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Sculptor Nina Slobodinskaya (1898-1984)

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Sculptor Nina Slobodinskaya (1898-1984) 1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia. I also would like to thank my former colleagues of the sculptural department in The State Russian Museum in St. Petersburg who gave me a lot of factual and documental support in pursuit of my research: Elena Veniaminovna Karpova, Olga Alekseevna Krivdina, Natalya Logdachiova. The Roerich Institute-Museum in St. Petersburg and its members were of a real help, especially I would like to thank Vladimir Melnilov, who helped me with finding important materials and gave a lot of practical scientific advices. I also would like to thank my colleagues and friends – art-historians Tatiana Knorozok, Antonina Korneeva, wonderful photographer Eugeniy von Arp. I am really grateful for all recollects of Nina Slobodinskaya which were shared with me by poet and writer Maugli, contemporary Russian artist Nikolai Nasedkin, Alsiona Beklemisheva (Usova – Slobodinskaya’s nephiew), Liudimila Gnezdilova. In addition I am very thankful to Maria Koroliova and Carles Martínez for technical support. 3 4 CONTENTS SUMMARY……………………………………………………………………………………………….... 9 1. INTRODUCTION………………………………………………………………………………………….. 13 2. NAMES, PLOTS, SYMBOLS, SIGNS …………………………………………………………………….. 25 2.1 Artists in the post-revolutionary reality: a found freedom or unexpected slavery? …..…. 25 2.2 Soviet artists: new role, new goal…………………………………………………………………... 40 2.3 Specificity of Russian sculpture at the turn of the centuries. Traditions and new paths.... 50 2.4 Soviet sculpture: new perspectives and development despite the limitations…………... 58 3. LIFE AND CREATIVE WORK OF NINA SLOBODINSKAYA……………………………………………. 80 3.1 Biography and worldview of Slobodinskaya reflected through her social circle………... 80 3.2 Alexander Ignatiev and Liubov Cholina – faithful friends and colleagues……………….... 106 3.3 M. Anikushin – fellow sculptor………………………………………………………………………... 110 3.4 Irina Golovkina (Rimskaya-Korsakova) – like-minded friend, talented writer……………… 115 3.5 Boris Smirnov-Rusetsky – spiritual fellow in cosmism ………..…………………………………... 117 3.6 Nikolai Konstantinovich Roerich – Urge for Spirit and Universe………………………………... 126 3.7 George Nikolaevich Roerich –art and science hand in hand ……………………………....... 135 3.8 Svetoslav Nikolaevich Roerich – under the banner of culture and art………………………. 144 3.9 Russian Intelligentsia’s fate in the post-Imperial space……………………...…………………. 152 3.10 Sculptural school. Teachers. Influences……………………………………………………………. 163 3.11 The Vkhutemas. The Vhutein. ………………………………………………………………………... 163 3.12 Vera Muchina – inspirer and teacher………………………………………………………………. 174 3.13 Alexander Matveev – a talented tutor and a genial sculptor………………………………… 196 3.14 Anna Golubkina – spiritual preceptor in sculpture………………………………………………. 200 4. TRACES IN SCULPTURE (1930-1942)…………………………………………………………………. 213 4.1 First steps in sculpture. The early creative period ………………………………………………. 213 4.2 Slobodinskaya in the Moscow’s CPKO……………………………………………………………. 215 4.3 The IZOGIZ………………………………………………………………………………………………. 222 4.4 Peasant and the mirrored philosophy of cosmism……………………………………………. 224 4.5 Motives of pilgrimage and wandering – Russian soul’s search of spirituality……………... 231 4.6 Kitiag-grad – The Sacred Russia and a dreamland……………………………........................ 234 4.7 Soviet Lelia and the archetype of prosperity’s goddess………………………….................... 240 4.8 Woman with a gun - a woman – hero…………………………………….................................. 243 4.9 New communist religion and values’ substitution……………………………........................... 246 4.10 Partisan with a gun - an obedient woman-warrior……………………………………………. 254 4.11 Morning of homeland - a hope for peace and prosperity……………………….................... 258 4.12 Miner – fearless State’s worker…………………………………………........................................ 259 4.13 Labour – a high mission and duty of Soviets………………………………………………………. 