#: locale=en ## Action ### URL PopupWebFrameBehaviour_86316419_C47B_FB72_41E1_14227D4C108A.url = https://www.360-tube.com/360/momus/organic/theremin/theremin.html LinkBehaviour_36DEC3F1_081E_1FFB_419B_6C7E507B39DE.source = https://www.facebook.com/MomusMuseums/ LinkBehaviour_36DE93F1_081E_1FFB_4182_890578A7A1FF.source = https://www.instagram.com/momus_museums/ LinkBehaviour_36DE53F1_081E_1FFB_41A7_489D3DA6A7E1.source = https://www.linkedin.com/company/momus-museums/ LinkBehaviour_36DE73F1_081E_1FFB_41A2_5DFB55EA0855.source = https://www.momus.gr/ LinkBehaviour_36DEB3F1_081E_1FFB_4191_E467DE20253F.source = https://www.youtube.com/channel/UChYHMYjCS-J0nyKVQMLwbLw ## Hotspot ### Tooltip HotspotPanoramaOverlayArea_086DABB4_1FD8_4A65_4197_82A14E80204C.toolTip = Back to First floor HotspotPanoramaOverlayArea_0A1CF10B_1FC7_D623_41B7_AF594AA930CA.toolTip = Go to 2nd Floor ## Media ### Audio audiores_0CC1FD77_1F0D_9D38_41B3_B5AA52CE196A.mp3Url = media/audio_0DC8B3D8_1F04_8568_41AC_829567D42FBA_en.mp3 audiores_9BF3C7A4_DFF7_022E_41E9_7061AC42E2CE.mp3Url = media/audio_EDF10225_DE09_022F_414D_BAB2AE15A261_en.mp3 audiores_9A0024A5_DFF7_062F_419D_6358F558F364.mp3Url = media/audio_EF088A42_DE09_026A_41DC_B20E44317118_en.mp3 audiores_9A17EF5E_DFF7_021D_41DD_76647D4FDE4B.mp3Url = media/audio_F48ED5E2_DE09_0625_41D5_64C72BB21B6E_en.mp3 ### Description album_36054A10_2047_1086_41BA_2D0D1ABE32B0_6.description = A classical performance by Geptakhor, 1910s album_36054A10_2047_1086_41BA_2D0D1ABE32B0_3.description = A performance by Geptakhor (Ending of “Warum?” by Franz Schunbert), 1925 album_36054A10_2047_1086_41BA_2D0D1ABE32B0_9.description = Boris Ender, \ Nude Figure in Motion, 1924 album_36054A10_2047_1086_41BA_2D0D1ABE32B0_7.description = Boris Ender, \ Nude figure in motion, 1924 album_36054A10_2047_1086_41BA_2D0D1ABE32B0_8.description = Boris Ender, Resting, 1927 album_36054A10_2047_1086_41BA_2D0D1ABE32B0_0.description = Boris Ender, Resting. Stefanida Rudneva, 1927 album_BABDD610_BA37_56B7_41D5_5D3F59C8E5EB_0.description = Clara Rockmore, a pioneer Thereminvox album_0CAE1372_1FC0_F08A_418E_2B7D31995841_8.description = Ksenia Ender \ Lake (Tarkhovka), 1925 \ Watercolor and pencil on paper album_0CAE1372_1FC0_F08A_418E_2B7D31995841_0.description = Ksenia Ender \ Lake (Tarkhovka), 1925 \ Watercolor on paper album_0CAE1372_1FC0_F08A_418E_2B7D31995841_4.description = Ksenia Ender \ Lake (Tarkhovka), 1925 \ Watercolor on paper album_0CAE1372_1FC0_F08A_418E_2B7D31995841_1.description = Ksenia Ender \ Lake (Tarkhovka), 1925 \ Watercolor on paper album_0CAE1372_1FC0_F08A_418E_2B7D31995841_6.description = Ksenia Ender \ Lake (Tarkhovka), 1925 \ Watercolor on paper album_0CAE1372_1FC0_F08A_418E_2B7D31995841_7.description = Ksenia Ender \ Lake (Tarkhovka), 1925 \ Watercolor on paper album_0CAE1372_1FC0_F08A_418E_2B7D31995841_2.description = Ksenia Ender \ Lake (Tarkhovka), 1925 \ Watercolor on paper album_0CAE1372_1FC0_F08A_418E_2B7D31995841_9.description = Ksenia Ender \ Lake (Tarkhovka), 1925 \ Watercolor on paper album_0CAE1372_1FC0_F08A_418E_2B7D31995841_3.description = Ksenia Ender \ Lake (Tarkhovka), 1925 \ Watercolor on paper album_0CAE1372_1FC0_F08A_418E_2B7D31995841_5.description = Ksenia Ender \ Lake (Tarkhovka), 1925 \ Watercolor on paper album_0CB2E09C_1FC1_11BE_41B7_ACCFF7D86DA6_0.description = Ksenia Ender \ Untitled, 1920 \ Oil on canvas album_0CB2E09C_1FC1_11BE_41B7_ACCFF7D86DA6_1.description = Ksenia Ender \ Untitled, 1920s \ Watercolor on paper album_0CB2E09C_1FC1_11BE_41B7_ACCFF7D86DA6_3.description = Ksenia Ender \ Untitled, 1920s \ Watercolor on paper album_0CB2E09C_1FC1_11BE_41B7_ACCFF7D86DA6_2.description = Ksenia Ender \ Untitled, 1920s \ Watercolor on paper album_BABDD610_BA37_56B7_41D5_5D3F59C8E5EB_1.description = Lev Theremin album_358995AE_2041_139B_4185_F6280E0FBF44_5.description = Liudmila Ivanova \ Bottle \ On the reverse: Blotter and lamp \ Ca. 1920 \ Pencil on paper album_358995AE_2041_139B_4185_F6280E0FBF44_4.description = Liudmila Ivanova \ Peasant woman with rake (Scything) \ 1930s \ Watercolour on paper album_3B94440B_2041_709A_4184_8233A8A92E75_2.description = Maria Ender \ Untitled, 1920s \ Watercolor on paper album_3B94440B_2041_709A_4184_8233A8A92E75_1.description = Maria Ender \ Untitled, 1920s \ Watercolor on paper album_3B94440B_2041_709A_4184_8233A8A92E75_0.description = Maria Ender \ Untitled, 1920s \ Watercolor on paper album_352999B4_2040_F38F_41A1_A329B9153D15_6.description = Natalia Enman, \ 25.IV.30, T. Akhapkina, 1930 album_352999B4_2040_F38F_41A1_A329B9153D15_5.description = Natalia Enman, \ 7.V.30 Lida, 1930 album_352999B4_2040_F38F_41A1_A329B9153D15_4.description = Natalia Enman, \ Axis of Movement, 1927 album_352999B4_2040_F38F_41A1_A329B9153D15_3.description = Natalia Enman, Axis of Movement (Olia), 1927 album_352999B4_2040_F38F_41A1_A329B9153D15_1.description = Natalia Enman, Axis of Movement, 1927, Pencil on paper \ TsMAMLS f.140.d.1.ed.kh.470. l.3, recto album_352999B4_2040_F38F_41A1_A329B9153D15_0.description = Natalia Enman, Axis of Movement, 1927, Pencil on paper \ TsMAMLS f.140.d.1.ed.kh.470.l. l.5, verso album_352999B4_2040_F38F_41A1_A329B9153D15_2.description = Natalia Enman, Axis of Movement: \ Tania Morozova, 1927 \ Pencil, watercolour and gouache on paper \ TsMAMLS f.140.d.1.ed.kh.470.l.6 album_35DB55AA_2043_139B_41BA_29E85A49931E_0.description = Natalia Enman, Experiment in the application of complementary colors, 1925 album_35DB55AA_2043_139B_41BA_29E85A49931E_4.description = Natalia Enman, Experiment in the application of complementary colours, 1925 album_35DB55AA_2043_139B_41BA_29E85A49931E_5.description = Natalia Enman, Experiment on application of complementary colors, 1926 album_35DB55AA_2043_139B_41BA_29E85A49931E_3.description = Natalia Enman, Experiment on application of complementary colors, 1926 album_35DB55AA_2043_139B_41BA_29E85A49931E_1.description = Natalia Enman, Experiment on application of complementary colors, 1927 album_35DB55AA_2043_139B_41BA_29E85A49931E_2.description = Natalia Enman, Study in the application of complementary colours, 1925 album_3457EA14_2043_308F_41B1_FC5001C1B6ED_2.description = Natalia Enman, Transcription of an Experiment in Color, Sound, Movement, 1927 \ Enclosed space. Space breaks up into angles, stabs calm and fast. album_3457EA14_2043_308F_41B1_FC5001C1B6ED_1.description = Natalia Enman, Transcription of an Experiment in Color, Sound, Movement, 1927 \ Harmonium. Crackling and strong, sharp sound. All intermittent. Movements: inhale-exhale, twitch the shoulder, sharp incline away from the blow. album_3457EA14_2043_308F_41B1_FC5001C1B6ED_0.description = Natalia Enman, Transcription of an Experiment in Color, Sound, Movement, 1930 \ French song perform[ed] on the harmonium. album_3457EA14_2043_308F_41B1_FC5001C1B6ED_3.description = Natalia Enman, Transcription of an Experiment in Color, Sound, Movement, 1930 \ The sound starts off precise and well defined, full and dry. Induces [the dancer] to turn slowly on the soles of the feet and in one direction. The subsequent resonance sees the movement become lighter and the color assume greater luminosity. The end of the sound is not perceived. album_36054A10_2047_1086_41BA_2D0D1ABE32B0_2.description = Natalia Enman: Fantasy, 1917 album_154A86D8_BAD5_77B7_41D7_F934429AE482_0.description = Photograph of Natalia Aleksandrovna Enman, \ Spring 1910 \ TsMAMLS f.140.d.1.ed.kh.146,l.2 album_154A86D8_BAD5_77B7_41D7_F934429AE482_1.description = Photograph of Stefanida Dmitrievna Rudneva, ca.1910 \ TsMAMLS (no inventory number) album_36054A10_2047_1086_41BA_2D0D1ABE32B0_1.description = Photograph: Heavy lunge, 1925 album_36054A10_2047_1086_41BA_2D0D1ABE32B0_4.description = Photograph: Jump and run, 1925 \ TsMAMLS f.140.d.2 .ed.kh.103.l.87 album_36054A10_2047_1086_41BA_2D0D1ABE32B0_5.description = Photograph: Jump and run, 1925 \ TsMAMLS f.140.d.2 .ed.kh.103.l.87 album_BABDD610_BA37_56B7_41D5_5D3F59C8E5EB_2.description = Terpsiton ### Floorplan ### Image imlevel_FA1CB348_E129_3545_41E5_329B216E29F5.url = media/map_1D752FDE_1028_9484_4183_FEE10B7546BC_en_0.png imlevel_FA1CA348_E129_3545_41DA_255DB7025F5C.url = media/map_1D752FDE_1028_9484_4183_FEE10B7546BC_en_1.png imlevel_FAB3E82E_E129_12DD_41E3_46E43B497F23.url = media/map_8CA6D1FC_9B58_AE33_41D8_574B91E11BAA_en_0.png imlevel_FAB3F82E_E129_12DD_41E7_7584DA552BF4.url = media/map_8CA6D1FC_9B58_AE33_41D8_574B91E11BAA_en_1.png ### Title album_358995AE_2041_139B_4185_F6280E0FBF44_0.label = 001--0. 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Geptakhor was one of the many groups experimenting in free or plastic dance in Russia during the 1910s and 1920s. In 1913, the founders of Geptakhor, Stefanida Rudneva and Natalia Enman, chose the name (deriving from the Greek for Seven Dancers). Champions of Ancient Greek Civilization, they had studied Greek culture, attended lectures on Classical civilization at St. Petersburg University and, naturally, were fascinated by the dances of Isadora Duncan. Living very much as a commune and even dreaming of establishing an Ancient Greek colony in St. Petersburg in the 1910s in the wake of Duncan, the Geptakhorans proceeded to teach children the elements of musical movement. In 1923, in close contact with Mikhail Matiushin’s Organic School, especially with Boris and Maria Ender, Geptakhor changed its course of research dramatically, Enman recording the radical experiments conducted by its students in symbiosis with the new revolutionary style.
RUDNEVA, Stefanida Dmitrievna (St. Petersburg, 1890 --Leningrad, 1989). Dancer and teacher. 1915 graduated from the Department of History and Philology at the Bestuzhev Courses for Women in Petrograd (the so-called Female University), specializing in history and archaeology. Together with other students such as Natalia Enman and Kamilla Trever, elaborated a new method of musical movement. In 1914 onwards, under the auspices of Geptakhor, taught children movement and music and, subsequently, worked in various pedagogical institutions for children. Although Geptakhor was closed in 1935, Rudneva continued to teach musical movement in various state institutions until late in life.
ENMAN, Natalia Aleksandrovna (St. Petersburg, 1889--Leningrad, 1961). Dancer, choreographer and artist. Studied painting under Dmitrii Kardovsky, while attending courses in Classical studies in the Department of History and Philology at the Bestuzhev Courses for Women in St. Petersburg, focusing on Classical archaeology and the culture of Ancient Greece. A close friend of Stefanida Rudneva and co-founder of Geptakhor, Enman (together with Rudneva) made the acquaintance of Isadora Duncan to whom they both became very close, in 1914 selecting Russian girl candidates for enrolling in Duncan’s Paris school. Enman made watercolours and drawings of Duncan dancing and also illustrated a number of Faddei Zelinsky’s books on Greek antiquities.
