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Danila Vassilieff Danila Vassilieff Vassilieff: Journey to Mildura 22 November – 13 April 2014 Mildura Arts Centre Regional Gallery Guest curator Felicity St John Moore Danila Vassilieff: A New Art History 21 April – 7 October 2012 Heide Museum of Modern Art Curators Felicity St John Moore and Kendrah Morgan Danila Vassilieff Soap Box Derby 1938 oil on plywood 39.3 x 49.9 cm © Courtesy of Mimi Fry, Melbourne This educaon resource has been produced by Heide Museum of Modern Art for Mildura Arts Centre. ReproducJon and communicaon is permiLed for educaonal purposes only. No part of this educaon resource may be stored in a retrieval system, communicated or transmiLed in any form or by any means. ©Heide MoMA 2014 Educaonal use only Page 1 of 24 This educaon kit comprises informaon and tasks which introduce students to the work of arHst Danila Vassilieff. You may have seen this exhibiHon at Heide Museum of Modern Art or more recently at Mildura Arts Centre Regional Gallery. Different artworks were shown at each of the galleries which is why some works in this educaon kit may not be seen at the gallery you visited. Most important learning aims This resource aims to develop students’ knowledge, understanding and skills to develop: • confidence, curiosity, imaginaon and enjoyment to develop a personal voice through engagement with visual arts-making and ways of communicang visually • visual arts knowledge, understanding, skills, inquiry processes and criHcal and creave thinking to shape ideas and apply visual arts techniques, languages, materials, processes and technologies • understanding of visual arts in human experience, applying skills of criHcal analysis, evaluaon and aestheHc understanding • respect for and knowledge of the diverse roles, tradiHons, histories and cultures of visual arts and arHsts, and visual arts as a field of pracHce and understanding, as they become criHcal and innovave arHsts and audiences. General capabilies addressed in resources •Literacy: Students understand and use the language of the different art forms to describe, appraise and document their own artworks and those of their peers, and to respond to works. They use their literacy skills to access knowledge; make meaning; express thoughts, emoHons and ideas; interact with others and parHcipate in a range of communicaon acHviHes. •CriBcal and creaBve thinking: Students generate and analyse art forms, consider possibiliHes and processes, and make choices that assist them to express their ideas, thoughts and feelings creavely. In responding to art, students learn to analyse and idenHfy possible meanings and connecHons with self and community, and offer and receive effecHve feedback. •Personal and social capability: When working with others, students develop and pracHse social skills that assist them to communicate effecHvely, work collaboravely and make considered group decisions. •Ethical behaviour: Students acHvely engage in ethical decision making when reflecHng on their own and others’ artworks. Links to other learning area: English • Language for social interacBons: How language is used for different formal and informal social interacHons is influenced • Evaluave language: How language is used to express opinions, and make evaluave judgments about people, places, things and texts • Listening and speaking interacBons: The purposes and contexts through which students engage in listening and speaking interacHons • Listening and speaking interacBons: The skills students use when engaging in listening and speaking interacHons • Oral presentaons: The formal oral presentaons that students engage in including presenHng recounts and informaon, and presenHng and arguing a point of view • Handwring: Developing a fluent, legible handwriHng style, beginning with unjoined le]ers and moving to joined handwriHng Suggesons for assessment and reflecBon The following acHviHes provide suggesHons that can be developed into assessment and reflecHon tasks for formave and summave assessments. •Formave assessment tasks (during a project) include responses to key quesHons in the Student AcHvity Sheets, art work in progress, and parHcipaon in discussion. •Summave assessment tasks (end of project) include producHon and display of one-word concrete poem, self-evaluaon, and peer evaluaon. •ReflecHon methods (individual or group) include parHcipaon in small group or class discussion, viewing and responding to key quesHons at the end of each acHvity, responding to their own and others’ artwork. ©Heide MoMA 2014 Educaonal use only Page 2 of 24 Danilla Vassilieff: The exhibions Russian émigré arHst Danila Ivanovich Vassilieff (1897-1958), was one of the most dynamic figures in the development of figurave expressionism in Australian art. His direct approach and earthy humanism influenced a generaon