St. Petersburg Drawing School of Princess M. K. Tenisheva (Tenishevskaya School) is a Russian private art school founded in 1895 by I. E. Repin and Princess M. K. Tenisheva in St. Petersburg .
Petersburg Drawing School of Princess M. K. Tenisheva | |
---|---|
Reduction | Tenishevskaya school |
Founded | 1895 |
Is closed | 1903 |
Headman | Ya. A. Chakhrov |
Pupils | I. Ya. Bilibin , A. A. Buchkuri , A. I. Vakhrameev , K. A. Veschilov and others. |
Address | Russian Empire , Petersburg , Galernaya Street , 13 |
History
The Tenishev School was opened in St. Petersburg in November 1895. Its organizer and inspirer was Ilya Efimovich Repin. Already directing his workshop at the Higher School of Art at the Academy of Arts , Ilya Efimovich takes over the leadership of a private art studio. His initiative was held by Princess Maria Klavdievna Tenisheva , having provided her art workshop on Galernaya Street , 13. Tenisheva also took upon herself all the material expenses of the school, which allowed her to make tuition free.
On November 26, 1895, in a letter to P. M. Tretyakov, Repin wrote: “I have a magnificent workshop here; and I opened another private preparatory school in the house of Princess Tenisheva, in her workshop 29 people study. From those who want to do, there is no rest. Schools are needed " [1] .
In her memoirs, Princess M. K. Tenisheva wrote: “Our studio immediately won a place of honor. There were ten times more people willing to enter the so-called “Tenishev School” than the premises allowed. At the beginning of the season, the places were taken positively from the battle, there were even very heavy scenes of despair, when Repin removed one or other pupil after trying classes, not finding enough data in him. The company was extremely variegated, sweet, passionately devoted to work, genuinely loving art. The people are all capable, young and promising " [2] .
At the meeting with Tenisheva, it was decided to first accept twenty-five students, but later they accepted as much as the studio could accommodate - forty people. The main goal of the studio was to prepare students for admission to the Higher Art School. Studio students were required to be able to draw from plaster models and write a living nature. The assistants of I.Ye. Repin in drawing and painting in the Tenishevsky workshop were A. Kurennoy, P.Ye. Myasoedov , then D.A. Scherbinovsky .
According to the charter of the drawing school [3] , students paid five rubles per month to cover the cost of hiring models and reward the assistant director of the studio. Classes were held daily, except on Sundays and public holidays, from 9 am to 2 pm by noon (from 9 am to 12 am - painting, from 1 pm to 2 hours - drawing). Once a week, students gathered in the evening to clarify some questions about the composition. At the beginning of each month, the students were asked a topic for a sketch. At the end of the month, an examination of student work on a five-point system was conducted. Sketches, moreover, were distributed according to their true worth - numbers, which served as a procedure for taking seats, each time a new model was set up.
On the advice of Repin, the head of the studio was chosen by Yakov Chakhrov. In his memoirs about I. Ye. Repin and the Tenishev school, Chakhrov wrote: “When the sketch and drawing were finished, by that time each of us had to submit a sketch. Sketch was considered one of the important working conditions in the workshop. Every two to three weeks, on Sundays, an exhibition was held in the workshop. He came to the professor and put on discharges in the presence of the headman. At this time, the students, holding their breath, waited with fear and excitement for the evaluation of their work in the other room that served us as a tea room. Invited, they entered the workshop and ran to their works. Ilya Efimovich attached great importance to the discussion of each work separately and caused whole discussions of students. The best works were purchased in the form of promotion of the book. Tenisheva and hung on the walls of the workshop as samples " [4] .
Despite the heavy workload at the academy , Repin devoted a lot of time to his studio at Galernaya. “Ilya Efimovich loved the Tenishev workshop more than academic,” recalls Y. Chakhrov. - He often arranged there evenings, talked to us a lot about his creative plans, shared his impressions, recalled foreign masters-artists. At these conversations, much was said about current exhibitions, and new works by artists were examined and discussed in detail. By the way, Repin drew our attention to the successes of V.A. Serov in portraits ” [5] .