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Theremin
Lev Theremin had both a degree in physics and a degree in music. This unique combination of skills was the impetus for his inventions.
Thereminvox and Illumovox
One of the first in the world of electronic musical nstruments – the Thereminvox - was invented by Lev Theremin in 1918–1920. It was the only instrument which was possible to play without touching and only by waving hands in the electromagnetic field of special antennas. A change in the pitch of the sound is reached by approaching the hand to the antenna on the right, while the volume of the sound is controlled by approaching the other hand to the antenna on the left. In 1923, Lev Theremin created a special mechanism which he called Illumovox and which operated under the management of Thereminvox producing changes of the color of the light beams, linking, thus, the performer’s plasticity and pitch with color.
Terpsiton
One version of the Thereminvox was called Terpsiton (1931). The instrument transformed the dance movement into sound: by standing on a special platform and changing the position of arms or legs, it was possible to control the pitch and the volume thus performing the solo part while at the same time a special player played the accompaniment.
Instructions:
1. Stand in the center of the platform.
2. Do not move for one second.
3. Move in order to control the pitch.
The reconstructions are made by Andrei Smirnov.
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The School οf Organic Culture
As early as 1909, Mikhail Matiushin became associated with the Union of Youth of Saint Petersburg, one of the first experimental art groups of the Russian avant-garde. He was a painter, musician and instructor at the State Institute of Art Culture (GINKhUK) of Saint Petersburg, where he served as Head of the Department of Organic Culture. The term “Organic Culture” was coined by Matiushin himself in 1923 and was based on the theory that the world is a strictly structured system governed by laws, which is in perpetual motion and has its own biological rhythm, even when it comes to inorganic matter such as crystal or stone. “If the life and development of the smallest resembles the life of the infinitely large, and their essence, or their soul, can be expressed, and if the smallest holds within it the largest, then our understanding of all phenomena is inadequate and all our ideas about nature and morals will have to be revised”, wrote Matiushin in 1912, who was influenced by the views of his wife, painter and author Elena Guro, who died in 1913. In the 1920s, Matiushin focused a great deal on observations and experiments in the Department of Organic Culture, his main project being the synthesis of sciences and arts. The mission of his students was to bring nature back into art. Matiushin believed that artists should look for realistic space, not in the reality that is plainly visible, but in the microcosm and macrocosm. The four Ender siblings (Boris, Maria, Ksenia, Yuri) and Nikolai Grinberg worked as his assistants in the Department of Organic Culture. The artists conducted biological laboratory research combined with music lessons and concentration exercises in order to perfect the senses, aspiring to achieve what Matiushin called “extended viewing”. In the work of the artists of the Department of Organic Culture, the key component of their paintings is light, which in turn creates colour.
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Thereminvox and Illumovox
One of the first in the world of electronic musical instruments – the Thereminvox - was invented by Lev Theremin in 1918–1920. It was the only instrument which was possible to play without touching and only by waving hands in the electromagnetic field of special antennas. A change in the pitch of the sound is reached by approaching the hand to the antenna on the right, while the volume of the sound is controlled by approaching the other hand to the antenna on the left.
In 1923, Lev Theremin created a special mechanism which he called Illumovox and which operated under the management of Thereminvox producing changes of the color of the light beams, linking, thus, the performer’s plasticity and pitch with color.
The reconstruction is made by Andrei Smirnov.
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Ivanova
Liudmila Aleksandrovna Ivanova was born in St. Petersburg on 9 September, 1904 (new calendar). Her father, Aleksandr Ivanovich Ivanov, was a highly qualified metal worker (tokar’), while her mother Lidiia Efremovna (née Archangel’skaia) was a tailor. Ivanova graduated from the Petrograd-City Elementary school in 1915 to enter the Vladimir Trade School wherefrom, three years later, she transferred to what had been the Mariynskii Grammar School (renamed the Soviet Unified Labour School).
In 1921-22 she studied at the Art-Industrial-Technical School (formerly, the Society for the Encouragеment of the Arts, also enrolling at the Leningrad Academy of Arts (Svomas) in 1921, where she studied, among others, under Kuz’ma Pstrov-Vodkin and Mikhail Matiushin. In 1922 her father abandoned the family and her parents divorced. The same year she became a member of MOPR (International Organization to Help Fighters for the Revolution) founded by the Communist International. In November, 1923, she married Ignatii Ignat’evich Tatarovich (the marriage was dissolved in April, 1926), from whom she bore one son, Vladimir, in February, 1924. During 1925-27 she worked as a researcher at the State Russian Museum and in 1926 she completed her courses for the Higher Art-Technical Institute (Department of Painting), i.e. the Academy, enrolling subsequently in the State Institute of Art History. In the late 1920s she attended Pavel Filonov’s “school”, producing paintings and drawings according to his Analytical style. In 1927-28 she served as a registrar and custodian at the Leningrad Museum Fund and in 1928-30 she worked in the Department of the Wanderers and New Art at the State Russian Museum. In August, 1930, she married Nikolai Vladimirovich Kuranov (marriage dissolved in March, 1934; Kuranov was arrested in 1937), from whom she bore one son, Yurii, in February, 1931. In 1930 and 1931 she designed posters for Lenizogiz and in 1931-33 she studied at the Department of Art History at the State Hermitage. Intending to complete a doctoral dissertation on Finno-Ugric antiquities, where she also helped design installations for exhibitions devoted to the “Great French Revolution” and the “Pre-Class Society during the Sarmatian-Goth Period”. During 1933 and 1934 she worked at the Nikolai Marr State Academy of the History of Material Culture [GAIMK], designing displays and vitrines both at the Hermitage and GAIM, she made graphic illustrations for publications from the Academy of Material Culture and in 1934 she took part in one of its expeditions. During 1933-35 she worked as a literary censor. In 1934, after experiencing an artistic crisis, she broke with Filonov, moving on to new techniques and media such as linocut and etching, and in November, 1934, she married the archaeologist, Vladislav Iosifovich Ravdonikas (marriage dissolved in April, 1941) from whom she bore one son, Feliks, in February, 1937. In 1934-35 she served as political editor for the newspaper, Leningradskaia pravda, and the Leningrad District City Literature Office. During the 1930s and 1940s she took part in Ravdonikas’s ethnographic and anthropological expeditions, including an expedition to Svir’ in 1935, often recording and copying relics. In 1937 Ravdonikas was arrested and her son, Yurii (from Kuranov), was sent to an orphanage with the result that for over a decade she was not allowed to see him. In 1936-38 she designed the covers and binding for Ravdonikas’s two-volume Naskal’nye izobrazheniia Onezhskogo ozera i Belogo moria (Cliff Drawings of Lake Onezh and the White Sea; Moscow-Leningrad: Academy of Arts of the USSR).
In 1938 she bore her first daughter, Isabella. During the Leningrad Blockade she spent several years in Emurtla (Tiumen’ Region), where she supervised a camp for children in evacuation, returning to Leningrad in 1945, where she bore her second daughter, Irina, divorcing Ravdonikas the same year. In 1948 she joined the teaching faculty of the Leningrad Mukhina Higher Industrial Art Institute (Stieglitz Institute), and throughout the 1950s she continued to work as a designer for museum and exhibition installations, retiring in 1963. She continued to paint until her death in Leningrad on 8 January, 1977.
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Ksenia Ender
Untitled, 1920s
Oil on canvas
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Ksenia Ender
Untitled, 1920s
Oil on canvas
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Ksenia Ender
Untitled, 1920s
Oil on canvas
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Ksenia Ender
Untitled, 1920s
Oil on canvas
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Ksenia Ender
Untitled, 1920s
Oil on canvas
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Ksenia Ender
Untitled, 1920s
Watercolor on paper
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Ksenia Ender
Untitled, 1920s
Watercolor on paper
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Ksenia Ender
Untitled, 25.07.1925
Watercolor on paper
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Liudmila Ivanova
Ali. Design for Cigarette Pack
1926
Gouache on board
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Liudmila Ivanova
Blue Sphinx.
Design for Cigarette Pack
1926
Gouache on board
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Liudmila Ivanova
China and France
1924-26
Watercolor and pencil on paper
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Liudmila Ivanova
Christ is risen. Shanghai
1925
Ink and pencil on paper
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Liudmila Ivanova
Church in Staraia Ladoga
1948
Oil on canvas
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Liudmila Ivanova
Collapsed Bridge
1943
Oil on canvas
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Liudmila Ivanova
Composition with Female Head Wearing a “Tiubeteika”
1925
Pencil on paper
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Liudmila Ivanova
Congo.
Design for Cigarette Pack
18.01.1926
Gouache on board
