The eighth jack

Sergey Lobanov (1887-1942) in the Museum of Personal Collections for a festive timeless time like the completed semi-legal May holidays, exhibitions are often that the organizers would like to hide from too close attention of the public. Or expositions, the initiators of which could not stand up for their wards, providing them with more winning exhibiting terms. Here is the current show of the creative heritage of the artist and museum worker Sergei Lobanov in New MLK, and even next to the solid exhibition of Vladimir Weisberg, is interesting in a special way.

If you talk about the exposition thoroughly, you can not ignore the sparkling cars rushing at the entrance to the museum on one of the last April days, nor their fed passengers, many of which did not hide that they first got to the vernissage. You can also think about the unenviable role of museum employees who are increasingly gestures in the mechanism for increasing the price acquired by wholesale, certified by a respectable display, and then the art of various levels implemented in retail. On the vernisa of Lobanov, for example, behind him, sometimes there were conversations on the topic "how much it now costs." Fortunately, a project called "Sergey Lobanov (1887-1942). Painting, graphics, documents. From the Assembly of the Plane named after A.S. Pushkin and the collections of Yana Abramov ”is notable for at least a biography of the culprit of the“ New Russian ”celebration. On it, in order to avoid a discussion about the right of a journalist to express his own opinion about what is happening before his eyes, and we will stop.

Almost the most significant exhibit of Lobanov’s exhibition is his “membership ticket No. 8” with the emblem of the famous Society of Artists “Diamond Valet”, valid since November 1, 1911. At twelve years, Sergey received oil paints and other attributes of the profession necessary for the real artist as a gift from his father. In 1906, simultaneously with Malevich, he was engaged in the studio of Alexander Mikhailovsky and Fedor Rerberg. The next year, his acquaintance with Peter Konchalovsky and Ilya Mashkov was dated, admission to the studio, which was led by Mashkov and Mikhailovsky, and, finally, the beginning of studying at the Muves (the Moscow School of Painting, Sculpture and Architecture) in the class of Sergey Ivanov. The first exhibition "Valetov" was held in the winter of 1910. Lobanov participated in it mainly as a portrait painter - unlike the second "dormitory" exposition, where the landscape genre dominated his works. Strictly speaking, this ended the involvement of the young artist in the vivid public performances of Russian followers of Paul Cezanne: the Mustvz Council demanded from the pupils of the school to distance himself from such “art projects”. In subsequent years, Lobanov showed works at exhibitions “Artists - Comrades to the Warns” (1915) and at the “Moscow Salon” (1917), but, in fact, remained aloof from the implementation of the ideas of creative collectivism.

A year after the revolution, when the department for museums and the protection of arts and antiquity monuments was established during the People's Commissariat of the Narcom -Caprication, and the famous collections of Schukin, Morozov and Ostroukhov were nationalized, Lobanov became an employee of this department: he was appointed deputy head of the Udinsky Museums. In the early 1920s, he tried to “sit on two chairs”: he participated in exhibitions with his own picturesque works and at the same time took part in the fate of strangers. So, in January 1922, after leaving Russia, Sergei Schukin, Elena, who was listed as the guardian of the Gallery of his father, he was appointed to this position. Lobanov was also a member of the Slav-Tsvet and 4 Arts, painted the ballet of the Bolshoi Theater, wrote the book Polenov and Levitan. Judging by the current exhibition, over time, work on the creation of the State Museum of New Western Art, quite quickly closed during the fight against formalism, and other fascinating classes demanded from Lobanov the return of its main forces and gradually forced their own art classes to the category of near -professional leisure.

05/10/2006 / Sergey Safonov, the material was published in the newspaper No. 77 dated 05/11/2006.