of rebellious young Melbourne painters in the late 1930s and 1940s who became known collecHvely as the Angry Penguins and were major players in the rise of local modernism —Sidney Nolan, Arthur Boyd, Albert Tucker, Joy Hester and John Perceval. Yet for many years aer Vassilieff’s death in 1958, writers, curators and collectors ogen overlooked his work, and his role as a ‘father’ figure for this group remained under-acknowledged. These exhibiHons seek to redress the balance and offer an opportunity for a re-evaluaon of the work and impact of this fascinang arHst. They present the finest of Vassilieff’s achievements, spanning the period immediately preceding his arrival in Australia in 1935 through to the 1950s. Comprising key painHngs from the mid-1930s to mid-1940s, a major representation of sculpture and a selection of works on paper, they demonstrate the calibre of Vassilieff’s work to a new generation of viewers and students. The Mildura exhibition focuses on Vassilieff’s time in the Sunraysia and Swan Hill districts, including his time teaching art at Mildura High School. Both displays are supported by substantial archival material from a recent important donation to the Heide Museum of Modern Art Archive. The centrepiece of the Heide exhibiHon was the remarkable Expulsion from Paradise screen (1940, NGA collecon). Shown with a study for Sidney Nolan’s Kelly series painting Constable Fitzpatrick and Kate Kelly (1946), the screen helps to elucidate Felicity St John Moore’s thesis that Vassilieff’s work was a crucial trigger for Nolan’s Kelly suite. The screen and other works also highlight Vassilieff’s role in redirecHng modern Australian art toward the expressive figurave tradiHon of Russian folk art and the arHsHc accomplishments of designers for the Ballets Russes. Danilla Vassilieff: A life well lived The story of how Vassilieff came to make his career in Australia reads like a script for an epic feature film. Set across several conHnents and featuring a changing cast of colourful characters, it is interwoven with grand themes: war, survival, adventure, love, betrayal, loss and above all, an innate drive to create. The tale begins in Kagalnitskaya, a small village in South Russia, where Vassilieff was born to a Cossack father and Ukrainian mother. He demonstrated enough potenHal as a young man for his parents to send him to a military academy in St Petersburg, where he trained as an engineer. Caught up in the Russian revoluHon of 1917 and ensuing civil war, he joined the Cossack cavalry and served on the Eastern Front, aaining the rank of lieutenant colonel before being caught by the Reds at Baku, on the Caspian Sea. Ager a daring escape, he slowly made his way to China, living for a Hme with Tartar horsemen in Armenia, learning English in the employ of an Anglo-Persian oil company, and travelling by train through India and Burma. Arriving in Shanghai in 1923 he married a fellow refugee, Anisia Nicolaevna and the couple made their way to Australia where they bought a sugar cane farm in Queensland. Later, while working on the railway extension in the Northern Territory, Vassilieff began to paint, using a child’s painHng kit. In 1929, aer the marriage ended, Vassilieff leg Australia to study art in Paris. Finding the City of Light in the throes of depression, he went on to Rio de Janeiro, where he received a formal academic grounding from Russian arHst Dimitri Ismailovitch, a specialist in copies of ByzanHne frescoes and mosaics. Eventually however, Vassilieff rejected the tradiHonal approach, seeking to painHng ‘living life … people in acHon and movement’ rather than inanimate objects. He leg Brazil and several peripateHc years followed in which he travelled through the West Indies, England, Spain and Portugal, painHng street scenes, landscapes and seascapes in a lively post-impressionist manner and exhibiHng at every opportunity. ©Heide MoMA 2014 Educaonal use only Page 3 of 24 In London he befriended Moscow-born Vladimir Polunin, a former scene painter for Sergei Diaghiliev’s Ballets Russes, and a Professor of Scene PainHng at the Slade School of Fine Art. Through this important contact Vassilieff moved in White Russian circles in London and became familiar with Ballets Russes’ producHons, gaining an appreciaon of his own culture’s decorave art tradiHon that was likely enhanced by the ExhibiHon of Russian Art presented in Belgrave Square in 1935. He experimented with synthesising aspects of the Russian icon and folk tradiHons with the simplified forms and vibrant colour of modern art. This conflaon of tradiHons, which similarly informed the work of early Russian modern art neo-primiHvists such as Natalia Goncharova and Mikhail Larionov, underpinned Vassilieff’s style henceforth. Danila Vassilieff in Bristol at the age of thirty-four
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