俄國藝術收藏家 George Costakis (科斯塔基斯 1913~90 ) .
Bruce Chatwin, 蘇聯蘇聯藝術收藏家 George Costakis (科斯塔基斯 1913~90 ) 的故事；
俄國是西方20世紀的發源地及其思想
Moscows Unofficial Art, / George Costakis: The Story of an art collector in the Soviet Union.
俄國20世紀西方藝術收藏史
About
Born: July 5, 1913, Moscow, Russia
Died: March 9, 1990 (age 76 years), Athens, Greece
George Costakis 1913~90 Collections. Bruce Chatwin, Moscows Unofficial Art, / George Costakis: The Story of an art collector in the Soviet Union 【#Art and Design 國際週報】005：俄國傳奇藝術品收藏故事，以H. Matisse 作品為主： Collecting Matisse. Voyage into Myth. The Collections Of Sergei Shchukin And Ivan Morozov. Matisse and Russian Icons
George Costakis: The Story of an art collector in the Soviet Union
- Bruce Chatwin, Moscows Unofficial Art, Sunday Times, 6 May 1973
Timeline
1977
George Costakis donated 834 visual art worksto the State Tretyakov Gallery: 142 paintings and 692 graphic works; 51 icons, religious embroideries, and fresco fragments to the Andrey Rublev Museum of Ancient Russian Culture and Art; and 230 Russian folk toys made of clay, wood, bone, papier-mâché, and other materials to the Soviet Ministry of Culture (which later ceded them to the Tsaritsyno Museum-Reserve).
2000
The Greek government purchased from the Costakis family 1,277 works brought by Costakis from Russia which can now be found at the Thessaloniki State Museum of Modern Art.
2013
The collector’s daughter Aliki Costakis donated over 600 works and archival documents of Anatoly Zverev from George Costakis’ collection to AZ Museum.
At first he worked as a driver for the Greek Embassy until 1939, when relationships between Russia and Greece broke down due to the Molotov–Ribbentrop Pact. After that he took up work as Head of Personnel for the Canadian Embassy.
In the early years of the 20th century the cultural and political climate of Europe as a whole was in a state of change with a cross-fertilisation of ideas across national boundaries. Many French cubist and Italian futurist works were being brought into Russia and exhibited.
Stalinism
[edit]At first the Bolshevik Revolution under the leadership of Vladimir Lenin supported the new abstract art but from 1920 onwards the freedom of artists in Russia was increasingly curtailed. Many artists wanted their work to contribute to the creation of a new society whilst others, for example the Suprematists continued to work independently.
Lenin died in 1924 and Joseph Stalin who succeeded him as leader of the Communist Party of the Soviet Union, brought about another art ideology. In 1932 socialist realism became the official state policy. It was within this political environment that Costakis experienced the development, suppression and final disintegration of the older art culture in Russia.
The Costakis Collection
[edit]At first Costakis had collected the Masters of the Dutch School of Landscape Painters but modernist works by Pablo Picasso and Henri Matisse soon became his main subject, then in 1946 he came across three paintings in a Moscow studio by Olga Rozanova . He described how, in the dark days after the war these brightly coloured paintings of the lost Avant-Garde:
- "... were signals to me. I did not care what it was... but nobody knew what anything was in those days." (Chatwin, 1977)
He was so struck by the powerful visual effect of the strong colour and bold geometric design which spoke directly to the senses, that he was determined to rediscover the Suprematist and Constructivist art which had been lost and forgotten in the attics, studios and basements of Moscow and Leningrad.
He hunted for 'lost' pictures, some that were rolled up and covered with dust. He met Vladimir Tatlin and befriended Varvara Stepanova. He tracked down friends of Kasimir Malevich and bought works by Liubov Popova and Ivan Kliun. He particularly admired Anatoly Zverev, Russian expressionist whom he met in the 1950s. Costakis said about Zverev "it was a source of great happiness for me to come into contact with this wonderful artist, and I believe him to be one of the most talented artists in Soviet Russia."
By the 1960 the apartment of George Costakis in Moscow had become a meeting place for international art collectors and art lovers in general: Russia's unofficial Museum of Modern Art. The 'détente' period following the signing of the Paris Peace Accords in 1973 opened up Russia once again to international cultural exchanges the first of which was the showing of the Costakis Collection in Düsseldorf in 1977.
The same year Costakis, with his family, left the Soviet Union and moved to Greece, but there was an agreement that he should leave 50 per cent of his collection in the State Tretyakov Gallery of Moscow. In 1997 the Greek State bought the remaining 1,275 works. They are now a part of the permanent collection of the State Museum of Contemporary Art, in Thessaloniki, Greece.
