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Boris Mikhaylovich Kustodiev (russian: Бори́с Миха́йлович Кусто́диев; – 28 May 1927) was a Russian and Soviet
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Between 1893 and 1896, Kustodiev studied in theological seminary and took private art lessons in Astrakhan from Pavel Vlasov, a pupil of Vasily Perov.Kustodiev and Petrov-Vodkin as members of Mir Iskusstva
/ref> Subsequently, from 1896 to 1903, he attended
/ref> When Repin was commissioned to paint a large-scale canvas to commemorate the 100th anniversary of the State Council, he invited Kustodiev to be his assistant. The painting was extremely complex and involved a great deal of hard work. Together with his teacher, the young artist made portrait studies for the painting, and then executed the right-hand side of the final work.History of creating of the painting to commemorate the 100th anniversary of the State Council
/ref> Also at this time, Kustodiev made a series of portraits of contemporaries whom he felt to be his spiritual comrades. These included the artist Ivan Bilibin (1901, Russian Museum), Moldovtsev (1901, Krasnodar Regional Art Museum), and the engraver Mate (1902, Russian Museum). Working on these portraits considerably helped the artist, forcing him to make a close study of his model and to penetrate the complex world of the human soul. In 1903, he married Julia Proshinskaya (1880–1942).Another Kustodiev's biography
/ref>Catalog of Proshina's works
He visited France and Spain on a grant from the Imperial Academy of Arts in 1904. Also in 1904, he attended the private studio of
The Russian Revolution of 1905, which shook the foundations of society, evoked a vivid response in the artist's soul. He contributed to the satirical journals ''Zhupel'' (Bugbear) and ''Adskaya Pochta'' (Hell's Mail). At that time, he first met the artists of '' Mir Iskusstva'' (World of Art), the group of innovative Russian artists. He joined their association in 1910 and subsequently took part in all their exhibitions.
In 1905, Kustodiev first turned to book illustrating, a genre in which he worked throughout his entire life. He illustrated many works of classical Russian literature, including Nikolai Gogol's ''Dead Souls'', ''The Carriage'', and ''The Overcoat''; Mikhail Lermontov's ''The Lay of Tsar Ivan Vasilyevich, His Young oprichnina, Oprichnik and the Stouthearted Merchant Kalashnikov''; and Leo Tolstoy's ''How the Devil Stole the Peasants Hunk of Bread'' and ''The Candle''.
In 1909, he was elected into Imperial Academy of Arts. He continued to work intensively, but a grave illness—tuberculosis of the vertebral column, spine—required urgent attention. On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic. He pined for his distant homeland, and Russian themes continued to provide the basic material for the works he painted during that year. In 1918, he painted ''The Merchant's Wife'', which became the most famous of his paintings.
In 1916, he became paraplegia, paraplegic. "Now my whole world is my room", he wrote. His ability to remain joyful and lively despite his paralysis amazed others. His colourful paintings and joyful genre pieces do not reveal his physical suffering, and on the contrary give the impression of a carefree and cheerful life.
His ''Pancake Tuesday/Maslenitsa'' (1916) and ''Fontanka'' (1916) are all painted from his memories. He meticulously restores his own childhood in the busy city on the Volga River, Volga banks.Boris Kustodiyev 125th Anniversary exhibition at the Russian Museum.
In the first years after the Russian Revolution of 1917 the artist worked with great inspiration in various fields. Contemporary themes became the basis for his work, being embodied in drawings for calendars and book covers, and in illustrations and sketches of street decorations, as well as some portraits (''Portrait of Countess Grabowska'').
His covers for the journals ''The Red Cornfield'' and ''Red Panorama'' attracted attention because of their vividness and the sharpness of their subject matter. Kustodiev also worked in lithography, illustrating works by Nikolai Alekseevich Nekrasov, Nekrasov. His illustrations for Nikolai Leskov, Leskov's stories ''The Darner'' and ''Lady Macbeth of the Mtsensk District (story), Lady Macbeth of the Mtsensk District'' were landmarks in the history of Russian book designing, so well did they correspond to the literary images.
