Amaravella Exhibition

An exhibition of graphics and art belonging to the so-called cosmist artists of Amaravella group will open in the Karakalpak State Museum of Arts named after Savitsky on 18th of May 2010. More than 110 pieces out of 175 available in the Museum’s stocks will be presented at the exhibition. Unfortunately, brilliant and original art of these remarkable artists, who in 1923 created an artistic union, was not previously given due credit. The group started to emerge in 1923. There were four artists behind it – Pyotr Fateev, Vera Pshesetskaya, Aleksandr Sardan and Boris Smirnov-Rusetsky, who originally created a group called Kvadriga. Later, they were joined by Sergey Shigolev and Viktor Chernovolenko. In 1927, the group was formalized and started calling itself Amaravella. There are several interpretations of the group’s name; they include “bearing light”, “creative energy”, “sprouts of immortality”. The name was contrived by Aleksandr Sardan – an individual with brilliant imagination. The times during which the Amaravella artists lived and worked was marked with remarkable discoveries in science: N. Fyodorov, K. Tsiolkovsky, V. Vernadsky, A. Chizhevsky published their works about the universe, inhabited by sentient beings, on mysterious correlation of cosmic rhythms and the planet Earth, on the prototypes of the future human being – a human being who will overcome the shackles of geocentrism and who will understand other worlds. Several artistic movements emerged in art in the early 1920-ies, characterized by rational and analytical approach to art, and enamored of purely formalistic pursuit as well as geometrization of artistic language. These include suprematism and constructivism. Artistic group Amaravella followed these changes attentively, and while interpreting the new artistic language, used it to talk about great issues of the contemporary world – about the place of human being in the universe, about the artistic evolution of intellect, about death and immortality. Nicholas Roerich influenced the art of the group to a great extent. He also helped them to organize exhibitions, which took place in 1927 in New York (in the Museum of Nicholas Roerich) and in 1928 in Chicago, both successful. But then the fate of artists ends tragically. In 1929 their last exhibition took place in Moscow. In 1930 V. Pshesetskaya and A. Sardan were arrested. In early 1940-ies S. Shigolev and B. Smirnov-Rusetskiy were repressed. The rest were forced to give up art. However, in spite of the fact that the enormous artistic potential of Amaravella was not fully realized, its artistic inheritance takes a significant place in the history of Russian and world art.

“Messengers of the Far Worlds”

On 18th of May – an International museums Day – an exhibition with such unusual and beautiful name “Amaravella” devoted to creative Endeavour of the artist – cosmists has been opened in the State museum of Art named after Savitsky. From 175 of their works kept in the museum funds, 96 ones are represented at the exhibition. The bright and original works of these remarkable artists, who in the middle of the 1920s set up their creative union, were not appreciated properly. Each of these artists shared the fate of many talented people in the totalitarian state that severely punished any signs of dissent. However, despite the fact that a huge creative potential of the group was not used up to the end. “Amaravella”s contribution will enter not only the history of Russian art, but also in the world art history. The story of “Amaravella” started in 1923 when four artists Pyotr Fateev, Vera Pshesetskaya, Alexander Sardan and Boris Smirnov – Rusetskiy set up the group “Quadriga”. Later Sergey Shigolev and Victor Chernovolenko joined them and since 1927 the group began to be called “Amaravella”. This name has no any simple translation. There is a supposition that it is derived from the Indian word “Amaravati” or “Dwelling place of Immortals” or else “Coast of Immortals”. Perhaps a graphic sign depicting the runner with a torch (an emblem of “Amaravella”) reveals its meaning as “Bearing the light”. The artists lived in epoch that had been marked with outstanding discoveries in science which completely changed existing concepts of the world. The artists with great attention observed these changes and very often anticipated them and were inspired by them. Indeed their canvases boldly and convincingly conveyed the essence of K.Tsiolkovskiy, V.Vernadskiy and A.Chizhevskiy’s scientific works. They could see with their inner eye the Universe inhabited with reasonable human beings, a cryptic connection between the cosmic rhythms and the planet of Earth. And surely, they could also see prototypes of future people who had overcome the obstacles of geocentrism and were perceiving other worlds. Perhaps, the strongest impact on their creative endeavour and their world outlook had their meeting with Nicolas Roerich and Elena Roerich, who came to Moscow in 1926. Due to them the artists got to know about “Living Ethics” concept whose ideas corresponded to their spiritual and creative searches. The concept told about interconnection between people and space, about the worlds of other dimensions conditions penetrating into each other and existing as a single Universe. N.Roerich offered the artists to arrange an exhibition of their works in the USA and they agreed with great pleasure. It was that exhibition to which a manifesto of “Amaravella” had been prepared. The manifesto’s main concept was as follows: Perception of our paintings must be not through rational and formalistic analysis but through their deep feeling and inner co – emotions, then they would be able to achieve their targets. “Amaravella” emerged under an influence of the artistic trends during 1920s, first of all suprematism. Spiritual continuity connects it with Chiurlionis, Skryabin and Kandinsky, since idea of art synthesis prevailed in these masters’ concept had the cosmic interpretation among the artists. Roerich gave the “Amaravella” members two books from the series “Living Ethics”, “Call” and “Illumination”. In these books we can read “The current waves are spirally increasing”. The principle of spiral whirlwind is everywhere. The spiral image can be seen in the whole concept of “Living Ethics”. A concept of consciousness expansion also was of great importance for Roerich. The expanding consciousness was closely connected with a process of Transformation of people and planet. This process was held according to the Laws of Beauty. The “Amaravella” exhibition “Mundi crown”(Corona Mundi) held in New York (1927) and Chicago (1928) achieved a great success but their further fate was tragic. In 1929 their last exhibition entitled “Life – Creative Endeavour” was held in Moscow. In 1930 Vera Pshesetskaya and Alexander Sardan were arrested. In the early 1940s Sergey Shigolev and Boris Smirnov – Rusetskiy became subjects to repressions. Others were forced to work underground. But nobody rejected their creative convictions and conform to the regime. Those who survived (Fateev, Smirnov – Rusetskiy, Chernovolenko) began to expose their works only in the middle of 1960s. Sardan never resumed his artistic endeavor.