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Liudmila Ivanova
Design with Egyptian Motifs
1926
Black ink on paper mounted on board
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Liudmila Ivanova
Emurti
05.09.1942
Oil on board
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Liudmila Ivanova
Farm Scene with Tractor
Mid-1930s
Oil on canvas
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Liudmila Ivanova
Female Nude Viewed from Back (academic study)
Ca. 1920
Watercolor on paper
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Liudmila Ivanova
Female Nude with Hands on Hips
1924
Oil on canvas
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Liudmila Ivanova
Four Figures against a Blue Background (Deposition)
Ca. 1923
Pastel on paper
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Liudmila Ivanova
Haystack atop a Cliff
1943
Oil on canvas
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Liudmila Ivanova
Head
ca. 1924
Charcoal on paper
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Liudmila Ivanova
Heads
1925
Ink on paper mounted on paper
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Liudmila Ivanova
Heads
1925
Ink on paper mounted on paper
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Liudmila Ivanova
Landscape with Rainbow
1930s
Oil on canvas
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Liudmila Ivanova
Lemminkaïnin
1930-32
Ink on paper
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Liudmila Ivanova
Male Nude Standing
1922
Pencil on paper
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Liudmila Ivanova
Man with Hunched Figure
1922
Sepia and ink on paper
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Liudmila Ivanova
Meeting
1922
Sepia and ink on paper
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Liudmila Ivanova
Pass through the Rye
Mid-1935
Oil on canvas
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Liudmila Ivanova
Path behind Kitchen-garden.
Chernavino near Old Ladoga
1945
Oil on canvas
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Liudmila Ivanova
Peasant with rake and hay
1930s
Watercolour on paper
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Liudmila Ivanova
Pioneers’ Easter
1928
Watercolor, ink and pencil on paper
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Liudmila Ivanova
Prostitutions
1928
Watercolor and pencil on paper
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Liudmila Ivanova
Ra.
Design for Cigarette Pack
18.01.1926
Gouache on board
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Liudmila Ivanova
Rooftop Chimneys
Ca. 1930
Oil on canvas
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Liudmila Ivanova
Rooftops
Mid 1920s
Pastel on paper
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Liudmila Ivanova
Self-portrait in Red Kerchief
Early 1920s
Watercolor on paper
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Liudmila Ivanova
Self-portrait in Red Kerchief
Early 1920s
Watercolor on paper
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Liudmila Ivanova
Snakes and Egyptian Figures
1926
Ink on board
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Liudmila Ivanova
Still Life with Bread and Butter
Mid-1920s
Oil on canvas
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Liudmila Ivanova
Streetlights on Vasil’evskii Island (Academy in the night)
Mid-1920s
Oil and pastel on paper
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Liudmila Ivanova
The Artist (Nikolai Kuranov?)
1925-1927
Ink and pencil on paper
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Liudmila Ivanova
The Artist (Nikolai Kuranov?)
1925-1927
Ink and pencil on paper
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Liudmila Ivanova
Together, We Will Climb to Heaven and Chase Out All the Gods
1925-1926
Ink and pencil on board
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Liudmila Ivanova
Tree and Red Vase
1930s
Oil on canvas
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Liudmila Ivanova
Tree with Pink and Purple Flowers
1946
Oil on board
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Liudmila Ivanova
Two Cows in Marsh
1940s
Oil on canvas
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Liudmila Ivanova
Two Nudes
1922
Sepia and ink on paper
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Liudmila Ivanova
White Nights on the River Svir’
1935
Watercolor on paper
Sketch of man and suitcase on the reverse side
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Liudmila Ivanova
Woman in Blue, 1920s
Pastel on paper
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Maria Ender
Transcription of Sound, 1921
Watercolor on paper
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Maria Ender
Transcription of Sound, 1921
Watercolor on paper
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Maria Ender
Untitled (Martyshkino), 1920s
Watercolor on paper
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Maria Ender
Untitled (portrait), 1920s
Watercolor and pencil on paper
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Maria Ender
Untitled, 1920s
Oil on canvas
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Maria Ender
Untitled, 1920s
Pencil on paper
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Maria Ender
Untitled, 1920s
Watercolor and pencil on paper
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Maria Ender
Untitled, 1920s
Watercolor on paper
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Maria Ender
Untitled, 1920s
Watercolor on paper
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Maria Ender
Untitled, 1920s
Watercolor on paper
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Maria Ender
Untitled, 1920s
Watercolor on paper
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Maria Ender
Untitled, 1920s
Watercolor on paper
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Maria Ender
Untitled, 1920s
Watercolor on paper
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Maria Ender
Untitled, 1920s
Watercolor on paper
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Maria Ender
Untitled, 1920s
Watercolor on paper
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Maria Ender
Untitled, 1927
Watercolor on paper
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Maria Ender
Untitled
1920s
Watercolor on paper
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Maria Ender
Untitled
1920s
Watercolor on paper
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Nikolai Suetin
Untitled, n.d.
Gouache on paper
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Pavel Filonov
Head
1923-25
Oil and gouache on paper backed with cardboard
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Pavel Filonov
To Perun. From the book “Wooden Idols”, 1914
Ink, pen, brush on paper
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Pavel Filonov
Untitled
1923-25
Ink on paper
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Pavel Filonov
“Our Sinful Image Flickers…”
Wooden Idols, 1914
Ink, pen, brush on paper
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Petr Fateev
Untitled
Oil on canvas
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Solomon Nikritin
Abstract composition.
Movement of color
1920s
Oil on paper
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Solomon Nikritin
Abstract composition.
Movement of color
Ca. 1924
Oil on paper mounted on paper
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Solomon Nikritin
Abstract composition.
Movement of color
Ca. 1924
Oil on paper
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Solomon Nikritin
Abstract composition
1920s
Gouache and crayon on paper
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Solomon Nikritin
Abstract composition
1921
Oil on canvas
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Solomon Nikritin
Movement of color
1924
Oil on paper
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Solomon Nikritin
Painterly composition
1930
Oil on paper mounted on paper
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Vsevolod Sulimo - Samuilo
Panel Fragment for the House of Printing in Leningrad
1927
Oil on canvas
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Vsevolod Sulimo - Samuilo
Panel Fragment for the House of Printing in Leningrad
1927
Oil on canvas
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Vsevolod Sulimo - Samuilo
Panel Fragment for the House of Printing in Leningrad
1927
Oil on canvas
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Vsevolod Sulimo - Samuilo
Panel Fragment for the House of Printing in Leningrad
1927
Oil on canvas
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Yuri Ender
Untitled, 1920s
Watercolor on folded paper
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Yuri Ender
Untitled, 1920s
Watercolor on paper
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Yuri Ender
Untitled, 1920s
Watercolor on paper
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Yuri Ender
Untitled, 1920s
Watercolor on paper
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Yuri Ender
Untitled, 1920s
Watercolor on paper
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Yuri Ender
Untitled, 1921
Watercolor on paper
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Yuri Ender
Untitled, 1927
Watercolor and pencil on paper
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Yuri Ender
Untitled, 1927
Watercolor and pencil on paper
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Elena Guro
Landscape (Martyshkino), 1905
Oil on canvas
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Elena Guro
Untitled, 1908-1910
Ink on paper mounted on paper
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Liudmila Ivanova
Intersecting Circles and
Organic Lines
1924
pencil on paper
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Liudmila Ivanova
Kitchen Scene
1926
Watercolor on paper mounted on board
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Liudmila Ivanova
Lines and Crescents
1924
Ink on paper
Inscription on the back «How many ....Your first sweetheart»
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Liudmila Ivanova
Mask with Teremorphic Megalytes
1925-1927
Watercolor and ink on paper
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Liudmila Ivanova
Old Lindens
1946
Oil on canvas
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Liudmila Ivanova
Skull
Late 1920s
Engraving
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Mikhail Matiushin
Abstraction, 1918
Oil on canvas
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Mikhail Matiushin
Painterly-musical composition, 1918
Gouache on cardboard
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Meanwhile in Moscow