20 世紀初期，整個歐洲的文化和政治氣候正處於變革狀態，思想跨越國界交叉傳播。許多法國立體主義和義大利未來主義作品被帶到俄羅斯展出。
史達林主義
起初，弗拉基米爾·列寧領導下的布爾什維克革命支持新抽象藝術，但從1920年起，俄羅斯藝術家的自由日益受到限制。許多藝術家希望他們的作品能為新社會的創建做出貢獻，而其他藝術家，例如至上主義者，則繼續獨立工作。
1924年列寧去世，繼任蘇聯共產黨領導人的約瑟夫·史達林帶來了另一種藝術意識形態。 1932年，社會主義現實主義成為官方國家政策。正是在這樣的政治環境下，科斯塔基斯經歷了俄羅斯舊藝術文化的發展、壓制和最終瓦解。
科斯塔基斯系列
起初科斯塔基斯收藏了荷蘭風景畫家學院的大師作品，但巴勃羅·畢卡索和亨利·馬蒂斯的現代主義作品很快就成為他的主要題材，然後在1946年他在莫斯科的工作室裡看到了奧爾加·羅扎諾娃的三幅畫作。他描述了在戰後的黑暗日子裡，這些色彩鮮豔的畫作是如何描繪失落的前衛派的：
“……對我來說是信號。我不在乎那是什麼……但當時沒有人知道那是什麼。” （查特文，1977）
強烈的色彩和直接傳達感官的大膽幾何設計所產生的強大視覺效果給他留下了深刻的印象，他決心重新發現在莫斯科的閣樓、工作室和地下室中丟失和遺忘的至上主義和構成主義藝術。
他尋找「遺失」的照片，其中一些被捲起來並佈滿灰塵。他結識了弗拉基米爾·塔特林並與瓦爾瓦拉·斯捷潘諾娃成為朋友。他找到了卡西米爾·馬列維奇的朋友，並買了柳博夫·波波娃和伊凡·克林的作品。他特別崇拜他在 20 世紀 50 年代結識的俄羅斯表現主義畫家阿納托利·茲韋列夫 (Anatoly Zverev)。科斯塔基斯談到茲維列夫時說：“與這位出色的藝術家接觸對我來說是一種巨大的快樂，我相信他是蘇維埃俄羅斯最有才華的藝術家之一。”
到 1960 年，喬治·科斯塔基斯 (George Costakis) 位於莫斯科的公寓已成為國際藝術收藏家和一般藝術愛好者的聚會場所：俄羅斯非官方的現代藝術博物館。 1973 年巴黎和平協定簽署後的「緩和」時期使俄羅斯再次向國際文化交流開放，其中第一次是在 1977 年在杜塞爾多夫展出科斯塔基斯收藏。
同年，科斯塔基斯與家人離開蘇聯移居希臘，但雙方達成協議，他應將 50% 的收藏留在莫斯科國立特列季亞科夫畫廊。 1997 年，希臘政府購買了剩餘的 1,275 件作品。現在它們是希臘塞薩洛尼基國家當代藝術博物館永久收藏的一部分。
******
2022.04【#Art and Design 國際週報】005：俄國傳奇藝術品收藏故事，以H. Matisse 作品為主： Collecting Matisse. Voyage into Myth. The Collections Of Sergei Shchukin And Ivan Morozov. Matisse and Russian Icons
Now that an exhibition at the Fondation Louis Vuitton is over, 200 artworks owned by the Russian state will be returned to the country.4.7.2022
這張的收藏史很可能是屬於"俄國傳奇藝術品收藏故事"。
"Corner of the Artist's Studio".(1912)
By Henri Matisse.French painter
Pushkin Museum of Fine Art/Mosco
By Henri Matisse.French painter
Pushkin Museum of Fine Art/Mosco
9. The Morozov Collection
Fondation Louis Vuitton, Paris, 13 October 2020 – 15 March 2021
In autumn the Fondation Louis Vuitton presents masterpieces from the collections of Mikhail and Ivan Morozov, Russian brothers and entrepreneurs who amassed a treasure trove of Impressionist and Post-Impressionist work before the Revolution: an astonishing assortment of Monets and Matisses, Pissarros and Picassos. They were more discriminating even than their contemporaries Sergei and Pyotr Shchukin, whose own horde of avant-garde wonders wowed the art world at the Fondation in 2016. KG
In autumn the Fondation Louis Vuitton presents masterpieces from the collections of Mikhail and Ivan Morozov, Russian brothers and entrepreneurs who amassed a treasure trove of Impressionist and Post-Impressionist work before the Revolution: an astonishing assortment of Monets and Matisses, Pissarros and Picassos. They were more discriminating even than their contemporaries Sergei and Pyotr Shchukin, whose own horde of avant-garde wonders wowed the art world at the Fondation in 2016. KG
【#Art and Design 國際週報】005：俄國傳奇藝術品收藏故事，以H. Matisse 作品為主： Collecting Matisse. Voyage into Myth. The Collections Of Sergei Shchukin And Ivan Morozov. Matisse and Russian Icons
1987年Henri Matisse (1869~1954)的兒子Pierre Matisse (1900~89)
和孫女，特地去聖彼得堡的"冬宮博物館 Hermitage Museum
"看父親/祖父為媽媽/嬤嬤的的畫像。
俄國傳奇藝術品收藏故事，以H. Matisse 作品為主： Collecting Matisse. Voyage into Myth. The Collections Of Sergei Shchukin And Ivan Morozov. Matisse and Russian Icons
讀Voyage into Myth (2002 )第四章
Sergei Shchukin and Ivan Morozov :Two Legendary Collectors
Voyage Into Myth: French Painting from Gauguin to Matisse from the Hermitage Museum 平裝 – 2002