Founder of “Amaravella” Pyotr Fateev. (1891-1971)

He was born in Moscow to the family of printing – house worker. He studied in Rerberg’s art studio. Long before revolution he produced his painting (in the form of postcards) devoted to the subject of human penetration into space, and artist conned this subject all his life. It was Fateev who united majority of future group members on the basis of “Cosmic painting” concept. Roerich in his “Living Ethics” teaching confirmed the supreme principle of the “Cosmic fire”. This principle conformed to Fateev creative beliefs. In his works “Space”, “City. The yellow house”, “Creation. Rocks” he reflected the amazing and attractive worlds, full of some anxious beauty which is permanently exciting. His paintings are sounding, pulsating, twisting and trembling. Fateev was interested in the Chaos problem as depository of new forms, new worlds, revealing in a cosmic fire energy. In his painting “Collective work” a man is centre of Universe since the man is a resident not only of Earth but at the same time of the space. The Figures are stretched vertically as if some currents steadily lift them high into the air: above the planet and stars. And nothing can stop this continuous movement along the vertical. The “Amaravella” artists were the Pioneers of the subject “A man in the Space”.

Boris Smirnov – Rusetskiy (1905-1993)

He was born in St-Petersburg. Since 1917 he lived in Moscow. In his youth he experienced a strong spiritual influence of his uncle, an art historian A.P.Ivanov, who acquainted his nephew with the “World of Art” and “Jack of Diamonds” artists. Especially he remembered his tales about Roerich, with whom later he met personally. Three years he studied in Rerberg’s studio. In 1926 he graduated from the engineering and economic institute and became post-graduate student. His investigation of crystal structure of metals gave him a chance to combine aesthetic and scientific interests (aspects). In a harmony of crystal structure the artist discovered a beauty of space. Kandinsky played a significant role in his creative formation. Regarding the discoveries in the sphere of abstract shapes, stated by Kandinsky, the artist began to feel deeper and more acutely the nature and cosmic character of any place in Russia. In his paintings “Light refraction”, “Flight of clouds” he put one transparent layer on the other, trying to combine harmoniously the tangible shapes of evident world with abstract shapes existing in his subconsciousness. In his works can also be felt music but unlike powerful and exultant music of Sardan’s paintings it is quiet and lyrical. If someone looks at the paintings from “Transparency” cycle that is a cosmic tale about evident and transformed Earth at once he recollected the poem “My grief is Lights”. At the same time he is the only person from the group who had a passion for the ancient Russian architecture and nature of the North. During many years he was striving to create a complete aesthetic picture of “Humanized Universe”. In his work “Stronghold” we can see a temple which as if it grew like growing crystals and its structure consists of crystals, rooted in infinity. The artist said that he considered one of his important tasks – necessity to perceive the Earth as a cosmic body and to feel the space breath on the Earth.