261 4.14 Vladimir Gnezdilov – a beginning of sculptural portraits series………………………………. 264 5. THE HORRORS OF THE II WORLD WAR (1941-1943)………………………………………………. 266 5.1 Leningrad artists under the siege……………………………………………………………………. 266 5.2 To survive fighting. The unified cultural and political front and force………………………. 267 5.3 Peter’s the Great monument – town’s guardian………………………………………………… 269 5.4 Pencil - a weapon to conquer the enemy……………………………………………................... 270 6. THE WAR-PERIOD. ORIENTAL MOTIVES (1943-1945)………………………………………………... 277 6.1 Samarkand – artistic treasure and Asian culture’s cradle………………………………………. 278 5 6.2 Russian artists in Samarkand during the war years……………………………………................ 279 6.3 Artistic panorama of Uzbekistan in the epoch of 1940s…………………………………………. 282 6.4 Samarkand – Slobodinskaya’s inspiring and artistically enriching shelter……………………. 285 6.5 Turkmen girl with cotton - Turkmen Nefertiti………………………………………....................... 289 6.6 Turkmen shepherd or a dialogue with eternity……………………………………...................... 292 6.7 Girl with a grape or the Asian’s bliss………………………………………………………………..... 294 6.8 Turk with a pipe and the state of recollections……………………………………….................. 298 6.9 Old Uzbek – guardian of the past…………………………………………………………………..... 298 6.10 Talking man and thought’s movement……………………………………………....................... 301 6.11 Zulfia – youth and stubbornness…………………………………………………………................. 303 6.12 Oriental Madonna - dialogue with a soul…………………………………………………………… 304 6.13 Uzbek’s portrayal - a tendency in Russian artists’ works………………………………………..... 308 7. ARTISTIC MATURITY. THE POST WAR PERIOD (1945-1960)………………………………………..... 312 7.1 Academician Pavlovsky – Scientist and altruist………………………………………………….... 315 7.2 Alexandre Osip Shabalin – a fearless admiral……………………………………………………… 317 7.3 Ivan Vladimirovich Michurin – a genial agronomist………………………………………………. 324 7.4 Kalinin – human face of famous Bolshevik………………………………………………………….. 326 7.5 A sculptural group of Kalinin and Michurin – a silent dialogue of two personalities………. 329 7.6 Nikolai Nekrasov – a poet sufferer and philosopher…………………………………………….... 332 8 SCULPTURAL PORTRAITS (1960-1970ss) ………………………………………………….................. 337 8.1 Feodor Lopukhov – a grand choreographer………………………………………….................. 337 8.2 Doctor Grigoriy Smirnov – a severe scientist…………………………………….......................... 341 8.3 Mathematician Fadeev’s portrait – a goal-seeking genius…………………………………….. 342 8.4 Andrey Gnezdilov – unique son’s portrait…………………………………………………………... 345 9. THE GLORY OF COMMUNIST FUTURE IN LENINGRAD’S UNDERGROUND THE NARVSKAYA METRO STATION……………………………………………………………………... 348 9.1 The Soviet metro’s appearance and a new life quality in the USSR…………………………... 348 9.2 The Narvskaya metro station in Leningrad - its construction and decoration………………. 351 9.3 The Red Army – always on guard…………………………………………………………………….. 358 10. CHRISTIAN MOTIVES IN THE LATEST PERIOD………………………………………………………….. 369 10.1 Slobodinskaya's spiritual beliefs through philosophical and theological vision of the Orthodox Christianity……………………………………………………………………………………… 369 10.2 Analysis criteria in religious works of art. Notion of creativity in Russian Theological thought…………………………………………………………………………………….. 370 10.3 Christian images – creative and spiritual life’s result……………………………………………... 387 10.4 The Trinity…………………………………………………………………………………………………... 388 10.5 Saint Barsanuphius………………………………………………………………………………………. 395 10.6 Madonna - The Eleusa……………………………………………………………............................. 398 10.7 Jesus Christ, knocking the door of a heart………………………………………………………….. 401 10.8 The Virgin Mary………………………………………………………………………………………….... 403 10.9 Spas Nerukotvornii – Image of Edessa………………………………………………………………..408 10.10 The Crucifixion – last artistic and spiritual message of Nina Slobodinskaya…………………. 412 11. CONCLUSION………………………………………………………………………………………………. 421 12. BIBLIOGRAPHY……………………………………………………………………………………............
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