Nadezhda Kislitsyna VISUAL REPRESENTATION of FIN-DE

CEU eTD Collection

VISUAL REPRESENTATION OFFIN BY RUSSIANBY IMMIGRANT ARTISTS

MA Thesis in Historical MA inHistorical Thesis Studies Central European University Nadezhda Kislitsyna June 2012 June Budapest

- DE -

SIECLE PARISSIECLE

CEU eTD Collection

Central European University,fulfillmentBudapest, oftherequirements partial in

VISUAL REPRESENTATION OF FIN of theMasterArts degree of inHistorical Studies Accepted i ______BY RUSSIAN Thesis submitted totheDepartmentThesis submitted History, of Chair, Examination Chair, Examination

n conformance withthe standards CEU of the Thesis Supervisor External Reader Second Reader (Russian Federation) Nadezhda Kislitsyna IMMIGRANT ARTISTS June 2012 June Budapest by -

2 Committee

- DE

- SIECLE PARIS

CEU eTD Collection

Central European University,fulfillmentBudapest, oftherequirements partial in

VISUAL REPRESENTATION OF FIN of theMasterArts degree of inHistorical Studies Accepted inconformancewiththe standards CEU of the ______BY RUSSIAN IMMIGRANT ARTISTS Thesis submitted totheDepartmentThesis submitted History, of External Reader Nadezhda Kislitsyna June Budapest (Russia)

by -

201

- DE - SIECLE

PARIS

CEU eTD Collection hss a be sbitd n hs om o n ohr nttto o hge euain o a for education higher of institution other academic degree. any to form this in submitted been has thesis the of part no that declare also I copyright. institution’s or person’s any on infringes thesis the a unidentified no that declare I bibliography. and notes in credited properly as my information on external such based only work, and research own my exclusively is thesis present the that herewith declare Studies

Budapest, undersigned, the I,

June

201 2

aeha Kislitsyna Nadezhda nd illegitimate use was made of the work of others, and no part of part no and others, of work the of made was use illegitimate nd -

4 ,

addt fr h M dge i Historical in degree MA the for candidate ______Signature

n CEU eTD Collection focusing on of masterpieces theydepict homeland with ties their keeping or on going was influenced artists immigrant Russian on focused and community, art Parisian century nineteenth the of part significant a constituted who painters Russian with made comparison or given explanation no was there art, Impressionist and Haussmannization of rhythm and patterns its life, urban Parisian of nuances the into glimpse a giving and overview general a with reader the providing artists French to regard in area the in done been already has research like. looked life Parisian century nineteenth what on opinion their expressing seeing. Impressionist the of beliefs core the were vision human to truth and nature to Truth masterpieces. their in life city the of scenes immortalized They influenced. and mentored he whom artists Impressionist a century there. working and living artists many of attention drew diversity and grandiosity its with cities, all of city the Paris, Certainly, activity. artistic vibrant of focus Abstract: Age Film 1 Arnold Hauser, “Naturalism and Impressionism” in in Impressionism” and “Naturalism Hauser, Arnold oee, coas a vr ltl ta Fec Ipesoit wr nt h ol ones only the not were Impressionists French that little very say scholars However, ll elements of l of elements ll

, if , , Vol. 4 (London: Routledge: 1993), p. p. 158. 1993), 4 (London: Routledge: Vol. , The Impressionist movement, Impressionist The ed .

s, and the paintings they produced were the interpretations of what the artist was artist the what of interpretations the were produced they paintings the and s, the sa the they ay anes ad what and painters) many

became me places (such as Parisian café Parisian as (such places me ife in the city of city the in ife

ha mo similar subjects in their art. their in subjects similar d

ecnevtv rmr aia, if radical, more or conservative re o a aot h tastos the transitions the about say to

, have been written as written been have ,

called

Paris could could Paris

detai

The Social History of Art: Naturalism, Impressionism, The The Impressionism, Naturalism, Art: of History Social The - by Arnold Hauser “an urban art, urban “an Hauser Arnold by

5 . s sca o cultural or social ls,

The most interesting would be to observehow to be would interesting most The - , the image of which can be found among the among found be can which of image the ,

be found in the paintings of Manet and and Manet of paintings the in found be part of studies dedicated to the problem the to dedicated studies of part t s acntn o discover to fascinating is It y

observed they

A t the end of the twentieth the of end the t

n particular in were ad numerous and ,

n hw they how and

neetdi what in interested ” Al 1

made city the city made though , they they w

hat books

m were were uch the

CEU eTD Collection Bibliography ListIllustrations. of Conclusion Chapter 2: Nicolas Lights Parisian Chapter 1. Konst Introduction Abstract: Table ofContents _Toc326510597

......

series. antin Korovin antin Korovin

Tarkhoff and the Artist’s Path in Paris. The Image The PathinParis. and City. the Tarkhoff theArtist’s of

......

...... – ......

...... the first Russian Impressionistthe first Russian and HisDepictions ofParis...... -

6 -

......

- - - - 107

- - 61 56 36 16

7 5 ------

CEU eTD Collection utv Cilbte wo motlzd cns f h ct lf i ter atrics Tuh to Truth masterpieces. their in life city the of scenes immortalized who Caillebotte, Gustave mentored he whom painters, Impressionist other and Manet Edouard of paintings the in found be then could art.” urban “an Hauser Arnold by dubbed movement, Impressionist the b great a time, same the trend At Europe. a as served and world, whole the of science and fashion entertainment, media, education, politics, the influenced it as interest, scholarly of subject cultur constant and business leading the of one Paris, culture, mass of establishment the and class middle bourgeois the to of influence increasing changesthe as such society, cultural important brought had Europe in urbanization century nineteenth After - center andbyindustrial factories, blacksmokeof populated plants from withskies Impressionistor exhibition to N photographer to hurrying and garments new their off showing Georges architect Parisian by boulevards long wide constructed newly of web a the it Was corner? every wri at Was emerging arts, Commune? visual in the talents of new with fires studio the enormous of an just ashes city the magnificent from phoenix a like risen had it after

the Age Film 4 565 pp. 3 2 Introduction Arnold Hauser, “Naturalism and Impressionism” in in Impressionism” and “Naturalism Hauser, Arnold in Parisians” and Paris “Making Wakeman, Rosemary Strieter, TerryW.

rejected and unnoticed by the elite circles? rejected and by unnoticed elite circles? the As Rosemaryobserved essay Wakeman inher ago years hundred a like look life, social and cultural vivid of capital the Paris, did What the urban landscape and culture of Paris have become such a rich field of investigation that they they of and in discipline as a thatalmost qualify investigation of field rich a such become have Paris of culture and landscape urban the - 566. 566. , Vol. 4 (London: Routledge, 1993), p. 158. 1993), 4 (London: Routledge, Vol. ,

and influenced, such as Mary Cassatt, Camille Pissarro, Edouard Manet, and and Manet, Edouard Pissarro, Camille Cassatt, Mary as such influenced, and - Nineteenth Century European Art: A Topical Dictionary Topical A Art: European Century Nineteenth uee asmn? a i ihbtd y toln lde ad gentlemen and ladies strolling by inhabited it Was Haussmann? Eugene

Grand Opéra Grand

reakthrough in visual arts happened with the emergence of of emergence the with happened arts visual in reakthrough itself. For much of the nineteenth century, France, and especially Paris, Paris, especially and France, century, nineteenth much ofthe For to listen to a new composition? Or perhaps, an was it composition? new toa listen to 3

The Social History of Art: Naturalism, Impressionism, The The Impressionism, Naturalism, Art: of History Social The

was the focal point of advanced ideas in the world ofart. world in theideas advanced of focal point thewas 7 Journal of Urban History Urban of Journal -

Making Paris andParisians Paris Making al centers, inevitably became a a became inevitably centers, al , Westport: Greenwood Pr Greenwood Westport: , adar’s apartment to see a new new a see to apartment adar’s 4 , Vol. 31, No. 4, (May 2005), 2005), (May 4, No. 31, Vol. ,

All elements of the city the of elements All - etr o te et of rest the for setter ig n music and ting , les miserables

ess,1999

CEU eTD Collection reflections of reality differed from those of the French artists. French the of those from differed reality of reflections artists Thus art. their in nineteenth the of part significant e no are there Howeve art. Impressionist and Haussmannization of problem the to dedicated studies of part rhythm and patterns its life, urban Parisian of nuances the artists nineteenth what on opinion their expressing ones only the not were Impressionists French that mention of phenomena the modernization, w These Lewis. Tompkins Mary or Clark Timothy Gluck, Mary by studies the as such years, later in and time record the that transformations the were etc., Claudelike Impressionists bourgeoisie, the of influence growing the cafés, Georges Baron changingcaptured and they seeing. was artist the what of interpretations were produced they the and Impressionists, the of beliefs core the were vision human to truth and nature 78 pp. 2007, Press: 6 Age Film 5 Mary Tompkins Lewis, Lewis, Tompkins Mary in Impressionism” and “Naturalism Hauser, Arnold , and numerous and ,

6 working in Paris, if they experienced the revolts of Haussmannization, and how their their how and Haussmannization, of revolts the experienced they if Paris, in working

A great number of scholarly books and articles were written on these subjects both at the the at both subjects these on written were articles and books scholarly of number great A in order to ie o tm, h rvr no hc “n cno se tie, s h smls frua o which to formula simplest the is twice”, step reduced. be can impressionism cannot continuity, “one which into and river the permanence time, of river over never and moment fleeting a is the phenomenon of dominion The - , Vol. 4 (London: Routledge, 1993), p. 159. 1993), 4 (London: Routledge, Vol. , etr Prsa lf loe like. looked life Parisian century xplanations given or comparisons made with Russian painters who constituted a constituted who painters Russian with made comparisons or given xplanations - Eu rs xlie te tiue f h Fec atss f h pro t te da of idea the to period the of artists French the of attitude the explained orks ,

many questions still remain unanswered, remain still questions many share their thoughtsshare their thosechanges. on - ee asmn’ rcntuto o Prs te pnn o nmru street numerous of opening the Paris, of reconstruction Haussmann’s gene 80.

boo Critical Readings in Impressio in Readings Critical

ks Monet, Pierre Monet,

those

provide the reader with a general overview, giving a glimpse into into glimpse a giving overview, general a with reader the provide -

century Parisian art community and focused on similar subjects similar on focused and community art Parisian century transitory moments andspecific transitory Hauserexplains, moments places. As 5

flânerie - - Auguste Renoir, Edgar Degas, and others EdgarDegas,and Renoir, Auguste to - be

n mdriy Hwvr shlr otn al to fail often scholars However, modernity. and Much -

repeated constellation, a wave gliding away on the the on away gliding wave a constellation, repeated The Social History of Art: Naturalism, Impressionism, The The Impressionism, Naturalism, Art: of History Social The -

8 nism and Post and nism -

research has already been done on French French on done been already has research

. This research has been completed as as completed been has research This . suc - Impressionism, Impressionism, It is worthwhile to discover to worthwhile is It as h

The world around them was them around world The the identity of identity the the feeling that every every that feeling the University of California California of University

those Russian those wereto eager paintings w hat

r, r,

CEU eTD Collection and museum curatorsare only beginning torediscover them. historiansart Russian however, York;NewLondon and Paris, of museums the in honor placesof artistic their highlighted has books of amount significant a Furthermore, exhibitions. of hundreds holding immigration in artists Russian groupsof therewereseveralParis, time in this At Western. andRussian both classics, of Diaghilev’s the Beaux des Académie West. the in known werewell them of all home, beingatforgottendespitenow. However, Russia in forgotten Larion Mikhail now.” doing pre to ha so work They abroad. Russians of energy by amazed am “I Leningrad: in teacher his to letter a in wrote he France, in arrived manywhat painters) and French how of observation an in lies aspect homeland comparative with ties their keeping or on going was what in interested them by influenced artists immigrant Russian school 8 Constantinople 2005. Москва: 29, выпуск Газета, Литературная Париж», 7

Alexander Shlepyanov, introductory speech for the auction auction the for speech introductory Shlepyanov, Alexander oit ds rits Français Artistes des Société нрй Толстой, Андрей - war times. The whole of old Russia did not do nearly as much as our Russians abroad are abroad Russians our as much as nearly do not did Russia old of whole The times. war hn n h bgnig f h teteh etr te usa ats Vsiy Shukhaev Vassily artist Russian the century twentieth the of beginning the in When artists , London: 2011, London: , 2011, Ballet Russe Ballet 8 7

(such as Parisian café Parisian as(such hy ok at n ai Sln, fiil r ehbtos raie b organized exhibitions art official Salons, Paris in part took They e en nt famous not meant He ov and Natalia Goncharova, but dozens of artists of the of artists of dozens but Goncharova, Natalia and ov –

Belgrade Belgrade

Хджии усо эирци Константинополь эмиграции. русской «Художники eg if e.g. , - http://www.pushkinhouse.org/en/events/russian Arts

details,social orcu and other theater performances. Lastly, they i they Lastly, performances. theater other and –

Prague Aaey f ie rs sne 75 n fo 18 onwards 1881 from and 1725 since Arts) Fine of (Academy ha d they

o a aot h tastos the transitions the about say to

–

rd. There are so many varying kinds of shows here compared compared here shows of kinds varying many so are There rd. Berlin Berlin

, the image of which can be found among the masterpieces of of masterpiecesthe among found becan which of image the ,

development in the Parisian school. Nowadays school. Parisian the in development became (Society of French Artists). They designed for Serge Serge for designed They Artists). French of (Society

personalities, -

Paris” in Paris”

ltural mo - e osraie r oe aia, if radical, more or conservative re

9 Literaturnaya Gazeta Literaturnaya in particular -

usa atss depict artists Russian ie ac hgl ad lxne Benois, Alexander and Chagall Marc like (Andrey Tolstoy “Russian Artists “Russian Tolstoy (Andrey usa Alni: usa Atss f h Paris the of Artists Russian Atlantis: Russian

- atlantis , they y

observed , volume , 2005). Moscow: 29, – , accessed in2012. May, accessed , were focusingwere on

Белград Белград llustrated the publications the llustrated

. École de Paris de École ed

h ms interesting most The

n hw they how and h sa the –

Прага Прага , e lcs as places me in Immigration. Immigration. in te French the y

they occupy they

– they

Берлин

, almost ,

were were –

by –

CEU eTD Collection during the recent years. For instance, visual sociology nowadays deals with the analysis of of analysis th of involvement the without the produced images, existing with deals nowadays sociology visual instance, For years. recent the during studies sociological for important increasingly become city the of image the studying on based v hand, other the On arts. fine and literature by offered city, the of images the extent lesser much a to and perspective, legal or political/administrative, Traditionally Weber sets forth unifying of out developed studies, urban of area the in subject new relatively a is individual an of life cultural the of phenomenon interpretation. its and city the of representation Tarkhoff Nicholas became medievalthe Russian epic, Sadko,basedon masterpiece main the why folklore,is which Russian and Russia homeland, their in acknowledgment seeking Repin, c Russian by acknowledged been never had it how of story special rather a with comes which named be can them Among years. three for home his became adopted and 1876 to 1873 from France in stayed who Repin, Ilya instance, For subject. loved and popular most the still was Russia from, came originally they where forgot never who them, of many For arts. their ritics, and was displayed in Russia in March 2011 for the first time since 1916. since time first the for 2011 March in Russia in displayed was and ritics, Press, 9 Max Weber, Weber, Max Before proceeding to the discussion of the two the of discussion the to proceeding Before topics of variety great a was there Clearly, 1966, p. 234. 1966, the brought forth the phenomena of the history of art. Hellenic and Gothic art, in contrast with with contrast in art, Gothic and Hellenic art. city art. are Roman, and of Mycenaean history the of phenomena the forth brought whole the in city the of contribution The

values and ideals of society on a certain stage of its existence, or development. Max development. or existence, its of stage certain a on society of ideals and values ,

h suy f h ct ad h ubn a crid u fo a socio a from out carried was urban the and city the of study the The City The this this , to whom this research is dedicated, it is crucial to explore to crucial is it dedicated, is research this whom to ,

the techniques of local artists, produced just a few images of the city that that city the of images few a just produced artists, local of techniques the two , translated and edited by Don Martindale and Gertrud Neuwirth, New York: The Free Free The York: New Neuwirth, Gertrud and Martindale Don by edited and translated , - way between city relationship culture, and

the nesadn tha understanding

field of culture is extensive. …The city and it alone has has alone it and city …The extensive. is culture of field -

10 t the city is an element of one’s world view, view, world one’s of element an is city the t

these Russian artists Russian these - bylina

the The problem of exploring the city as a a as city the exploring of problem The

Russian most favorite topic in their art remained art their in topic favorite most e researcher (newspaper photos, movies, photos, (newspaper researcher e .

Repin produced while in France in while produced Repin artists aiin Café Parisian

Konstantin Korovin and Korovin Konstantin had been had

with how with

the issue of visual of issue the

ane n 1875, in painted

For artists like artists For focusing on in on focusing sa methods isual

it deals with deals it - economic,

CEU eTD Collection usually associated with the particular city and its characteristic features. Given the vast number number vast the Given features. characteristic its and city particular the with associated usually absolute truth. c and subjective, remains always interpretation that remember to meanings expe of its and city the elements depicting observer an artist, the by given is first the meanings: or sides two persp wider a giving and interest stimulating received information the on based revelation a or “discovery” a also include but information, contain of only not should process the characterized de to only not and subject Tilden the explain to meant is Freeman it that claiming interpretation, scholar American the 1957, in published i culture, them, by portrayed is life city of representation visual way the at also but dweller, city a or artist an by understood is city the tha believe I photography. as such city, the depicting more gaining increasingly is city the to approachof more andof techniques thedevelopmentarts growing popularity visualwith the importance of This arts. visual the in city a of image represe and interpretation, perception, of problem the is mentioned, be to deserves which aspect, significant another Thus, citizens. of behavior everyday of styles and patterns values and socio as such data, obtain to methods visual uses ethnography visual and etc.), postcards, programs, television 10 Freeman Tilden, Tilden, Freeman The problems of perception and interpretation of the city in the artistic consciousness are are consciousness artistic the in city the of interpretation and perception of problems The riencing the city and its culture its and city the riencing ; dentified with giving meaning to an object. In his book his In object. an to meaning giving with dentified

and the second is created by a spectator, a city dweller who has his own understanding own his has who dweller city a spectator, a by created is second the and differ significantly from each other. Interestingly enough, in both cases it is important important is it cases both in enough, Interestingly other. each from significantly differ nati , - cultural stratification of population, people’s ideological and political orientation political and ideological people’s population, of stratification cultural

nl dniy ashtc rfrne, as f yblc self symbolic of ways preferences, aesthetic identity, onal Interpreting Heritage Our Interpreting .

M oreover, interpretation is supposed to include in itself a wide context, wide a itself in include to supposed is interpretation oreover,

since

the process of interpretation is one of the key phenomena of phenomena key the of one is interpretation of process the .