Sergey Shigolev (1895-1943)

He was born in Vladimir. In 1916 he finished non-classical secondary school. From 1918 to 1920 he worked at the Natural History museum. Since 1920 after arrival in Moscow he studied at the natural faculty of the Moscow University and simultaneously in the theatre studio named after F.I.Shalyapin where he worked as stage designer. After acquaintance with cosmist artists new stage in his artistic career began. Like other group members he was strongly influenced by Roerich. Shigolev took part in both “Amaravella” exhibitions in the USA. In 1941 he joined the people’s volunteer corps and after one battle became the war prisoner. In 1942 he was arrested and sent to GULAG. Shigolev’s works stand out with their expressive and powerful dynamic characters similar to great explosion, giving the start to the whole Universe. His paintings “Pink sunrise”, “Green rays”, “Dynamic in space” etc. reveal an idea of Living Ethics about Cosmic Consciousness and its concept of cosmic beauty. Having yet not known Roerich’s books he used in his works the principle of spiral whirlwind. This principle arranged the painting space in many works of the artist. The amazing expression of the spiral whirlwinds is a distinctive Feature of Shigolev’s works. In his painting “Vision” he depicted a man who could see unearthly light of the Supernatural World. Nearly in all of his works can be seen amazingly delicate understanding of rhythms and dynamics of each line, ability to convey mood, caused by music, Fantastic Far distances, movement of planets, flashes of light looking like Fire work.

Runa. Vera Pshesetskaya. (1879-1945)

A fate of Pshesetskaya – the only woman in “Amaravella” group – is the least known. She was from the family of von Manteifel in Kurlandia. Runa was her stage pseudonym. In early she left her family in order to become an actress. She spent her youth in St. Petersburg where she took part in theosophical circles. Runa was very important in the lives of each artist whom she depicted in her portraits series with a great talent. At our exhibition visitors can see the “Alexander Sardan’s Portrait”, painted in 1920s that reminds a cryptic rebus. Her artistic heritage was practically lost except 5 portraits.

Alexander Sardan ( real surname Baranov) (1901-1974)

He was born in Moscow and after finishing school entered a musical college named after the Gnesins. He began to paint in 1920 and his first artistic compositions were arranged according to the laws of music. In 1923 Sardan met Smirnov – Rusetskiy in the museum of Artistic Culture, and he brought him to Fateev. Fateev was strongly interested in the talented musician who tried to draw sounds and did it successfully. In his works “Composition with the solar circles”, “Improvisation on Oriental motif”, “Day dreams” a multilayered and sounding space, woven from delicate lines of various timbres, is so charming that one as if to listen to the music. Sardan’s paintings very dynamic and nobody can see hardened statics in them, because everything is vibrating, playing, moving and jingling. In 1930 Sardan was arrested and experienced a strong emotional shock, so he gave up painting forever. The favorite colour of many artists is blue. In mythology it means wisdom, secrets of knowledge acquired from the beyond worlds. Blue is a colour of harmonious aura, a sign of high spirituality. That’s why a deep sonorous blue is the colour of many canvases by the cosmists – artists. The creative potential of “Amaravella” was tremendous, so it is painful to think that because of such tragic circumstances this potential was not used completely.

Curator of the exhibition: V.E. Sychyova.

Presentation of the documentary film “Pearl of Uzbekistan”

On August, 4 2010 the 95th anniversary of the museum founder, I.V.Savitsky was celebrated in the museum. The artists, art workers and mass media staff were invited to the event. The presentation of the film “Pearl of Uzbekistan” shot by information agency “Jakhon” on a special order of the Uzbek Ministry of Foreign Affairs was arranged for this date. The documentary film “Pearl of Uzbekistan” has been planned to be shown at 44 embassies of Uzbekistan abroad. The film tells about I.V.Savitsky, showing chronicles which were shot during life of the artist, his collecting activity, the other artists’ commentaries who are impressed with his phenomenal capacity for work and the unique man’s boundless energy. The film covers museum’s present day. There are 2 versions of the film – in Russian and English languages and soon Uzbek version of the film will be prepared for our country’s people so that they can closely get acquainted with its founder and history of the museum establishment.

Sensor Kiosk (Touch screen)

The Savitsky State Museum of Art, one of the first among the museums of Uzbekistan has put sensor kiosk into operation recently. The sensor kiosk donated by Uzbek Ministry of Culture and Sport is specially designed for expositional halls and it supplements the museum exhibits. The information and technological device is provided with some information about history of the museum, its collection, the artists of Uzbekistan, Karakalpakstan and Karakalpak folk applied art. It will constantly be enriched with new information and all the visitors can get acquainted with information, they are interested in.

Training - seminar on “Creation of Electronic database”

From 23 to 26 August, 2010 training-seminar “Practical use of free program “Museolog”” in the frame of UNESCO program on culture, communication and information has taken place at the Savitsky State Museum of Art. The training is intended for staff of storage and registration department, scientific staff and computer engineers of museums in Uzbekistan who are interested in the program “Museolog”. The aim of the training was to give knowledge and teach how to handle the program package “Museolog” worked out by UNESCO on the base of Kazakhstan Central State Museum for creation of database on museum catalogue in the future. Trainer from the Kazakhstan museum Kogabay Shinara was conducting studies on program for seminar participants from of scientific staff of the Savitsky museum, Tashkent museums and leading museums of Uzbekistan. The representatives of the Ministry of culture and sport of Uzbekistan Republic and “Uzbekmuzey” foundation participated in the training. At the end of the training certificates were handed over to all participants of the seminar.