The history of the N.E. Dobychina’s art collection of in the post-revolutionary years

Искусство Евразии

Muromtseva, O.V.¹ 

[1]Moscow State Stroganov Academy of Design and Applied Arts

关键词: n.e. dobychina;    art bureau;    exhibitions;    collection lists;    certificates;    a.n. benua;    н.е. добычина;    художественное бюро;    выставки;    списки коллекции;    охранные удостоверения;    а.н. бенуа;   

DOI  :  10.46748/ARTEURAS.2021.02.008

来源: DOAJ

【 摘 要 】

Nadezhda Evseevna Dobychina, whose name is strongly associated with the Art Bureau, which operated in St. Petersburg (Petrograd) from 1911 to 1919, possessed a significant collection of works of art by her contemporaries. The central part of the collection consisted of the works of the artists of the “World of Art” (“Mir Iskusstva”) circle, as well as the associations “Blue Rose” and “Union of Russian Artists”. From the lists of the collection preserved in the Dobychina’s archive, made at the initiative of representatives of the Soviet state in 1919, 1924 and 1930, one can trace how the collection developed in the first post-revolutionary decade. Nadezhda Dobychina gave preference to figurative art, in her property there were practically no abstract works, and the leftist trends of the avant-garde were also not represented. Most of the works kept by Dobychina were graphics (watercolors, pencil drawings and charcoal sketches), however, it should be noted that a block of bright paintings, perfectly combined in style and color, stood out in her collection (“Dawn” by D.S. Stelletsky, “Heat” by M.S. Sariyan, “Portrait of Dobychina” by N.I. Altman and others). The collection changed over time, but its central part remained unchanged despite all the vicissitudes of the owner's eventful life.

【 授权许可】

Unknown