, Chapel Hill: University of New Carolina Press, 1977, p. 138. 1977, Press, Carolina New of University ChapelHill: , A s it ective. will be revealed in this thesis, very often the two the often very thesis, this in revealed be will -

11 10 -

t it is beneficial to look to beneficial is it t In the context of the city, interpretation has interpretation city, the of context the In Interpreting Our Heritage Our Interpreting annot be considered to be be to considered be annot at - ersnain or representation, not only the way the only not scribe it, it, scribe ntation of the of ntation but , first ,

CEU eTD Collection omto o te mg o te iy Te mg o te iy n ieaue fn at, mass arts, fine literature, in city the of image The city. the of image the of formation The practices. it led art has material visual visual of importance in growing environment urban the of representation of methods the study the of perception and environment interpretation of ways whose to artists, Russian of images artists. European other inspiring life, everyday urban the were Impressionists eye that explains Kaganov studies his In art. modern and classical in city a of representation of typology the on worked who Kaganov, Grigory historian art Russian the of study the to turn may one century, twentieth world. theindividual,the viewsand of T theme exist city, the of image the a becoming is city the of perception subjective the of and images, of typology artists, Russian by environment urban the of perception and interpretation of ways analyze to order in century, the of turn the at Paris of studythe on focusing is study this why is This decades. several over even not metropolis, each of iconography the of development greate a and cities of he Kaganov, 11 se factors include factors se view Григорий Каганов, Каганов, Григорий ,

Traditional methods of comparative historical analysis historical comparative of methods Traditional depi city the of typology the define to order In s cmlx n cntnl eovn sbet de o nme o itrcig factors. interacting of number a to due subject, evolving constantly and complex a is

or view from above), panorama, urban interior, and street scenes, and scenes, streetand interior, urban panorama, above), fromview or City Environment: Acceptance and and Acceptance CityEnvironment: , towhich

the physical qualities of the city itself, the actual socio actual the itself, city the of qualities physical the

ооса сеа пемто наследование и преемство среда: Городская this researchthis isdedicated. nme o ter mgs i i ipsil t tae n n suy the study one in trace to impossible is it images, their of number r traditionally the city is portrayed as an aerial view (also called a bird a called (also view aerial an as portrayed is city the traditionally first first to

address the problem of reflection of personal experiences. The nature The experiences. personal of reflection of problem the address ing artists in the history of art began to develop the develop to began art of history the in artists

in the minds of its residents and/or artists working on the urban the on working artists and/or residents its of minds the in the individual’s

Perception -

ideas about the world in general and world aboutin ideas the

12 , Moscow: 2000, pp. 49 pp. , 2000, Moscow: to -

bec 11

ctions that existed in the beginning of the the of beginning the in existed that ctions popular area of research at present, since since present, at research of area popular

This o me the main tool fo tool main the me work

are Мсв, 00 с 49 с. 2000, Москва, ,

applied in the thesis permit to to permit thesis the in applied simplifies the analysis of the of analysis the simplifies - 62). 62).

problem of modern of problem - r the creation and creation the r cultural situation, situation, cultural he claims that thethat claims

place in this place inthis - to 62. 62.

different define a define Parisian (Grigory (Grigory ’s ,

CEU eTD Collection boulevards and av and boulevards Baron by out carried reconstruction city the after century, nineteenth of end the By century. nineteenth the in visitors of status the and metal) death, his after study publishedBenjamin’sunfinished of object becomehavethe which arcades,andboulevards originate resident city of type new this that accident no is It culture. urban of a dweller, urban an of type psychological grea has work areinterrelated.arts visual andenvironment urban the in changes that meanswhich consciousness, human in reflected is turn, in space, urban the Changing city. the of structure urban the roads, new of of construction the transformation environment: immediate the analyzed he First, points. main two to paid was essay his in the works the were arts, visual and analyze environment urban the of phenomenon to attempts earliest the of One representation. visual its and environment urban of the city, andas well narratives as memoirs made descriptions literary by played is role same The character. its on passed but city, the of condition for value special a has scenes, street of sketches genre objects, individual of views views, city panoramic as such behind, left material visual of amount extensive The process. historical or background, asses mediated psychologically and socially artistically an is it cases most in neutral, rarely is perception individual orconsciousness, 1 pp. 1999, College: Harvard of Fellows and President Tiedemann, 12 Walter Benjamin, “Paris, Capital of the Nineteenth Century” in in Century” Nineteenth the of Capital “Paris, Benjamin, Walter There

urban historians as it was produced produced was it as historians urban Paris, the Capital of the Nineteenth Century Nineteenth the of Capital the Paris, also iprac fr nesadn o eeya ubns, s t ecie a new a describes it as urbanism, everyday of understanding for importance t ai Arcades Paris enues. enues. exist a number of studies reflecting on various stages of transformation of the of transformation of stages various on reflecting studies of number a exist its Georges These reasons These

trade centers sp centers trade Te asgs wt ter rhtcua invtos te s of use (the innovations architectural their with passages, The .

- Eugene w flâneur, ere asmn, ai attained Paris Haussmann, ecializing in luxury goods, had become attractions for attractions become had goods, luxury in ecializing sment of the city or its fragments based on cultural on based fragments its or city the of sment

thus, and neighborhoods edifices, by contemporary artists, who not only recorded the the recorded only not who artists, contemporary by what made what -

and his relation to the increasing visualization increasing the to relation his and by traveler -

written in 1935, where special attention special where 1935, in written

artists turn artists - 26. h Acds Project Arcades The

t o the theme of the city of of city the of theme the o of Walter Benjamin, who Benjamin, Walter of prominent a d in Paris, with its its with Paris, in d , translated by Rolf Rolf by translated , the 12 changing the changing

Benjamin ytm of system - treated, ’ s CEU eTD Collection favorite subject, favorite him For Impressionist. Russian first the as known is dedicated, is fin depicting in applied he which a was Tarkhoff Symbolism, and Fauvism Impressionism, how explains City”, the of Image “The chapter the especially study, This Communism. during disregarded completely were which paintings, his of reproductions c friends, his with exchanged he letters the includes artist, the of life the of aspects specific on light sheds It language. Russian the in published was which Tarkhoff, cond and beginning ofthe twentieth the of image the in changes great the of perception their of observingand time same the at Paris stayingin French the into look only not to Impr proposing by statement Clark’s amplify to like would I time.” the of painting the and henchmen… his IIIand Napoleon by through put Paris Followers His and Manet book his in suggested who historian, art British was it decades few A art. contemporary in images urban of subject the twentieth century. Paris, HisFollowers and Manet 13 ioh Jms lr, Te iw rm Notre from View “The Clark, James Timothy ce b Vlnia ylk s h frt ok eiae t te ie n at f Nicholas of art and life the to dedicated work first the is Byalik Valentina by ucted m the into also but paintings, essionist the n o te world the of one In my thesis, I narrow my focus to two individuals, individuals, two to focus my narrow I thesis, my In studies urban on works of number large a Among es tde ad oua fgr Ncoa Trhf. A Tarkhoff. Nicholas figure popular and studied less inspiring him him inspiring

(London: Thames and Hudson Ltd., 1984), p. p. 23. 1984), Ltd., Hudson and (London: Thames - renowned and most significant cultural centers of the beginning of of beginning the of centers cultural significant most and renowned

that “it is tempting to see a connection between the modernization of of modernization the between connection a see to tempting is “it that century. to produce to

- de

- siècle Paris. Konstantin Korovin, to whom another chapter another whom to Korovin, Konstantin Paris. siècle

a asterpieces of Eastern Europe, namely, Russian namely, EasternEurope, asterpieces of solid solid - D ame” in in ame” - the the The Painting of Modern Life Modern of Painting The

14 number of paintings of the city, which were not were which city, the of paintings of number cultural life of the city, to make a comparisona make to city, the of lifecultural -

The Painting of Modern Life: Paris in the Art of of Art the in Paris Life: Modern of Painting The ,

l t dvlp i on nqe style, unique own his develop to ble the there is a lack of w of lack a is there city at the end of the nineteenth the of end the at city

quite famous Konstantin Korovin Konstantin famous quite

eety ulse research published recently ,

ai hd las en a been always had Paris

nan eclet quality excellent ontains T. J. Clark, a Clark, J. T.

by - balancing between between balancing

Paris in the Art of Art the in Paris orks highlighting highlighting orks 13

prominent However,

artists

and

CEU eTD Collection these texts reflect the daily life of the artists, which allow one to look more objectively at their at objectively more look to one allow which artists, the of life daily the reflect texts these historical wider new a into a work artists’ enable the placing by that perspective questions many answer and Tarkhoff Nicholas and Korovin Konstantin about details biographical clarify to help Moscow, in Gallery Tretyakov State the of Department the in kept colleagues, their by written ones the as well as themselves, masters the T notes. and letters private artists’ the as such sources, primary of analysis an on Nicholas and Korovin Konstantin Paris, detmore a offer will Tarkhoff, in artists Russian two to respectively dedicated chapters, research two by followed be will part introductory The thesis. the up back to chosen the and pages few a addition, In sources research. conducted of relevance methodology, on notes include and study the for background historical the of explanations containwill introduction The researchconclusion. chaptersandtwo introduction, I amanalyze. planning to fo traditions. the in artists immigrant Russian of role the as well as paintings of reception critical the strategies, market ad pictorial exploring nineteenth late the of world art the examine Mer Alexander critic art and poet French and (1910), Makovsky exhibit art critic, art and painter figures art famous by written articles newspaper into nowadays. therefore and Russia, in critics by well received in Exhibition” 14 Александр Бенуа, «Выставка Тархова» в газете «Речь», Октябрь, 1910. 1910. Октябрь, «Речь», газете в Тархова» «Выставка Бенуа, Александр s a a te tutr o te ok s ocre, h dsetto wl cons will dissertation the concerned, is work the of structure the as far As look to intention an have I Tarkhoff, and Korovin by works the studying to addition In 14

These articlesThese The Speech The

newspaper, October, 1910). 1910). October, newspaper,

will help to set the criteria for the evaluation and analysis of the works the analysisand of evaluation the for criteria help setthe will to ailed look into the life of each master and their artistic work based based work artistic their and master each of life the into look ailed ion

organizer and the editor of the of editor the and organizer mto o te Post the of rmation -

–

al teteh etr Rsi ad France, and Russia century twentieth early tee paintings these , -

among whom among

will be dedicated to the theories I have have I theories the to dedicated be will - mrsins ad Avant and Impressionist

and social context. In addition, In context. social and Apollon eeu 11) The (1910). cereau include

r nt well not are (Alexander Benois, “Tarkhoff’s “Tarkhoff’s Benois, (Alexander

arts magazine Sergey magazine arts

Alexander Benois, a Benois, Alexander he narratives by narratives he - nw, even known, Manuscript Manuscript se s o the of ist

articles - garde

CEU eTD Collection rnil ta dfnd h seii caatr f h Ipesoit r ta fcsd n “the continuity.” on and focused permanence over that moment artthe of Impressionist dominion the of character specific the defined that principle outside, worked mostly Impressionists The art. their inspired t admire them boulevards, letting city the along paintings their through journey captivating a on viewers the took artists these as others, and Pissarro, Camille Renoir, Auguste Pierre Monet, Claude by produced bec color and Light tonality. emotional and mood its landscape, the of atmosphere changing disharmony, and harmony contrast, they way the objects, of colors and contours nature: in everything define unnoticed, and invisible almost tha believed They canvas. on effects light passing and fading quickly of depiction precise the as task their saw Impressionists century. nineteenth of decades few last references,and a bibliography ofvisual sources. list conductedresearch. The artists. immigrant Russian by portrayed questions ofthe atthe study,citybeginning asParis ofwas century howthetwentieth such of established. being was style personal his how on reflections and paintings of characteristics own his include also writings Korovin’s w argument an develops Tarkhoff1910, 18, November fromBenois to lettera in Forinstance,relationships. and activities Age Film 17 16 1612. code 137, Collection 15 Paris. KorovinChapter 1.Konstantin Arnold Hauser, “Naturalism and Impressionism” in in Impressionism” and “Naturalism Hauser, Arnold Collectio Gallery, Tretyakov State Department, in Manuscript 1890s from Notebooks Korovin’s Museum, Russian State Department, in Manuscript 1910, 18, November Benois, A. to letter Tarkhoff’s Nicolas First born in France, the Impressionist movement spread widely across Europe during the the during Europe across widely spread movement Impressionist the France, in born First Parisian Lights Parisian , Vol. 4 (London: Routledge: 1993), p. p. 159. 1993), 4 (London: Routledge: Vol. , Additionally he new architectural styles and discover the sites along the Seine that that Seine the along sites the discover and styles architectural new he

t ciis n gvs n evaluation an gives and critics ith series.

, the text of the study will will study ofthe , thetext

– 16

the first Russian Impressionist and His Depictions of Impressionist Depictions of His the first Russian and

The research chapters also will answer the fundamental the answer will also chapters research The

m te an poaoit” f vr painting every of “protagonists” main the ame conclustion - The Social History of Art: Naturalism, Impressionism, The The Impressionism, Naturalism, Art: of History Social The

16 -

be complemented bycomments the be in complemented is 17 intended of

n li air, plein en h otie ol ws where was world outwide The

i on art. own his

o oti te eut of results the contain to te ad ih effects, light said the t hc ws new a was which 15

h dat of drafts The n 11, #31. n11,

CEU eTD Collection to point out that thereis practicallyno that out point to beneficial is It research. scientific and opera, halls, music Impressionism, of emergence the with century twentieth of beginning and century nineteenth of end the at artists Russian admired most the understood by visito celebrated most historical been the had it as art of Korovin’s view to way writers a researchers provide Korovin the Konstantin of accounts actors, critical several of role the to referring and biographies centu nineteenth of end the in underwent Petersburg Saint and socio of aspects different highlighting By produced. masterpieces the of fate further and perception the on greatly influenced opinions them surrounded who those and colleagues, his and artist the of lives inner the exploring thoroughly biography, artist’s the of details the on information necess providing of terms in title same the bearing and ago, decades few a published all Moleva, Nina and Domiteeva Vera by studies mo a include accounts These Impressionists. Russian first these of personality the on light shed art and life his to dedicated accounts Several 1880s. late (1861 to according built not was composition complicated adopted classicalbut by canons, artists from nature itself. to casualty Impressionists’ the o depiction Consequently, Impressionists’ the to perception of sharpness and spontaneity addingcoloration, museum dark from free picture, the into came color of clearnessand freshness Age Film 18 Arnold Hauser, “Naturalism and Impressionism” in in Impressionism” and “Naturalism Hauser, Arnold - 1939), a painter who changed the course of modern art in Russia after his visit to Paris in Paris to visit his after Russia in art modern of course the changed who painter a 1939), In this chapter, I explore the way the city of Paris was understood and depicted by one of of one by depicted and understood was Paris of city the way the explore I chapter, this In Korov Konstantin to linked is art Russian in Impressionism the of formation The -

the years of years the Konstantin Korovin Konstantin , Vol. 4 (London: Routledge: 1993), p. p. 158 1993), 4 (London: Routledge: Vol. , La Belle Epoque Belle La

r bcgon kolde Tee artvs oti invaluable contain narratives These knowledge. background ary . In regards to this chapter, these sources were particularly helpful particularly were sources these chapter, this to regards In .

rs of his exhibitions. rs of hisexhibitions.

- documentation that could that documentation cultural developments that the societies of Paris, Moscow Paris, of societies the that developments cultural

that atta that - 160. - The Social History of Art: Naturali Art: of History Social The

ined the reputation of a profound center of arts, of center profound a of reputation the ined 17

- nograph by Raisa Vlasova, as well as as well as Vlasova, Raisa by nograph

art critics and gallery owners, whose owners, gallery and critics art

help one to define the exact definethe to one help y uig xmls f several of examples using ry, 18

sm, Impressionism, The The Impressionism, sm, f everyday life. life. everyday f

date in

CEU eTD Collection Upon returning Korovin toRussia, wrote, Later Russia. say, Korovin would canons established from freedom of air the in breathing in phase the trip first the this from and discovering tones, color lighter from and brighter using came were who Impressionists, this Obviously, for. harshly so him criticized Russia in Arts of techn new art his into incorporating began hewhenexactly wastime the this since 1887, happenedin visit first his that follows hereFromit truthful: es his from words The mistake. a be to considered is it 1888. to 1885 from r matured and moved slowly towards decline,. that fact the despite Russian in that was support Russian of lack the for reason The many. not were they though him, supported half second confusion. the to add merely him. of esearchers still debate on the years of the first trip the artist made to Europe; the dates range dates the Europe; to made artist the trip first the of years the on debate still esearchers

Kor 2012. May, book the on article 21 20 (Raisa Vlasova, 19 B. B. Korov Власова, Раиса

The available data, available The vns is trips first ovin’s Скляренко s as Vaoa ecie i hr oorp o Kntni Korovin, Konstantin on monograph her in describes Vlasova Raisa As

his pa his in’s Drafts in’s different. Impressionists… In their art I found everything I was criticized for back home, in in home, back for criticized was I Moscow. everything found I art their In Impressionists… different. wh of most have They French. the are, they Here yearsold. 26 being herewhen first I came wasParis by I amazed

official

of the 1880s, confirmed by both Korovin’s both by confirmed 1880s, the of

inting began. During these months, Korovin was mostly observing, learning and learning observing, mostly was Korovin months, these During began. inting Konstantin Korovin, Life and Art Lifeand Korovin, Konstantin , 21 статья Константин Коровин, Жизнь и Творчество и Жизнь Коровин, Константин

in Manuscript Department, State Tretyakov Gallery, Fund 97, №56. 97, Fund Gallery, Tretyakov State Department, Manuscript in artistic circles artistic 19

All the Greatest Artists in Russia in Artists Greatest the All

In the unpublished manuscript of the artist, he mentions the year 1880, but 1880, year the mentions he artist, the of manuscript unpublished the In

h 1880s the

bod n re to order in abroad

по the epistolary the

книге

oee, hr i n doubt no is there However,

« n France in and in and

Все

величайшие

material,

h orei ulc mrsins a nt accepted, not was Impressionism public bourgeois the

iques, which the teachers from the Imperial Academy Imperial the from teachers the which iques,

, Moscow: 1969, p. p. 27 1969, Moscow: ,

adequately

were

- ). Retrieved from from Retrieved ).

18 signatures

h pro when period the отечественные - at we have accomplished, but also something something also but accomplished, have we at

ug te first the judge -

say works , Москва, Художник РСФСР, 1969, с. 27 с. 1969, РСФСР, Художник Москва, , the freedom he had been longing for in in for longing been had he freedom the

and dates on the on dates and My Early Years Early My

- that

34). http://kkorovin.ru/v_sklyarenko2.php

and those and 20 художники

these

mrsins hs already has Impressionism

impressions

visits

of Russian artists who artists Russian of »,

стр works of the artist, the of works

appear to be more more be to appear started 2 V Sklyarenko, (V. 2 .

