Art Investment

The group Golubaya Roza

1907-1910, Moscow

Parties: A. A. Arapov, P. P. Bromirski, V. P. Kittenplay, I. A. Knabe, N. P. Krymov, P. V. Kuznetsov, A. T. Matveev, V. D. Milioti, . D. Milioti, . P. Ryabushinsky, . N. Sapunov, M. S. Saryan, S. Y. Sudeikin, P. S. Utkin, . P. Feofilaktov, A. V. Fonvizin.

Commonwealth young Moscow artists; got its name from the exhibition held March 18 — on 29 April 1907 at the home of industrialist M. S. Kuznetsov on Myasnitskaya street in Moscow. Its architectural composition and content largely has been prepared by the exhibition "scarlet rose" in Saratov (1904). The exhibition "Blue rose" was arranged on the initiative and at the expense of the publisher of the magazine "Golden fleece", patron, collector and artist-любителя N. P. Ryabushinsky. The band name presumably belongs to the poet V. Ya. Bryusov; widespread in the Russian symbolism the image of a blue rose symbolized the longing for the unknown, the unattainable, similar to the "blue flower" of NOVALIS, and associated "blue (blue) bird" by M. Maeterlinck. However, the name emphasizes the continuity with the Scarlet rose.

the exhibition presented 58 works including paintings: "spring" N. P. Krymov, "Morning (Birth)" P. V. Kuznetsov, "Portrait Of L. N. GAUS", "Pastoral" . D. Milioti, "Masquerade" . N. Sapunov, "pomegranate" (from the cycle "Tales and dreams") M. S. Sarian, the sculpture "Dream", "Group of children" A. T. Matveev. Catalog was published, decorated . N. Sapunov. Originally planned participation in the exhibition V. I. Denisov did not take place.

a Characteristic feature of the exhibition — elegant decoration rooms with stylish furniture, decorated silver-серыми and gently-голубыми fabrics, decorated with fresh flowers. All was intended to immerse the viewer in the illusion of dream and fairy tales. According to the memoirs of contemporaries, the opening was arranged "with such exceptional delicacy of beauty, such never seen. Fragrant flowers exhibition, an invisible orchestra as-то softly and sensually played, the beauty of the soft gentle colors in the paintings, naryadnaya, a beautiful crowd... we've all zharmonizowana, charmingly, as whole, beautiful and happy". The exhibition was visited by more than five thousand people.

was Accompanied by an exhibition of poetry and music program, on Saturday organized the reading, which was attended by Andrey Bely, V. Y. Bryusov, A. M. Remizov, Konstantin Balmont, was music A. N. Skryabin, N. N. Tcherepnin, A. A. Spendiarov, played by K. N. Igumnov.

the Exhibition attracted diametrically opposed reviews in the press, was the cause of considerable controversy between I. E. Grabar (magazine "Libra"), and V. D. Milioti ("Golden fleece"). S. K. Makovsky in the journal Zolotoe Runo wrote: "the Blue rose" — beautiful exhibition-часовня. For the very few.... Light. Quiet. And paintings — as prayer... When you enter this small chapel, decorated with the skill of an old taste, just feel that @ldquo;голубая rose@rdquo; not only the flower greenhouses, but spring flower mystical love. So far — and from the busy everyday life of the European secessional and from boudoir elegance exhibitions Diaghilev".

the Exhibition was accompanied by what-либо Manifesto, but demonstrated the internal unity of the group.Many artists "Blue roses" almost simultaneously participated in the exhibitions "Wreath — Stefanos" (1907, Moscow), the "crown" (1908, Saint-Петербург), Golden fleece (1908, 1909, Moscow), 4-й and 5-й exhibitions of the Union of Russian artists (1906/1907, 1907/1908, Moscow, St.-Петербург).

Program "Blue roses" has been associated with the ideas of symbolism and partly to the picturesque settings of Fauvism; is common for goluborozovtsev was incipient transition from impressionism to post-impressionism, the pull of decoration, symbolism, stilizatorstvo, sometimes to the primitivism of images in the spirit of folk or children's art. In General, the aesthetic orientation was close to the principles of the French Nabis group. Master "Blue rose" had a significant influence on the formation of neo-primitivism in Russian art; their ideas were developed in the works . Goncharova, M. Larionov, Malevich.

In 1925 in Moscow (state Tretyakov gallery) held a retrospective exhibition "masters of the Blue rose", which was significantly different from 1-й exhibition as the composition and number of participants (not presented in A. A. Arapov, p. P. Bromirski, V. P. Kittenplay, I. A. Knabe, V. D. Milioti, . P. Ryabushinsky, . N. Sapunov; participated G. B. Yakulov), and exhibited works.

during the Soviet years, the "Blue rose" was forgotten as "bourgeois and alien phenomenon." Only in the last two decades it has become the subject of attention of scientists. Exhibition dedicated to the creative community, was conducted in 1999-2000 in the Pushkin Museum. A. S. Pushkin ("the Blue rose. Paintings, drawings and sculpture from private collections in Moscow and St. Petersburg") in the 2005-2006 — in the Ixelles Museum in Brussels and the State Tretyakov gallery ("Russian symbolism. Blue rose"); at the exhibition 2005-2006 was shown a number of works with 1-й of the exhibition "Blue rose".


1. Apollo. Fine art and architecture. Glossary of terms. M., 1997. P. 131-132.
2. Exhibition of Soviet art. Reference. Vol. 1. 1917-1932. M., 1965. P. 152.
3. V. Dudakov And. Master "Blue rose" / Our heritage, 1989, No. 3. S. 136-143.
4. S. Makowski. Silhouettes of Russian artists. M., 1999. S. 241-222.
5. D. Y. Severyukhin, Leikind O. L. The Golden age of art associations in Russia and the Soviet Union. Reference. SPb., 1992. Pp. 54-56.

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ОРЛОВ Николай Васильевич (1863–1924) Луговой букет в керамическом горшочке. Около 1906 (39 × 27,4 см)

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АЛАДЖАЛОВ Мануил Христофорович (1862–1934) Летний пейзаж. 1910‒20-е (45,4 × 50,5 см)

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