.
Serov wrote slowly, could turn the work on someone's portrait into a never-ending marathon, equally exhausting both for the model and for himself. For slowness he scolded himself as «Kopin», and also for some reason «horse». But never gave up, worked until he was able to accurately grasp the very essence-whether it is the sun glare or the nature of some merchant. Serov was pathologically honest and direct man, he was very dear to his truth.
Maria Fedoronov Morozovsky, Serov 1897, 108 × 87.5 Smkorina not for n
othing nicknamed the first Russian impressionist-he was interested not the essence, and the mood. In the school he explained to the teachers: «You see logs, glass in the window, trees. And for me it's paint only. I don't care what stains are. » He tried to draw so, «as Mazini sang»: Guzzisto, emotionally, not craft, and a talented talent.
- Valentin Serov. Portrait of Italian singer Angelo Mazini. 1890
- Konstantin Kororin. Portrait of Italian singer Angelo Mazini. 1890
One day, working on the scenery to the next staging of the private opera of Mamontov, Kororin suddenly went out of the workshop on some business. His assistants, delighted with an unexpected respite, drank hard. In the process, someone broke a pot of whitewash. Back in the morning before the premiere, Kororin discovered that a huge white puddle was flowing along the ready landscape. And immediately turned it into garlands of white magnolias. The audience, critics, mammoths-all were delighted with the rapid cow improvisation.
But the main-striking-the contrast consisted in the fact that the Serov for the most part was gloomy and unhappy, and the cow-energetic and contagious vesel. Serov often thought about the nature of his anguish and did not find answers. Kororin has never been discouraged.
Monarchs, Grand princes, secret advisers, gray cardinals, secular mistresses, public, colleagues, jamers, sex-all respected Serova. With him were considered, before him worshiped, acquaintance with him were proud. Korarina-just loved.
Search by Alekseevich korin1917, 88 × 67 sm
samy, between friends was much more common than it seemed from the side. The harsh, completely unfunny Serova had an enviable sense of humor. And if he decided to joke, it turned out very effectively. At the same time Korarin-Smiley, Balgur, the person-holiday-was much more difficult, than tried to seem. He had a lot of tests. His father, failing to accept bankruptcy, committed suicide. His firstborn died in infancy — not least because of poverty (there was not enough money for food and medicine). Cowlin blamed himself, guilt prevented him from quitting his wife, which he had long been disliked.
To keep a cheerful light temper cost him a lot of effort. His works, which seemed to his contemporaries superficial and frivolous, were a kind of therapy-a wall, which the artist was fenced off from the grief of everyday life. Usually open and talkative Kororin did not spread about his troubles. Such cow-unhappy, offended by life-others did not know. Serov knew. Unlike Serova, Cowlin easily converged with people, easily made friends. But neither Vlybelyu, nor Shalypinu, nor his teacher Polenov he did not complain about fate. It was Serova's exclusive privilege to listen to the complaints. At such moments Korovin came to Serov from the black entrance, summoned a friend to the staircase-no one else should have heard it.
In the boat. The figures are Konstantin Alekseevich Kororin and artist Maria Vasilyevna Yakunchikovalkonstantin Alekseevich Kororin 1888, 53.5 × 42.5 smalmost from the moment of acquaintance Serov and Kororin became inseparable. From time to time, they worked together. Sometimes we traveled together. And after the studio Korovina on Dolgorukovskaya Street in Moscow have attached a separate room-specially for the workshop Serova-almost together lived.
With such close contact could not do without creative influence. But — here is a surprise — it was, rather one-sided, and was given to it usually unbent monolithic Serov. It is noticeable in sketches made during the joint Nordic travel of artists. And, of course, in the famous portrait of Korovina, written in that very workshop on Dolgorukovskaya. Next to the cow Serov, it happened, gave slack, thawed, and became a little impressionist. And sometimes-not infrequently-throwing a job, also poured on the yard rats of a kostinogo shotgun.
Oknovaventin Alexandrovich Serov 1
887 the ease with which Cowlin tried to write and live, his desire for joy was contagious. The gloomy Serov found in his irrepressible friend the same «welcome» as on the canvases of the Italian masters.
As for the influence that Serov exerted on Korarina, it was limited to records in diaries. After looking at the work of a friend, Korarin used to write something like «We need to grasp the nature». But soon his own nature took his own and instead of logs and glasses in the window again lit paints, stains, mood.
- Valentin Serov. Winter. 1898
- Konstantin Kororin. Winter. 1894
To compete with the sulfur on equal korovin not even tried. He gave to himself the report that in this company he will always be the second. And it was yet another important aspect of this unsinkable friendship. Envy, creative jealousy, competitive spirit-all this kororin was completely deprived.
In turn, the stern plausibility of the Serov's farewell to his friend that would not forgive others-a certain windiness, some irresponsibility, gentleness, give political (or any other) beliefs.
Artist CA Korovin on the Bank of Rekivalentin Alexandrovich serow1905, 36.1 × 51 Smkorin survived Serova for almost 30 years. In 1911-in the year of death of the friend-he turned 50. Korarin's Jubilee was not noted-don't was celebrated without Serova.
Author: Andrey Zimyglydov