Europe gave gave Europe

during the the during

Ru ssian

new - 34. 34.

in in CEU eTD Collection master of historical painting, had master The their in growth. He said, them limiting without world, the of corners all from artists young many welcoming styl new his find would he knew he where and artist, an as evolve to ways possible new for looking truth, and logic their follow to trying masters, atto look French learn arttheFrench closely. from more Thiswas Korovin something couldnow the which during trip, this to connected was development artistic Korovin’s in stage the world artistic the in position steady and existence their changing the was Impressionis one on since new, the for search and longing his as well as Academy, Art Russian the by suggested by written words These какое Искусство правды. логики сторону в пока но ново, 24 artist. great the works by Literary stories. Short 23 22

style had been in hand, “ Писал мало, почти ничего, учился, ей богу, учился. Хорошо пишут французы. Молодцы, черти! Все Все черти! Молодцы, французы. пишут Хорошо учился. богу, ей учился, ничего, почти мало, Писал “ художника великого опыты Литературные Коровина. Константина Рассказы Drafts Korovin’s

mind So, at the end of end the at So,

produce anything els produce bored. the towards me could. almost little, very painted I had grandmother my way the exactly looked me… on great impact a had paintingFrench of art The described. Everything before. place the seen already had twenty of age the at when Paris, by amazed was I Korovin well the so it and feel not painting, Impressionism. do I the since of bad is core art My the tones. for are found be tones should subject Truthful tones. between interaction light the freedom, and color of beauty the Feeling

aeul suid modern studied carefully t. On the other the On t. when he wrote he when

The French paint so well. so paint French The Integrity

widely used widely

itrcl situation. historical in Manuscript Department, State Tretyakov Gallery, Fund 97, №58. 97, Fund Gallery, Tretyakov State Department, Manuscript in y h nature the by 22

s not is

1892,

logic

the artist himself demonstrate the dissatisfaction with what was was what with dissatisfaction the demonstrate himself artist the

e afterwards. e new the explore to desire this into give finally him made what hand, in a letter to Apollinary to letter a in

eln, some selling,

f truth. of

Korovin in France,

nothing, I was just learning, I swear, I studied as much as I I as much as studied I swear, I learning, just was I nothing,

f i tln ad even and talent his of

Well done, done, Well

24 hs r i somewhat is art This rnh r, n i was it and art, French In

moved to France, where he spent he where France, to moved

1886, rv souls. brave and won ) Retrieved ) –

hs s hr a ats fi artist an where is this

- the you devils! you

its audience.its at mrsins ehbto to pae and place, took exhibition Impressionist last -

- hi technique Their from

six first came to this city, but still it felt like I like felt it still but city, this to came first six

- Vasnetsov, a prominent Russian artist and artist Russian prominent a Vasnetsov, e, since the French capital at that time was time that at capital French the since e, то постоянное, целостное, не надоедает. Больно Больно надоедает. не целостное, постоянное, то

http Everything is new, but so far so but new, is Everything

permanent, integral: one is never never is one integral: permanent, was officially officially was :// kkorovin

h Impressionists the

i character his

is almost toxic; one cannot cannot one toxic; almost is

nds expression, enjoys the the enjoys expression, nds . ru / stories

almost a year. a almost

acknowledged, since since acknowledged, . 13. – ( Konstantin

true art is the the is art true

php a already was

it is taking taking is it ht h artist the that

master tried master

May

This new new This

Korovin’s , 2012. ,

CEU eTD Collection eager to record what they saw around, and left behind extensive visual reports, but what did what but reports, visual extensive behind left and around, saw they what record to eager well is It Paris. of city the of subject the to dedicated in like by produced hear advertisements. beamingwith windows shop and of full of source a as such Paris; café, outdoor the of depiction the followed Parisian Salonin1900. of title the received which capital, French the depicting masterpieces of series a produced he 1890s), Rain the begins trend he life, side country the of realism the on focusing were home back masters the of example the Following motives. Parisian by enriched was Korovin Konstantin of art the when but France, admired, therest and for adopted life. ofhis so had he way discovered newly the in work to willing only was Korovin on years those From p. 232). 1977, 232. с. 1977, 25 Tretyakov ядовита техника уж

French

Нина Молева, Нина

h cekn of creaking the

of portraying the beauty the portraying of 19 ad 90 ad w pitns ne te sam the under paintings two and 1900) and (1897

Cafe de la de Cafe movement Korovin close Korovin’s aiin lights Parisian Paris

Korovin Impressionists,

air and air Gallery also

traveling musicians musicians traveling

ane i 1 in painted

(Nina Moleva, Moleva, (Nina

ac at the World the at

Жизнь моя моя Жизнь

Paix and light, and light, and , etd h ie of idea the cepted

Fund color effects. color -

; and and ; ничего после написать не можешь.” можешь.” не написать после ничего h wheels the

familiarity 11, №31. 11, n md hs ae aos n h Ws drn te xiiin t the at exhibition the during West the in famous name his made and

— 907. My Life Is Painting (Konstantin Korovin in Moscow) in Korovin (Konstantin Painting Is Life My Paris at Night, at Paris

живопись (Константин Коровин в Москве), в Коровин (Константин живопись Exhibition in Paris in Exhibition

of the urban landscape. urban the of

Korovin admired Korovin Here, the legitimate question emerges concerning his works works his concerning emerges question legitimate the Here, Paris, at day and day at Paris, -

all the details that give his painting the effects of theatricality, of effects the painting his give that details the all with Impressionism happened not only not happened Impressionism with f arae, h cis of cries the carriages, of

ds h theme the adds

ra pitn and painting urban

Boulevard des Capucines des Boulevard

in 1900. in Examining

night, the lights the -

f h ct it hs art, his into city the of

- known that the French Impressionists were Impressionists French the that known 25 Kor

was filled with filled was

Starting with two views of Paris Paris of views two with Starting This period in late 1890s was the time time the was 1890s late in period This Paris: ovin nm ( name e

embodied it in his paintings that that paintings his in it embodied of lanterns, of his paintings, the viewer can almost viewer can the paintings, his ’ s

Letters sellers, newspapers

h Seine the aiin Café Parisian .

Москва: The painter The ,

Manuscript

, Mos , a special a colorful

during his first trip first his during ;

Московский рабочий, рабочий, Московский cow: Moscow Worker, Worker, Moscow cow: n wie Russian while and t the At

advertisements,

Department rhythm of life, of rhythm saw bt i late in both ,

and Boulevard

the city the

sounds , After

State new

the

as to ,

CEU eTD Collection ovnin a TJ Cak ons u, ersnaie fo dfeet pee o scey and Paris society of of quarters spheres different different from representatives out, points Clark traditional T.J. of as quit lines conventions the were blurring places classifications,” and those classes Although of mixture together. “a connect” with ambiguous, not but “coexist to seen be could those of paintings of amount impressive an by confirmed wh for moments, multi flashing elusive and volatility, constant those to attracted were Impressionists the since time, the of art European the Appropriately, display. on put was monuments. to perspectives new giving avenues and house, opera an bridges, new boulevards, large with ambitious o very fabric medieval the a destroyed that instigated planning city of Haussmann program entertainment. of forms new and life café glitter, sparkle, of full city lively a became Paris century nineteenth of end the by critics, passionate which in army.” the from protection streets provided which and festered had tiny discontent the remove to and water, clean and sanitation boulevards, wide “with Department ofthe Baron appointed had France, of industrialization the in believing III, Napoleon after Paris of image the in changes great the observe could one Itbeneficial.be backgroundwould historical the magnificent city? of discussion visual his in omit to willing he was what and works his in on focus artist Russian HisFollowers and Manet 27 Century the Nineteenth in Painting 26

N. Blake and F. Frascina, “Modern Practices of Art and Modernity” in in Modernity” and Art of Practices “Modern Frascina, F. and Blake N. ioh Jms lr, Te iw rm Notre from View “The Clark, James Timothy m h tee f aiin tet ad olvrs eae fvrt oe wih is which one, favorite a became boulevards and streets Parisian of theme the om Before proceeding to the discussion and analysis of visual sources, a few words on the the on words few a sources, visual of analysis and discussion the to proceeding Before

The new spaces created during the renovation were where the spectacle of Paris of spectacle the where were renovation the during created spaces new The Seine from 1853 to 1879, to rebuild Paris in order to turn it into a into modern it Paris inorder city,from toturn 1879,torebuild Seine 1853to

, London: Thames and Hudson Ltd., 1984, 23. p. 1984, Ltd., Hudson London: and , Thames

ol b fud hr, hr “epe are “people where there, found be could , Yale University Press: 1994, pp. 50 pp. 1994, University Yale Press: ,

colored crowd. Konstantin Korovin was one of the artists the of one was Korovin Konstantin crowd. colored topic of the street life gained great popularity in Western Western in popularity great gained life street the of topic -

should be explained thatduringEmpire,Second explained the be should Dame” in in Dame” -

21 Georges -

The Painting of Modern Life: Paris in the Art of of Art the in Paris Life: Modern of Painting The - where , Eugene - 140. f the city and replaced it with it with it replaced and city the f

Modernity and Modernism: French French Modernism: and Modernity

ifrn cass f society of classes different Haussmann, Prefect of the the of Prefect Haussmann, 26 ad o ae u, their out, make to hard

Although he he Although had many had e CEU eTD Collection hae woe rn ws ul apeitd y ny y h inr ice f rtr, painters, writers, of circle inner the by only by appreciated fully was irony whose phrases investments”. and “sales like aspects life mundane in not and elegant,” and aesthetic “the in interest his by distinguished the explains, Haussmann’s view.” as to and century,” nineteenth the of s bridges, boulevards, half up “opened project reconstruction second the during so conspicuously Paris Century Nineteenth in Walking of article her in explains Forgione Nancy As project. renovation Jacques Triomphe de Arc great boulevards the of one like well, as ones aristocratic more and Paris, visited never who those to even familiar famous andall among ofthem operaproductions; arefound works. Korovin’s residence, food Plac center”, excellent with Madeleine, la de Place neoRoyale“namedafterthe Rue of and end the at situated establishments, glamour, and luxury with breathing Paris, Re andNaturalism for common was it as goal,primary his society of problems the to attention drawing not classes, upper the from figures obscure,” purpose their unconvincing, expressions and gestures 31 Bulletin 30 29 HisFollowers and Manet 28

Robert Herbert, Herbert, Robert Williams, Nicola ioh Jms lr, Te iw rm Notre from View “The Clark, James Timothy ac Frin, Eeya Lf i Mto: h At f akn i Lt 19 Late in Walking of Art The Motion: in Life “Everyday Forgione, Nancy vnuly from Eventually, coe o Notre to close , , Vol. 87, № 4, December 2005, pp. 664 pp. 2005, December № 4, 87, Vol. , 29

r lc d lOea wee epe ol b se poeaig fe attending after promenading seen be could people where l’Opera, de Place or d l Bsil, h fre pae f h futet cnuy otfe royal fortified century fourteenth the of place former the Bastille, la de e 30 flâneur

hs te an rtgns i mdriy a the was modernity in protagonist main the Thus, -

Impressionism: Art, Leisure and Parisian Society, Parisian and Leisure Art, Impressionism: Boulevard des Italiens des Boulevard r h dpcin f h batfl itet cnuy monument century sixteenth beautiful the of depiction the or France Highlights, Highlights, France

a uuly hrceie b “ern te lte o te upper the of clothes the “wearing by characterized usually was , London: Thames and Hudson Ltd., 1984, pp. 23 pp. 1984, Ltd., Hudson London: and , Thames - 31

ae e ai, n oe t wlig iwr tak t Haussmann’s to thanks viewers walking to open and Paris, de Dame portraying some random streets, the master “moves” to other spots, spots, other to “moves” master the streets, random some portraying

As for the inner world of the of world inner the for As

LP Publications: 1999, pp. 144 pp. 1999, Publications: LP , “always a city for walking, Paris became much more much became Paris walking, for city a “always , alism. Such places, first of all, were the main squares of squares main the were all, of first places,Such alism. , the street street , the - 687. - Dame” in in Dame”

22 - Champs

h Pitn o Mdr Lf: Pari Life: Modern of Painting The quares, and other public places to traffic to places public other and quares, flâneurs

- Yale University Press: 1991, pp. 33 pp. 1991, University Yale Press: Elysees - 160. Everyda

28 , they “flaunted his “flaunted they , -

78.

Korovin still concentrated on concentrated still Korovin

flâneur with the view of th of view with the y Life in Motion: The Art The Motion: in Life y th

Century Paris” in in Paris” Century - classical church in its churchclassicalin A Robert As .

Tu Saint Tour , s in the Art of of Art the in s wit in artful in wit e famouse Herbert - - The Art Art The class,” class,” 40.

- CEU eTD Collection o an oe needne n wr alwd o o u aoe ad tedn pbi events public attending and alone, out go to allowed were and independence more gain to pain his of most when century twentieth of beginning the in that fact the by explained perhaps, be, could Korovin Konstantin by depicted were they that the making study. their in debate McDonough Tom and D’Sousa Aruna which of issue, complex a and phenomenon f single as are even but couples, only not of women depictions offer which paintings, his of content him the from important for figures, male only portray traditionally not does again artist the that Car, Red and masterpieces later his in around, of activity the depicted of phenomenon the on emphasis acclaim gained during theperiod. also Haussmann by out carried changes the reflecting images whose artists, imm Russian to Caillebotte Gustave like masters French from transmitted was boulevard the of “realism a family class upper Paris.” best “the considered and newspapers” to “devoted were century,” bourgeois “ Herbert, to According addressed.” were they whom to fashionables and intellectuals musicians, flâneurs Paris Century Nineteenth 34 395 pp. 1972, Classics, Charvet, Penguin P.E. 33 32 in Life” Modern of Painter “The Baudelaire, Charles Robert Herbert, Herbert, Robert Aruna D’Sousa, Tom McDonough, McDonough, Tom D’Sousa, Aruna 32 osatn ooi add hrceitc iue o te aiin tolr, placing strollers, Parisian the of figures characteristic added Korovin Konstantin ml fgrs Tu, ooi rie te usin f female of question the raises Korovin Thus, figures. emale

In this sense, all the Impressionists, starting with Edouard Manet who was born in a rich in was born who Impressionists, Manet startingwith Edouard all the In sense, this

adopted an "attitude of protest against the vu the against protest of "attitude an adopted 34 flaneuse

h to coas oe ht r hsoy oty goe te at f t exi its of fact the ignored mostly history art that note scholars two The and flâneur Impressionism: Art, Leisure and Parisian Society, Parisian and Leisure Art, Impressionism:

Sketch of Paris by Paris of Sketch nd was a dandy himself, were were himself, dandy a was nd , as they call the female passers female the call they as , .” , Manchester University, 2006, pp. 3 pp. 2006, University, Manchester , flânerie 33

This idea of the main person in the painting depicting a street or a or street a depicting painting the in person main the of idea This , which was walking down the streets and observing what was what observing and streets the down walking was which ,

Promenading in Paris by Night, Paris Street Scene with Tram Tram with Scene Street Paris Night, by Paris in Promenading flânerie h Ivsbe Flaneuse: Invisible The

Night with Promenading Couple Promenading with Night - 422. te nqees o uniqueness the ,

23 Selected Writings on Art and Literature, Literature, and Art on Writings Selected flâneur -

- by, an almost invisible character. The fact The character. invisible almost an by, - 17. lgarized, materialistic civilization of the of civilization materialistic lgarized,

Gender, Public Space and Visual Culture in in Culture Visual and Space Public Gender, tings were produced, women managed women produced, were tings s,

Yale University Press: 1991, pp. 33 pp. 1991, University Yale Press: and f the modern city. He brilliantly brilliantly He city. modern the f

their work was described as the the as described was work their flânerie . What is striking here is here striking is What . - informed person in person informed a otn ignored often an , translated by by translated - stence, 40. igrant

CEU eTD Collection contingent.” artis Baudelaire, Charles by explained as century the of turn w the in boulevards. Haussmann's of m the indicate may intersection the prevalent picture. inthe is disconnect of sense the but background, the in passersby other or carriages of multitude a and of spaces reconstructed newly the Paris. Haussmann's within coexisting life, of walks all from inhabitants its S from images the In Paris. Haussmann’s of boulevards built newly the within coexisting life of walks all from inhabitants Capucines paintings Korovin‘s Konstantin two are examples such of Some centers. a were they and modernization of nature alienating the and landscape urban the painting day, the of phenomena common the on focusing still were issues, obvious so not other noticing also although artists, before. decades few a just have would it as much as reputation their threaten not did unaccompanied aint illing toshare withviewers. 395 pp. 1972, Classics, Charvet, Penguin P.E. 36 117. 35 Charles Baudelaire, “The Painter of Modern Life” in in Life” Modern of Painter “The Baudelaire, Charles Раиса Власова, Власова, Раиса - Denis Parisian Light Parisian

(Raisa Vlasova, (Raisa Vlasova, This kind of isolation pointed to another main topic depicted by the French artists at the at artists French the by depicted topic main another to pointed isolation of kind This th emphasize points mentioned The 10 ad 91 that 1911) and (1906

36 (1930s), Korovin (1930s),

The Realist painter Gustave Caillebotte, for instance, gave it a prominent position prominent a it gave instance, for Caillebotte, Gustave painter Realist The s fsiae b te da f oent cuig sne f slto i urban in isolation of sense a causing modernity of idea the by fascinated lso Константин Коровин, Жизнь и Творчество и Жизнь Коровин, Константин -

Konstantin Korovin, Life and Art Lifeand Korovin, Konstantin In the foreground of both paintings, there are uppe are there paintings, both of foreground the In modernity

series, is that this was probably the artist's own experience, which he was he which experience, own artist's the probably was this that is series,

All the detached,

his latest Parisian period, such as such period, Parisian latest his 35

again Another typical aspect of Impressionist paintings, notably present notably paintings, Impressionist of aspect typical Another -

a phenomenon created by metropolitan development in which, in development metropolitan by created phenomenon a ey lal dpc this depict clearly very aster’s disdain for the anonymous and anti and anonymous the for disdain aster’s

gives the viewer a wide angle view of the modern city with city modern the of view angle wide a viewer the gives - 422.

non at just like their Parisian colleagues, the Russian Russian the colleagues, Parisian their like just at

ts represented “the transitory, the fugitive, the the fugitive, the transitory, “the represented ts - communicative -

, Moscow: 1969, p. p. 102 Moscow: , 1969, 24 Selected Writings on Art and Literature, Literature, and Art on Writings Selected -

, Москва, Художник РСФСР, 1969, с. 102 с. 1969, РСФСР, Художник Москва, ,

desolate Paris. La Bastille Bastille La Paris.

character of the figures occupying character thefigures of occupying -

117). tt o mn o te city’s the of mind of state r class couples walking, couples class r

Paris: Boulevard des des Boulevard Paris: - picturesque nature picturesque (1928) or (1928) translated by by translated Paris. Paris. - CEU eTD Collection figures of people co people of figures featur also modernity, of idea the confirm to seem techniques, different applying like periods, same technique exacting his to due Realism of school the to closer be to found be sometimes could style artist whose prolific a be to appeared Korovin painting this in why is This perspective. constructed light of matter a not is It but strokes, brush street. broken and reflections cobblestone wet the represent to greens and reds grays, different manipulating and sky overcast an by rain the pictured He colleagues. Impressionist cond weather and atmosphere of treatment Korovin’s period. time the of innovations industrial the of products all were boulevards, wide constructed, newly the as pain his in position notprominent a it giving did instead but it Korovin blurring or ignoring Monet, by modernity represent or Renoir especially Impressionists, other most Unlike observer. Baudelaire's represent to seems front the in gentleman bourgeois The world. own their in be to seem all they space. own their person each giving detachment mind. Caillebotte’s to closer getting colleagues, Impressionist his from differs here conditions weather and atmosphere of treatment Korovin’s period. time innova industrial the of products boulevards, wide constructed, newly the as showing well as plane, picture the dividing composition his of middle very the in lights gas the added don have would Pierre or Monet Claude as it, ignore or blur to trying without painting his on Chicago, of 37 Douglas W. Druick and Druick W. Douglas ting.

The gas light in the very middle of his composition dividing the picture plane, as well as plane, picture the dividing composition his of middle very the in light gas The and structured spatial compositions. compositions. spatial structured and ai, Saint Paris,

p. 57. p. flaneur e.

37 -

Paris the , existing on the grand boulevards of the city without close connections with connections close without city the of boulevards grand the on existing lyn aog Kntni Krvn i hs eito o Saint of depiction his in Korovin, Konstantin along, Playing -

ei Ac (1930s) Arc Denis Gloria Groom, Gloria

e xquisitely 10) or (1907)

turned out, well mannered, gentleman stroller, detached detached stroller, gentleman mannered, well out, turned The Paris

Age of French Impressionism, Masterpieces from the Art Institute Institute Art the from Masterpieces Impressionism, French of Age highly finished elements establishing very deliberately deliberately very establishing elements finished highly

te stre the , 13) atog tee h mse ws obviously was master the there although (1933), -

25 the or earlier from Paris, urban of views Other

No one is truly communicating with another; another; with communicating truly is one No -

t ihs em o enoc te es of sense the reinforce to seem lights et great depiction of their desolate state of state desolate their of depiction great tos lo ifr fo his from differs also itions - Auguste Renoir Auguste - n isolated ing ei, also Denis, tions of the of tions CEU eTD Collection and t and technique blurry this However, sketchy. and unfinished looking as them by judged was painting Morning choice and composition its of terms light. of reflections the capture to use could he that landscape a as city the presents in city the of treatment his things; lig depict to wanted Monet comparison,In buildings. the of fronts store the and roofs the off reflect effects light the and differentiate, clearly to hard very are canvas summer warm a on is It evening. or dawn the at effects light the on concentrating as well as perspective atmospheric using is he trees, aligned and carriages boulevards, grand its with Paris modern bird a has viewer the zone while carriages, own their place, a has everything and everyone where city the of studio. his of window the of out Morning Monet’s Claude instance, For observed. they transformations of impressions the recording in similar were artists the ways many in and captured they and changing was around world The seeing. were they what interpreting eagerly artists, Impressionist the of paintings the in found air of and thecompositions joy doesallow any not brightness or sadthoughts. depressive modernity people Although notseemgeneral paintingsconnected, inhis be had. to closely do the key a as isolation in bring quite not did Korovin other. each 78 pp. 2007), Press, 38

Mary Tompkins Lewis, Lewis, Tompkins Mary ransitory effects together could stand for the idea of modernity, which was, actually very very actually was, which modernity, of idea the for stand could together effects ransitory l o the of All

or (1906). Korovin’s style was thought to be very radical by the Russian critics, and the and critics, Russian the by radical very be to thought was style Korovin’s (1906). Paris: Boulevard des Capucines des Boulevard Paris: eetees i i cuil o neln ta ee prryn te rnh modernity, French the portraying even that underline to crucial is it Nevertheless, the immediate vision that is blurred and has a sketchy quality; certain areas on the the on areas certain quality; sketchy a has and blurred is that vision immediate the characteristics mentioned above seem to be the elements that could then be be then could that elements the be to seem above mentioned characteristics - 80.