In the 1920s in Petrograd/Leningrad, the avant-garde was dominated by theories of the Organic nature of Art and the view that sound and movement are directly linked to the image. And so the relationship between art and nature came to the fore, a relationship that can be cultivated through experiments that expand its visual capacity.


Meanwhile, during that same period in Moscow, avant-garde artists turned to different theories concerning the role of art in the aesthetics of everyday life, the main movement being that of Constructivism, with applications of art in production.


There were however artists in Moscow who, alongside the Organic School of Petrograd/Leningrad, developed – even if occasionally – their own theories related to the organic aspect of nature and, primarily, to the free movement of form and colour. Aleksandr Drevin and Solomon Nikritin attempted to portray the perpetual movement of colour mass; Pyotr Fateev participated in the Amaravella group, which painted nature as part of a cosmic whole; and Ivan Kliun, in the late 1920s, created experimental works in which man is merely a small part of nature.


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Meanwhile in Moscow



In the 1920s in Petrograd/Leningrad, the avant-garde was dominated by theories of the Organic nature of Art and the view that sound and movement are directly linked to the image. And so the relationship between art and nature came to the fore, a relationship that can be cultivated through experiments that expand its visual capacity.


Meanwhile, during that same period in Moscow, avant-garde artists turned to different theories concerning the role of art in the aesthetics of everyday life, the main movement being that of Constructivism, with applications of art in production.


There were however artists in Moscow who, alongside the Organic School of Petrograd/Leningrad, developed – even if occasionally – their own theories related to the organic aspect of nature and, primarily, to the free movement of form and colour. Aleksandr Drevin and Solomon Nikritin attempted to portray the perpetual movement of colour mass; Pyotr Fateev participated in the Amaravella group, which painted nature as part of a cosmic whole; and Ivan Kliun, in the late 1920s, created experimental works in which man is merely a small part of nature.


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Filonov



Pavel Nikolayevich Filonov (Moscow 1883 - Leningrad 1941) settled in Saint Petersburg in 1896 and attended art classes until 1903. He was a member of the Union of Youth. In 1913 he created the stage set for Mayakovsky’s tragedy, Vladimir Mayakovsky, and in 1913 he started illustrating futuristic books. During that same period, he developed the initial ideas of his theory on analytical art. In 1923 he became associated with the State Institute of Artistic Culture (GINKhUK). In 1925 he established the Collective of Masters of Analytical Art. In Leningrad, Michail Matiushin and Pavel Filonov, each in their own way, developed an art based on the study of nature, on the microcosm, the movement of cells and the belief that in order for a form to gain life, it must observe the free and spontaneous movement of living organisms. This method evolved in a different way for the two artists. Matiushin referred to it as organic art and Filonov as analytical art.


Filonov provides his own review and critique of realism. He speaks about a “double naturalism”, an excessive realism, in an attempt to overstress that the element of nature is dominant both in the method and result of the creation of an image. He claimed that “We humans have created art because we cannot oppose our temporary stay in life. We thus become creators and give our creations, i.e. the imitation of life, the ability to move outside of our mortal limits. Decay and death exist in my work, as does the sweet futility of motherhood, birth and universal flowering”. His painting is based on a very unique advantage, which he has named “razsvet” (flowering). He directed his art towards a neonaturalism that deals with issues of botany, physiology and, in the end, atomic energy. As John Bowlt writes, “for Filonov, the canvas was a tract of fertile earth to be sown with a multitude of seeds from the artist’s spirit: the artist was responsible for every atom of the pictorial surface and any complexity of form and color stemming from the artist’s intuition was to be incorporated into the picture. As a result, the tentacular lines, exotic color combinations and lush facture of Filonov’s paintings (especially of the later period when he completed his analytical theory) are reminiscent of some vast, bizarre plantation.”*



In 1932-33 he supervised, along with his students, the illustration of Kalevala, an epos from Finland.
Pavel Filonov died of hunger in 1941 during the siege of Leningrad by the Germans in World War II.
* “Pavel Filonov i atomnaia energiia” in E. Bobrinskaia and A. Korndorf, eds. Istoriia iskusstva u otvergnutoe znanie: ot germetricheskoi traditsii k XXI veku, Moscow: State Institute of Art History, 2019, pp. 249-61
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The Geptakhor group used to practice every summer en plein air at Zhelezy, on the outskirts of Leningrad. Between 1924 and 1927 Boris Ender conducted experiments with Geptakhor, pursuing a new and remarkable path in their joint researches. Based on Matiushin’s “spatial grammar”, Ender made the dancers move so as to develop new spatial perceptions (for example, tactile perceptions of space with the eyes closed), while from their dancing he selected various modalities for representing space on canvas or paper. Maria Ender was there, too. Working with the Enders, the Geptakhorians threw off their peploi and tunics and sometimes their clothes altogether. Among these exercises en nue one photograph represents a “Heavy lunge” another “Jump and run”. Geptakhor put together an entire album of photographs together with movie frames and stills, where they also included photographs reflecting their previous interest in reconstructing the dances of Ancient Classic and the more athletic forms of dance in nature.


From the beginning, Boris Ender was deeply impressed by this organicity of body and spirit and by the instinctive spontaneity of the movements which Geptakhor practised with the aid of music -- movements so natural that they might respond to the sound of the wind amidst the branches of a tree or resemble the grace of a wild animal. He asked Rudneva to pose for him so that he could study the “dynamics of the movement of the body in nature” – which he did record in a series of Cubist drawings of the nude body.


Ender retained a vivid recollection of the dance improvisations of Rudneva and the group in the lap of nature, noting in his diary: “It was not the beauty of her body which I sketched down, but the music which her movement created. I would now like to sketch out her head, so intelligent.” (Ender diary for 29 September 1942).
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Another investigative collaboration between Boris and Maria Ender with Geptakhor during the 1920s focused on how to analyze the different movements generated by the waist so as to attempt a definition of Axis of Movement, a procedure which attracted many other avant-garde artists studying and practicing the so-called Art of Movement. Suffice it to recall Solomon Nikritin who, in the schemes and sketches which he made for the Projectionist Theatre, produced similar skeletal silhouettes bending and unbending from the waist. Natalia Enman also made a series of intriguing pencil drawings with geometric and highly complex schemes of a man moving outwards from the central point of the body as well as of more flexible torsions bending and unbending. In 1927, as a visual synthesis of this specific subject, Enman put forward three gouaches on paper which, incidentally, remind us of the statue of the Victory of Samothrace, perhaps an unconscious pairing with her Classical background.
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Between 1926 and 1930-31 Boris Ender and his sister, Maria, in tandem with Geptakhor, elaborated and applied ideas about integrating colors, interior sensations, sounds (musical and otherwise) and tactile perceptions (once again, with the eyes closed), something which also inspired Natalia Enman’s drawings and watercolours.


Collaboration between the Organic School and Geptakhor on the interactions of sound (noise), colour and movement was especially profitable since, as a result, Enman created some of her best abstract images, even if they were not meant to serve purely “artistic” purposes.


Enman often accompanied her pictures with references to the name of the performer, the precise date and the music (or noise) which was supposed to solicit this or that movement. Today, unfortunately, it is virtually impossible to reconstruct the links between dancer, artist and the music -- although the occasional commentary often suggests that the artist had registered with color what the music had been eliciting in the movements.


