ロシア革命後、小さな町にできた美術学校。シャガール、リシツキーetc ロシア・アヴァンギャルドの奇才たち

SUNDAY ART SCROLL -リアルタイムで芸術速報/世界の名画から新進気鋭クリエイター最新作まで、各地ギャラリーより「現在展示中(時々、ついこの前まで)」をお届け中。

今回の展覧会は、ニューヨークから。ユダヤ系の歴史や文化、古典芸術から現代アートなどを扱うジューイッシュ・ミュージアムで開催中の『シャガール、リシツキー、マレーヴィチ:ヴィーツェプスクのロシア・アヴァンギャルド』を紹介。

1890年代から1930年代にかけて興隆したロシアの前衛芸術運動ロシア・アヴァンギャルドのなかでも、1917年に前衛シーンが発達していた小さな町ヴィーツェプスク(現ベラルーシ)にフォーカス。あまり知られていない町ヴィーツェプスクだが、20世紀最大のユダヤ人前衛芸術家マルク・シャガールの故郷である。ヴィーツェプスクにはロシア革命後に設立された小さな美術学校があり(シャガールが学長を務めた)、“20世紀グラフィックデザインの革新者”と呼ばれるエル・リシツキー、そしてただの黒い正方形を“芸術”にした画家のカジミール・マレーヴィチが講師として招致された。小さな町で生まれたロシア・アヴァンギャルドの前衛作品が一堂に会す珍しい機会だ。


Installation view of the exhibition Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922, September 14, 2018 – January 6, 2019, The Jewish Museum, NY. Photo by: Jason Mandella

Installation view of the exhibition Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922, September 14, 2018 – January 6, 2019, The Jewish Museum, NY. Photo by: Jason Mandella

Installation view of the exhibition Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922, September 14, 2018 – January 6, 2019, The Jewish Museum, NY. Photo by: Jason Mandella

Installation view of the exhibition Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922, September 14, 2018 – January 6, 2019, The Jewish Museum, NY. Photo by: Jason Mandella

Marc Chagall, Self-Portrait with Easel, 1919, gouache on paper. Private Collection. Artwork © Artists Rights Society (ARS), New York / ADAGP, Paris

Marc Chagall, Over Vitebsk, 1915-20, after a 1914 painting, oil on canvas. Museum of Modern Art, New York, acquired through the Lillie P. Bliss Bequest (by exchange), 1949. Artwork © Artists Rights Society (ARS), New York / ADAGP, Paris; image provided by The Museum of Modern Art / licensed by SCALA / Art Resource, New York

Marc Chagall, Cubist Landscape, 1919, oil, tempera, graphite, and plaster on canvas. Centre Pompidou, Musée National d’Art Moderne, Paris, donation of Ida Chagall, 1984. Artwork © Artists Rights Society (ARS), New York / ADAGP, Paris; image provided by CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, New York

Marc Chagall, Onward, Onward, 1918, study for the first anniversary of the October Revolution, graphite and gouache on grid-lined paper. Centre Pompidou, Musée National d’Art Moderne, Paris, donation in lieu of inheritance tax, 1988. Artwork © Artists Rights Society (ARS), New York / ADAGP, Paris; image provided by CNAC/MNAM/Dist. RMN-Grand Palais /Art Resource, New York

Marc Chagall, The Moon-Painter, 1916–17, gouache, watercolor, and ink on paper. Private collection. Artwork © Artists Rights Society (ARS), New York / ADAGP, Paris

Marc Chagall, Double Portrait with Wine Glass, 1917–18, oil on canvas. Centre Pompidou, Musée National d’Art Moderne, Paris, gift of the artist, 1949. Artwork © Artists Rights Society (ARS), New York / ADAGP, Paris; image provided by CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, New York

Marc Chagall, Study for “Double Portrait with Wine Glass,” 1917, graphite and watercolor on the back of a Cyrillic print. Centre Pompidou, Musée National d’Art Moderne, Paris, donation in lieu of inheritance tax, 1988. Artwork © Artists Rights Society (ARS), New York / ADAGP, Paris; image provided by CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, New York

Marc Chagall, Profile at the Window, 1918, graphite, gouache and ink on cardboard. Centre Pompidou, Musée National d’Art Moderne, Paris, donation in lieu of inheritance tax, 1988. Artwork © Artists Rights Society (ARS), New York / ADAGP, Paris; image provided by CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, New York

Marc Chagall, Anywhere out of the World, 1915–19, oil on cardboard mounted on canvas. The Museum of Modern Art, Gunma, Japan, extended Loan from the Bureau of Public Utilities, Gunma Prefectural Government. Artwork © Artists Rights Society (ARS), New York / ADAGP, Paris

Marc Chagall, “What Use Will This Limpid Clarity Be to Me?” (Village Walking), illustration for
David Hofstein’s Mourning, 1920, ink on vellum. Centre Pompidou, Musée National d’Art Moderne, Paris, donation in lieu of inheritance tax, 1988. Artwork © Artists Rights Society (ARS), New York / ADAGP, Paris; image provided by CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, New York