Critical Readings in Impressionism and Post and Impressionism in Readings Critical

Both paintings capture the grand boulevards revealing the order the revealing boulevards grand the capturepaintings Both

of tones, Monet’s masterpiece is close to Korovin’s to close is masterpiece Monet’s tones, of Boulevard des Capucines, Paris, Paris, Capucines, des Boulevard 's eye 's

olvr ds Capucines des Boulevard -

view of the street. While Korovin was painting the painting was Korovin While street. the of view (1911) are the master’s the are (1911) -

26 idea in his art, as other artists depicting French depicting artists other as art, his in idea

those -

transitory moments and specifi and moments transitory - Impressionism, ( Impressionism,

impressions of what he saw he what of impressions ht the way it reflected off off reflected it waythe ht and n cl, ity day wintry cold, a on

- Korovin’s University of California California of University

eetin, trees, pedestrians, 38

Actually, inActually,

c places, c Parisian Parisian

CEU eTD Collection created a magnificent, moving kaleidoscope of colors applied by brush strokes different in size, in different strokes brush by applied colors of kaleidoscope moving magnificent, a created ora and green red, like shades, other the all made that color the was him for Black brown). or grey with it substituting preferred who masters, French the by neglected was (which black in bringing boldly or night others by very bought specifically Instead, precisely. more nature depict createdpalette softer and thelighter new, with paints oil applied shining lights, windows advertising time, people. hurrying and rushing and windows shop streets, lit brightly same the depict and view, the of angle the in only vary between in produced Paris with starting time, night at or ( evening the in strictly Paris ( fugitive,contingent. and Life Modern of Painter The Baudelai Charles by given modernity of understanding the to corresponding the of painting his in do to tried Monet Claude what to close Parisian Morning, Paris Th Paris Morning, Parisian p. 176). 1977, 176. с. 1977, 40 395 pp. 1972, Classics, Charvet, Penguin P.E. 39

НинаМолева, Charles Baudelaire, “The Painter of of Painter “The Baudelaire, Charles

are full of light, and all show the center of center the show all and light, of full are painted in 1939, the year of the artist’s death. A few dozen paintings on the same subject same the on paintings dozen few A death. artist’s the of year the 1939, in painted Another interesting point was that except for only a few paintings of morning or day time time day or morning of paintings few a only for except that was point interesting Another

f high of “peacocks”.

signs of shops and cafés and shops of signs

expensive

in yellow, pink yellow, in (Nina Moleva, Moleva, (Nina

buildings. Жизнь моя моя Жизнь 40

wds paints Swedish

nge lights of displays and street lamps shine brighter. As a whole, it it whole, a As brighter. shine lamps street and displays of lights nge Korovin was never afraid of u of afraid never was Korovin 39

— My Life I Life My h sky, The is Morning, Paris Morning, is Paris: Madeleine, Evening on the Boulevard the on Evening Madeleine, Paris:

живопись (Константин Коровин в Москве), в Коровин (Константин живопись ulse frt in first published and green and ai: ih Street Night Paris:

s Painting (Konstantin Korovin in Moscow) in Korovin (Konstantin Painting s Modern Life” in in Life” Modern

flickering

ak and dark

hrceie by characterized

- tones. 422.

, and ,

- in the twilight the in thick, For more expressiveness of color, of expressiveness more For

27 a wide a e Figaro Le Selected Writings on Art and Literature, Literature, and Art on Writings Selected -

rm 92 n fnsig with finishing and 1902 from

o night for Autumn

lo em t b lt p ih multicolored with up lit be to seems also hs pictures These sing too many colors for depicting Paris at Paris depicting for colors many too sing

boulevard xeln qaiy n bihns, called brightness, and quality excellent

), the majority of paintings depicted depicted paintings of majority the ), n 83 ecie i a ephemeral, as it described 1863 in

haze of haze ie eis f itrs te artist the pictures, of series time

by the Impressionists i Impressionists the by olvr ds Capucines des Boulevard

filled with filled

, despite portraying night night portraying despite ,

Москва: fluffy , Moscow: Moscow Worker, Worker, Moscow Moscow: ,

and and

tree crowns, shining shining crowns, tree re, who in his essay essay his in who re,

Московский рабочий, рабочий, Московский people, Evening in Paris in Evening

Korovin never Korovin

olvr in Boulevard

lit translated by by translated n orderto n

lanterns, also , )

CEU eTD Collection the role the opera played in society. in played opera the role the neo fabulous the of grandiosity the where masterpieces Korovin’s Konsantin by proved is which paintings, Impressionist of their with theaters and houses opera buil by represented was and aristocracy century the the of to turn the belonged at culture High classes. social lower to upper from varied time that centu nineteenth of end the at Korovin’sone in tonoticeelement work: this first the was artist, and critic art Russian famous a Benois, Alexander stage. the on happening is scenede the of participant a not is viewer the that stress to order in contrasts color of technique the used just Capucines des Korovin while street; the in objects of color the changing day, the of time the on depending light and air of shade and structure the emphasized usually Pissarro and Monet role. different a playing starts composition a building of way this o window the from life city of scenes his in Impressionists French the from idea bird the borrowed artist the that consideration into taking Even painting. the of reality intensifi streets city of lights Artificial shadows. and lights of kaleidoscope a creating displays, store department lit brightly and torches night: cityat the of world mysteriouscolorful the into spectator the bringing paintings of series The thickness. and length 41 dings traditionally being quite magnificent and impressive. Inevitably. they became subjects became they Inevitably. impressive. and magnificent quite being traditionally dings Alexander Benois’ memories of Korovin, retrieved from retrieved ofKorovin, memories Benois’ Alexander Apart from the social aspects, the question of culture should be highlighted as well, since since well, as highlighted be should culture of question the aspects, social the from Apart equal for him?for equal are theater and life life, and theater since artist, the attract place first the in our performance a of such performance magical day, every and it charming see most we since the to constitutes used however, are which, we spectacle a theater, wonderful a also not this Is life. passion a had Korovin picted, but takes the role of the spectator in the theater by not taking part in whateverin part taking theaterbynot the in spectator the of role the takes but picted,

from ed the spectacular aspect of the moment, adding the fantastic pattern to the to pattern fantastic the adding moment, the of aspect spectacular the ed

both 1906 and 1911, or 1911, and 1906 both 41

to deliver his impressions of the Parisian street, and, in particular, its night night its in particular, and, street, Parisian ofthe his impressions deliver to ry it took a new turn. It is clear that cultural life around Europe at Europe around life cultural that clear is It turn. new a took it ry

Sarah Hibberd, in her monograph monograph her in Hibberd, Sarah - baroque construction of the of construction baroque

Paris at Night. Boulevard des Italiens des Boulevard Night. at Paris aiin lights Parisian -

, for instance, in his paintings his in instance, for , 28 http://kkorovin.ru/benua_korovin.php -

is indeed the most romantic one, romantic most the indeed is French Grand Opera and and Opera Grand French Pala is Garnier is

Paris. Boulevard Paris. time? Should Should time? f his apartment, his f

in May 2012. inMay from 1908, from -

L’Opera eye view view eye points to points

CEU eTD Collection represented only by the the by only represented in Prod’homme disappoint inevitable the amid glory of moments brief some had only composers operetta French day, their In public. pretentious less a to also but aristocracy, Noir Chat the all, of cabaret famous most and first passedthe which in year “the initiative 1881, after especially elsewhere, the France, in appeal mainstream its lose to begun had operetta, and opera halls. dance and halls, music cafe in occurred Paris century nineteenth the of culture popular or Traditional less of culture a to conflicted, even and contrasted greatly culture their and classes; elite the to exclusively belonged entertainment of kinds these genre, musical frivolous more historical andpolitical experience. of reassessment the to contributing discourse, political diverse more a possessed and events, opinions diverse expressed day, the of issues problematic the on reported opera century, nineteenth of end the at activity” political and cultural of heart “the Being disregarded. bourgeois upper among popular music of genre a only not was opera that claims culture, musical French century nineteenth in specialist a Hibberd, study, her In politics. and history form, art elite the between explai and productions opera contemporary in Imagination Historical the Zurich Petersburg, St. 43 42 Hibberd, Sarah Harold B. Segel, B. Harold

Nevertheless, despite the great popularity of opera and later, the operetta, a lighter and and lighter a operetta, the later, and opera of popularity great the despite Nevertheless, , was established.”was , - educated masses. The lower class also needed places to go to spend leisure time. leisure spend to go to places needed also class lower The masses. educated A Musical Map of Paris of Map Musical A French Grand Opera and the Historical Imagination, Imagination, Historical the and Grand Opera French society, but offered a revealing perspective, playing a role that cannot be be cannot that role a playing perspective, revealing a offered but society, Turn of the Century Cabaret: Paris, Barcelona, Berlin, Munich, Vienna, Cracow, Moscow, Moscow, Cracow, Vienna, Munich, Berlin, Barcelona, Paris, Cabaret: Century the of Turn (New York: Columbia University Press, 1987). Press, University Columbia York: (New

Academie Royal de Musique Musique de Royal Academie

addresses a question of how the historical events used to be reflected be to used events historical the how of question a addresses 43

y h ery wnit cnuy we te ihr tls sc as such styles, higher the when century, twentieth early the By From that year on, dance halls and cabarets were open not only to only not open were cabarets and halls dance yearon, that From

, at the turn of the century, when dramatic music was music dramatic when century, the of turn the at , -

29 ns the complicated nature of the relationship relationship the of nature complicated the ns -

Oea ad a nt cesbe o the to accessible not was and (Opera)

Routledge: 2009, pp. 12 pp. Routledge:2009, ments. As it is stated by J. G. G. J. by stated is it As ments.

certain extent, with the low low the with extent, certain - concerts, cabarets, concerts, - on the current current the on 180.

CEU eTD Collection blur of bright beautiful colors, at th at colors, beautiful bright of blur a representing paintings both Rouge, Moulin depicting by culture cabaret the of interpretation gallery. shooting a and tellers, fortune clowns, dancing, belly French a while played orchestra full a garden, the in Outside, drinks. them buy to men for waiting bar the of section a in sit would women Young floor. dance the on step to audience the encouraging display, wild present in together joined singers and acrobats Dancers, a love. for obtained market and a of enjoy reputation and forget to customers for place a became soon it wives, their bring leading tapestries, and Rouge the was nowadays, so does still and amounts great in public of range widest the attract audience an maintained cabaret the quantity, in large so the writers, and artists to bourgeoisie the from changed patrons the but people, attracting of source main cafe the of Out on. dwell to liked he culture popular of subject a district, the of nature festive the reflect enter of form only the not were they dance, and eat to came districts nearby in residing families when afternoons cafe on centered v most the perhaps was which Montmartre, of andin the foundadmirersstreet cabarets. it its and opencafes “pop lower, a of music secular public, general Chicago 45 611 pp. 1939), October Press, 44

J. G. Prod’homme, “A Musical Map of Paris” in Paris” of Map Musical “A Prod’homme, G. J. “Au Moulin Rouge” and “Toulouse Lautrec and the Moulin Rouge” in in Rouge” Moulin the and Lautrec “Toulouse and Rouge” Moulin “Au

opened on October 15, 1889 as a long gallery lined with paintings, photographs, posters, posters, photographs, paintings, with lined gallery long a as 1889 15, October on opened Describing the situation with entertainment in Paris, it is crucial to speak of the night life night the of speak to crucial is it Paris, in entertainment with situation the Describing - concert was born a cabaret, another public place where place public another cabaret, a born was concert (Chicago,1907 - called Bohemia, which meant that while the cafe the while that meant which Bohemia, called - ocrs msc al, n dne al wih ee ey oua o Sunday on popular very were which halls dance and halls, music concerts, tainment. Konstantin Korovin’s depictions of Montmartre at night perfectly perfectly night at Montmartre of depictions Korovin’s Konstantin tainment.

- to the spacious dance hall. Initially advertised to husbands as a place to place a as husbands to advertised Initially hall. dance spacious the to 1951). can

- - 612. can

a promd ad h ohr v other the and performed, was e look of which the viewer almost hears the loud music and music loud the hears almost viewer the which of look e ivid district of the city at that time. While it was it While time. that at city the of district ivid The Musical Quarterly Musical The - ular nature” possessed a rather important status, important rather a possessed nature” ular

30 -

high in quality. The cabaret that used to used that cabaret The quality. in high 44

- concert maintained an audience an maintained concert ros netimns included entertainments arious 45 , Vol. 18, No. 4 (Oxford University University (Oxford 4 No. 18, Vol. , chansons h Blei o te r Isiue of Institute Art the of Bulletin The

ooi, gi, fes his offers again, Korovin,

contin ued to be the be to ued Moulin ing a a ing CEU eTD Collection pa his on contribution important an made also Korovin Konstantin café. Parisian of world alluring the to dedicated paintings of number impressive an by proved is which time, the of artists the also but century, thestimulated furtherculture. growththis and developmentof the of turn the at culture popular the of representative only not were cafes motif. culture popular Toulouse with together concert, in met all Renoir and Cezanne call later was (which café found from Impressionists inspiration Many art. about talk to other each with meet and models find to place the used and public, cabaret the of part significant most the constituted painters stage, this At indiv the work, and leisure life, private and public the between distance the bridged that institution informal “an space, transitional unique a became café domesticity, boul new Café Paris the in Haine Scott W. food. and drinks some have and friends meet families, bring to readings, poetry also at monkeys even and dancers, clowns, were There entertainment. of form only the not was however, Music, perform. even or watch, listen, to came life of walks all from Parisians where blossomed, culture non a attracting aroundworld. and Europe peopleall the from and freedom of atmosphere joyful unforgettable the feels rt by producing three different paintings on this subject Paris.rt by shorttripsto producing very duringhis threedifferent first onthis paintings 336 pp. 1999), Press, University JohnsHopkins The (Baltimore: 47 p. 236. 1996), Press, University Hopkins John The (Baltimore: 46 erl Seigel, Jerrold W. Scott Haine, Haine, Scott W. Clearly, such an imp an such Clearly, cafe So, vr clue ild ih haes sos cfs n msc al” e t a erae in decrease a to led halls” music and cafes shops, theaters, with filled culture evard

also underlines that under Haussmann’s modernization of Paris when “a dazzling “a when Paris of modernization Haussmann’s under that underlines also - concerts, cabarets, and dance halls became became halls dance and cabarets, concerts, oein ai: utr, oiis ad h Boundaries the and Politics, Culture, Paris: Bohemian h Wrd f h Prs aé Scablt aog h Fec Wrig ls, 1789 Class, Working French the among Socialbility Café: Paris the of World The 47

This discussion points to the interesting fact that places like cabarets andcabarets like places that fact interestingthe to points discussion This

ortant medium of cultural development could not go unnoticed by unnoticed go not could development cultural of medium ortant Café Guerbois Café -

Lautrec who also painted many scenes and portraits with the the with portraits and scenes many painted also who Lautrec

some of these places. For lower classes, cafes were places were cafes classes, lower For places.these of some d h brhlc o te oeet sne Monet, since movement, the of birthplace the ed

and produced many paintings devoted to the cafe the to devoted paintings many produced and -

31 -

- 365.

the places where another type of of type another where places the

- f orei Lf, 1830 Life, Bourgeois of tp oia, aln and calling holiday, stop idual and the family”. the and idual The World of World The - - 1930 1914 46 - ,

CEU eTD Collection h Ipesoit bsd hi sye n tcnqe n Bt wrs hwd af mt cafés empty half showed works Both on. technique and style their based Impressionists the principles the all life to brought Impressionist, an as himself identified first Korovin Konstantin perspective. flavor, the overall in the participate of actively harmonization colors, neighboring the from and air, and light the on depending half finest the of life difficult a live here colors the All painting. light the for bright of inthe theladyby sitting colorful umbrella activity rangemaking of the perceptible. barely sometimes difference color the scene. and natural translucent fresh, a create and composition the of energy the to adds brushwork applied mood. positive and happy a with associated are that hues colors, joyous, a evoke strokes brush the to pallet color the to composition the from painting the of components the All this. of evidence primary time. outlined. barely are faces, their especially visitors, of figures the since foreigners, or residents local there, pictured is who guess an is This choiceits ofbright colors Korovin children. and women accepted also but space, public the the already was this Obviously, of composition. center the in women two the observing by conclude can we which families, for place painting the and 1885, in completed it for study the (1890s), most The light. and Paris, in years early made Korovin’s were during paintings the that proves light of abundance and theme color elegant Extremely

Korovin was an optimist and this painting, alone could probably be looked at as the the as at looked be probably could alone painting, this and optimist an was Korovin This painting along with with along painting This open air café with a few visitors, comfortably situated in a shady park. shady a in situated comfortably visitors, few a with café air open

Upon closer examination one can hardly find here two identical strokes, although strokes, identical two here find hardly can one examination closer Upon was modern life oneair of ofthe thathad of the scenes

t s w wmn tlig eating talking, women, two is It Parisian Café Café Parisian n hc te rit eosrtd i bilac i aerial in brilliance his demonstrated artist the which in

optimistic feeling. The master used intense, vibrant vibrant intense, used master The feeling. optimistic time when café stopped being an exclusively male male exclusively an being stopped café when time -

32 painted during the end of the 1890s, when when 1890s, the of end the during painted

At the same time, the artist provides a bright a provides artist the time, same the At -

famous 's depiction of depiction 's Parisian Café Scene Café Parisian

rafs ad aig good a having and breakfast His typical, lively and easily and lively typical, His

n named one

backgroundalmost too Parisian Café Parisian joie de vivrejoie de aiin Café Parisian

It is hard to hard is It all depict a depict all - tones, and tones,

with .

CEU eTD Collection Diaghilev, who brought Russian Ballet dancers to Paris, and even some royalties, like Prince of Prince Tchai like royalties, some even and IlyaParis, to dancers Ballet Russian brought like who Diaghilev, composers Zola, Emile or Maupassant de Guy Charles by also designed was interior its Garnier. and House Opera the as year same the 1872, in l’Opera de Place pictures. previous the in one the than rather modernity of aspect 1930 from depictions refreshing, makesgreatest admiredKorovin’swhich andmost themthe now even works of silvery with Together th and it. sunlight to of air spots pavement, fresh of flow a adds instead but dirty, or heavy it making by composition the destroy not does and disharmony any create not does here black masters, sh being however, dresses), people’s in instance, (for also here uses black Paris, he city of ofthe gray. views of night get Asinhis shades ochre and new to sienna brown, images “morning” to add to enough bold being and strokes, brush bigger c of subtlety and elegance specific a for looking was but blindly, them follow not did of Pissarro. street and life by Monet at joy, and color light, of full atmosphere, special city’s the and morning, summer the of poetry the capture to able was he yet impressions, other many with along master the by captured later and witnessed accidentally life of episode short a like I out. jump not does painting first the in umbrella red bright the even air colors, the The softens unclear. very contours the make which light, morning of shades silver glittering the wh during morninghours, 48

Noel R.Fitch, Noel Taking a closer look at the painting the at look closer Takinga Korovin French, the by influenced being even that however, emphasize, to crucial is It 48

It was attended by the representatives of the French and Russian Bohemia: writers like Bohemia:writers Russian andFrench the of representatives bythe attended Itwas Grand Literary Cafés of Europe of Cafés Literary Grand , the “last remaining grand boulevard café in the vital center of Pa of center vital the in café boulevard grand remaining “last the , s, one may notice at first sight that it seems to be a portrayal of another another of portrayal a be to seems it that sight first at notice may one s,

en not so many visitors came there. The objects are almost dissolved inalmost dissolved are objectscame The there. visitors en many notso

e green of the tree leaves make both paintings look very very look paintings both make leaves tree the of green e

Café de la Paix la de Café , London: 2006, pp. 28 pp. London: , 2006, -

3 3 -

r eog t b dne b te French the by denied be to enough arp

this point still resembling the depictions the resembling still point this

from 1906, as well as well as 1906, from - 30.

