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Evgeniy
Evgenievich Lansere

Russia 
1875−1946
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From 1892 he studied at the Drawing school society for the encouragement of arts, St. Petersburg. From 1895 to 1898 — studies in Paris, at the academies colarossi F., and R. Julien, at this time, the lancers traveled extensively in Europe. 1899 — a member of the Association "World of art". 1905 — in the far East. 1907-1908, 1913-1914 — one of the founders of the "Old theatre". 1912-1915 — artistic Director of the porcelain factory and workshops of glass engraving in Saint-Petersburg and Yekaterinburg. 1914-1915 war artist-correspondent on the Caucasian front during the First world war. 1920 — began teaching at the Tbilisi Academy of Arts, Moscow architectural Institute. 1927-1931 — lives and works in Paris. 1934-1938 — teaches at the Russian Academy of Arts in Leningrad. 1946 — E. E. Lansere died.

Received education (Drawing school of the OPH, 1892-96; in Paris at the F. colarossi and Julian R., 1896-99 he), he, as well of course, because of kinship and friendship ties, was a member of the Association "World of art" and the employee of its magazine. But, in many sections of a collective program of Europeanization of art, Lancer remained untouched by its characteristic circle nostalgic retrospectivism.

His work in magazines ("World of art", "Golden fleece", "Apollo"), book graphics ("Wreath Wrangel", "Imperial hunting in Russia", both in 1902; "Tsarskoye Selo during the reign of Empress Elizabeth Petrovna", 1910) and in set design (St. Petersburg performances of Ancient theatre) approve the principles of the "new style"; however, in the historical stylizations ("Petersburg. The old St. Nicholas market," 1901; "St. Petersburg in the beginning of the XVIII century", 1906; "Botik of Peter I", 1906; "the Ships of the time of Peter I", 1911) is no sorrow about the past, but there's a joyful, romantic and troubled narrative, admiring the architectural and ship texture, decorative beauty of the St. Petersburg marine.

Satirical drawings in the magazines "Spectator", "Bogey" and "Hell-mail" (after the closing of the "Bogey" Lancer took over the publication of "Hellish mail"), as well as participation in the "Calendar of the Russian revolution" (1907, banned immediately after its release), too few distinguish the artist from the "miriskusnicheskoy" circle: a satire Lancer too specific, and the political orientation is obvious.

The best pre-revolutionary work Lancer - illustrations for "Haci Murat" L. N. Tolstoy (the complete book was published in 1918) - as it marks the continuity of his creative biography: in spite of the "miriskusnicheskoy" book understanding of ensemble and the exquisite graphics of "St. Petersburg" reversals, the overall decorative and picturesque illustrations Stroy anticipates the cycle to Tolstoy's "the Cossacks" (1917-36).

The Caucasus became important to the artist and worldly circumstances: three years (1917-20) he spent in Dagestan, then long lived in Tbilisi, he worked as a draftsman at the Museum of Ethnography, in the Caucasian archaeological Institute (leaving in an ethnographic expedition), was a Professor at the Tbilisi Academy of arts.

With the move to Moscow (1933) begins a new stage of its activities, partly associated with the theater ("Woe from wit" at the Maly theater, 1938), but most of all with monumental painting (the ceiling of the Kazansky station restaurant, hotels "Moscow", hall of the Bolshoi theater). The main motive of painting - a festive rejoicing young people of the country under construction. The gift of perspectivist and decorativity and organic, without rhetoric, the major attitude of the artist found a solution in this area.

Characteristically, working on the ceiling of the Kazansky station restaurant, Lancer does not remember their own pre-revolutionary sketches for the painting - then the Union of Europe and Asia depicted allegorically (Europe on the bull, Asia dragon), but now allegory was replaced with concrete scenes of friendship of peoples. One of the last works Lancer - a series of gouaches "Trophies Russian arms" (1942) As an urgent response to military events, this series expresses always important for the artist the theme of historical continuity.

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