Not only music, but also sound in general, including the sounds of nature (which had so excited Elena Guro) and noise, such as “Beating on a frying-pan”, were also to be part of that sensory refinement and, therefore, of the liberation from the trivia of everyday to which Geptakhor was aspiring.
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Boris Ender, Movement Of Organic Form, 1919



The image of a new organism, that is the earth’s body, is presented on the plane of this canvas. Many elements, curving and vibrant, are soldered into one organic form of the Earth’s flesh. The energy of the swirling figure creates an impression of movement, of space flight. The blue criss-crossing spirals emphasize the infinity of space itself. Ender wrote that he was interested in movement that is latent but unavoidable in all the forms of life. One can feel the peculiarities of Ender’s manner. He was a painter who could combine infinity of space and unity of organic form. On the back of the canvas we see a presentation of a landscape constructed of geometrical shapes. This picture was painted probably, earlier. The title Abstraction was, most probably, given later and not by the artist.
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Elena Guro
(Saint Petersburg 1877 - Uusikirkko 1913)



The organic direction in art, which was introduced by Mikhail Matiushin, arose from the inspiration instilled in him by his early-departed wife, the poet, author and painter Elena Guro. Guro, who died at just 36 years of age, leaving behind a significant body of paintings and writings, sees nature in contrast to the urban environment, not in the sense of two opposing conditions of the human experience, but as a transition from a space of secondary daily conventions (city), to a space of primary and experimental pursuit of the perception of life, of Beauty (nature). This pursuit started out from the view that had been cultivated by symbolists, that the profound and substantial pursuit of Beauty lies in nature and the universe. However, she went beyond symbolism, the physical environment becoming for her a field for research and experimentation. She methodically engaged herself in synthesising the arts and spoke of “synaesthesia” in arts. After her death, when speaking about Guro, Matiushin prophetically stated that the transcendence of earthly life will soon be achieved, that the three dimensions will be exceeded and that ‘things will rise again in a wonderful new world’. Guro tried to represent the organic movement of nature, thus leaving us with some of the first sketches of pure abstraction in the history of art.
***
...And I suddenly thought: what if
I turned
The chairs and the couches upside down,
and tinkered with the clock?
Then a new era would begin,
New lands would open up.
Here, in the room was hidden the thread
That ties all things in one,
Blotted out by yesterday’s unkind day
By the calendar of dates.
Here, in the room it was, nearby!
I suddenly believed that it is so.
And that one need not fear anything,
But need search for the secret sign.
Excerpt from the “Lantern”, 1909
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Elena Guro
(Saint Petersburg 1877 - Uusikirkko 1913)



The organic direction in art, which was introduced by Mikhail Matiushin, arose from the inspiration instilled in him by his early-departed wife, the poet, author and painter Elena Guro. Guro, who died at just 36 years of age, leaving behind a significant body of paintings and writings, sees nature in contrast to the urban environment, not in the sense of two opposing conditions of the human experience, but as a transition from a space of secondary daily conventions (city), to a space of primary and experimental pursuit of the perception of life, of Beauty (nature). This pursuit started out from the view that had been cultivated by symbolists, that the profound and substantial pursuit of Beauty lies in nature and the universe. However, she went beyond symbolism, the physical environment becoming for her a field for research and experimentation. She methodically engaged herself in synthesising the arts and spoke of “synaesthesia” in arts. After her death, when speaking about Guro, Matiushin prophetically stated that the transcendence of earthly life will soon be achieved, that the three dimensions will be exceeded and that ‘things will rise again in a wonderful new world’. Guro tried to represent the organic movement of nature, thus leaving us with some of the first sketches of pure abstraction in the history of art.
***
...And I suddenly thought: what if
I turned
The chairs and the couches upside down,
and tinkered with the clock?
Then a new era would begin,
New lands would open up.
Here, in the room was hidden the thread
That ties all things in one,
Blotted out by yesterday’s unkind day
By the calendar of dates.
Here, in the room it was, nearby!
I suddenly believed that it is so.
And that one need not fear anything,
But need search for the secret sign.
Excerpt from the “Lantern”, 1909
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Ksenia Ender, Lakes, 1925



A student of Mikhail Matiushin in the Department of Organic Culture at the State Institute of Artistic Culture (GINKhUK), Ksenia Ender (St. Petersburg 1894 – Leningrad 1955), participated in the Department’s experiments by painting in semi-darkness and in the dark, or by painting to the sounds of music or interference that could affect the work, or by taking a new approach to nature through painting. One of the key points of observation was how the image of a natural environment changes in relation to the changes in light and temperature. As part of this experimentation, she visited Tarkhovka Lake at different times of the day and year, and under different lighting and temperature conditions, attempting to methodically and formalistically identify these changes. It is also demonstrated through these experiments that an object that changes naturally and effortlessly can also be unnaturally and forcefully distorted by human interventions.
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Ksenia Ender, Lakes, 1925



A student of Mikhail Matiushin in the Department of Organic Culture at the State Institute of Artistic Culture (GINKhUK), Ksenia Ender (St. Petersburg 1894 – Leningrad 1955), participated in the Department’s experiments by painting in semi-darkness and in the dark, or by painting to the sounds of music or interference that could affect the work, or by taking a new approach to nature through painting. One of the key points of observation was how the image of a natural environment changes in relation to the changes in light and temperature. As part of this experimentation, she visited Tarkhovka Lake at different times of the day and year, and under different lighting and temperature conditions, attempting to methodically and formalistically identify these changes. It is also demonstrated through these experiments that an object that changes naturally and effortlessly can also be unnaturally and forcefully distorted by human interventions.
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Maria Ender, Transcription of Sound



In the period from 1923 to 1926, Maria Ender conducted research in the Department of Organic Culture at the State Institute of Art Culture (GINKhUK), where she was in charge of the study on the use of peripheral perception of colour and form. She worked in the laboratory of sight, hearing and touch, and dedicated a large part of her research to the relationship between form and colour, and sound. The laboratory experiments with sound began in the Department of Organic Culture in 1926. The study of sound extended in many directions: sound in relation to the environment, to the alternation of figures, to colour motion, and to the movement of form. Maria Ender played the piano, Boris played the cello and Ksenia the violin. In 1926 Matiushin, a musician himself, intensely incorporated the study of sound into his syllabi. Models were constructed to depict the relationship between sound and colour, and they studied tone colours, natural and artificial sounds, as well as the ancient music of India, China, Africa, Polynesia, etc. Maria Ender dedicated a large part of her study to these experiments by transcribing sounds in paintings. In 1928 Matiushin and Maria Ender performed their own composition in quarter tones, in the presence of young Dmitri Shostakovich.
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Maria Ender, Transcription of Sound



In the period from 1923 to 1926, Maria Ender conducted research in the Department of Organic Culture at the State Institute of Art Culture (GINKhUK), where she was in charge of the study on the use of peripheral perception of colour and form. She worked in the laboratory of sight, hearing and touch, and dedicated a large part of her research to the relationship between form and colour, and sound. The laboratory experiments with sound began in the Department of Organic Culture in 1926. The study of sound extended in many directions: sound in relation to the environment, to the alternation of figures, to colour motion, and to the movement of form. Maria Ender played the piano, Boris played the cello and Ksenia the violin. In 1926 Matiushin, a musician himself, intensely incorporated the study of sound into his syllabi. Models were constructed to depict the relationship between sound and colour, and they studied tone colours, natural and artificial sounds, as well as the ancient music of India, China, Africa, Polynesia, etc. Maria Ender dedicated a large part of her study to these experiments by transcribing sounds in paintings. In 1928 Matiushin and Maria Ender performed their own composition in quarter tones, in the presence of young Dmitri Shostakovich.
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Mikhail Matiushin,
Painterly Musical Construction, 1918



Two works from the Costakis collection of different kinds of color-forms, which however have some things in common in composition and in painting technique (pointillism). During the whole of his creative activity Mikhail Matiushin was concerned with the problem of painting space in its essence. Here are two pictures where we see what the philosopher Nikolai Fedorov called “genesis of the fabric” of space. The composition is based on a complex rhythm of twisting, rotating mass. That’s a symbol of the space substance, of its unity and color diversity. Brushstrokes of different size and color create a visual vibration that leads to the effect of shifting. Matiushin and his students often used this method while painting the pure substance of aerial or underwater space. The substance rotation is related to a high musical overtone. It is a kind of celestial music where colors play and interconnect, producing a sound/color vibration.
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Mikhail Matiushin,
Painterly Musical Construction, 1918



Two works from the Costakis collection of different kinds of color-forms, which however have some things in common in composition and in painting technique (pointillism). During the whole of his creative activity Mikhail Matiushin was concerned with the problem of painting space in its essence. Here are two pictures where we see what the philosopher Nikolai Fedorov called “genesis of the fabric” of space. The composition is based on a complex rhythm of twisting, rotating mass. That’s a symbol of the space substance, of its unity and color diversity. Brushstrokes of different size and color create a visual vibration that leads to the effect of shifting. Matiushin and his students often used this method while painting the pure substance of aerial or underwater space. The substance rotation is related to a high musical overtone. It is a kind of celestial music where colors play and interconnect, producing a sound/color vibration.
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The School οf Organic Culture