Café Restaurant de la Paix la de Restaurant Café osy te aos Serge famous the kovsky, Café de la Paix la de Café ris”, opened opened ris”, olor, using using olor, t looks t

CEU eTD Collection moment was rather complicated, as he was torn between different influences and ideas, ideas, and break influences could he different much how between see to torn balancing was he as complicated, rather was moment the life at His artistic informatory. very consideredand tobe are biography important placeinhis in depictingcafés. theurbanlifestyle livedinthe that more once prove paintings discussed last the of subjects p their taking class working even or bourgeoisie the from individuals of life everyday of depiction Impressionists' the of example perfect another yet is This dynamism. lively a paintings the giving colors vibrant of combination its with persists, scen night of theme the although solid, more are contours and outlines his productions, houses. surrounding of façades the hide to trees uses he Sometimes, Korovin. easily with clear, very is plane picture the of front The period. later artist the to belong that paintings all of compositions the to solidity is There commentary. a of kind any making without scene the observing reporter a on takes here Korovin bourgeoisie. class middle for friendships and connections new making for points were they establishments, simple More canvases. Korovin’s with comparison in significant less were they view, beautiful and food sea great for known performances, music its for famous Par the of views the of protagonists the like just isolation, their in wallowing way, any in communicating not another, one from disconnected were rooms crowded the in side by side sitting individuals, the da in shown is which sophisticated, and formal Wales. 50 265. 49

David Bogue, Bogue, David Jacques Hillairet, Jacques

49 The artist’s activities along with the produced images during h during images produced the with along activities artist’s The

h amshr o a lc atatn s mn fmu cins o cus, a more was course, of clients, famous many so attracting place a of atmosphere The isian boulevards at night. Café Cardinal at the corner of corner the at Cardinal Café night. at boulevards isian Guides for Travelers: Paris and Its Environs Its and Paris Travelers: for Guides

Dictionnaire Historique des Rues de Paris de Rues des Historique Dictionnaire readable café signs, and figures of Parisian strollers, so typical for late late for typical so strollers, Parisian of figures and signs, café readable

aé a aie t aa Saint canal at Marine La Café

on h taiin loig o hmef missing himself, for looking tradition, the down Café des Sports des Café - rker, more “serious” colors of the painting. Often Often painting. the of colors “serious” more rker,

aé e a Paix la de Café -

, London: 1885, pp. 51 pp. London: , 1885, leasure in a drinking establishment. The The establishment. drinking a in leasure , Paris: Editions de de Editions Paris: ,

Impressionists were very interested interested very were Impressionists

and sil on ter lc in place their found still , the role of both an artist and artist an both of role the Café la Mandolin la Café is visits to Paris occupy an an occupy Paris to visits is - - atn vn nowadays even Martin Minuit, 1985, Volume 1, p. p. 1, Volume 1985, Minuit, Boulevard des Italiens des Boulevard 56.

In these later later these In , alth , es still es ough , CEU eTD Collection of the Alexander Benois and his other contemporaries, much more can be learned about the waysthe about learnedbecan more much contemporaries,other his andBenoisAlexander the of F with bonds who painter, Russian another Tarkhoff, Nicholas by works and life the into look to intend I thesis, my of chapter following n the of end the at Russia from coming individuals of formation the influenced Paris in born tendencies new the how is which research, my of question the to back us brings This analysis. further needs and covered, fully been not has move Impressionist works, scholarly in reflected been have aspects its of most though even However, it. of outside also but France, in only not art of development the on w of subject the been has century, nineteenth of half second the of France in movement artistic influential which quality, a undiscovered, perhaps, the so knownand hisnamelovedamong made thepublic. and new the for search everlasting artist’s the shows It byof Korovin’s isunderlined art Domiteeva: featu main The difficulties. any by discouraged not artists, advanced most the of one Korovin callingKonstantin also critic, art prominent the of worlds the echoes Domiteeva Vera biographer era this during and acceptance him offered which dreams. his Paris, of with fulfillment love in being time same the at and Russia p. 133). 2007, Moscow: 53 Benois 52 Moscow « 51 Изобразительное еа Домитеева, Вера Бенуа, Александр вспоминает… Коровин Константин To conclude, To ’ Reflections : feelingof should happy In Visual

riting for many researchers. It is widely known that this style had significant impact significant had style this that known widely is It researchers. many for riting search of search rance were much stronger. much were rance

was the mo the was

long get

Art

admiration

, 1990). , искусство around Moscow contemplation

осатн Коровин Константин his own his I would like to repeat that for more than a century now Impressionism, the Impressionism, now century a than more for that repeat to like would I лкад Бна размышляет Бенуа Александр

h obstacle, the 51 st : 1968, : 1968,

artistic techniques artistic

of the first general first ofthe , 9. ( 199. »,

s lxne Bni cnimd i ws fc, ht ooi’ art Korovin’s that fact, a was it confirmed, Benois Alexander As advanced and advanced at the same period of time lived in the French capital and capital French the in lived time of period same the at

(in the detailed the (in

p .209). osatn Korov Konstantin

and

М , Through analyzing Tarkhoff’s paintings and the articles the and paintings Tarkhoff’s analyzing Through

Составители , eue the reduce ineteenth

[he]

most European.” most oc view,

depiction nature on the canvas appears dry, dead), one one dead), dry, appears canvas the on nature depiction ква: 2007, с. 133. 133. с. 2007, ква:

realized that if one could not could one if that realized -

35 Мсв: 98 с 29 ( 209. с. 1968, Москва: , not

ie of time n remembers… in –

- quite embracing the details, the embracing quite

einn o te wnit cnuy In century. twentieth the of beginning

И.

contemplation, in order to catch the the catch to order in contemplation, С.

52 иьешен В. Зильберштейн,

Vr Domiteeva, (Vera Almost a century later Korovin’s later century a Almost

Edited by I. Zilberstein, V. Samkov. Samkov. V. Zilberstein, I. by Edited

Alexander convey the feeling of feeling the convey ment in Eastern Europe Eastern in ment 53

А. osatn Korovin Konstantin

Benois

Самков. , Alexander

Москва a whose the re re , ,

CEU eTD Collection is valuable from the point of view of the study of the national heritage. national the of study the of view of point the from valuable is paintings Tarkhoff’s of study the addition, In trends. and schools European these with connected countries. both of development arts visual and cultural the in place taking processes the of context the in national great two between edge the on found is heritage artistic Tarkhoff’s Secondly, West. the in artists immigrant Russian of community the towards critics art contemporary of interest developing or France in kept are them of majority the andSwitzerland, for thisreason loverswork. arewithhis thefamiliar art Russian nottoo Russia, in found are them of few very Now the and now, preserved are France for leaving his before Russia in painted works his of none Unfortunately, approaches. and styles traditional from independently rather develop to talent his allowed end the in which accepted, been not Acade the attend to failed he Russia, in made were painting in steps initial his Although century. twentieth the of beginning the at existing styles of variety a of influence master, century. twentieth the Nicolas of work the at look figures popular f differed which reality, reflected perspective had. local artists that and Paris perceived artists European Eastern Tarkhoff 54 and theChapter Paris. Artist’s thePath in 2:Nicolas City. of Tarkhoff Image The Валентина Бялик, Бялик, Валентина h iprac o te stud the of importance The and studied least the of one of life the to focus my narrow I chapter, research this In

who had spent most of his life in France, where he emerged as an artist under the the under artist an as emerged he where France, in life his of most spent had who cultures, Russian and French, which makes its consideration and close analysis relevant analysis close and consideration its makes which French, and Russian cultures, 54 , Italy

t lo ep t rva ad xlr te a te ainl dniy f h ats is artist the of identity national the way the explore and reveal to helps also It : Art –

the Russian painter N painter Russian the

–

XXI Тархов Николай

hs esetv i dcae b te euirte o te igah o the of biography the of peculiarities the by dictated is perspective This

Century

Tarkhoff in the context of Western European art at the beginning of beginning the at art European Western of context the in Tarkhoff , 2006, 2006, ,

, Италия: Искусство Искусство Италия: , o Trhf’ wr i de frt f l, o h rapidly the to all, of first due, is work Tarkhoff’s of y p . . 22). icolas Tarkhoff icolas

only legacy left is the paintings produced in Paris. in produced paintings the is left legacy only -

36 -

XXI (1871

век, 2006, 2006, век, - 1930) c . . 22. ( 22. . My intention is to take a take to is intention My

A Valentina my of Arts as he had had he as Arts of my n exhibition held in held exhibition n

Byalik o the rom

Nicolas

CEU eTD Collection from Impressionism of history that follow to preferred he why reasons Impressionism, the Noting master. humanistic styles. various of mixture a twentieth life produced colleagues by hisFrench intermsof themes, chosen attitudes. colors and w the analyze and Paris of city the of depictions the into specifically look to be will chapter this of purpose main the artists, Russian studied least the of one of life the of exploration the with along However, process. overall the in occupied art Tarkh place the examine to fascinating is it painting, European in trends new of emergence too. beginni at styles artistic of development and establishment of context the in art European to paintings Tarkhoff’s art. Russian of history the talent, artist's led and the Russia, in paintings his of demand a showed of versatility the demonstrated last Russia, the in after Tarkhoff years Nicolas 20 of place exhibition took which Moscow, in Gallery Tretyakov State the in 2003 2005. 56 in Gallery” Tertyakov the in (“Nicolas Tarkhoff 55

n rne udr h ifune of influence the under France, in Валентина Бялик, «Забытый и Воскрешенный Николай Тархов» в журнале « журнале в Тархов» Николай Воскрешенный и «Забытый Бялик, Валентина журнале в галерее” Третьяковской в Тархов “Николай ie te at ht h tr o te etr ws pro o cagn taiin ad the and traditions changing of period a was century the of turn the that fact the Given

the first one in one first the Since Russian artist Russian Since (Valentina Byalik, “Forgotten and Risen Nicolas Tarkhoff” in Tarkhoff” Nicolas Risen and “Forgotten (ValentinaByalik,

century, he developed he century,

percepti

critics g f h teteh etr, huh fw od wl b si aot that, about said be will words few a though century, twentieth the of ng on

1874

have not sought not have f elt, a te raet mat n shaping in impact greatest the had reality, of at that fact

covers to the last one in one last the to 55

Nicolas

However, the main subject of this study is not the relationship of relationship the not is study this of subject main the However, 56

his own very unique very own his

akofs anig tl hd ay hrceitc of characteristics many had style painting Tarkhoff’s ttl f 12 of total a mrsins, tue t te rits olve based worldview artist’s the to attuned Impressionism,

Tarkhoff

to identify to

a direction, which was in decline in decline in was which direction, t rns emerging trends rt Kommersant Weekend Kommersant

1886).

left his motherland in 1898 and lived and 1898 in motherland his left

- held, were exhibitions eight which during years

the reasons for his for reasons the y hy eebe o dfee fo te ones the from differed or resembled they ay

However, -

to the re the to painting manner, which art critics define as define critics art which manner, painting Коммерсантъ Коммерсантъ Russian Art Journal Russian

, March 2003, Volume 53). 2003, March , - identifying n h lt nntet ad early and nineteenth late the in evaluation of his place and role in role and place his of evaluation Weekend

interest in the school, or school, the in interest

h proa style personal the Русское Искусство Русское

these factors these , Март 2003, №53 (2656). №53 2003, Март ,

, March, 2005). , 2005). March, Europe already Europe

most of his of most

will », Март, »,Март,

f the of

allow off’s

(the (the

the on CEU eTD Collection h ats, nlds h ltes e xhne wt hs red, otis xeln quality excellent contains friends, his with exchanged he letters the includes artist, the of life the of aspects specific on light sheds It artist. the of art and life the to dedicated language, is Byalik Valentina by Tarkhoff of art aworks, ofTarkhoff’s clear listing and heritage. Tarkhoff’sof periodization a offers Volodarskyfacts, and thoughts own his of exposition literate addition In Volodarsky. Vsevolod historian art Russian the by conducted was survey significant Another biographers. first his considered be can cousins Leblond the his of outs evidence providing Tarkhoff, Nicolas to chapter separate a dedicated they France, to value. great canvas”. on enthusiasm his transmitted and Paris… festive the discover to came who talent, refreshing a wild, and onfire soul with a and Turgenev Gogol, landof man from“enthusiastic as the him an Marius by written book the mention also research. this for importance significant of was and paintings, Tarkhoff’s studying Tarkhoff. of life the about information detailed providi as well asorigins, style its andhis change of reasonsof the about raisingquestions and artist the of work the of insights giving study, valuable most the considered be could critic, and Diehl, Gaston to Marius belong works his of analysis comprehensive a giving writings significant Tarkhoff. with relation in named be can that sources few very are there and studied, Tarkhoff’s help and works artist’s the of concept the understanding pp. Brussels:1909, 57 tanding talent, so different from that of those he lived and communicated with. communicated and lived he those of that from different so talent, tanding Marius -

Ary Leblond, V.Volodars Ary and s rvosy etoe, h ats' lgc i legacy artist's the mentioned, previously As 57 -

Ary Leblond, Leblond, Ary They were the artist’s conte artist’s the were They style, define his

In their monumental investigation of the peculiarities of immigrant artists who came who artists immigrant of peculiarities the of investigation monumental their In 81 - 97). enrs e Races, de Peintres

targets

and assess the ky. mporaries, and thus, their detailed account of his life is of is life his of account detailed their thus, and mporaries,

rxle: 99 c 81 c. 1909, Bruxelles:

h frt udmna wr, ulse i te Russian the in published work, fundamental first the Ary Leblond, two prominen two Leblond, Ary The small book by Gaston Diehl, a French historian a art Diehl, bookby GastonThe small -

The recently released monograph on the life and recently releasedand The onthelife monograph extent

ih’ wr i o get neet o those for interest great of is work Diehl’s -

of his talent.

n Russia and abroad is not very well well very not is abroad and Russia n to recreate to - 7 (Marius 97.

the sequence the

- t historians, who described who historians, t Ary Leblond, Leblond, Ary

o h lgcl and logical the to

of formation of ainl Artists National

One should should One In addition, In

The most The

ng of , CEU eTD Collection expressionist impact on Tarkhoff’s art was only limited to five years. five to limited only was art Tarkhoff’s on impact expressionist Impressionists 1905 1905, 1900 work: his of stages three describing Volodarsky, by suggested was heritage Tarkhoff’s periods. different to related are they that clear Primit and Expressionism Fauvism, Impressionism, of features and traits obtaining century, definitelyalso should addressed. be of question The humanistic today. understood poorly remain and descriptions minimal contain fragmentary, are these even though heritage, Tarkhoff’s of today.criticsart for special more them makes which paintings, the analyze to ability own artist’s the demonstrate they Also, and works, his of transfer exhibitions, of organization the to related issues highlight also but biography, Speech exh his about articles as such era, his from death. his after decades published were exception, siècle Paris. depiction his in applied he which style, unique own his develop to able was Tarkhoff how explains study reprod Volodarsky, (Vsevolod 59 Tarkhoff Nicolas 58 Всеволод Валентина cin o hs anig, hc wr cmltl dseadd uig omns. This Communism. during disregarded completely were which paintings, his of uctions

From the obvious stylistic differences of works created by the artist during his life and life his during artist the by created works of differences stylistic obvious the From with works, mentioned above The newspaper, or letters of contemporaries, which not only clarify the details of Tarkhoff’s Tarkhoff’s of details the clarify only not which contemporaries, of letters or newspaper,

art 58 include requests to acquaint Russian connoisseurs and collectors with his paintings. his with collectors and connoisseurs Russian acquaint to requests include -

90 n 1911 and 1910

Володарский

Бялик n h cnet of context the in -

, Italy: Art Italy: including Monet, Pissarro, and Sisley, and even later Van Gogh, whose whose Gogh, Van later even and Sisley, and Pissarro, Monet, including

, in developing a balance between balance a developing in Николай N. A. Tarkhoff. The Path of theArtistof Path The Tarkhoff. N.A.

– Н

XXI Century, 2006, pp. 71 pp. Century, 2006, XXI Selected publications should be consideredbe should publications Selected . А

. - Тархов 1930. Тархов

etutv tendencies, destructive , 59 . Италия

h frt eid (19 period first The Творческий путь художника. художника. путь Творческий National Artists National ibitions in ibitions :

Искусство

The most specific and reliable systematization of systematization reliable and specific most The -

39 - 95).

The authors, of course, relied on the material the on relied course, of authors, The -

, Pushkin’s Museum of Fine Arts: Moscow, 1973). Arts: Moscow, Fine of Museum Pushkin’s ,

Apollon

Impressionism, Fauvism and Symbolism, and Fauvism Impressionism, -

XXI XXI

emerging by the Leblond cousins being the only only the being cousins Leblond the by

h place the 00 век

and - 95 ws nlecd y the by influenced was 1905) 20, . 71 c. 2006, , Москва: Музей Пушкина, 1983. 1983. Пушкина, Музей Москва: World of Art of World

n h at of art the in

It seems that Tarkhoff did Tarkhoff that seems It

in the process of studyingtheprocessof in cuid by occupied - 95. (Valentina Byalik, Byalik, (Valentina 95.

magazines,

h twentieth the

vs, t is it ivism, Tarkhoff’s Tarkhoff’s

of fin of - The de

- - CEU eTD Collection cdmc school. academic self Tarkhoff’s in role Russia, biographers in best Tarkhoff’s workshop Korovin’s Konstantin in training his was preparation Pa to arrived Tarkhoff that mentioned be should origin. of country his in especially analysis, limited dates, mixed amounts, significant their Fauvism.experiments in artist’s the in methods transition of changes about learn Day the of understanding led connection his proves technique. his of part core the remained always Impressionism but changed, style his Fauves, the of spirit as transition, of year a considered in instance, for cityscape, o period next the reflecting mood, fauvist techniques, new used explicitly he portrait, like genres some another. to period one from passed Impressionism of characteristics the that noted be should howe Cézanne, of lessons the neglect not Art” in Life and Korovin. “Konstantin Kuznetsov, 61 Exhibition 60

h ats t the to artist the

з опмннй . унцв, осатн оои. ин и врето М, 93 с 266 с. 1963, М., творчество. и Жизнь Коровин. Константин Кузнецова, П. воспоминаний Из Тархова”, “Выставка Киселев, Николай of Carnival of The artist created numerous cycles of works, the study of which is complicated due to to due complicated is which of study the works, of cycles numerous created artist The Critical hs eeomn a ats, u sil eund o h Ipesoit a o depicting of way Impressionist the to returned still but artist, as development his f

from

” in

Apol nlss of analysis hr staccato sharp

i n Paris n 61 lon

h pro ws hn akof ere vlal lsos bu drawing, about lessons valuable learned Tarkhoff when was period The

dqae ecpin f Fauvism. of perception adequate

onain of foundations magazine

ih the with - de

to previous works and analyzing the analyzing and works previous to

termination

akofs paintings Tarkhoff’s – tet an ad otanse Station Montparnasse and Maine Street

, strokes Diehl and Volodarsky. and Diehl Volume

Impression

at that time the artist began to experiment wi experiment to began artist the time that at

i at Comparing art. his

to 10, 1910, 1910, 10, -

h smooth the self Аполлон e te rits mat n i ok s o s clear. so not is work his in impact artist’s the ver s mvmn ad t further its and movement ist - Memoirs eonto a a ats dfeet rm h current the from different artist an as recognition pp -

№ 0 1910, 10, № , 40 . 22 . rcs the traces ris being prepared to accept the new art. new the accept to prepared being ris - -

, Moscow: 1963, pp. 266 pp. 1963, Moscow: ,

25). spots

This was a period that played a significant a played that period a was This

oprtv aayi poie a provides analysis Comparative

anr epesd hog gradual through expressed manner,

i early his

f oos wih was which colors, of

formation

c structure of structure 22 . - 5 ( 25.

eitos f ai like Paris of depictions

of the artist’s style as it it as style artist’s the of Nikolay .