Nathalie & Francine Lavoie (curators) Bondil (Author), Profusely illustrated (Illustrator)
***
查看該圖像"The Dessert: Harmony in Red" (The Red Room ) 1908 Matisse’s Fauvist period.🎨🇲🇫️ Oil on canvas 180,5x221 cm Hermitage Museum in St. Petersburg.🏛️️🇷🇺️ In his Paris studio with its windows looking out over a monastery garden, in 1908 Matisse created one of his most important works of the period 1908-1913: "The Red Room". The artist himself called this a "decorative panel" and it was intended for the dining room in the Moscow mansion of the famous Russian collector Sergey Shchukin. Matisse turned to a motif common in the works created that year: a room decorated with vases, fruits and flowers.
Collecting Matisse (English) Hardcover – 三月 17, 1999
Rizzoli (Author)
出版商：Flammarion； First Edition 版本 (1999年3月17日)
The wealthy Moscow merchants Sergei Shchukin and Ivan Morozov were responsible for bringing a remarkable group of impressionist and postimpressionist French paintings to Russia, among them an exemplary collection of the works of Henri Matisse.
Relying on his sensibility and self-confidence, Shchukin confronted a Russian society that ridiculed his eccentricities, and from 1908 to 1914 he assembled an exceptional collection of Matisse's works - thirty-seven paintings - with which he decorated his house in Moscow. Morozov was equally appreciative of the painter and, although a more modest collector, acquired eleven canvases. Between them, these two men made Russia the first foreign country to import Matisse's works.
Collecting Matisse provides a fresh interpretation of a crucial period in the artist's career - the early years of Fauvism, when he decisively turned toward color as the essential element of painting - and one that radically marked the development of modern art as a whole. Matisse's work was known in Russia as early as 1904, and Shchukin's commission for the great decorative panels La Danse and La Musique revolutionized the Moscow art world. A penetrating text and previously unpublished archival material make this book an essential study on Matisse and his 1911 visit to Russia, where he discovered with fascination Russian icons, tasted the delights of the salons, and unleashed the commentaries of a hostile press, which are included here in large extracts. The following year, Matisse left for Tangier and there produced a stunning series of canvases, which the two Russian collectors acquired with enthusiasm. The correspondence published here for the first time, bears eloquent testimony to the ties of friendship and admiration that united painter and collectors.
The beautiful illustrations and rare period photographs of the Shchukin and Morozov mansions and collections complement the impressions Matisse gathered in the Russian capital and demonstrate their importance for the evolution of his art.
Relying on his sensibility and self-confidence, Shchukin confronted a Russian society that ridiculed his eccentricities, and from 1908 to 1914 he assembled an exceptional collection of Matisse's works - thirty-seven paintings - with which he decorated his house in Moscow. Morozov was equally appreciative of the painter and, although a more modest collector, acquired eleven canvases. Between them, these two men made Russia the first foreign country to import Matisse's works.