File:Kustodiev promenade Volga 02.jpg, ''Promenade Along Volga River II'' (1909)
Image:Kustodiev promenade Volga.jpg, ''Promenade Along Volga River'' (1909)
Image:Kustodiyev fair.JPG, ''Fair'' (1910)
File:Spring. Kustodiev.jpg, ''Spring''
Image:Paskhakustodiev.jpg, ''Easter Greetings'' (1912)
File:1915 Kustodiev die Schoene anagoria.JPG, ''The Beauty'' (1915)
File:Maslenitsa kustodiev.jpg, ''Pancake Tuesday'' (1919)
File:Show booths. Kustodiev.jpg, ''Show booths'' (1916–1920)
Image:Kustodiev razin.jpg, ''Stenka Razin'' (1918)
Image:Kustodiev Merchants Wife.jpg, ''The Merchant's Wife'' (1918)
Image:KustodievB Provinc.jpg, ''Country'' (1919)
File:Kustodiev The Bolshevik.jpg, ''Bolshevik'' (1920)
File:Kustodiev - Congress of Comintern.JPG, ''Festival of the II Congress of Comintern'' (1921)
File:At Volga. Kustodiev.jpg, ''Looking at the Volga'' (1922)
Image:Kustodiev russian venus.jpg, ''Russian Venus (mythology), Venus'' (1926)
File:Кустодиев - Купец.JPG, ''Merchant''
Image:Kustodiev Renee Notgaft.jpg, ''Portrait of Renee Notgaft'' (1914)
Image:Tsar nikolai.jpg, ''Tsar Nicholas II of Russia, Nicholas II'' (1915)
Image:Boris Kustodiev Portrait of Countess Grabowska 1917.jpg, ''Portrait of Countess Grabowska'' (1917)
Image:Kustodiev Portrait of Naum Aronson.jpg, ''Portrait of Naoum Aronson'' ()
File:Anisimov Alexander Ivanovich (Boris Kustodiev).jpg, ''Portrait of Anisimov Alexander Ivanovich''
Image:Kustodiyev Mate.JPG, ''Portrait of Vasily Mate'' (1902)
Image:Kustodiev Portrait Of Wife.jpg, ''Portrait of Julia Kustodieva (wife)'' (1903)
Image:Isaak Brodsky by Kustodiev.jpg, ''Isaak Brodsky'' (1920)
File:Boris Kustodiev - Portrait of Fyodor Chaliapin - Google Art Project.jpg, ''Feodor Chaliapin, Shalyapin'' or ''Portrait of Chaliapin (Kustodiev painting), Portrait of Chaliapin'' (1922)
File:Куcтодиев Б. М. Портрет Н. К. фон Мекк.jpg, ''Portrait of Nikolai von Meck''
File:У Цераме (Мой дом).JPG, ''Self-portrait''
File:Boris Kustodiev self-portrait.jpeg, ''Self-portrait''
File:Boris Kustodiev 01.jpg, ''Portrait of young woman''
Image:KustodiyevSemenov Kapitsa.JPG, ''Pyotr Kapitsa, Kapitsa and Nikolay Semyonov, Semyonov'' (1921)
Image:Kustodiev Voloshin.jpg, ''Maximilian Voloshin'' (1924)
Boris Kustodiev at WikiGallery.org
{{DEFAULTSORT:Kustodiev, Boris Mikhaylovich 1878 births 1927 deaths 19th-century male artists from the Russian Empire 19th-century painters from the Russian Empire 20th-century deaths from tuberculosis 20th-century Russian painters Burials at Tikhvin Cemetery Imperial Academy of Arts alumni Members of the Imperial Academy of Arts People from Astrakhan People from Astrakhan Governorate People with paraplegia Russian male painters Russian scenic designers Russian watercolorists Soviet painters Tuberculosis deaths in Russia Tuberculosis deaths in the Soviet Union 20th-century Russian male artists
painter
Painting is the practice of applying paint, pigment, color or other medium to a solid surface (called the "matrix" or "support"). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and ai ...