The year 1905 can be be can 1905 year The

eosdrto, which reconsideration, 267). the paintings, the

Kisselev 60

h evidence the

th color in the in color th vdne by evidenced “ ,

Tarkhoff one may one - 267. 267.

better better

This The

(P. (P.

of In ’ It It s

CEU eTD Collection imitation, Volodarskyimitation, notes: imitative. not was style painting Tarkhoff’s although Impressionists, French other a modern how matter no and world, the of perception of standard the was Monet Claude Impressionist, them. surrounded what about feeling city. maternity, the depicted and Chimeras Tarkhoff lilies; water and haystacks poplars, Cathedral, Rouen Monet painted cycles: created artists Both stations. railway and embankments landscapes, flowers, and light of problem the of solution general the share Tarkhoff’s instance for Tarkhoff. for point orienting an was it that Volodarsky explains, canvases. one manner, Impressionistic same the in done Korovin’s were attendedthey if even and artist, Tarkhoff other the of style although the resemble not did that works future his workshop, claim and Tarkhoff, of style the on influence ho Critics, 1900. in Exhibition World the in participation and Europe to many visits own Korovin’s to thanks advanced, quite were and Arts, of Academy the of works the color. and composition 7). p. Volodarsky, (Vsevolod 64 Tarkhoff 63 Art Russian of 62

mrsinss n Russia. in Impressionists Всеволод Бялик, Валентина A брам Эфрос, Эфрос, брам

At the same time, appealing to the art of Claude Monet, one may come to the to come may one Monet, Claude of art the to appealing time, same the At 63 d rgesv Trhf’ at a, t fudto li i te anig o Mnt and Monet of paintings the in laid foundation its was, art Tarkhoff’s progressive nd , began to attract the young Russian artists, who were looking for new directions in art in newfor directions werewholooking artists, Russian young the attract beganto well so not was which Impressionism, learn French himof experience helped the from Korovin, by him in planted seeds the study, to went Tarkhoff where Paris, In Italy: Art XXI Italy:

ooi’ ipc ws etn te rit re n ltig i on tl evolve. style own his letting and free artist the setting was impact Korovin’s

Володарский , Moscow: Profiles, 1969, 255). p. 1969, Profiles, Moscow: , Два века века Два Николай Тархов Николай

N. A. Tarkhoff. The Path of the Artist the of Path The Tarkhoff. A. N.

Century, 2006, pp 2006, Century,

In fact, Korovin, to whom the previous chapter is dedicated, was one of one was dedicated, is chapter previous the whom to Korovin, fact, In Day of Carnival in Paris in Carnival of Day l ti c this All

русского искусства, русского Н

. А

. 62 Тархов

tta ie i pitns ral otatdwt conventional with contrasted greatly paintings his time, that At

n e trbtd o h fc ta Ipesoit hd h same the had Impressionists that fact the to attributed be an , Италия: Искусство Искусство Италия: , . Творческий путь художника. художника. путь Творческий

. 40 . t olwd ht l te anig wr alike. were paintings the all that followed It - 43).

Москва: Профили, 1969, с. 255. 255. с. 1969, Профили, Москва: This is confirmed by the similarity of compositions, of similarity the by confirmed is This

os o fn te ae ois n Tarkhoff’s on motifs same the find not does and Monet’s and -

XXI , Pushkin’s Museum of Fine Arts: Moscow, 1973, 1973, Moscow, Arts: Fine of Museum Pushkin’s ,

век, 2006, с. 40 с. 2006, век, i, s el s h sbet: children, subjects: the as well as air, Boulevard des Capucines, des Boulevard Москва: Музей Пушкина, 1983, с.7. 1983, Пушкина, Музей Москва: - known in Russia and only only and Russia in known wever, question Korovin’s question wever, - 43. 43. (Abram Efros, Efros, (Abram (Valentina Byalik, Byalik, (Valentina . 64

Two Centuries Centuries Two

n em of terms In h classic The

conclusion

Nicolas Nicolas which

As CEU eTD Collection color n Later, for The Speechnewspaper, Impressionismlife.” was special AsBenois wrote article Tarkhoff’sAlexander and inhis unique. of pressure of character sketchy strokes, composition. the and goldenage,” “last of traditional not to the the Despite been harmony. for desire always has which art, classical of basics the revise to try not did and deny, not did world. the of perception humanistic the with connected is style Tarkhoff’s of specificity The

h avant the the Impressionism, rather than to than rather Impressionism, the in Exhibition” 67 Time Art, Fates, Impressionists. 66 р Volodarsky, (Vsevolod 65

seduce . 9). . intuitive Александр M Володарский Всеволод

artists expression . Герман, Герман, .

In summary, Nicolas Tarkhoff’s painting style from from style painting Tarkhoff’s Nicolas summary, In getn sketchy eglecting

This is not true that Tarkhoff is a poor and weak copy of the French Impressionis French the instantly. Salons Paris at ofpaintings amongthousands recognized be could of copy weak and poor a is Tarkhoff that true not is This and Independent exhibitions Salon Paris Independent of gigantic technique exhi the and at work method his the distinguish unerringly whom Benois, Alexander to according for allowed, which expression, organic painter, sincerity, critics a become i as to late, came Impressionism and imitators, numerous inst of crowd joining the him avoid to allowed It talent. ofTarkhoff’s it the veryto nature corresponded as Impressionism of principle basic The

humani

akof wo a creating was who Tarkhoff,

f h mdr ea wo aae to managed who era, modern the of h aaei tradition academic the -

66 ad, h nwy mre sye i at ta sok the shook that arts in styles emerged newly the garde, stroke

bitions of of bitions

Бенуа claiming the joy that key was ofliving tobalance the in universe. The Speech The

мрсинсы Сдб, искусство, Судьбы, Импрессионисты. led the master to a stage of stage a to master the led

ne its Under stic

. gradually ытва Тархова Выставка

Salon d'Automne. Salon positive N. A. Tarkhoff. The Path of the Artist the of Path The Tarkhoff. A. N.

newspaper, October 22, 1910). 22, October newspaper, Н.А. Тархов. Творческий путь художника. художника. путь Творческий Тархов. Н.А.

influence

compositions, , Moscow:2004, pp. 282 pp. Moscow:2004, , calmed and became more conscious, more became and calmed

impression art. fact that fact

h artist The f they were his own discovery. own his were they f

n claimed and

logic 65 Гзт «еь, 90 2 октября. 22 1910, «Речь», Газета ,

formed

Impressionism n te desire the and and rationality and

and selection of topics), the artist the topics), of selection and

i masterpieces his

experimenting with experimenting et lsr once to connected closer felt

other -

42 h rgt for right the

- ae kept have 283).

antly captures the poetic beauty of the world world the of beauty poetic the captures antly

- tlsi faue of features stylistic

, Pushkin’s Museum of Fine Arts: Moscow, 1973, 1973, Moscow, Arts: Fine of Museum Pushkin’s , время

was gradually was of modernism. of

М, 04 с 282 с. 2004, М., , n hi at the art their in

Thus, there come the often noted by noted often the come there Thus, o nesad h vle of value the understand to

intuitive

ae o te rnils of principles the on based Москва: Музей Пушкина, 1983, с. 9. с. 1983, Пушкина, Музей Москва:

new trends new

subject (Alexander Benois, “Tarkhoff’s “Tarkhoff’s Benois, (Alexander

ed o paint to need

disappearing, giving way way giving disappearing, un f h cnuy did century, the of turn

Tarkhoff was one of the of one was Tarkhoff and sensuality 67

i art, his

to the ge the to

peac

in French pa French in was freed was - fractional 283. 283. ad joy and e m. Tarkhoff Tarkhoff m.

lxbe brush flexible neral plan of plan neral

M German, (M. “the joy of of joy “the

from the from sincerity

rushing

inting. inting. f the of

He CEU eTD Collection sun and expressive Night in similarly, evident; is Pointillism from borrowed technique in colors of choice the instance, For seascapes. Rooftops the from Paris spatiality.with composition his and sculpture.and glass stained their churches, of depictions in reflected well, as character medieval its but city, the of progressiveness and novelty the only not revealing suburbs, the of “provinciality” preserved still sp the combining Paris, modern is there canvases, his On boulevards. Paris new a discovered author the t drawn to desire the and motifs favorite of series creating of colors, play the through transmitted shadows, and lights of respect in interest showing elements, tha strokes brush the of mobility the of features characteristic the through forms architectural of nature static demonstrate the overcome to desire the movement: period, Impressionist first the of genre main the become had rising Tarkhoff Howrepresent tous? hereParis is: didNicolas trend a and place, fashionable vibrant that at Paris, of city the was ones notable most the stronglyforms, still but and expressingopinions impressions. the simplifying primitivism, of traits the sometimes it to adding Fauvism, was stage new The in Сентября 68

melting Юрий September, First newspap September, and Now, moving to the subject of Tarkhoff’s favorite themes in his art, it is clear that one o one that clear is it art, his in themes favorite Tarkhoff’s of subject the to moving Now, o the dynamic nature of big city life, the vibration of light and color. and light of vibration the life, city big of nature dynamic the o

Герчук The Seine and the Notre Dame Notre the and Seine The

, №40, Москва, 2003. 2003. Москва, №40, , n h cod pours clouds the in

transparent, “ , Русский

Trips ta Trips

or er парижанин ken to Parisian suburbs enriched the artist’s palette with vivid colors, colors, vivid with palette artist’s the enriched suburbs Parisian to ken

, Volume 40, Moscow: 2003). Moscow: Volume , 40, iig room giving onn oe Water over Morning (Yuri Gerchouk, “Russian Parisian Nicolas Tarkhoff. An Artist Rediscovered” Rediscovered” Artist An Tarkhoff. Nicolas Parisian “Russian Gerchouk, (Yuri

–

The panoramic Seine in his in Seine panoramic The the one with its chimeras, embankments, streets, arcades and arcades streets, embankments, chimeras, its with one the

t creating a vibrant texture, strengthening of the decorative the of strengthening texture, vibrant a creating t

Николай red - setter for the rest of Europe. The legitimate question question legitimate The Europe. of rest the for setter

glow

o hs oo gf t bom In bloom. to gift color his for . Judging from Judging .

Тархов

- of

multi

h Sunset The - s ecie b Trhf differently Tarkhoff by perceived is .

Живописец, открытый заново” в газете газете в заново” открытый Живописец, ie spitctd n eeat ol, a world, elegant and sophisticated a time - colored The Sunset The

atr te oet Trhf was Tarkhoff moment. the capture

Landscapesand cityscapes, which

h Sie n Gr d Lo at Lyon de Gare and Seine The differs greatly, though the new new the though greatly, differs foaming Trees the behind Bridge , T , irit of a capital city with city capital a of irit

ae, ocig the touching waves, rhf’ seascapes arkhoff’s

At the same time, same the At h Sunset The , View ofView 68 Первое Первое

than

the are f CEU eTD Collection a range of associations and desires. Marc Chagall, a famous painter, exclaimed in his memoirs, his in exclaimed painter, famous a Chagall, Marc desires. and associations of range a arms. with knees the clasping quiet, cautiously snow, emotions. human recalls first her v away go to unable time long a for them before standing was I as Chimeras, the of expressiveness the by fascinated just was I wide gallery towers, century betweenstriking the viewer, thetwentieth about thoughts in immersed still centuries, for there be to seem chimeras these wall, stone the of edge the over hanging or spire, a behind hiding Pinnacle, points. unexpected most the from out looking monsters evil of figures gro below; far out spread city the ironically and thoughtfully observing demons, chimeras, fantasy. to way give histo 1864, allowed the him, Viollet Eugene by conducted cathedral, the of restoration massive The city, the of details of Valentina Byalik, whodedicated her partthethorough life viewof artist’s life, to ofthe study writes, Tarkhoff’s of account the On details. to attention close paying freedom a ownattitude. sincere and expression depiction in ofhis greater to eventually arriving pointillism to committed stood he seascapes in that interesting coast Century XX the Art in века. 70 Tarkhoff 69 Нина Бялик, Валентина

with , Despite the fact that the artist depicts the seemingly soulless statue, his chimeras possess possess chimeras his statue, soulless seemingly the depicts artist the that fact the Despite should it Paris, of theme the to returning However,

., 1989, 1989, ., Яворская ,

second half of nineteenth century. nineteenth halfof second Hugo. Victor novelby famous in the down. warily looking cathedral, Dame Notre the on sitting way, own its in each Paris, huge the over ascending is impression shocking A whitecaps. Italy: Art XXI Century, 2006, p. 71). 2006, ArtCentury, XXI Italy: Выпуск isit to Paris to theMuseum,Ninaisit Yavorskaya. in1925thePushkin workerof

. n n pitn, ciea s nr, grsie i te te i foe u frozen is other the in aggressive, angry, is chimera a painting, one In з опмннй педе 12 гд в аи. рбеы сусв Фаци ХХ Франции искусства Проблемы Париж. в году 1925 в поездке о воспоминаний Из , Volume 27, Moscow: 1989, pp.144 Moscow: 1989, 27, Volume , иоа Тархов Николай

They are natural parts of the cathedral that the viewers even find their descript their find even viewers the that cathedral the of parts natural are They This

akof fsiae b te ai fgrs cetd srel ol of world surreal a created figures, magic the by fascinated Tarkhoff,

27, 27,

с motif was one of the artist’s the of one was motif . 144 . rian and theorist of architecture, but above all, a talented architect, talented all, to above a rian ofarchitecture, and but theorist –

145. (Nina Yavorskaya, Yavorskaya, (Nina 145. given by Tarkhoff’s Tarkhoff’s by given , Италия: Искусство Искусство Италия: , 69

Yet today, they are only copies of those that appeared in the in the appeared that ofthose copies only are today,they Yet

44 Chimeras - - 145).

Memories of Visiting Paris. The Problems of French of Problems The Paris. Visiting of Memories

In every creative person, chimeras awaked chimeras person, creative every In XXI

vorite, and vorite,

the fate of humanity. of fate the . They are inanimate, made of stone, stone, of made inanimate, are They . век, 2006, 2006, век,

be noted that Tarkhoff started with with started Tarkhoff that noted be

ranged c .71. .71.

ece o te Gothic the on Perched (Valentina Byalik, Byalik, (Valentina - le

repeatedly. It is also is It repeatedly. - u fo 14 to 1844 from Duc

They lurk in the in lurk They ion ion tesque tesque Nicolas Nicolas 70 nder

CEU eTD Collection Covered with Snow with Covered in later paintings the resulted andin this inMoscow, ofhisstudio panorama out and blue white remembered frosty the covered snow and cold snow, shiningglimmering inthe sunsetrays, starry therain. in orwet inthe night imag the pictures, master’s the of topic below. down rustling Paris contemplating City the over of more. sketches and paintings viewers the tell to it used and detail, the on focused still and glance, one in world whole the grasped he did, Impressionists all like fragments, and i working art; his in symbolism towards steps also small making was master the that shows fact This emotions. of range its with Chimera Dame Notre the became Paris of city the t share to order them? painting was he while artist the of mood the reflect faces their on expressions the Could city? cathedral…” the before bowed And rocks! precious my animals, stone ...Farewell, them abandon to want not did I farewells, saying leaving, was I when remember “And wrote: Remizov Alexei writer he hug to Dame, Notre of chimera stone a ride to wish I “Oh, Tarkhoff 73 Petrograd 72 71

Марк Шаг Марк Валентина Бялик, Бялик, Валентина Ремизов, Алексей

As in the beginning of the 1900s Tarkhoff just came from Russia, most time of the year a yeara the of time most Russia, from came just Tarkhoff 1900s the of beginning the in As in symbols for look to time the of artists the for common was it Byalik, to According Winter Paris covered with Snow, Snow, with covered Paris Winter , :1916, :1916, Italy: Art XXI Century, 2006), 2006), ArtCentury, XXI Italy: 72

Chimera of Notre Dame, Hanging over the City the over Hanging Dame, Notre of Chimera ал,

10) r nt ny h prris f rtsu soe hmrs melancholically Chimeras, stone grotesque of portraits the only not are (1902) Could it be that Chimeras ex Chimeras that be it Could heir attitudes and moods towards certain issues, and for Tarkhoff, the symbol of symbol the Tarkhoff, for and issues, certain towards moods and attitudes heir p Моя жизнь Моя .70). . Interestingly enough, the master’s different talents were reflected in every in reflected were talents different master’s the enough, Interestingly .

Николай Тархов Николай Париж накануне войны, накануне Париж land, winter landscapes had a special appeal and charm for him. He still He him. for charm and appeal special a had landscapes winter land,

Chimera of Notre Dame Dame Notre of Chimera , М., 1994, с.113. 1994, М., ,

, Италия: Искусство Искусство Италия: , р . 74. . e of the city, painted in all seasons, either covered with covered either seasons, all in painted city, the of e

(Marc Chagall, (Marc In the background, there is always the most important most the always is there background, the In as well as a few others, like others, few a as well as

Петроград, 1916, с. 70. ( 70. с. 1916, Петроград, pressed and depicted emotions of the people in the in people the of emotions depicted and pressed -

45 - and XXI My LifeMy The Chi The

век, 2006, 2006, век, , Moscow: 1994, p. 113). 1994, Moscow: , r and fly high!” fly and r , and , 73 mera of Notre Dame, Hanging Dame, Notre of mera

Alexei oee, ioa Tarkhoff’s Nicolas However,

c Boulevard Saint Boulevard . 74. 74. .

Remizov Montparnasse Rooftops Rooftops Montparnasse (Valentina Byalik, Byalik, (Valentina 71 , while , , Paris

Denis, n sketches sketches n Before

a Russian a Nicolas Nicolas

War and and , CEU eTD Collection weather: they called it “fake winter”, one that was not even able to bring ice to the Seine, or Seine, the to ice bring to able even not was that one autumn winter”, more “fake it wet, called they the weather: by replaced Paris, in winter of lack the about complained often masters Russian the winter snowy the and cold “real” suggest not does there climate the since France, in residing artists tiny details,but grasping on focusing not master, the of approach artistic the through simplified and transformed canvas, panorama the and horizon the rooftops, i he instead, below; street the on view bird the paint not does Tarkhoff However, placed). was studio his where apartment, Nadar’s photographer from Monet’s about immediately reminding is (which window a the from view the way, the by is, It staircase. of contours the of reminding almost roofs, their and edifices of contours geometric sharp and clear features: cubistic to place mak but winter, of two next the atmosphere the preserve to though, able, still colors, and Intones warmer chose artist the paintings, Impressionism. of technique blurry the in pictured outfits, people’s of part purp see may viewers the canvas the of part lower the strokes, brush flexible moving, and creating However, hisonein effect movement recordquickimpression. onthe canvas, the of of a tones light cold its by characterized is weather windy of painting The white. in made strokes long by highlighted hous embankment, the of familiar the contours painting, this In below. and far lying city snowy the of perspective background the with front the of figures bigger the combine masterfully to able was he where Chimera, of propor of understanding and ability great artist’s The picture.