Collecting Matisse provides a fresh interpretation of a crucial period in the artist's career - the early years of Fauvism, when he decisively turned toward color as the essential element of painting - and one that radically marked the development of modern art as a whole. Matisse's work was known in Russia as early as 1904, and Shchukin's commission for the great decorative panels La Danse and La Musique revolutionized the Moscow art world. A penetrating text and previously unpublished archival material make this book an essential study on Matisse and his 1911 visit to Russia, where he discovered with fascination Russian icons, tasted the delights of the salons, and unleashed the commentaries of a hostile press, which are included here in large extracts. The following year, Matisse left for Tangier and there produced a stunning series of canvases, which the two Russian collectors acquired with enthusiasm. The correspondence published here for the first time, bears eloquent testimony to the ties of friendship and admiration that united painter and collectors.
The beautiful illustrations and rare period photographs of the Shchukin and Morozov mansions and collections complement the impressions Matisse gathered in the Russian capital and demonstrate their importance for the evolution of his art.
***
Sergei Ivanovich Shchukin (Russian: Серге́й Ива́нович Щу́кин; 6 July [O.S. 24 June] 1854 – 10 January 1936) was a Russian businessman who became an art collector, mainly of French Impressionist and Post-Impressionist art.
Contents
The Morozov Brothers. Great Russian Collectors - Hermitage
The collections of modern art assembled by the Morozov brothers and Sergei Shchukin are among the finest in the world and are today housed in museums in
Two Russian art collectors stood out at the beginning of the 20th century: the cloth merchant Sergei Shchukin (1854–1936) and the textile manufacturer Ivan ...
Matisse arrived in Moscow on October 23, 1911. The next day, he visited the Tretyakov Gallery and asked to be shown their collection of Russian icons. Matisse was delighted by the icons and declared that to see them was more than worth the arduous trip. Matisse spent much of his time in Moscow frantically visiting monasteries, churches, convents, and collections of sacred images. Excited by what he saw, he shared it with all who came to interview him during his stay in Moscow. “They are really great art,” Matisse excitedly told an interviewer. “I am in love with their moving simplicity.… In these icons the soul of the artist who painted them opens out like a mystical flower. And from them we ought to learn how to understand art.”
Google 翻譯
icon ：聖相（像）；畫像；版畫；圖像：尤其指東方教會拜占庭禮天主教所供奉基督或聖人的平面畫像、版畫、聖像。禮儀用的聖像所描繪的是降生成人的基督，經由圖像，讓我們瞻仰主的榮耀；而聖母和其他聖人的聖像也表示基督在聖人身上受到光榮：使人轉化成天主的模樣、肖像。 Icon 又稱 ikon ，源自希臘文。參閱 idolatry 。
monastery ： (1) 隱修院；修道院：共誦日課、度團體奉獻生活的修院。 (2) 會院：專指與外界隔絕、遵守禁地規則的男女會院。
Church ： (1) 教會；教會團體；基督徒團體；教派；會眾：指耶穌建立的信仰團體（集會），亦即天主在世界上的家庭－教友透過洗禮而成為一家人，彼此形同手足。基督教會所有的要素，圓滿地保存在天主教中，而天主教的四個特徵是至一、至聖、至公、從宗徒傳下來的教會。 (2) 教堂；天主堂；禮拜堂（基）：為敬禮天主而專用的神聖房屋；指所有信徒都有權利到此參與（舉行）天主的敬禮；其次為聖堂 oratory （拉丁文為 oratorium ），專為某一團體敬禮天主之用；最後為私用小聖堂 private chapel （拉丁文為 sacellum privatum ），經教區教長許可，只為私人或家族之用（法典 1214-1229 ）。
convent ：會院：尤其指修女會院。
The Conversation was another picture painted before the trip to Moscow. Shchukin, writing to Matisse on August 22, 1912, said of this picture: "I often think of your blue painting (with two figures)... It reminds me of a Byzantine enamel, its colors are so rich and deep."[5] Matisse's first exposure to Byzantine art may have come through Signac. When the divisionist travelled to Venice and saw the Byzantine mosaics in San Marco, he decided to change his dots to squares. He brought back a number of postcards which he doubtless showed his disciple in St. Tropez. The impression of Byzantine mosaics seems to have stayed with Matisse. After his death, several photographs of the interior of Hagia Sophia were found pinned to the wall of his apartment in Nice.
