In his youth, Stepan Erzya, who graduated from a parochial school, painted churches in Volga villages and towns. Having moved to Moscow, he attended evening courses at the Stroganov School and worked part-time as a retoucher. Then he entered the school of sculpture, painting and architecture, studied in painting workshops, and later moved to the sculpture class of the famous teacher Sergei Volnukhin.
In his youth, Stepan Erzya, who graduated from a parochial school, painted churches in Volga villages and towns. Having moved to Moscow, he attended evening courses at the Stroganov School and worked part-time as a retoucher. Then he entered the school of sculpture, painting and architecture, studied in painting workshops, and later moved to the sculpture class of the famous teacher Sergei Volnukhin.
After graduating from college, he opened his own school. “But among the students there were revolutionary-minded people, Erzya was in danger, and he emigrated to Italy. He settled in Milan, in the castle of a friend of the photographer, artist Tinelli. Together they traveled to different cities. But the friend led an idle life, and Erzya was bored without work. Therefore, as soon as the opportunity arose, he left the castle,” says Larisa Bedretdinova, curator of the exhibition, employee of the State Tretyakov Gallery’s sculpture department.
In the photo: a sculptural portrait of Leo Tolstoy.
After graduating from college, he opened his own school. “But among the students there were revolutionary-minded people, Erzya was in danger, and he emigrated to Italy. He settled in Milan, in the castle of a friend of the photographer, artist Tinelli. Together they traveled to different cities. But the friend led an idle life, and Erzya was bored without work. Therefore, as soon as the opportunity arose, he left the castle,” says Larisa Bedretdinova, curator of the exhibition, employee of the State Tretyakov Gallery’s sculpture department.
In the photo: a sculptural portrait of Leo Tolstoy.
There was no money, sometimes the sculptor spent the night on the street. But after successfully participating in several exhibitions in Italy and France, people started talking about him, and people began to buy his works.
In the photo: the sculpture “Portrait of a Bolivian”.
There was no money, sometimes the sculptor spent the night on the street. But after successfully participating in several exhibitions in Italy and France, people started talking about him, and people began to buy his works.
In the photo: the sculpture “Portrait of a Bolivian”.
Erzya returned to his homeland in 1914, on the eve of the First World War. He was drafted into the army.
“He served in the hospital for jaw wounds, was a radiologist and a moulage artist – he helped restore faces,” the curator clarifies.
Erzya accepted the revolution of 1917 and participated in monumental propaganda.
In the photo: sculpture “Ballerina”.
Erzya returned to his homeland in 1914, on the eve of the First World War. He was drafted into the army.
“He served in the hospital for jaw wounds, was a radiologist and a moulage artist – he helped restore faces,” the curator clarifies.
Erzya accepted the revolution of 1917 and participated in monumental propaganda.
In the photo: sculpture “Ballerina”.
The exhibition includes several marble sculptures. The artist began working with this material in 1918 in the Urals, where there were deposits of this stone in the village of Mramorskoye.
In the photo: the sculpture “Mordvin Peasant”.
The exhibition includes several marble sculptures. The artist began working with this material in 1918 in the Urals, where there were deposits of this stone in the village of Mramorskoye.
In the photo: the sculpture “Mordvin Peasant”.
“In Yekaterinburg, the master taught at an art school, but due to a conflict with Malevich’s supporters, he left for Moscow. There, in 1926, the first exhibition of the Society of Russian Sculptors took place, in which he participated,” notes the curator.
In the photo: sculpture “Melpomene”.
“In Yekaterinburg, the master taught at an art school, but due to a conflict with Malevich’s supporters, he left for Moscow. There, in 1926, the first exhibition of the Society of Russian Sculptors took place, in which he participated,” notes the curator.
In the photo: sculpture “Melpomene”.
In 1927, Lunacharsky invited Erza to organize exhibitions of Soviet art abroad. This is how the sculptor ended up in France. “When his visa expired, he moved to Latin America,” continues Larisa Bedretdinova.
In the photo: the sculpture “Beethoven”.
In 1927, Lunacharsky invited Erza to organize exhibitions of Soviet art abroad. This is how the sculptor ended up in France. “When his visa expired, he moved to Latin America,” continues Larisa Bedretdinova.
In the photo: the sculpture “Beethoven”.
First – Uruguay, then – Argentina. “There, Erzya accidentally saw some special wood in the port. It turned out that it was quebracho, growing only in this country. He was immediately fascinated by this material – he worked a lot with it throughout the 24 years of living in Argentina,” says the curator.
In the photo: sculpture “Melpomene”.
First – Uruguay, then – Argentina. “There, Erzya accidentally saw some special wood in the port. It turned out that it was quebracho, growing only in this country. He was immediately fascinated by this material – he worked a lot with it throughout the 24 years of living in Argentina,” says the curator.
In the photo: sculpture “Melpomene”.
His works of this period are based on textural contrasts – a very smooth, polished surface of the face, body and the untouched texture of the kebracho, which mainly represents hair and folds of clothing.
In the photo: the sculpture “Medusa”.
His works of this period are based on textural contrasts – a very smooth, polished surface of the face, body and the untouched texture of the kebracho, which mainly represents hair and folds of clothing.
In the photo: the sculpture “Medusa”.
Quebracho has unique features – the wood is very dense and hard, sinks in water, does not rot and, accordingly, is difficult to process. The sculptor used a drill and cutters of his own making.
“Contemporaries were surprised by Erzya’s method – “direct carving”. The master did not make a model, he immediately worked in a block,” the curator emphasizes.
In the photo: sculpture “Fantasy”.
Quebracho has unique features – the wood is very dense and hard, sinks in water, does not rot and, accordingly, is difficult to process. The sculptor used a drill and cutters of his own making.
“Contemporaries were surprised by Erzya’s method – “direct carving”. The master did not make a model, he immediately worked in a block,” the curator emphasizes.
In the photo: sculpture “Fantasy”.
Erzya returned to his homeland in 1950, bringing with him. more than 200 works. He was ready to donate them to the state, but on the condition that they be included in the permanent exhibition. The Russian Museum agreed, but there was not enough space there. Therefore, some of the sculptures were sent to Saransk, to a new art gallery.
In the photo: sculpture “Assyrian”.
Erzya returned to his homeland in 1950, bringing with him. more than 200 works. He was ready to donate them to the state, but on the condition that they be included in the permanent exhibition. The Russian Museum agreed, but there was not enough space there. Therefore, some of the sculptures were sent to Saransk, to a new art gallery.
In the photo: sculpture “Assyrian”.
In 1954, Erzya’s triumphant personal exhibition took place on Kuznetsky Most. The success was such that instead of the planned few weeks, it lasted for months. “The public really liked the unusual material and images, far from socialist realism. But academic critics reacted coolly to the exhibition, noting elements of salonism and repetition,” says the curator. The sculptor also organized shows in his workshop on Peschanaya Street.
In 1954, Erzya’s triumphant personal exhibition took place on Kuznetsky Most. The success was such that instead of the planned few weeks, it lasted for months. “The public really liked the unusual material and images, far from socialist realism. But academic critics reacted coolly to the exhibition, noting elements of salonism and repetition,” says the curator. The sculptor also organized shows in his workshop on Peschanaya Street.
The exhibition arrived in Moscow from the Russian Museum, and from the capital it will go to Saransk.
The exhibition can be viewed at the Tretyakov Gallery until October 11.
The exhibition arrived in Moscow from the Russian Museum, and from the capital it will go to Saransk.
The exhibition can be viewed at the Tretyakov Gallery until October 11.
Source: RIA