It is beneficial to note here that the subject of winter and snow was extremely rare for the the for rare extremely was snow and winter of subject the that here note to beneficial is It ing it more cheerful and joyous. The blurry Impressionist style suddenly gives suddenly style Impressionist blurry The joyous. and cheerful more it ing

the overall was effectofwhat observed.

had experienced at home. A number of artists, writers and art critics art and writers artists, of number A home. at experienced had s ln te en ad ot o te ie srae are surface river the on boats and Seine the along es -

en rm h wno, raiy re reality, a window, the from seen -

46 -

le splashes, colorful reflections of lights, lights, of reflections colorful splashes, le s focusing on what he sees in front in sees he what on focusing s Boulevard the Capucines the Boulevard Boulevard Saint Boulevard tions is represented in the painting the in represented is tions

- Denis ts’ workshop rtist’s - created on the the on created

, also painted painted also , depicting the the depicting - -

like the

CEU eTD Collection well as walls favorite moving Tarkhoff’s highlighting massive The angle. different a solution, compositional glance.SaintdeepandPorte attentive, The quick, hurriedly with canvases, Crowd Boulev as such 1900s, of beginning the from paintings His depicted. sobrilliantly which he thebig city, hecticatmosphere of fuss and ability the tonote like work, his of cycles other on focusing that interesting is It paper. and canvas on transmitted he which interest, blue city,its the over sun the eveningskies, and morning faces,making ma its and city, grand the of mysteries the into delved he many him, of for time discoveries a was it Paris, to moved Tarkhoff Since artist. an as grew and lived he where disco be can and thinking of home. missingwas he that truth the to pointing factors onlythe of one as serve actually could canvases, willi suddenly was abroad), produced pictures his into motifs Russian the up bringing always Korovin, or Repin (unlike France to moved had he after homeland his of fountains working still the freeze 55). 74 Павел

and , ard and the Porte Saint Porte the and ard It is crucial to point out that Nicolas Tarkhoff’s affection clearly belonged to Paris, which Paris, to belonged clearly affection Tarkhoff’s Nicolas that out point to crucial Itis

crowds,

Анненков

vered through looking at all his studies and sketches of the many details of the city the of details many the of sketches and studies his all at looking through vered the depth of depth the

and roofs mergingand roofs rw a te Boulevard the at Crowd

carriages Maternity , Парижские

the boulevard. It i It boulevard. the hm was theme

rushing moving, nt o mn a many too not ,

- письма Denis

into ainto s

epe n transport and people

lceig lights, flickering , , Boulevard Saint Boulevard , Palais Royal Palais М ingle

., 1984, ., elc te ute of bustle the reflect

h Parisian the s clear from the look at the works listed above, that above, listed works the at look the from clear s

mass of mass tos rtn aot akofs ie ihih his highlight life Tarkhoff’s about writing uthors с

- . 55. (Pavel Annenkov, Annenkov, (Pavel 55. . The Gates of Saint of Gates The

47 - Denis paintings surprise the viewer new the with a surprise paintingsDenis . 74 -

tall buildings. iridescent The fact that Tarkhoff, who never painted never who Tarkhoff, that fact The - Denis in Paris in Denis

n h sres captur streets, the in

rh f h gates the of arch

olvrs fle with filled boulevards,

h everyday the

reflections - Parisian Letters Parisian Denis

, ng to depict winter on his on winter depict to ng Paris:Saint - green river his subject of subject greenhis river

in Paris, Traffic on the on Traffic Paris, in

n wet on

dominates ie organic life, d y h artist’s the by ed , Moscow: 1984, p. 1984, Moscow: , y od and moods ny

- aeet as pavement Denis,

h front, the

n his on Paris: Paris:

CEU eTD Collection However, despite the dark picture emerging in mind at the mention of the of time. mention the at mind same in emerging picture the dark the despite However, at tenants many too housing quarters, tiny in dwelled population laboring disadvantaged the where district,” “peripheral the was it Empire Second the of days the during of account detailed more miserables les city,” the in those from “different people by inhabited crime,” and “deg poverty and jobs, combining underpaid Paris,” of districts class working the all means “faubourg Saint faubourg area, fashionable lively tradition, Saint of area centrallylocated the from started He suburbs. the of topic the on concentrating byareas. elite the Balzac. de Honore by and with along Paris of avenues grand four the Cafés famous for home century”, nineteenth the during classes elite elegant the for or theaters, puppy and riding of activities entertaining a gardens, Tuileries Sergetime his of critics art brightest the of one by art Tarkhoff’s towards attitude his expressed how is This 79 Century 78 77 76 Criticism Art of 75 Chevalier, Louis Hazan, Eric EstherSingleton, Boulevard de la Madeleine la de Boulevard Ann Сергей Маковский, Маковский, Сергей Interestingly, the master did not find it essential to focus on the central areas, like the the like areas, central the on focus to essential it find not did master the Interestingly, - Louise Shapiro, Housing the Poor of Paris 1850 ofParis the Poor Housing Shapiro, Louise , London: Routledge, 1973, p. p. 115. 1973, Routledge, London: , hoi motion, huge, chaotic Tarkhoff’s On i

Makovsky. - Denis and Saint and Denis . The Invention of Paris: A History in Footsteps in History of A Paris: Invention The

78 strange, , St. Peterburg: 1913, p. p. 132. 1913, Peterburg: St. , and varied.” and

Ann Paris as Seen and Described by Famous Writers Famous by Described and Seen as Paris Laboring Classes and Dangerous Classes in Paris during the First Half of the Nineteenth Nineteenth the of Half First the during Paris in Classes Dangerous and Classes Laboring Royal public park where in nineteenth century were held concerts and other other and concerts held were century nineteenth in where park public Royal -

76 beautiful city, where city, beautiful Louise Shapiro in her book her in Shapiro Louise

Страницы художественной художественной Страницы canvases

Nevertheless, his other paintin other his Nevertheless,

and abug Saint faubourg 77 -

colorful Martin, called by Eric Hazan “well Hazan Eric by called Martin, Further, as if telling the story of the city, the artist moved to a lessa to moved artist the city, the of story the telling if as Further,

hr are there , “the busiest and the brightest part” of the capital, as described as capital, the of part” brightest the and busiest “the , -

Antoine. According to the definition given by Louis Chevalier, Chevalier, Louis by given definition the to According Antoine.

lsig n changing and flashing

olvrs ebnmns ad squares and embankments, boulevards, a foreigner a

- Antoine Boulevard des Capucines des Boulevard -

48 -

критики 1902, The Universi The 1902, feels Housing the Poor of Paris 1850 Paris of Poor the Housing a , -

, London: Verso, 2010, pp. 133 pp. 2010, London: , Verso,

s paig h epai o te at that fact the on emphasis the placing lso lost and lost gs give justice to the glamorous appeal of appeal glamorous the to justice give gs Boulevard des Italiens des Boulevard , СПб., 1913, с. 132. 132. с. 1913, СПб., , , Dodd, Mead & Co.:1912, p.317. & Co.:1912, Mead Dodd, ,

inlove,

ih, h street the light, ty of Wisconsin Press: 1985, p. p. 45. 1985, Press: tyofWisconsin - mannered and maintaining the maintaining and mannered 75

, Boulevard de Montmartre de Boulevard

f Paris, of (Sergei Makovsky, Makovsky, (Sergei faubourg , “a meeting place meeting “a , - 135. 135. aig insecure, rading,

ie of life

with their their with -

1902 , and one of one and , , Tarkhoff’s ,

gives a gives a Pages Pages

79 ,

CEU eTD Collection transformations in the cultural scene of the city. It is easy to imagine that, tired from walking walking from tired that, imagine to easy is It city. the of scene cultural the in transformations interior spaces”, interiors therewere w still in “unthinkable him calls Gluck although however, time; that at life urban of depictions most of interiority.” and wi incompatible and theaters, and salons as such spaces” interior in “unthinkable the and Paris of landscape public the between association” connectio Paris Mid in Culture Urban of Appropriation Aesthetic: the and Flaneur The turn author every practically context, aesthetic and cultural social, the into artist modern identifiedthe one the who o image the on contemplated who critic, art and poet famous discussed much the century, nineteenth of end the of phenomenon existing the to due is paintings the in appearance Their streets. the down s strolling some directions, different in rushing some figures, moving of full are boulevards and streets of paintings Tarkhoff’s masterpieces, their in like just and Impressionists, the of style this that suggested be could it and calmer, much fuzzy, less are pictures The Sisley. or Pissarro of reminiscent is palette of choice twentieth century,at even suchmiserable the life places coul of beginning the towards that us, telling almost colors, joyous bright in prevails it of depiction 53 pp. 2003, (5), 20 Society Cultureand in Theory, 81 351 pp. 2000, 3, 80 Mary Gluck, Gluck, Mary in Artist” Bohemian the of Roots Cultural the “Theorizing Gluck, Mary gvs mr dtie acut n h peoeo, mhszn ta tee a a clear a was there that emphasizing phenomenon, the on account detailed more a gives , The development of the social phenomenon of phenomenon social the of development The paintings, other two In n between n The Flaneur and the Aesthetic Appropriation of Urban Culture in Mid in Culture Urban of Appropriation Aesthetic the and Flaneur The 81 - 378.

The flaneur, this French dandy, observing the goings the observing dandy, French this flaneur, The

flânerie

flaneur

ing to the subject of fin of subject the to ing and the urban landscape of modernity, and a “close and insistent and “close a and modernity, of landscape urban the and Vue de Paris de Vue

as the protagonist of modernity and integrated the figure of the integrated ofmodernityfigurethe and protagonist the as the

was the period when the artist just got acquainted with the with acquainted got just artist the when period the was here he washere willing tospend time. he

and flânerie - 80. -

49 Parisian Boulevard Parisian

- is dsrbd y hre Baudelaire, Charles by described first de flânerie - siècle Paris. siècle d have improved and enjoyed. been improved d have f nineteenth century Paris and was and Paris century nineteenth f

80 led to one of the most significant most the of one to led flaneur,

Modernism/Modernity n atrad mnind by mentioned afterwards and

(both not dated), Tarkhoff’s dated), not (both Mary Gluck, in her study her in Gluck, Mary

- the hero of modernity, modernity, of hero the on, was the protagonist the was on, - nineteenth Ce nineteenth - ieenh Century nineteenth

th “private life “private th , Volume 7, № 7, Volume , ntury Paris ntury lowly lowly the

CEU eTD Collection through colorful space “glittering under the sun’s flood breaking flood sun’s the underspace “glittering through colorful life” of “fragrant a viewer the offered Tarkhoff day, the of draw issues problematic to the café to attention a of painting his used who Degas, Edgar from Different atmosphere. cheerful Café, Outdoor paints. oil traditional his from different technique, a chose he enough, Interestingly great those behind motif. culture popular the with portraits and scenes many painted also who Lautrec cafe the to devoted paintings many produced who Degas painted Degas in met all Renoir and Cezanne Monet, since movement, the of birthplace the called later was (which café the from Imp Many art. about talk to other each with meet and models find that fact and public private life, andtheindividual andthe leisure work, family.” the between distance the bridged that institution informal “an space, transitional became café the instead, domesticity; in decrease a to led halls” music and cafes shops, theaters, with filled culture boulevard new dazzling “a Paris, of modernization Haussmann’s the of World diversion.” and “display for meant were then cafés boulevards, broad as Just cafés. of appearance the of explanation the to adds which strolls, their during observed gentle the avenues, wide the along 336 pp. 1999), Press, University JohnsHopkins The (Baltimore: 84 p. 236. 1996), Press, University Hopkins John The (Baltimore: 83 History, Contemporary of Journal 82 erl Seigel, Jerrold Haine, 1850 Scott Cafés, W. Class Working Parisian in Fraternity and Friendship Friend: “Café Haine, Scott W. Obviously, Nicolas Tarkhoff was not able to ignore a place like that, considering also the the also considering that, like place a ignore to able not was Tarkhoff Nicolas Obviously, painters constituted the most significant part of the café’s public, and used the place to place the used and public, café’s the of part significant most the constituted painters ai Café Paris L'Absinthe pwru mdr pitn, s oe n atl ryn o ppr creatin paper, on crayons pastel in done is painting, modern powerful a oein ai: utr, oiis ad h Budre o Bugos ie 1830 Life, Bourgeois of Boundaries the and Politics, Culture, Paris: Bohemian

aé Guerbois Café h Wrd f h Prs aé Scablt aog h Fec Wrig ls, 1789 Class, Working French the among Socialbility Café: Paris the of World The ae, akof lo fee hs w itrrtto o te aiin café. Parisian the of interpretation own his offered also Tarkhoff names,

in 1876), which 1876), in agrees with Mary Gluck on this matter and underlines that under under that underlines and matter this on Gluck Mary with agrees

Volume 27, (Sage: London, 1992), pp. 607 pp. London,1992), (Sage: Volume27,

until 1875 or or 1875 until men wanted to sit down, and discuss whatever they had had they whatever discuss and down, sit to wanted men , for instance, was reflected in the works by Manet and Manet by works the in reflected was instance, for , -

50 Nouvelle -

- 365. - Athenes 83

ocr, oehr ih Toulouse with together concert, through the leafage of the shadethe ofleafage the through - a etbihd aé where café, established an , 623. 623. ressionists found inspiration found ressionists 82

W. Scott Haine in Haine Scott W. 84

Not to stay to Not a unique a Parisian - 94 in 1914” - - 1930 1914 The a g - ,

CEU eTD Collection eerto satd n uoe uig h Mdl Ae ivlig ak, tet theater street masks, involving Ages Middle loved much the of depictions are These spirit. joyful and laughter, and the jokes performances, during Europe in started Celebration) celebration Fair the Montparnasse: of Wheel period same the around Produced Paris market’s atmosphere joyful ofthe isreflected theartist’s brightest intheblur colorspalette. of soc a is it shop, to place a hearts.open and arms open with world the perceive learn, to willing are children like adults where fair, a like look place whole the making vanity, and - of people of crowds masses, colorful Paris) theatricality. drawing pastel oil Popular other his In place. energetic vibrant, a always great influe of place a and source networking a also but public, of range widest the attracting establishment drinking a only not definitely was café Parisian the that hint a gives also Tarkhoff discussion, th to attitude master’s the demonstrating, line, perhaps, every in reflected coziness and mood good the expresses setting urban set.” are tables the which under trees the from

everything

not only not 85 Haldane MacFall, MacFall, Haldane

and from 1907. In this piece, the artist painted the street at which he was staying. Loud a Loud staying. was he which at street the painted artist the piece, this In 1907. from A very similar atmosphere of exciting of atmosphere similar very A market, the being them of one spaces, urban other to turned also Tarkhoff art, his In

Quarter

tet anvl n Paris in Carnival Street nce onpoliticalnce andcultural ofthe period. movements the streets and streets the

n h pitn ses o e unn, rushing running, be to seems painting the in The same is depicted in the earlier masterpiece masterpiece earlier the in depicted is same The (1910), (1910), A History of Painting: The Modern Genius The Modern Painting: of History A

houses, but also the sky the also but houses, h settr as fn a find also spectators the ial establishment, a place for families to spend time together. The The together. time spend to families for place a establishment, ial

Carrousel

fill dsrbn te vn ejyd y ot eiet o Paris. of residents most by enjoyed event the describing ,

e phenomenon. Depicting people engaged in a vivid vivid a in engaged people Depicting phenomenon. e the entire space of both paintings, giving paintings, both of space entire the ,

Le manège à Montparnasse: Fête de foraine (The foraine de Fête Montparnasse: à manège Le city life is found in Tarkhoff’s in found is life city - 85

This lyrical depiction of a café as a peaceful a as café a of depiction lyrical This above Paris. above -

and and , Part 8, (London: 1907), 289. p. 8, (London: 1907), Part ,

multicolored

Obviously, the market here is not only not is here market the Obviously, soig epes light people’s showing , Mi Au Marche Populaire (Rue Belloni, (Rue Populaire Marche Au -

aêe (M Carême The artist The

iy psesn a possessing city,

Parisian revels in revels id - Day of Day Lent)

a noisy image noisy a Market the movementthe

- mindedness mindedness lutae a illustrate Carnival in Carnival

n the in major major fêtes nd nd

CEU eTD Collection h coe sbet Wie ae wt hs els apoc fcsd n h pol ad their and people the on focused approach Realist his with Manet While subject. chosen the Petersbourg St. Rue modernity, of symbol instance, for and, works”, their the to According Art European brought. Industrial had the it found possibilities be the often and could Revolution life,” contemporary the portraying and out “seeking atowards very honor thea work rare foreigner. of kindof was which artists,French bythe adopted be to techniquesand methods his for reasonbecame the orig and in created air vibrating ties of Tarkhoff’s naturalness to points that factor another considered desire master’s the to perfectly corresponds unpredictabilityof the onlyto show face the streets; one wanted as he attractions. painting, light of air This Impressionists. the among especially famous the celebrations), and fairs, (markets,

1910, 202 p. 87 in Exhibition” 86 Terry W. Strieter, Strieter, W. Terry Тархова”, “Выставка Киселев, Николай Among other other Among -

inality of his works, showing simple and new Paris. Later the quality of his paintings his of quality the Later Paris. new and simple showing works, his of inality the year of the peak of his creativity. Critics at that time point to the striking sincerity sincerity striking the to point time that at Critics creativity. his of peak the of year the 203. Place du Maine du Place The master did not focus on the faces of people moving, dancing, and having fun in in fun having and dancing, moving, people of faces the on focus not did master The

, Impressionists were “particularly adept at incorporating the railroad theme into theme railroad the incorporating at adept “particularly were Impressionists ,

Apollon h cmoiin al de all composition, the Nineteenth Century European Art: A Topical Dictionary Topical A Art: European Century Nineteenth , and Claude Monet, who dedicated the whole series of a dozen paintings to paintings dozen a of series whole the dedicated who Monet, Claude and ,

magazine, Volume 10, 1910, p p 22). 1910, 10, Volume magazine, scenes depicted by European Impressionist painters, whose goal was was goal whose painters, Impressionist European by depicted scenes manifestations y ag, fast large, by

was painted by both Edouard Manet, who lived a short walk short a lived who Manet, Edouard both by painted was

( Square Maine) Square

ae an Lazare Saint Gare

of life, with the focus fallingfocus the with life, of

strokes, corative , portraying the market square, where Parisians enjoyedParisians square,wheremarket the portraying , Аполлон

to capture the capture to

ee t ht eid hrceitc for characteristic period that at were - – joie

52 the face of the city itself. What onefindsWhat hereiscity the face itself. of the

, № 10, 1910, 1910, 10, № , elements and their colorfulness, the whole whole the colorfulness, their and elements

- e vivre de

a iron an , - mindedness, joy and laughter fills another fills laughter and joy mindedness, 86

fleeting

otn sbet f ritc interest, artistic of subject a often , -

ih h late the with ls bidn i sem lus a clouds, steam in building glass p . 22. 22. . , Westport: Greenwood Press, 1999, Press, Greenwood Westport: ,

on the on moments of moments Nkly Kisselev Nikolay (

Topical Dictionary of of Dictionary Topical “here and now”, whichnow”, and “here

Impressionists.

life. This can be be can This life. , “Tarkhoff’s “Tarkhoff’s ,

away, at away,

painters

The CEU eTD Collection not to combinations connected color contrasting and views city new with new for trends new birth the of unusual the as well as portrayed, topics of range since cycle tothe of paintingsdedicated al Benois, with friends close at lived who Benois, Alexander Montparnasse critic art famous the and century, nineteenth hi during station this to close stayed Goumilev station train another around concentrated reason some for community Russian the of life the enough, Interestingly Bareau,by W. author Juliet of the p his in background a as only served station the and emotions,

avs, h pitns etrd vvd oofl prt on i Piiiim while Primitivism, in found spirit colorful vivid a featured paintings the Fauvism, Benois, Alexander Montparnasse.”) Gare the Manuscript by tavern the at 8pm at night last 89 88

contradicting Fauvism. contradicting

“Пообедал в 8 ч<асов> вечера в трактирчике у трактирчике в вечера ч<асов> 8 в “Пообедал

discoveries Juliet W. Bareau, Bareau, W. Juliet avs, hc atatd akof at Tarkhoff attracted which Fauvism,

95 te master’s the 1905, eoe rceig o h dsuso o tee anig, t s rca t pit u that out point to crucial is it paintings, these of discussion the to proceeding Before

the outside and inside feelin inside and theoutside and covering smoke some in and invisible. shed shed the rendering the behind building the showing some differin shed, the were under they motif, atmosphere. one of on extensively conditions focused differing and sites specific on concentrated dissimilar

of a new period new a of Department, State Russian Museum, Collection 137, Archive 64. 137, Collection Museum, Russian State Department, , also mentioned the public space often in his diaries. his in often space public the mentioned also , were produced, different from the ones produced before. produced ones the from different produced, were

f oen times, modern of med Manet, Monet, and the Gare Saint Gare the and Monet, Manet,