and stage designer.Kustodiev's biography at Olga's gallery/ref>
/ref>
Early life
Boris Kustodiev was born in Astrakhan into the family of a professor ofphilosophy
Philosophy (from , ) is the systematized study of general and fundamental questions, such as those about existence, reason, knowledge, values, mind, and language. Such questions are often posed as problems to be studied or resolved. Some ...
, history of literature, and logic at the local theological seminary. His father died young, and all financial and material burdens fell on his mother's shoulders. The Kustodiev family rented a small wing in a rich merchant's house. It was there that the boy's first impressions were formed of the way of life of the provincial merchant class. The artist later wrote, "The whole tenor of the rich and plentiful merchant way of life was there right under my nose... It was like something out of an Ostrovsky play." The artist retained these childhood observations for years, recreating them later in oils and water-colours.
Art studies
Between 1893 and 1896, Kustodiev studied in theological seminary and took private art lessons in Astrakhan from Pavel Vlasov, a pupil of Vasily Perov./ref> Subsequently, from 1896 to 1903, he attended
Ilya Repin
Ilya Yefimovich Repin (russian: Илья Ефимович Репин, translit=Il'ya Yefimovich Repin, p=ˈrʲepʲɪn); fi, Ilja Jefimovitš Repin ( – 29 September 1930) was a Russian painter, born in what is now Ukraine. He became one of the ...
's studio at the Imperial Academy of Arts in St. Petersburg. Concurrently, he took classes in sculpture under Dmitry Stelletsky and in etching under Vasiliy Mate. He first exhibited in 1896.
"I have great hopes for Kustodiev," wrote Repin. "He is a talented artist and a thoughtful and serious man with a deep love of art; he is making a careful study of nature..."Kustodiev's biography at Hrono.ru/ref> When Repin was commissioned to paint a large-scale canvas to commemorate the 100th anniversary of the State Council, he invited Kustodiev to be his assistant. The painting was extremely complex and involved a great deal of hard work. Together with his teacher, the young artist made portrait studies for the painting, and then executed the right-hand side of the final work.History of creating of the painting to commemorate the 100th anniversary of the State Council
/ref> Also at this time, Kustodiev made a series of portraits of contemporaries whom he felt to be his spiritual comrades. These included the artist Ivan Bilibin (1901, Russian Museum), Moldovtsev (1901, Krasnodar Regional Art Museum), and the engraver Mate (1902, Russian Museum). Working on these portraits considerably helped the artist, forcing him to make a close study of his model and to penetrate the complex world of the human soul. In 1903, he married Julia Proshinskaya (1880–1942).Another Kustodiev's biography
/ref>Catalog of Proshina's works
He visited France and Spain on a grant from the Imperial Academy of Arts in 1904. Also in 1904, he attended the private studio of
René Ménard
René Ménard (2 March 1605 – 4 July 1661?) was a French Jesuit missionary explorer who traveled to New France in 1641, learned the language of the Wyandot, and was soon in charge of many of the satellite missions around Sainte-Marie among the ...
in Paris. After that he traveled to Spain, then, in 1907, to Italy, and in 1909 he visited Austria and Germany, and again France and Italy. During these years he painted many portraits and genre pieces. However, no matter where Kustodiev happened to be – in sunny Seville or in the park at Versailles – he felt the irresistible pull of his
motherland. After five months in France he returned to Russia, writing with evident joy to his friend Mate that he was back once more "in our blessed Russian land".
Career
The Russian Revolution of 1905, which shook the foundations of society, evoked a vivid response in the artist's soul. He contributed to the satirical journals ''Zhupel'' (Bugbear) and ''Adskaya Pochta'' (Hell's Mail). At that time, he first met the artists of '' Mir Iskusstva'' (World of Art), the group of innovative Russian artists. He joined their association in 1910 and subsequently took part in all their exhibitions.
