Notes
Павел Шмаров родился в 1874 году в Воронеже.
В период учебы открывает для себя «передвижников», и, позднее, примыкает к этому художественному направлению.
Талантливый ученик Воронежской бесплатной рисовальной школы, он поступает в Академию художеств Санкт-Петербурга и учится в мастерской И.
Репина.
Приобретает известность благодаря историческим и жанровым картинам, портретам царя Николая II, избирается академиком в 1916 году.
В 1923 году едет за границу, сначала в Рим, а затем в Париж, где и остается жить.
Работает в основном как портретист - среди многочисленных заказов известны портреты Ф.
И.
Шаляпина, С.
М.
Лифаря.
Продолжает писать пейзажи с молоденькими крестьянками, русалками, купальщицами, наполненными ностальгией по родной земле.
Так и не увидев Россию, по которой тосковал, уходит из жизни в 1950 году в пригороде Парижа - Булонь-Бийянкур.
Né à Voronej en 1874, Paul Chmaroff y découvre le mouvement artistique des Ambulants lors d'une exposition et son inspiration future.
Brillant élève de l'école gratuite de dessin de la ville, il rentre à l'Académie des Beaux Arts de Saint-Pétersbourg, dans l'atelier de Répine.
Connu pour ses tableaux historiques et de genre, portraitiste du tsar Nicolas II, il devient académicien en 1916.
Les évènements de 1918 le contraignentà s'exiler à Paris en 1924.
Il travaille essentiellement sur commande comme portraitiste, exécute entre autres, les portraits de Chaliapine et de Lifar et continue à peindre des paysages peuplés de baigneuses, empreints de la nostalgie de sa terre natale.
C'est pourtant sans revoir la Russie qu'il meurt en 1950 à Boulogne-Billancourt.
Paul CHMAROFF born in 1874 in Voronezh, central Russia.
A brilliant student at school free drawing of the city, he received a scholarship to attendcourses of the Academy of Fine Arts in St.
Petersburg, in the workshopRepin, one of the leading masters of the movement of the Wanderers,realistic motion appeared in Russia in 1863.
CHMAROFF Paul, then known for his historical paintings and genre from this vein, carries portraits of imperial family, nobilityand the intellectual bourgeoisie.
He was elected by his peers Academician in 1916.
Often considered the Russian RENOIR, it is close to the Symbolist movement.
In 1923, he emigrated first to Rome, and settled finally in Paris in December 1924.
He died in Boulogne Billancourt in 1950 without being returned to Russia.
CHMAROFF leaves abundant in France a work, marrying Russian tradition.
When some of the artist Paul Shmarova called "Russian Renoir, but life in a French expatriates had not brought him loud glory.
When young nugget from Voronezh, was among the students of the Imperial Academy of Arts, it was intended for a brilliant career.
Repin himself, who taught in the institution painting, was generous in his praise Shmarova talent, however, praise becomes quite ambiguous: «Shmarov goes forward, in which illiterate stupid boy sitting a great artist.
God grant that it is not crazy like some and not stop early in its development, which is very often the case with cultured natures.
But what warmth, integrity, softness, flexibility in his sketches! How many impressions and grandeur in his designs! » No less insightful was Anna Ostroumova-Lebedeva, classmate and good friend Shmarova written as something in the letter that he « very easily falls into mannerism ».
That mannerism, even a virtuoso, was something of a leitmotif for the current retrospective exhibition.
Almost all of these works (there are about nine dozen) created in France, where Paul Shmarov left Russia since 1924.
At home left much of what has been done before: a great part of his doemigrantskogo period we gain in our regional museums.
For a long time they were kept in the storerooms (artistic heritage "uezzhantov" publicity was not accepted).
Today this issue is different, but unconditional hits even "local" work Shmarova did not become .
Whether to underestimate the inertia, or pieces of music that the author really falls short of masterpiece .
.
.
Introducing his Paris period suggests that the second more accurate.
Although the collector Joel Garcia, who owns all that is shown in the exhibition, certainly does not think so.
He has 40 years hunting out and buying up canvases and drawings of his favorite artist, eventually becoming a fan shaped.
Creativity Paul Shmarova he promoted tirelessly - first at home in France, and now in Russia.
From Moscow, an exhibition is planned to take in native Shmarova Voronezh, where the exhibition will complement the work of the local museum.
If he showed early in his career signs of genius, the more signs they did not get.
It's strange now to know that at the time Paul Shmarov walked in the issuance of the Academy of Fine Arts of his fellow student Philipp Malyavin and instead went to a pensioner's trip to Europe.
Echo of bygone rivalry sounded long: it will present meet the idyllic arrangement with the peasant women, who painted Shmarovym already in exile.
Here is read something like a mental debate with Malyavin, but before malyavinskoy "peasant extravaganza" this opus far.
It did not outdo the other and classmate, Constantine Somova.
Hotya somovskie motives arise here and there (especially in landscapes), and get much less convincing.
In fairness we have to admit, however, that in France and most World of Art Somov not work too some inspiration - his emigre works look barely a parody of the earlier work.
Even if it is for them today, the Russian nouveaux riches are paying millions more they do not get this .
.
.
Maybe it runs into an alien environment and invincible yearning for the homeland, which prevented the full expression? Can not be excluded.
The same Paul Shmarove known, for example, that he has since expressed regret at his departure from Russia.
And even in 1946, shortly before his death, presented to the "exile portrait of Stalin in the uniform of the generalissimo, thereby expressing admiration for the victory of his people over Germany.
Only in the Soviet Union is unlikely to be the artist lived more freely than in Paris.
Yes, there he was experiencing significant financial hardship (sometimes even had to rent an apartment to pay their own pictures).
Quickly forgotten its former glory a court portraitist, and in fact before the revolution in Shmarova customers were members of the royal family and ministers and aristocrats.
Now it is increasingly switched to feature nudity (in the exposition there are numerous variations on bathers), the exquisite still lifes and bucolic landscapes.
Produce what he had dreamed the average bourgeois.
And yet here there was relative freedom of creativity.
Nobody would have banned Paul Shmarovu experiment, to seek new incarnation, try unexpected moves - even on the table for themselves.
Nothing like this has happened.
Repin predicted "great artist" and not hatched.
creative solutions Shmarov prefer proven master, connecting the Russian school of painting with the elements in the then fashionable Art Deco.
This painting almost looks salon - with the only no small difference that in any work anyway glimmers author's potential.
Alas, not realized in the sense that is meant Boris Pasternak: "In everything I want to get to the heart .
.
.
" Of course, the historical circumstances were against Paul Shmarova - so they always against someone else who claims on their own role in the history of art.
This particular artist (a very talented, we repeat, - two opinions can not be) very little has managed to counter the circumstances.
His work is beautiful, but nothing more.