As early as 1909, Mikhail Matiushin became associated with the Union of Youth of Saint Petersburg, one of the first experimental art groups of the Russian avant-garde. He was a painter, musician and instructor at the State Institute of Art Culture (GINKhUK) of Saint Petersburg, where he served as Head of the Department of Organic Culture. The term “Organic Culture” was coined by Matiushin himself in 1923 and was based on the theory that the world is a strictly structured system governed by laws, which is in perpetual motion and has its own biological rhythm, even when it comes to inorganic matter such as crystal or stone. “If the life and development of the smallest resembles the life of the infinitely large, and their essence, or their soul, can be expressed, and if the smallest holds within it the largest, then our understanding of all phenomena is inadequate and all our ideas about nature and morals will have to be revised”, wrote Matiushin in 1912, who was influenced by the views of his wife, painter and author Elena Guro, who died in 1913. In the 1920s, Matiushin focused a great deal on observations and experiments in the Department of Organic Culture, his main project being the synthesis of sciences and arts. The mission of his students was to bring nature back into art. Matiushin believed that artists should look for realistic space, not in the reality that is plainly visible, but in the microcosm and macrocosm. The four Ender siblings (Boris, Maria, Ksenia, Yuri) and Nikolai Grinberg worked as his assistants in the Department of Organic Culture. The artists conducted biological laboratory research combined with music lessons and concentration exercises in order to perfect the senses, aspiring to achieve what Matiushin called “extended viewing”. In the work of the artists of the Department of Organic Culture, the key component of their paintings is light, which in turn creates colour.
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The School οf Organic Culture



As early as 1909, Mikhail Matiushin became associated with the Union of Youth of Saint Petersburg, one of the first experimental art groups of the Russian avant-garde. He was a painter, musician and instructor at the State Institute of Art Culture (GINKhUK) of Saint Petersburg, where he served as Head of the Department of Organic Culture. The term “Organic Culture” was coined by Matiushin himself in 1923 and was based on the theory that the world is a strictly structured system governed by laws, which is in perpetual motion and has its own biological rhythm, even when it comes to inorganic matter such as crystal or stone. “If the life and development of the smallest resembles the life of the infinitely large, and their essence, or their soul, can be expressed, and if the smallest holds within it the largest, then our understanding of all phenomena is inadequate and all our ideas about nature and morals will have to be revised”, wrote Matiushin in 1912, who was influenced by the views of his wife, painter and author Elena Guro, who died in 1913. In the 1920s, Matiushin focused a great deal on observations and experiments in the Department of Organic Culture, his main project being the synthesis of sciences and arts. The mission of his students was to bring nature back into art. Matiushin believed that artists should look for realistic space, not in the reality that is plainly visible, but in the microcosm and macrocosm. The four Ender siblings (Boris, Maria, Ksenia, Yuri) and Nikolai Grinberg worked as his assistants in the Department of Organic Culture. The artists conducted biological laboratory research combined with music lessons and concentration exercises in order to perfect the senses, aspiring to achieve what Matiushin called “extended viewing”. In the work of the artists of the Department of Organic Culture, the key component of their paintings is light, which in turn creates colour.
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Vsevolod Sulimo-Samuilo,
Panel Fragments for the House of Printing in Leningrad, 1927



These are three of the four Sulimo-Samuilo fragments for a panel. The panel was one of the works included in the Exhibition of Masters of Analytical Art held at the newly opened Press House in Leningrad in connection with the production of Nikolai Gogol’s “The Inspector General” there on April 9 1927, directed by the avant-garde poet and painter Igor Terentev. Sulimo-Samuilo was one of Filonov’s most talented pupils and he assmilated his mentor’s refined technique with eagerness and alacrity. At the same time, Sulimo-Samuilo was drawn towards the monumental, a tendency demonstrated by the projects for festivities, parades, exhibition installations, the theater and sanatoria interiors that he made from the 1930s onwards.


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Vsevolod Sulimo-Samuilo,
Panel Fragments for the House of Printing in Leningrad, 1927



These are three of the four Sulimo-Samuilo fragments for a panel. The panel was one of the works included in the Exhibition of Masters of Analytical Art held at the newly opened Press House in Leningrad in connection with the production of Nikolai Gogol’s “The Inspector General” there on April 9 1927, directed by the avant-garde poet and painter Igor Terentev. Sulimo-Samuilo was one of Filonov’s most talented pupils and he assmilated his mentor’s refined technique with eagerness and alacrity. At the same time, Sulimo-Samuilo was drawn towards the monumental, a tendency demonstrated by the projects for festivities, parades, exhibition installations, the theater and sanatoria interiors that he made from the 1930s onwards.


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Thereminvox and Illumovox



One of the first in the world of electronic musical instruments – the Thereminvox - was invented by Lev Theremin in 1918–1920. It was the only instrument which was possible to play without touching and only by waving hands in the electromagnetic field of special antennas. A change in the pitch of the sound is reached by approaching the hand to the antenna on the right, while the volume of the sound is controlled by approaching the other hand to the antenna on the left.


In 1923, Lev Theremin created a special mechanism which he called Illumovox and which operated under the management of Thereminvox producing changes of the color of the light beams, linking, thus, the performer’s plasticity and pitch with color.


The reconstruction is made by Andrei Smirnov.
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Ivanova



Liudmila Aleksandrovna Ivanova was born in St. Petersburg on 9 September, 1904 (new calendar). Her father, Aleksandr Ivanovich Ivanov, was a highly qualified metal worker (tokar’), while her mother Lidiia Efremovna (née Archangel’skaia) was a tailor. Ivanova graduated from the Petrograd-City Elementary school in 1915 to enter the Vladimir Trade School wherefrom, three years later, she transferred to what had been the Mariynskii Grammar School (renamed the Soviet Unified Labour School).


In 1921-22 she studied at the Art-Industrial-Technical School (formerly, the Society for the Encouragеment of the Arts, also enrolling at the Leningrad Academy of Arts (Svomas) in 1921, where she studied, among others, under Kuz’ma Pstrov-Vodkin and Mikhail Matiushin. In 1922 her father abandoned the family and her parents divorced. The same year she became a member of MOPR (International Organization to Help Fighters for the Revolution) founded by the Communist International. In November, 1923, she married Ignatii Ignat’evich Tatarovich (the marriage was dissolved in April, 1926), from whom she bore one son, Vladimir, in February, 1924. During 1925-27 she worked as a researcher at the State Russian Museum and in 1926 she completed her courses for the Higher Art-Technical Institute (Department of Painting), i.e. the Academy, enrolling subsequently in the State Institute of Art History. In the late 1920s she attended Pavel Filonov’s “school”, producing paintings and drawings according to his Analytical style. In 1927-28 she served as a registrar and custodian at the Leningrad Museum Fund and in 1928-30 she worked in the Department of the Wanderers and New Art at the State Russian Museum. In August, 1930, she married Nikolai Vladimirovich Kuranov (marriage dissolved in March, 1934; Kuranov was arrested in 1937), from whom she bore one son, Yurii, in February, 1931. In 1930 and 1931 she designed posters for Lenizogiz and in 1931-33 she studied at the Department of Art History at the State Hermitage. Intending to complete a doctoral dissertation on Finno-Ugric antiquities, where she also helped design installations for exhibitions devoted to the “Great French Revolution” and the “Pre-Class Society during the Sarmatian-Goth Period”. During 1933 and 1934 she worked at the Nikolai Marr State Academy of the History of Material Culture [GAIMK], designing displays and vitrines both at the Hermitage and GAIM, she made graphic illustrations for publications from the Academy of Material Culture and in 1934 she took part in one of its expeditions. During 1933-35 she worked as a literary censor. In 1934, after experiencing an artistic crisis, she broke with Filonov, moving on to new techniques and media such as linocut and etching, and in November, 1934, she married the archaeologist, Vladislav Iosifovich Ravdonikas (marriage dissolved in April, 1941) from whom she bore one son, Feliks, in February, 1937. In 1934-35 she served as political editor for the newspaper, Leningradskaia pravda, and the Leningrad District City Literature Office. During the 1930s and 1940s she took part in Ravdonikas’s ethnographic and anthropological expeditions, including an expedition to Svir’ in 1935, often recording and copying relics. In 1937 Ravdonikas was arrested and her son, Yurii (from Kuranov), was sent to an orphanage with the result that for over a decade she was not allowed to see him. In 1936-38 she designed the covers and binding for Ravdonikas’s two-volume Naskal’nye izobrazheniia Onezhskogo ozera i Belogo moria (Cliff Drawings of Lake Onezh and the White Sea; Moscow-Leningrad: Academy of Arts of the USSR).


In 1938 she bore her first daughter, Isabella. During the Leningrad Blockade she spent several years in Emurtla (Tiumen’ Region), where she supervised a camp for children in evacuation, returning to Leningrad in 1945, where she bore her second daughter, Irina, divorcing Ravdonikas the same year. In 1948 she joined the teaching faculty of the Leningrad Mukhina Higher Industrial Art Institute (Stieglitz Institute), and throughout the 1950s she continued to work as a designer for museum and exhibition installations, retiring in 1963. She continued to paint until her death in Leningrad on 8 January, 1977.