In 1905, Kustodiev first turned to book illustrating, a genre in which he worked throughout his entire life. He illustrated many works of classical Russian literature, including Nikolai Gogol's ''Dead Souls'', ''The Carriage'', and ''The Overcoat''; Mikhail Lermontov's ''The Lay of Tsar Ivan Vasilyevich, His Young oprichnina, Oprichnik and the Stouthearted Merchant Kalashnikov''; and Leo Tolstoy's ''How the Devil Stole the Peasants Hunk of Bread'' and ''The Candle''.
In 1909, he was elected into Imperial Academy of Arts. He continued to work intensively, but a grave illness—tuberculosis of the vertebral column, spine—required urgent attention. On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic. He pined for his distant homeland, and Russian themes continued to provide the basic material for the works he painted during that year. In 1918, he painted ''The Merchant's Wife'', which became the most famous of his paintings.
In 1916, he became paraplegia, paraplegic. "Now my whole world is my room", he wrote. His ability to remain joyful and lively despite his paralysis amazed others. His colourful paintings and joyful genre pieces do not reveal his physical suffering, and on the contrary give the impression of a carefree and cheerful life.
His ''Pancake Tuesday/Maslenitsa'' (1916) and ''Fontanka'' (1916) are all painted from his memories. He meticulously restores his own childhood in the busy city on the Volga River, Volga banks.Boris Kustodiyev 125th Anniversary exhibition at the Russian Museum.In the first years after the Russian Revolution of 1917 the artist worked with great inspiration in various fields. Contemporary themes became the basis for his work, being embodied in drawings for calendars and book covers, and in illustrations and sketches of street decorations, as well as some portraits (''Portrait of Countess Grabowska'').
His covers for the journals ''The Red Cornfield'' and ''Red Panorama'' attracted attention because of their vividness and the sharpness of their subject matter. Kustodiev also worked in lithography, illustrating works by Nikolai Alekseevich Nekrasov, Nekrasov. His illustrations for Nikolai Leskov, Leskov's stories ''The Darner'' and ''Lady Macbeth of the Mtsensk District (story), Lady Macbeth of the Mtsensk District'' were landmarks in the history of Russian book designing, so well did they correspond to the literary images.
Stage design
The artist was also interested in designing stage scenery. He first started work in the theatre in 1911, when he designed the sets for Alexander Ostrovsky's ''An Ardent Heart''. Such was his success that further orders came pouring in. In 1913, he designed the sets and costumes for ''The Death of Pazukhin'' at the Moscow Art Theatre. His talent in this sphere was especially apparent in his work for Ostrovsky's plays; ''It's a Family Affair'', ''A Stroke of Luck'', ''Wolves and Sheep'', and ''The Storm''. The milieu of Ostrovsky's plays—provincial life and the world of the merchant class—was close to Kustodiev's own genre paintings, and he worked easily and quickly on the stage sets. In 1923, Kustodiev joined the Association of Artists of Revolutionary Russia. He continued to paint, make engravings, illustrate books, and design for the theater up until his death of tuberculosis on 28 May 1927, in Leningrad.Selected works
See also
* List of Russian artistsReferences
External links
Boris Kustodiev at WikiGallery.org
{{DEFAULTSORT:Kustodiev, Boris Mikhaylovich 1878 births 1927 deaths 19th-century male artists from the Russian Empire 19th-century painters from the Russian Empire 20th-century deaths from tuberculosis 20th-century Russian painters Burials at Tikhvin Cemetery Imperial Academy of Arts alumni Members of the Imperial Academy of Arts People from Astrakhan People from Astrakhan Governorate People with paraplegia Russian male painters Russian scenic designers Russian watercolorists Soviet painters Tuberculosis deaths in Russia Tuberculosis deaths in the Soviet Union 20th-century Russian male artists