– tonal color tonal

n h art. the in

the the

works

Gare Montparnasse Gare

This movement added more expressiveness to his works, leading to leading works, his to expressiveness more added movement This

of his work. At numerous At work. his of o ugse hs w itrrtto o te alod ujc i the in subject railroad the of interpretation own his suggested so

etrd new featured palettes, reminding viewers of Cezanne’s style. Cezanne’s of viewers reminding palettes,

g at the same time. the at same g

Manet, Monet, and theGare Saint Monet,Manet, i bsc mrsins sye has style Impressionist basic His Gare Montparnasse Some could even be classified as an interior space while others had had others while space interior an as classified be even could Some

h ifune of influence the

n h sii of spirit the in

the

. It is known that Russian Silver Age poet Nikolay poet Age Silver Russian that known is It . t Gare cnqe ad h paintings the and echniques -

- ao d'Automne Salon 53 Lazare 88 compositions that were produced, all indicative indicative all produced, were that compositions

Montparnasse s visits to Paris in the first decade of the the of decade first the in Paris to visits s -

, Nati , .

exhibitions g perspectives some showing the trains trains the showing some perspectives g

onal Gallery of Art: 1998, p. 118. Art: 1998, of Gallery onal Van , в 10 ч<асов> ч<асов> 10 в ,

aintings, Manet, as it is revealed is it as Manet, aintings,

oh Czne and Cezanne, Gogh, avs, h mse now master the Fauvism,

in 1905. From1906 onwards, onwards, From1906 1905. in

89 the artist got artist the -

Lazare Nicolas Tarkhoff, who was who Tarkhoff, Nicolas

ire o te er 1906 year the of Diaries en nihd y the by enriched been

Although these were were these Although Deliberately —

, had changed in the the in changed had

домой.” домой.”

acquainted Additionally to Additionally

(“Had dinner dinner (“Had using wild using Boulevard

contact contact

with in , CEU eTD Collection This description of de Chirico strikingly corresponds to the understanding of Tarkhoff’s Tarkhoff’s of understanding the determined is work Tarkhoff’s to although masterpiece, corresponds strikingly Chirico de of description This for oftenabandoned thatperiod“trappings artists when urban ofnormal life”: characteristic quite wasinvolvement,” human no is there but people, with filled be to ought “that Sun Big the Under to close brightandpalettewarm color its in but later, decadea aboutpainted Chirico’s de Giorgio with parallel their to of stillness The place. vivid and fussy a such supposedly at presence human traceofa not thereis depictions, theseInterestingly, solution.in compositional their in alikevery Montparnasse Sun Big the Under paintings the in especially als is colors of choice artist The shape. defined more a having but blurry, as not although skies, the and air the in spreading times works The traced. clearly a now until investigated but alsoatSalons, in the exhibitions PetersburgSaint and Frankfurt. gr the in only not popularity Tarkhoff gained also It Gogh. Van with comparisons

series of series 64 pp. 2006, B.V., Rodopi 92 91 178 pp. 2010, University: ChelyabinskState №4, 40, 90 Steve Plumb, Plumb, Steve Gaston Diehl, Nicolas Tarkho Nicolas GastonDiehl, Elena Pikhletskaya, “Formation of New Tendencies in Tarkhoff’s Art” in Art” Tarkhoff’s in Tendencies New of “Formation Pikhletskaya, Elena

moves from fractional, nervous fractional, from moves of day. of Gaston and large spaces that makes the paintingnotable the makes that spaces large and rail a is it that clue only the

images of the Montparnasse the of images

As in Monet’s series, in both of Tarkhoff of both in series, Monet’s in As

ih wrote Diehl tto a Night at Station ee ahihet 1918 Sachlichkeit Neue . As Steve Plumb points out, points Plumb Steve As . , both from 1905. 1905. from both , o different, not Monet’s pale blue pale Monet’s not different, o

u t te rbe of problem the to due - 65.

n hs series this in ht by that

tet an ad otanse Station Montparnasse and Maine Street ff, Geneva: 1982, pp. pp. 1982, ff,Geneva: and ,

way station is the steam train far in the background. It is this silence silence this is It background. the in far train steam the is station way

1910,

- impressionistic 3 Uiy n Dvriy f n r Movement Art an of Diversity and Unity 33: Street Maine and Montparnasse Station Station Montparnasse and Maine Street

train station, where the where station, train

ou o te tto Maine station the on focus

akofs art Tarkhoff’s ae otanse ne te i Sun Big the Under Montparnasse Gare Gare Montparnasse (The Melancholy of Departure) of Melancholy (The Montparnasse Gare - - 180.

aig f eea works several of dating 54

de Chirico’s metaphysical painting of a place place a of painting metaphysical Chirico’s de . 92

strokes

by more by ’s paintings, one may see steam clouds steam see may one paintings, ’s

band etrs wih ol not could which features, obtained - grey palette, but bright, strong colors, strong bright, but palette, grey

to more wide and freeing ones. freeing and wide more to

vehement

features of features Philology and Art History Art and Philology 90

- and ,

Montparnasse

brush strokes brush f h artist. the of

primitivism could be could primitivism ae Montparnasse Gare Gare Montparnasse Gare

, Amsterdam: Editions Editions Amsterdam: , the paintings leads paintings the cra 90 are 1910) (circa

eat Parisian eat at different different at

91 , and

, Volume Volume , hs is This Maine

vivid vivid

The

be be -

CEU eTD Collection history awaiting at every corner, alive and calling, captivating and attractive, and at the same same the at and attractive, and captivating calling, and alive corner, every at awaiting history with city, atmospheric vibrant, burning, a was time that at Paris that letters his in wrote critic, city. European fascinating most the in life the of Nic of part significant a are water the same paintings. turnedwell. toother topicsas th on focus merely not did Post peculiarity openness his However, of sources as well as subjects, features trace clearly may one available), only the are period that painting con he which and countryside the family, his depicting to life city the of vibrance the and Paris of subject the from switched artist the on, year that From there. moved family his with property 1911 in bought Having time. long of art avant shocking more to while related him that of part thought a Primitivism, courageous and Fauvism the with experimenting to leads still it Nevertheless, colors.

moving crowd, moving -

Impressionists - nhsam Lively enthusiasm. garde. He very a for last not did garde avant the towards hints early and thoughts those However,

n hs vrl mne, hc as clearly also which manner, overall his and from

ioa Trhf pitd the painted Tarkhoff Nicolas

enthusiastically f i pitns f h ct, with city, the of paintings his of

1900 iud o an utl i dah n 90 I te analysis the In 1930. in death his until paint to tinued

more panoramic cityscapes and views of views and cityscapes panoramic more 1930 and the Fauves. the and

to a variety of variety a to

(since the ones the artist produced at home, were lost, the ones from from ones the lost, were home, at produced artist the ones the (since

e most popular subjects of life in France and its enjoyable aspects, but aspects, enjoyable its and France in life of subjects popular most e aiin street Parisian Paris, painted

influence, olas Tarkhoff’s heritage, providing us with invaluable insight invaluable with us providing heritage, Tarkhoff’s olas

At the same time, it is worth commending that the master the that commending worth is it time, same the At

destinations

being its

landscapes

cns rural scenes, n shows and

in Orsay in

blend a -

chronicler and biographer, telling the stories in tellingstoriesin andchronicler biographer, the

- in the in aiiin oohn Rsin ot n art and poet Russian Voloshin, Maximilian

, the country the ,

f I of

reveals

f xeine o te mrsinss the Impressionists, the of experiences of atrs f their of patterns

etvl wt fairs, with festivals le art

- h oiiaiy f h main the of originality the de

h eitne f several of existence the that was largely represented in represented largely was that the Seine, the - France - like suburb of Paris, of suburb like

l ya round year all

ecpin by perception and

animals,

the sunsets the

arues and carrousels

h ats was artist the f Tarkhoff’s of

and still and

h artist. the

important

with the the with

Tarkhoff

over the over styl - lifes, istic

the CEU eTD Collection historical and cultural and historical the in developments significant how see and culture, and development social and urban between formed. is image city’s a how retrospect a although authors, the of view the outside remain development historical its throughout city the of image the in transformations However, of image collective the on focused is attention the that national andpersonal beliefs. artist paintingRussian of recognition to as well as painting, of school Russian traditional the in trends Russian and identity works His abso are but Paris, in residing and born yellow omnibuses,passers Paris, citysquareas thevery of the and square, holiday a on carouselgrand one as streets showedcanvases His working days. on even people and carriages with crowded and spinning head vivid, surprises, of full boulevards, masterpiece his through it share to and in, living was he city destructive. time 84). p. 1909, Brussels: 94 317. Collection TretyakovGallery, 93 Conclusion aiiin oohns etr o .. erv fo Nvme 1, 89 Dprmn o Mnsrps f the Marius of Manuscripts of Department 1899, 13, November from Petrova A.S. to letter Voloshin’s Maximilian

iig n ai, h cne of center the Paris, in living The characteristic feature of most studies on the identification of the image of the ci the of image the of identification the on studies most of feature characteristic The person a for unusual deemed be could paintings Tarkhoff’s for themes of choices The

r of art -

Ary Leblond, Leblond, Ary are

personal

the result the

h ery twentieth early the

93 in Western Europe, and this demonstrated in Western Europe,

Tarkhoff, certainly, had the power and talent to understand the nature of the of nature the understand to talent and power the had certainly, Tarkhoff,

attitude. landscape of the city were reflected and represented by the artists of the of artists the by represented and reflected were city the of landscape enrs e Races, de Peintres

of his own quest, own his of

- by ofpaint. running inthe splashes

The main purpose of the thesis was to understand the relationship the understand to was thesis the of purpose main The He full of sounds, colors, speed of red and purple coaches, green coaches,and purple colors, red and speedfull ofsounds, of

was

etr, but century,

cultural

o te ao artist major the not lutely justified for a person who had come from Russia. Russia. from come had who person a for justified lutely

rxle: 99 c 8. (Marius 84. c. 1909, Bruxelles:

the synthesis of synthesis the

rnfrain bt tl rmiig atfl o his to faithful remaining still but transformation, -

lal hd otiue t te prvl f new of approval the to contributed had clearly 56 -

ive analysis could expand the knowledge of knowledge the expand could analysis ive the city the

influences

by hisexam

n eemnn te development the determining in 94

. akof a camd y the by charmed was Tarkhoff s.

during the life of the researcher. researcher. the of life the during

of French of Ary Leblond, Leblond, Ary ple

in his formation as an formation in his as

schools,

the prestige the ainl Artists National

national ty is ty

of of of ,

CEU eTD Collection of thefamous cathedral. be of could depictions that of example An art. of language the changed fundamentally which details, and fragments on focus the placing preferred masters later the views, panoramic for point convenient imag an of priorities thematic in shift a was there style Impressionist the of development the with that noted also be should It cityscape. the of element dominant the became sites historical the city, modern the of attributes objects, as such sights, famous the images created artists Russian both Again, monuments. architectural historical of in q is symbolic Tarkhoff his for center, famous city the outside life ignored completely Korovin while However, subject. the to dedicated Tarkhoff by painting one only is there while public, its and purpose m many behind left Korovin clientele. its and life café Parisian the portraying by scenes genre of own depictions their offered Tarkhoff and Korovin both instance, For artists. observing the by ignored wh place the into city the turned coffee air open shopkeepers, or strollers urban the depicting scenes Genreplace. takes man a of life private the where scene the also but monuments, industrial of panorama a or environment architectural perc longer no is It city. the of image the of meaning the of changes the to by Nicolas artists, Tarkhoff immigrant twoRussian and KonstantinKorovin. – time.

beginning of the twentieth century and analyzed the visual representations of the of representations visual the analyzed and century twentieth the of beginning

the Parisian suburbof

The study examined the main s main the examined study The One of other important objectives of depicting the urban was to give a new interpretation new a give to was urban the depicting of objectives important other of One related is genre artistic separate a became depiction city a why reasons major the of One

Tarkhoff’s r d Triomphe de Arc ore extensive accounts of the café, allowing the viewers to judge about its its about judge to viewers the allowing café, the of accounts extensive ore

Orsay,glimpsegivea thecountrylifestyle whichinto as side well. Chimeras of Notre of Chimeras scenes

of agricultural workers agricultural of , Saint tages of the transformation the of tages - ei Gates Denis . hl ale atss ee nlnd o ek h most the seek to inclined were artists earlier While e. - ere the vivid city life occurs, and this could not be not could this and occurs, life city vivid the ere Dame -

57 , where the artist chose to depict the elements the depict to chose artist the where , -

or ,

inspired by the artist’s later years later artist’s the by inspired

a Bastille. La of Paris at the at Paris of

Along

ih h industrial the with ie oeya an as solely eived

of the nineteenth the of

city produced produced city

spent spent uite CEU eTD Collection giv not did he however, down, went sun the when city the depicting in unique was Korovin night. at Paris of image the to interest his was sunlight, the of effects the by fascinated artists, French Impres French the of cityscapes resembling ways many in series, the of subject the continued and 1917 of Revolution Russian the after produced were these Paris; of views the to pictures more adding was Korovin years culture ofmasses. aristocracy, the of entertainment p the optimistic of Tarkhoff’s spoke again, Korovin, while but life, cultural the about say to something had Tarkhoff and Korovin Both portrayed. be to deserve Parisians class and protago main the elegantthem made distinguish, to hard are created he characters, outfits and faces such whose people, ordinary the on of focusing Tarkhoff, while images, sophisticated lifestyle the depicting In Hotel. Burgundy of clients the representatives, a the in subjects finding appealing, some topics more other whileleaving themesuntouched. practically different on focusing were artists Russian two the that fact the to points again, This, colors. of choice and technique sketchy the of terms in Monet’s Claude by inspired motif, same the with image of paintings of series Tarkhoff’s in seen be could themes such of emergence the particular, In projects. renovation and construction, stations railway railways, the as such symbols, and objects 95 e up on light effects light on up e Korovin’s Notebooks Korovin’s hs s o Kntni Krvn ecie th described Korovin Konstantin how is This class upper the were paintings the of figures central the Korovin Konstantin for Clearly, urban other to turned interest artists’ the industrialization, growing the with on, Later Oh, the beauty and joy of life… Delivering this joy is the essence of the painting, my piece of of piece my self,myown canvas, painting, the of essence the is joy this Delivering life… of joy and beauty the Oh,

from 1890s in Manuscript Department, State Tretyakov Gallery, Collection Gallery, Tretyakov State Department, in Manuscript from1890s itns f rdtoa clbain ad ar tl te iwr aot the about viewers the tell fairs and celebrations traditional of aintings -

only in his paintings those lights were artificial. Looking at Korovin’s Korovin’s at Looking artificial. were lights those paintings his in only 95 Gar

Cafe de la Paix la de Cafe e Saint e

ins atss Smtig ht ae i dfeet rm the from different him made that Something artists. sionist Gare Montparnasse Gare - Lazare

and visitors of visitors and , a very hazy picture in light tones, most definitely most tones, light in picture hazy very a , -

58 -

nists, as if trying to say that only the upper upper the only that say to trying if as nists, proe f i at Oe te following the Over art. his of purpose e , although Korovin only produced one produced only Korovin although , , engineering designs, the process of process the designs, engineering , Grand Opera Grand , or inhabitants of the the of inhabitants or ,

11, #58. 11,

rt, CEU eTD Collection its solidity and sharpness, they applied vibrating strokes, making the objects lose their contours. their lose objects the making strokes, vibrating applied they sharpness, and solidity its ever and bright, most the co canvas the on preserved who artist, the of character Impressionist the showing figures, outlined barely the guess only may one where mosaic glittering a form together all that city, beautiful flashing their colorful with and motion, Paris, chaotic of squares and embankments, boulevards, the reflect canvases Tarkhoff’s repeated. not is nature all, after repetition: of fear without sight, familiar the by expressed truth sees he what paints just he literary; not of theatmosphere entertainment, touchtoreality. addinga of fantastic incr streets city the of lighting Artificial shadows. and light of kaleidoscope Korovin’s case, t depicting cityscapes Pissarro’s works, Korovin’s to Compared sketch. done rapidly a of expressiveness and freshness the preserve paintings his but series, in worked he Impressionists, the Like day. revea to order in lighting, evening and morning complex more the choose to willing was he sunlight, the in nature depicting in palette lighter using mostly painters French the unlike that and was Korovin of lights uniqueness The pavement. car chromatic streets, lit brightly its with life city the of atmosphere dynamic and mysterious the in engaged are spectators the cityscapes, night Pages 96 Сергей Маковский, Маковский, Сергей

attractive lorful moments of Parisian life.lorful of moments usa artists Russian Sergei to According

he same places in the city seem to be academically designed and completed. In any In completed. and designed academically be to seem city the in places same he Art

Criticism

uoen aia. hy klfly atrd h ipeso o multi of impression the captured skillfully They capital. European - changing life of the city. At city. the of life changing aiin Lights Parisian ,

таиы уоетенй критики художественной Страницы St. Petersburg, 1913, pp. 132 pp. 1913, Petersburg, St.

ee atvtd ih the with captivated were

Makovsky, a gallery owner and art critic, Tarkhoff’s paintings are paintings Tarkhoff’s critic, art and owner gallery a Makovsky,

eis f otra see i tuy oatc ih t colorful its with romantic truly is scenes nocturnal of series

l the character of the city that was changing during the the during changing was that city the of character the l ihs f h sre lf prry h hg, tag, and strange, huge, the portray life street the of lights -

with enthusiastic perseverance enthusiastic with dusk or in the morning haze, when the color loses color the when haze, morning the in or dusk - - 134).

59 -

lgne and elegance Сб, 93 с 132 с. 1913, СПб., ,

hi rfetos n h wet the on reflections their sophistication

, never quite finding the the finding quite never , - 3. ( 134. eases the impression the eases Sergey

f life of

Makovsky - colored,

n the in 96 ,

CEU eTD Collection could offurt become the subject which life, urban modern the of catalogues the to added were images more lot of a photography, development the with century, the of turn the at especially Later, classes. social different num great a behind left who writers also were there works: their in days those of memory the history. save to trying ones art only the not were and artists those Obviously, studies urban both for validity have which events historical of descriptions understand new a giving and century, the of turn the at Paris of analysis the on perspective by specifically subject, the on work academic to dimension fresh a add will cultural space. and social architectural, urban, an as city the of image the of interpretation own its offer to able ass Onerather may combinations. intheir but forms, and details noveltyof the in not is metropolis the of nature fascinatingthe and details, traditional of variation endless an implies city the that viewers the to explain analyzed images vie modern the and tradition classical the combining city the of image complex state of t emotional the transmitting with along that is artists both of achievement greatest the However,

Hopefully, a created artists The points. three in expressed be could paintings the of meaning The he whole city,he wholewere able theymateriality, toportrayits and tangible reality ofthings.

by studying by

the Russian artists’ depictions of the city of Paris, this research this Paris, of city the of depictions artists’ Russian the her research.her ume, then that the Russian school of artists in Paris was ofartists was inParis thattheRussianschool ume, then

60 -

ber of books describing the life of of life the describing books of ber offering a broader a offering w. Besides, the the Besides, w. ing to ing

CEU eTD Collection Cami Museum. Russian St. PetersburgState 1876, Kingdom, Underwater in the Sadko lyaRepin, 1875 canvas, on oil Café, IlyaRepin,Parisian Illustrations. of List lle Pissarro, Rue Saint Pissarro, lle

- Honore Honore (Afternoon Rain Effect) Effect) (AfternoonRain

- 1876, private collection. private 1876, -

61 -

CEU eTD Collection Korovin, Konstantin Paris L Opera, Avenuede Pissarro, Camille Rainy Day,1877 Street: Paris Caillebotte, Gustave Paris.After Rain, 1897 Paris.After

62 -

CEU eTD Collection Korovin, Konstantin Korovin, Konstantin Korovin Konstantin

, Parisian Cafe. Parisian Café, Parisian Paris, After Rain, 1900 After Paris,

1890s, Russian State Museum State Russian 1890s, Late 1890s. The Tretyakov Gallery, Moscow, Russia. Russia. Moscow, Gallery, Tretyakov The Late1890s.