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Aleksandr Drevin
Free composition
of color masses
ca. 1918
Oil on canvas
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Boris Ender
Abstract Composition,
Ca. 1919-1920
Oil on canvas
Verso



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Boris Ender
Extended Space, 1922-1923
Oil on canvas
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Boris Ender
Movement of Organic form
1919, Oil on canvas
Recto
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Boris Ender
Untitled, 1924
Pencil on paper



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Boris Ender
Untitled, 1925
Watercolour on paper
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Boris Ender
Untitled, ca. 1921-1923
Watercolour on paper
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Boris Ender
Untitled, ca. 1921-1923
Watercolour on paper


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Boris Ender
Untitled, n.d.
Watercolour on paper
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Elena Guro
Landscape, 1904
Oil on canvas
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Ivan Kliun
Non-Objective
Composition
1933
Pencil, watercolor and gouache on paper


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Ivan Kliun
Untitled
1930
watercolor, pencil and collage on paper


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Ivan Kliun
Untitled
1930s
Watercolor and pencil on paper
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Ksenia Ender
Design for a Tobacco Box, 1926
Paper collage on paper
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Ksenia Ender
Lake (Tarkhovka), 1925
Watercolor on paper
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Ksenia Ender
Lake (Tarkhovka), 1925
Watercolor and pencil on paper
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Ksenia Ender
Lake (Tarkhovka), 1925
Watercolor and pencil on paper
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Ksenia Ender
Untitled, 1920s
Oil on canvas


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Ksenia Ender
Untitled, 1920s
Oil on canvas


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Ksenia Ender
Untitled, 1920s
Watercolor and mixed media on paper
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Ksenia Ender
Untitled, 1920s
Watercolor on paper


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Ksenia Ender
Untitled, 1920s
Watercolor on paper


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Ksenia Ender
Untitled, 1920s
Watercolor on paper


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Ksenia Ender
Untitled, 1920s
Watercolor on paper


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Ksenia Ender
Untitled, 1920s
Watercolor on paper



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Ksenia Ender
Untitled, 1920s
Watercolor on paper



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Ksenia Ender
Untitled, 1924-1926
Paper collage on paper
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Ksenia Ender
Untitled, 1924-1926
Paper collage on paper
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Ksenia Ender
Untitled, 1924-1926
Paper collage on paper
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Ksenia Ender
Untitled, 1924-1926
Paper collage on paper
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Ksenia Ender
Untitled, 1924-1926
Paper collage on paper
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Ksenia Ender
Untitled, 1924-1926
Paper collage on paper
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Ksenia Ender
Untitled, 1924-1926
Paper collage on paper
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Ksenia Ender
Untitled, 1924-1926
Paper collage on paper
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Ksenia Ender
Untitled, 1924-1926
Paper collage on paper
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Ksenia Ender
Untitled, 1924-1926
Paper collage on paper



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Ksenia Ender
Untitled, 1924
Watercolor on paper
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Ksenia Ender
Untitled, 1925-1926
Watercolor on paper
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Ksenia Ender
Untitled, 1925
Watercolor on paper
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Ksenia Ender
Untitled, 1925
Watercolor on paper
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Ksenia Ender
Untitled, 1925
Watercolor on paper
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Ksenia Ender
Untitled, 1925
Watercolor on paper
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Ksenia Ender
Untitled, 1925
Watercolor on paper


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Ksenia Ender
Untitled, 23.07.1924
Watercolor on paper
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Ksenia Ender
Untitled, 23.07.1924
Watercolor on paper



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Liudmila Ivanova
Ali. Design for Cigarette Pack
1926
Gouache on board



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Liudmila Ivanova
Blue Sphinx.
Design for Cigarette Pack
1926
Gouache on board



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Liudmila Ivanova
Congo.
Design for Cigarette Pack
18.01.1926
Gouache on board



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Liudmila Ivanova
Farm Scene with Tractor
Mid-1930s
Oil on canvas



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Liudmila Ivanova
Female Nude in High Heels
1922-26
Pencil on paper



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Liudmila Ivanova
Female Portrait from Below
1920-25
Pencil on paper



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Liudmila Ivanova
Haystacks. Old Ladoga
1948
Oil on canvas





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Liudmila Ivanova
Man and Clouds
1925
Watercolor, ink and pencil on paper



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Liudmila Ivanova
Man with Hair Parted
Ca. 1922
Pencil on paper



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Liudmila Ivanova
Oranienbaum. Island on the Red Pond
1950
Oil on canvas


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Liudmila Ivanova
Pass through the Rye
Mid-1935
Oil on canvas



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Liudmila Ivanova
Portrait of the Artist’s Son, Feliks
1947
Oil on board



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Liudmila Ivanova
Profile of Woman in Green Uniform
1934-50
Oil on canvas



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Liudmila Ivanova
Ra.
Design for Cigarette Pack
18.01.1926
Gouache on board



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Liudmila Ivanova
Ramses.
Design for Cigarette Pack
18.01.1926
Gouache on board



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Liudmila Ivanova
Ramses.
Design for Cigarette Pack
18.01.1926
Gouache on board



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Liudmila Ivanova
Three Figures
ca. 1926
Watercolor, ink and pencil on paper


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Liudmila Ivanova
Two Cows in Marsh
1940s
Oil on canvas



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Liudmila Ivanova
Village on the River Svir’
1935
Oil on canvas
Landscape on the reverse side


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Liudmila Ivanova
Woman in Dark Dress
Ca. 1922
Charcoal and pencil on paper



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Maria Ender
Untitled, 1920s
Watercolor on paper



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Maria Ender
Untitled, 1920s
Watercolor on paper



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Maria Ender
Untitled, 1920s
Watercolor on paper



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Maria Ender
Untitled, 1920s
Watercolor on paper



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Maria Ender
Untitled, 1920s
Watercolor on paper



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Maria Ender
Untitled, 1920s
Watercolor on paper



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Maria Ender
Untitled, 1920s
Watercolor on paper



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Maria Ender
Untitled, 1920s
Watercolor on paper
mounted on board


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Mikhail Matiushin
Painterly-musical composition, 1918
Gouache on cardboard



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Nikolai Grinberg
Composition, 1920-1921
Gouache on cardboard


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Ksenia Ender
Design for a Tobacco Box, 1926
Paper collage on paper
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Ksenia Ender
Design for a Tobacco Box, 1926
Paper collage on paper
## Skin ### Button Button_E6893EEE_CCDC_080D_41E5_F4C8FF4BDCD4.label = 1st floor Button_E68B9EEF_CCDC_080B_41D6_7C4A76FA3314.label = 2nd floor Button_F702D1B9_C47B_7CB2_41E7_1AE49BA142D2.label = Load Theremin web-app Button_7349301A_6CF2_187F_41D6_752F3E14F4E2.label = THEREMIN Button_73402011_6CF2_184C_41D8_F3FF6F679C7A.label = VISIT ### Image Image_1A7C9A91_0CF9_7436_41A5_F50BFF537764.url = skin/Image_1A7C9A91_0CF9_7436_41A5_F50BFF537764_en.jpg Image_1A7C9A91_0CF9_7436_41A5_F50BFF537764_mobile.url = skin/Image_1A7C9A91_0CF9_7436_41A5_F50BFF537764_mobile_en.jpg Image_36DD03F1_081E_1FFB_419C_373DA2A9E3F8.url = skin/Image_36DD03F1_081E_1FFB_419C_373DA2A9E3F8_en.png Image_7346E014_6CF2_184B_41D1_66352F03E15D.url = skin/Image_7346E014_6CF2_184B_41D1_66352F03E15D_en.jpg Image_8DA8BA53_8364_7993_41D5_265E7DD620D4_mobile.url = skin/Image_8DA8BA53_8364_7993_41D5_265E7DD620D4_mobile_en.png Image_F475AEF8_C42E_C4B2_41DA_FF79D02118F7.url = skin/Image_F475AEF8_C42E_C4B2_41DA_FF79D02118F7_en.jpg ### Multiline Text HTMLText_E68CEEF0_CCDC_0815_41E1_6673CD26D9EE.html =
Select Floor and click on the precise map location
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Try our web-version of Theremin - the world's first electronic musical instrument.
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Organic Art. The Avant-Garde in Petrograd



MOMus-Museum of Modern Art-Costakis Collection


Moni Lazariston, Thessaloniki
June 5, 2022 - February 26, 2023 | EXTENDED UNTIL 21 MAY 2023


The Russian avant-garde has been an important synthetic artistic phenomenon in the history of the 20th century. Taking the Russian avant-garde as a starting point, MOMus-Museum of Modern Art – Costakis collection examines art in a range of scientific, research and laboratory activities that place music, literature, architecture, cinema, theater, dance and their dialogue with the sciences as well as the relation between Art and Nature, in a common trajectory. One of the best examples of the synthesis of the arts is the School of Organic Culture in Petrograd/Leningrad under the directorship and theoretic supervision of Mikhail Matiushin (1861-1934).


The “Organic Art” exhibition focuses on the study of the Synthesis of the Arts and particularly in the dialogue between the visual arts with poetry, movement and sound as well as the relation between Art and Nature. At the same time, innovations in the field of Art Education initiated and applied at GINKhUK (Leningrad State Institute of Artistic Education) are presented.


The exhibition refers to the course taught in Petrograd/Leningrad in the 1920s by the painter and musician Mikhail Matiushin. For Matiushin, art exists in nature, in the microcosm and the macrocosm and a special training of our senses is needed in order to locate it. According to Matiushin, the Theory of Extended Viewing can become such training tool. Painting cannot be statical, it is constantly transformed and it is closely connected with movement and sound.


Mikhail Matiushin was a professional musician, experimental music composer and a painter. As a professor in the Department of Organic Culture of the State Institute of Artistic Education (1923-1926) he proposed to his students a system of understanding the world which he named ZORVED from the initials of the Russian words "Viewing" and “Knowledge”.
The observation of nature and its changes in color, light, motion and sound within the maximum activation of the five senses is recorded by a series of experiments that were then developed and evolved by his own students. The exhibition presents approximately 250 works of art as well as important archival material.