Yuri (Yehuda) Pen, Portrait of Marc Chagall, 1914, oil on canvas mounted on cardboard. Ministry of Culture of the Republic of Belarus. National Art Museum of the Republic of Belarus, Minsk

Kazimir Malevich, Suprematism of the Spirit, 1919, oil on panel. Stedelijk Museum Collection, Amsterdam, on loan from the Cultural Heritage Agency of the Netherlands and Stichting Khardzhiev

Kazimir Malevich, Mystic Suprematism (Red Cross on Black Circle), 1920-22, oil on canvas. Stedelijk Museum Collection, Amsterdam. Ownership recognized by agreement with the estate of Kazimir Malevich, 2008

Kazimir Malevich and Ilya Chashnik, Half Teacup, 1923, made by the State Porcelain Manufactory (former Imperial Manufactory), Petrograd, enameled, glazed and molded porcelain. Cooper Hewitt, Smithsonian Design Museum, The Henry and Ludmilla Shapiro Collection; partial gift and partial purchase through the Decorative Arts Association Acquisition and Smithsonian Collections Acquisition Program Funds. Image provided by Cooper Hewitt, Smithsonian Design Museum / Art Resource, NY

Kazimir Malevich and Ilya Chashnik, Half Teacup, 1923, made by the State Porcelain Manufactory (former Imperial Manufactory), Petrograd, enameled, glazed and molded porcelain. Cooper Hewitt, Smithsonian Design Museum, The Henry and Ludmilla Shapiro Collection; partial gift and partial purchase through the Decorative Arts Association Acquisition and Smithsonian Collections Acquisition Program Funds. Image provided by Cooper Hewitt, Smithsonian Design Museum / Art Resource, NY

El Lissitzky, Had Gadya Suite: Cover, 1919, lithograph on paper. The Jewish Museum, Gift of Leonard E. and Phyllis S. Greenberg, 1986-121a

El Lissitzky, Had Gadya Suite: Father Bought a Kid for Two Zuzim, 1919, lithograph on paper. The Jewish Museum, Gift of Leonard E. and Phyllis S. Greenberg, 1986-121c

El Lissitzky, Had Gadya Suite: The Fire Came and Burnt the Stick, 1919, lithograph on paper. The Jewish Museum, Gift of Leonard E. and Phyllis S. Greenberg, 1986-121g

El Lissitzky, Proun 6, 1919-20, oil on canvas. Kulturstiftung Sachsen-Anhalt, Kunstmuseum Moritzburg, Halle (Saale), Germany. Photograph by Punctum/Bertram Kober

El Lissitzky, Beat the Whites with the Red Wedge, 1919–20/1965–80, offset print. Prints and Photographs Division, Library of Congress, Washington, DC. Image provided by the Library of Congress

Lazar Khidekel, Suprematist Composition with Blue Square, 1921, ink, watercolor, and graphite on paper. Lazar Khidekel Family Archives and Art Collection.

Lazar Khidekel, Vitebsk Street, 1920, dry brush on cardboard. Lazar Khidekel Family Archives and Art Collection

David Yakerson, Sketch for the Composition “Panel with the Figure of a Worker,” 1918, watercolor and ink on paper. Vitebsk Regional Museum of Local History. Photograph by Vorontsov

David Yakerson, Suprematist Composition (Walking Robot), 1920, graphite and ink on paper. Vitebsk Regional Museum of Local History. Photograph by Vorontsov

Ilya Chashnik, Suprematist Composition: Design for a Pictorial Relief, c. 1921, pen and ink, graphite, and watercolor on paper. Vladimir Tsarenkov Collection, London

Vera Ermolaeva, design for the opera Victory Over the Sun, 1920, woodcut with watercolor additions. The Museum of Modern Art, New York, Larry Aldrich Fund, 1977. Image provided by The Museum of Modern Art / licensed by SCALA / Art Resource, New York

左から3番目がユリ・ペン、中央がマルク・シャガール、右がカジミール・マレーヴィチ。
Members of the Creative Committee of the People’s Art School, Vitebsk, winter 1919.
Seated: Yuri (Yehuda) Pen (third from left), Marc Chagall (center), Vera Ermolaeva (second from right), Kazimir Malevich (right). Gelatin silver print. Archives Marc et Ida Chagall, Paris

UNOVIS Creative Committee, September 1921
Standing in back, left to right: Ilya Chashnik, Lazar
Khidekel, and Kazimir Malevich
Seated at the table, left to right: Lev Yudin, Vera
Ermolaeva, Nikolai Suetin with the UNOVIS
emblem on his cuff, and Nina Kogan
Seated on the floor, left to right: N. Efros and
Mikhail Veksler
At right: Efim Royak doubled over and Ivan
Chervinka by the easel
Photo courtesy Lazar Khidekel Family Archives and Art Collection

Share
Tweet
default
 
 
 
 
 

Latest

All articles loaded
No more articles to load
 

PRO-DESIGNERS

ビジュアルで世界をガラリと改良した〈前進のデザイナーたち〉