Famous students
From Repin's letters to Princess Tenisheva, only certain themes are known for the sketches of the studio students: “Victim”, “Discovery”, “Feat”, “Sadko” (1896); Mikula Selyaninovich (1897). There is also no complete list of “Tenishevists”. It is known that the following students studied in the studio: L.P. Albrecht, I.Ya. Bilibin , D.F. Bogoslovsky, N.Ya. Borisov, A.A. Buchkuri , A.I. Vakhrameev , K.A. Veschilov , E A. Grave, S. I. Danishevsky, M. V. Dobuzhinsky , Ida Zyntaro (Japanese subject), G. G. Karpunin, A. N. Klementyev, N. Kutuzova, V. N. Levitsky, A. E. Lindeman, E.E. Lissner , A.A. Lyubitsky, E.K. Makovskaya, Kh. D. Minasyants (Ter-Minasyan), Yu. I. Repin , A.V. Sapozhnikov, Z.E. Seryabryakova , A. I. Titov, V.I. Tkachenko, A.N. Tretyakov, A.D. Trunov, I.M. Tryapichnikov, V.D. Falileev, Ya. A. Chakhrov, M. Ya. Chambers , E.M. Cheptsov , E. V. Chestnyakov , S. V. Ch Exonin , N. I. Shestopalov, M. N. Yakovlev . This is not a complete, insignificant part of the number of students in the studio. Most of them, subsequently, successfully passed the exams at the Academy of Arts . Repin wrote to Kurnom in 1898: “My Tenis people also distinguished themselves: Chakhrov, Veschilov , Sapozhnikov, Trunov, Romanenko (dev.) And Barushev were taken to the Academy” [6] .
Recent years
Studio on Galernaya worked until 1903. Ideological differences caused the break in relations between Repin and Tenisheva in 1899. In January 1902, Repin wrote Tenisheva: “The school that you established, at my request, in your home, has continued its existence for a year and a half without my direct observation. Being unable to do it, both because of ill health and lack of time, I told Mr. D. A. Shcherbinovsky about what I notified you in a timely manner; offering for your consideration the continuation or closure of this school. ” [7] .
Notes
- ↑ I. E. Repin. Letters Correspondence with P. M. Tretyakov. “Art”, M.-L., 1946, p. 171.
- ↑ Princess M. K. Tenisheva. Impressions of my life. “Art”, L., 1991, p. 115.
- ↑ RGIA. Foundation 789, op. 12, 1897, З26, л. 2, 2 about.
- ↑ Ya. A. Chakhrov. Memories of I. Ye. Repin. New about Repin. “Artist of the RSFSR”, L., 1969, pp. 213, 214.
- ↑ Ya.A Chakhrov. Repin and his students in the work on the collective picture. Artistic heritage. Repin, vol. II, "Publishing House of the Academy of Sciences", M.-L., 1949, p. 226.
- ↑ I. E. Repin. Letters Correspondence with artists. “Art”, M., 1952, p. 131.
- ↑ From Repin Tenisheva’s letter of January 9, 1902. Letters of I. E. Repin to Princess M. K. Tenisheva. Publication I. P. Lapina / / Petersburg Roerich collection. Issue Iv. St. Petersburg, 2001. p. 320.
Literature
- Artistic heritage. Repin. / Edited by: I. E. Grabar, I. S. Zilberstein. - M., L .: Publishing House of the Academy of Sciences of the USSR, 1948.1949. - T. 1-2. - 391, 470 s.
- I. E. Repin. Letters Correspondence with P. M. Tretyakov / preparation for printing and notes were compiled by the State Tretyakov Gallery employees M. N. Grigorieva and A. N. Schekotova. - M., L .: Art, 1946. - 226 p.
- I. E. Repin. Letters Letters to artists and artistic figures / preparation for printing and notes compiled by the State Tretyakov Gallery employees N. G. Galkina and M. N. Grigorieva. - M .: Art, 1952. - 408 p.
- New about Repin: articles written by the artist, memories of students and friends / edition and drafting: I. A. Brodsky and V. N. Moskvinov. - L .: Artist of the RSFSR, 1969. - 435 p.
- M. K. Tenisheva. Impressions of my life / Author of the introductory article N. I. Ponomarev. - L .: Art, 1991. - 285 p.