Informative material in the exhibition is also connected with the works by Natalia Enman, a member of the dance and music group “Geptakhor”, a dancer and painter influenced by the Isidora Duncan and connected with the teachings of Organic Art. The exhibition presents, among others, the work of five important but not so well known and studied women artists of the three first decades of 20th century: Elena Guro, Ksenia Ender, Maria Ender, Ludmila Ivanova, Natalia Enman.


The works and archival material come from the Costakis collection of MOMus-Museum of Modern Art. The works by Liudmila Ivanova are a generous donation to MOMus-Museum of Modern Art by professors John E. Bowlt and Nicoletta Misler.


The experimental sound machines from the 1920s are reconstructed especially for the exhibition by Andrei Smirnov, historian of the music of Russian Avant-garde and director of the Theremin Center.


The term “Organic Art/Culture” was coined by Matiushin himself in 1923 and was based on the theory that the world is a strictly structured system governed by laws, which is in perpetual motion and has its own biological rhythm, even when it comes to inorganic matter such as crystal or stone. “If the life and development of the smallest resembles the life of the infinitely large, and their essence, or their soul, can be expressed, and if the smallest holds within it the largest, then our understanding of all phenomena is inadequate and all our ideas about nature and morals will have to be revised”, wrote Matiushin in 1912, who was influenced by the views of his wife, painter and author Elena Guro, who died in 1913. In the 1920s, Matiushin focused a great deal on observations and experiments in the Department of Organic Culture, his main project being the synthesis of sciences and arts. The mission of his students was to bring nature back into art. Matiushin believed that artists should look for realistic space, not in the reality that is plainly visible, but in the microcosm and macrocosm. The four Ender siblings (Boris, Maria, Ksenia, Yuri) and Nikolai Grinberg worked as his assistants in the Department of Organic Culture. The artists conducted biological laboratory research combined with music lessons and concentration exercises in order to perfect the senses, aspiring to achieve what Matiushin called “extended viewing”. In the work of the artists of the Department of Organic Culture, the key component of their paintings is light, which in turn creates colour.



Exhibition Curators:


Maria Tsantsanoglou, historian of the Russian avant-garde, director of MOMus-Museum of Modern Art-Costakis Collection, Thessaloniki


Angeliki Charistou, historian of the Russian avant-garde, chief curator at MOMus-Museum of Modern Art-Costakis Collection,Thessaloniki


Architectural Design: Kiril Ass, Nadja Korbut



Artists:


Boris Ender, Ksenia Ender, Maria Ender, Yuri Ender, Pavel Filonov, Nikolai Grinberg, Elena Guro, Liudmila Ivanova, Mikhail Matiushin, Nikolai Suetin, Vsevolod Sulimo-Samuilo



An international scientific team collaborated for the exhibition:


John Bowlt, historian of Russian avant-garde, Professor Emeritus USC, Los Angeles


Nicoletta Misler, historian of Russian avant-garde, Professor Emerita of the University of Oriental Studies, Naples


Andrei Smirnov, historian of the Russian avant-garde music, director of Theremin Center, Moscow


Maria Tsantsanoglou, historian of the Russian avant-garde, Director of MOMus-Museum of Modern Art, Costakis Collection, Thessaloniki


Angeliki Charistou, historian of the Russian avant-garde, chief curator at MOMus-Museum of Modern Art, Costakis Collection, Thessaloniki



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Organic Art. The Avant-Garde in Petrograd



MOMus-Museum of Modern Art-Costakis Collection


Moni Lazariston, Thessaloniki
June 5, 2022 - February 26, 2023 | EXTENDED UNTIL 21 MAY 2023


The Russian avant-garde has been an important synthetic artistic phenomenon in the history of the 20th century. Taking the Russian avant-garde as a starting point, MOMus-Museum of Modern Art – Costakis collection examines art in a range of scientific, research and laboratory activities that place music, literature, architecture, cinema, theater, dance and their dialogue with the sciences as well as the relation between Art and Nature, in a common trajectory. One of the best examples of the synthesis of the arts is the School of Organic Culture in Petrograd/Leningrad under the directorship and theoretic supervision of Mikhail Matiushin (1861-1934).


The “Organic Art” exhibition focuses on the study of the Synthesis of the Arts and particularly in the dialogue between the visual arts with poetry, movement and sound as well as the relation between Art and Nature. At the same time, innovations in the field of Art Education initiated and applied at GINKhUK (Leningrad State Institute of Artistic Education) are presented.


The exhibition refers to the course taught in Petrograd/Leningrad in the 1920s by the painter and musician Mikhail Matiushin. For Matiushin, art exists in nature, in the microcosm and the macrocosm and a special training of our senses is needed in order to locate it. According to Matiushin, the Theory of Extended Viewing can become such training tool. Painting cannot be statical, it is constantly transformed and it is closely connected with movement and sound.


Mikhail Matiushin was a professional musician, experimental music composer and a painter. As a professor in the Department of Organic Culture of the State Institute of Artistic Education (1923-1926) he proposed to his students a system of understanding the world which he named ZORVED from the initials of the Russian words "Viewing" and “Knowledge”.
The observation of nature and its changes in color, light, motion and sound within the maximum activation of the five senses is recorded by a series of experiments that were then developed and evolved by his own students. The exhibition presents approximately 250 works of art as well as important archival material.


Informative material in the exhibition is also connected with the works by Natalia Enman, a member of the dance and music group “Geptakhor”, a dancer and painter influenced by the Isidora Duncan and connected with the teachings of Organic Art. The exhibition presents, among others, the work of five important but not so well known and studied women artists of the three first decades of 20th century: Elena Guro, Ksenia Ender, Maria Ender, Ludmila Ivanova, Natalia Enman.


The works and archival material come from the Costakis collection of MOMus-Museum of Modern Art. The works by Liudmila Ivanova are a generous donation to MOMus-Museum of Modern Art by professors John E. Bowlt and Nicoletta Misler.


The experimental sound machines from the 1920s are reconstructed especially for the exhibition by Andrei Smirnov, historian of the music of Russian Avant-garde and director of the Theremin Center.


The term “Organic Art/Culture” was coined by Matiushin himself in 1923 and was based on the theory that the world is a strictly structured system governed by laws, which is in perpetual motion and has its own biological rhythm, even when it comes to inorganic matter such as crystal or stone. “If the life and development of the smallest resembles the life of the infinitely large, and their essence, or their soul, can be expressed, and if the smallest holds within it the largest, then our understanding of all phenomena is inadequate and all our ideas about nature and morals will have to be revised”, wrote Matiushin in 1912, who was influenced by the views of his wife, painter and author Elena Guro, who died in 1913. In the 1920s, Matiushin focused a great deal on observations and experiments in the Department of Organic Culture, his main project being the synthesis of sciences and arts. The mission of his students was to bring nature back into art. Matiushin believed that artists should look for realistic space, not in the reality that is plainly visible, but in the microcosm and macrocosm. The four Ender siblings (Boris, Maria, Ksenia, Yuri) and Nikolai Grinberg worked as his assistants in the Department of Organic Culture. The artists conducted biological laboratory research combined with music lessons and concentration exercises in order to perfect the senses, aspiring to achieve what Matiushin called “extended viewing”. In the work of the artists of the Department of Organic Culture, the key component of their paintings is light, which in turn creates colour.



Exhibition Curators:


Maria Tsantsanoglou, historian of the Russian avant-garde, director of MOMus-Museum of Modern Art-Costakis Collection, Thessaloniki


Angeliki Charistou, historian of the Russian avant-garde, chief curator at MOMus-Museum of Modern Art-Costakis Collection,Thessaloniki


Architectural Design: Kiril Ass, Nadja Korbut



Artists:


Boris Ender, Ksenia Ender, Maria Ender, Yuri Ender, Pavel Filonov, Nikolai Grinberg, Elena Guro, Liudmila Ivanova, Mikhail Matiushin, Nikolai Suetin, Vsevolod Sulimo-Samuilo



An international scientific team collaborated for the exhibition:


John Bowlt, historian of Russian avant-garde, Professor Emeritus USC, Los Angeles


Nicoletta Misler, historian of Russian avant-garde, Professor Emerita of the University of Oriental Studies, Naples


Andrei Smirnov, historian of the Russian avant-garde music, director of Theremin Center, Moscow


Maria Tsantsanoglou, historian of the Russian avant-garde, Director of MOMus-Museum of Modern Art, Costakis Collection, Thessaloniki


Angeliki Charistou, historian of the Russian avant-garde, chief curator at MOMus-Museum of Modern Art, Costakis Collection, Thessaloniki



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Thereminvox and Illumovox
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One of the first in the world of electronic musical instruments – the Thereminvox - was invented by Lev Theremin in 1918–1920. It was the only instrument which was possible to play without touching and only by waving hands in the electromagnetic field of special antennas. A change in the pitch of the sound is reached by approaching the hand to the antenna on the right, while the volume of the sound is controlled by approaching the other hand to the antenna on the left.


You can experience here, a digital simulation of Theremin's play and sound. With your web-camera switched on, wave your hands in the field of view and you will hear a close approximation of Theremin's sound from your speakers. All you need to do is press the red button at the end of this text.


In 1923, Lev Theremin created a special mechanism which he called Illumovox and which operated under the management of Thereminvox producing changes of the color of the light beams, linking, thus, the performer’s plasticity and pitch with color.


The reconstruction is made by Andrei Smirnov.




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