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Fedorovsky Fedor Fedorovich -
People's Artist of the USSR, laureate of Stalin Prizes.
Biography
Born in Chernigov on December 26, 1883.
He graduated in 1907 from the Stroganov School in Moscow. (studied with V.A. Serov, K.A. Korovin and M.A. Vrubel, architects I.V. Zholtovsky, F.O. Shekhtel), taught composition there.
In 1907 he came to the Bolshoi Theater, at the same time he began performing as a theater artist at the Zimin Private Opera (he designed the performances Carmen, Demon, Snow Maiden, Enchantress, Life for the Tsar).
Moscow, Opera S.I. Zimina. Premiere October 18, 1910 Bakhrushinsky Museum]]
In 1913-14 he designed opera performances of Russian seasons in the entreprise of Sergei Diaghilev in Paris (Khovanshchina) and London (May Night).
The loud audience success of the production of "Khovanshchina" and the recognition of the professional community confirmed the correctness of its path in the design of the Russian opera. Throughout his work in the theater, he continued to develop this approach.
In 1917-19 he worked in the theater of the Moscow Council of Workers, Peasants and Red Army Deputies, was an active participant and organizer of the art section in the art and educational department of the Moscow Council.
For the celebration of May 1, 1918, they first decorated Red Square.
1921: Beginning work at the Bolshoi Theater
Since 1921 - head of the production part of the Bolshoi Theater. In 1927-29 and 1947-53, the chief artist of Bolshoi.
The artist's name is associated with the creation of a mock-up workshop, a chemical-dyeing laboratory, a fake, spinning and other workshops at the Bolshoi Theater.
In 1932, at the initiative of Fyodor Fedorovsky, an art and technical school was opened. In parallel, an internship program was organized for university graduates with a diploma of theater artists. Each trainee for two years had to undergo practice in all workshops. A professional community of universal masters of a new type was created. At the end of the practice, the artist could be enrolled in one of the workshops. Thanks to the past practice, the graduate could work, realizing his part of the work as part of the general [1].
Designed ballets: "The Dance of Salome" (to music from the opera "Salome," 1921), "Martial Dance" (to music from the ballet "Daphnis and Chloe," 1921), "Giselle" (1922), "Trinkets" (1922), "Forever Living Flowers" (1922), "Futile Precaution" (1923), "Grotto Venus" (1923), "Spanish Capriccio" (1923), "Dances of Peoples";
and operas: "The Barber of Seville" (1922), "Bohemia" (1922), "Rigoletto" (1922), "Carmen" (1922), "Lohengrin" (1923), "Faust" (1923), "Boris Godunov" (1927, 1946, 1948), "The Tsar's Bride" (1927, 1955), "Nuremberg Maistersingers" (1929), "Rusalka" (1931, 1937, 1944), 1934, "Golden Techist," "Igor ur, 1932"Khovanshchina
Regarding the previous traditions and works of his contemporaries, several signs of novelty in the works of Fedorovsky can be distinguished:
- enlarging the scale of all parts of the design,
- enhancement of color and contrast,
- a combination of three-dimensional scenery and characteristic textured painting.
Theater painting Fedor Fedorovich divided into three main directions: painting of the old masters, impressionistic (Korovin and Golovin) and a new "textured" (about his style). When, in the 1930s, he lacked in a palette of dark and bright colors to convey the contrast and depth of color, he added velvet and other fabrics to painting, moving on to textured painting. A single painting and application technique combined all the elements of the performance: painted floorboards, landscape and interior decorations, furniture and props, costumes and makeup.
Fedorovsky created his direction in the development of the Russian style in musical theater. In separate architectural and applied design elements, he identified and strengthened character, preserving the main proportions and color combinations. According to the memoirs of Fedorovsky's daughter, work on the sketches went under listening to the recording of the opera. The space and flavor of each scene was composed in conjunction with music. He conveyed exaggerated passions in enlarged details.
Valentin Serov said about one of Fedorovsky's early works: "This is very good. But on stage, things should be a little brighter and more primed than in life. " The tendency to exaggerated scale and contrast, to enlarge proportions and details is a distinctive feature of Fedorovsky's style. "But it should be noted: no matter how the ornaments on fur coats are enlarged, no matter what heroic proportions the huts and the tower are transformed into, the actor is not lost in these interiors," the artist Alona [2] Pikalova is convinced "[3]. - Thanks to innate sense of measure, Fedorovsky stopped exactly at the point where parts of design still looked plausible. We still admire this sense of proportion in him. Yes, he changed the scale of furniture, bowls of cups, rings, but the stage truth never turned into his design into a grotesque. "
In the work on the "Royal Bride" in almost every detail, the reconstructors later recognized the historical prototype: the pillar in the first picture is an almost accurate quote from the lost church in the village of Puchuga. The carving on the doors in the tower is taken from an old book on architecture. It's important how these individual quotes are artistically reworked. Ancient Russia has not romanticized or composed reality. It combines many historical prototypes fused into a new work. An amazing combination of documentary and theatrical. Fedorovsky went on an expedition to the North, studied the preserved traditional life, wrote sketches "for a state." Then he reassembled all the material, enlarged and stopped at the point of exaggeration, where the performer was still the semantic center, the main character.
In 1936, Fedorovsky made drawings and models of ruby stars installed on the tops of the towers of the Moscow Kremlin.
He was a full member (since 1947) and vice president (in 1947-53) of the USSR Academy of Arts.
1950: "Khovanshchina"
Main article: Khovanshchina
and
Nonna Fedorovna Fedorovskaya (also an artist of the Bolshoi Theater) recalled about how her father worked and how his plans were embodied on the stage:
Before he wrote sketches of the scenery, he worked a lot. He made small sketches with a pencil, made them in color. Well, for example, how a writer works with a notebook.
In these color sketches, the father sought a fusion of color with music. He listened to the music of the opera he was working on many times.
The decision never came immediately. I was sometimes surprised how my father set aside brilliantly, as it seemed to me, a painted canvas and painted new versions.
"Fedor Fedorovich decided the scenery and costumes for the performances so that they were perceived as a single picture that corresponded to the nature of the music. Father said that Mussorgsky is a pasty, oil painting of dark, "hot" colors. Tchaikovsky is lighter, calmer paints, well, like gouache, and Glinka is a transparent watercolor. Music and painting was inextricable to him. "
"When Fyodor Fedorovich worked on Khovanshchina, we went to Red Square more than once at night, watched the sun rise over the church of St. Basil. Of this a sketch was born of contact with beautiful nature, and then the entire prologue of Khovanshchina was resolved. "
In the center - Nonna Yastrebova. 1952. Photo: Ephraim Lesna]]
Conductor Nikolai Semenovich Golovanov spoke about the artist [4]:
Many, alas, do not understand that in the theater you need to have a decorator, and not an easel painter. Then the performance will be aimed and will reach the viewer. That is why F.F. Fedorovsky is so needed, a huge gray giant with naive blue eyes and immense imagination. How much he did for the Bolshoi Theater!
He died in Moscow on September 7, 1955 at the age of 71.
Notes
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