Matisse arrived in Moscow on October 23, 1911. The next day, he visited Ilya Ostroukhov, painter and collector and "patron" of the Tretiakov Gallery, whom he had met in Paris, and asked to be shown his collection of Russian Icons. A day later Oustroukhov recounted the incident:
"Yesterday evening he visited us. And you should have seen his delight at the icons. Literally the whole evening he
wouldn't leave them alone, relishing and delighting in each one. And with what finesse! ... At length he declared that
for the icons alone it would have been worth his while coming from a city even further away than Paris, that the icons
were now nobler for him than Fra Beato... Today Shchukin phoned me to say that Matisse literally could not sleep
the whole night because of the acuity of his impression."[6]
"From that moment on, "writes Pierre Schneider, "Matisse spent all his time going around to visit churches, convents, and collections of sacred images, his excitement at the first encounter not having diminished one iota. He shared it with all who came to interview him during his stay in Moscow." [7]
On Oct. 31, Ilya Ostroukhov wrote to D.J. Tolstoy, the curator of the Hermitage Museum: "Matisse is here. He is deeply affected by the art of the icons. He seems overwhelmed and is spending his days with me frantically visiting monasteries, churches and private collections." [8]
"They are really great art," Matisse excitedly told an interviewer. "I am in love with their moving simplicity which, to me, is closer and dearer than Fra Angelico. In these icons the soul of the artist who painted them opens out like a mystical flower. And from them we ought to learn how to understand art." [9] What is one to make of this expression of heartfelt admiration for the old Russian icons? From these icons "we ought to learn how to understand art." This is a very strong statement. It sounds exaggerated. Yet, Matisse was habitually reserved and cautious in his statements, not prone to exaggeration. Our endeavor in these pages may be defined as an investigation of the meaning and validity of this assertion.
"From them we ought to learn how to understand art." Not one particular kind of art, but art in itself. The icons offered Matisse a revelation of what art is. This goes deeper than stylistic "influence." To speak of Matisse imitating or being influenced by icons is to miss the point. His relationship with them is on a deeper level. In them he has recognized, in an especially pure form, the essence of art. Art is, for Matisse, essentially a manifestation of the life in which both nature and the artist participate. Throughout his career Matisse was a truly original artist. This does not mean that one cannot find in his work what are commonly called "influences" of other artists, in this case the Russian iconographers. It means that Matisse's art is directly rooted in the place where art originates, in the wellspring of being which we mentioned at the beginning. Precisely because he strives to be true to nature, Matisse converges with the icon painters.
Matisse arrived in Moscow on October 23, 1911. The next day, he visited Ilya Ostroukhov, painter and collector and "patron" of the Tretiakov Gallery, whom he had met in Paris, and asked to be shown his collection of Russian Icons. A day later Oustroukhov recounted the incident:
"Yesterday evening he visited us. And you should have seen his delight at the icons. Literally the whole evening he
wouldn't leave them alone, relishing and delighting in each one. And with what finesse! ... At length he declared that
for the icons alone it would have been worth his while coming from a city even further away than Paris, that the icons
were now nobler for him than Fra Beato... Today Shchukin phoned me to say that Matisse literally could not sleep
the whole night because of the acuity of his impression."[6]
"From that moment on, "writes Pierre Schneider, "Matisse spent all his time going around to visit churches, convents, and collections of sacred images, his excitement at the first encounter not having diminished one iota. He shared it with all who came to interview him during his stay in Moscow." [7]
On Oct. 31, Ilya Ostroukhov wrote to D.J. Tolstoy, the curator of the Hermitage Museum: "Matisse is here. He is deeply affected by the art of the icons. He seems overwhelmed and is spending his days with me frantically visiting monasteries, churches and private collections." [8]
"They are really great art," Matisse excitedly told an interviewer. "I am in love with their moving simplicity which, to me, is closer and dearer than Fra Angelico. In these icons the soul of the artist who painted them opens out like a mystical flower. And from them we ought to learn how to understand art." [9] What is one to make of this expression of heartfelt admiration for the old Russian icons? From these icons "we ought to learn how to understand art." This is a very strong statement. It sounds exaggerated. Yet, Matisse was habitually reserved and cautious in his statements, not prone to exaggeration. Our endeavor in these pages may be defined as an investigation of the meaning and validity of this assertion.
"From them we ought to learn how to understand art." Not one particular kind of art, but art in itself. The icons offered Matisse a revelation of what art is. This goes deeper than stylistic "influence." To speak of Matisse imitating or being influenced by icons is to miss the point. His relationship with them is on a deeper level. In them he has recognized, in an especially pure form, the essence of art. Art is, for Matisse, essentially a manifestation of the life in which both nature and the artist participate. Throughout his career Matisse was a truly original artist. This does not mean that one cannot find in his work what are commonly called "influences" of other artists, in this case the Russian iconographers. It means that Matisse's art is directly rooted in the place where art originates, in the wellspring of being which we mentioned at the beginning. Precisely because he strives to be true to nature, Matisse converges with the icon painters.
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