Russian State Music TV and Radio Center - Russian State Music TV and Radio Center. Textile experiments of Popova and Stepanova Biography of Lyubov Popova

Popova Lyubov Sergeevna, painter, graphic artist, designer, set designer

Popova Lyubov Sergeevna(1889, village Ivanovskoe, Moscow province - 1924, Moscow), painter, graphic artist, designer, set designer. Creator of pointless compositions. Comes from a family of wealthy Moscow manufacturers. In 1907 she attended S.Yu. Zhukovsky, in 1908-1909 - the school of K.F. Yuon and I.O. Dudin, where she mastered the principles of impressionism. She traveled a lot in Europe. Impressions from the painting of the Italian Renaissance were combined in her work with a passion for modern artistic trends. In 1912-1914 she lived in Paris and studied at the La Pallette academy under the cubists J. Metzinger and A. Le Fauconnier. In 1912 she worked in the studio of V.E. Tatlin "Tower". In 1916-1917 - a member of the "Supremus" group, created by K.S. Malevich. In 1918–1923 she taught at Vkhutemas, in 1920–1923 she worked in Inkhuk under the direction of V.V. Kandinsky in the section of monumental art.

L.S. Popova is one of the brightest representatives of the Russian avant-garde, who has gone from Cubism to Constructivism in her work. Upon returning from France to Russia, she developed her own principles of Cubism, giving it a monumental sound. This quality appears in Popova's works also under the influence of ancient Russian art. In her paintings of the 1910s, cubism takes on decorativeness. The artist paid special attention to the treatment of the painted surface, achieving an expressive variety of textures. Composition with Figures (1913), Violin (1915) are the most significant works of this period.

Under the influence of counter-reliefs V.E. Tatlina turns to "sculptural painting". In 1916-1917 he created a series of "pictorial architectonics". They were combinations of colored geometric planes. Unlike the Suprematist works of K.S. Malevich, these planes acquire weight, tectonic ratio of masses, a sense of the top and support of the composition.

The next stage was "space-power constructions". These images are composed of straight and curved ray lines. In a number of works, they break through the planes of various geometric outlines. Forms at a rapid pace, as it were, rush through space. Often, an unpainted wooden board serves as the background. Colorful texture

Lyubov Sergeevna Popova - great Russian artist... She worked in various avant-garde genres, including such as: Cubism, Cubo-Futurism, Constructivism, Suprematism. She was born in the Moscow province, the village of Ivanovskoye, in 1889. Since childhood, she was surrounded by attention and did not need anything, since her father was a very wealthy entrepreneur. The circle of friends of the family included very famous people, including artists. One of the artists K.M. Orlov became the first teacher of young talent.

After Lyubov Popova moved to Moscow, she received her secondary education at the gymnasium and took lessons at the art school of the remarkable painter Konstantin Yuon. Also, Lyubov Popova studied the art of drawing and painting in Italy and Paris. She has always been attracted by non-standard approaches to self-expression. She had a very good handwriting in painting, and she could have become a landscape painter, portraitist, painting battle scenes and so on without any problems, but instead she chose to go headlong into the avant-garde. She was especially attracted by Malevich's newly invented style. In Suprematism, she achieved very great results, for which she gained fame and popularity. Together with some other artists, she was a member of the Supremus art group, which was also organized by Kazimir Malevich.

In addition to Suprematism, she also worked in other avant-garde genres, was engaged in the design of theatrical performances in the style of constructivism, and worked as a designer. Currently, he is considered one of the brightest representatives of the Russian avant-garde. She died of scarlet fever in 1924. She was buried at the Vagankovskoye cemetery.

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Lyubov Popova

Grocery

Picturesque architectonics

Cubic cityscape

Linear composition

Still life with a tray

Magazine Cover Shorthand Questions

Portrait of a philosopher

Varvara Stepanova at work. 1924 year Heritage Images / Hulton Fine Art Collection / Getty Images

In 1922, after a three-year hiatus, the First Cotton Printing Factory (nationalized in 1918, the factory of the "Emil Tsindel" partnership) began to work in Moscow. While releasing new products - chintz, bikes and veils - the factory faced an ideological problem: the fabrics were still produced according to the sketches of Western magazines. The factory began its own experiments with black and white stripes. The result exceeded expectations, the fabrics were successful, but the lack of assortment led to overproduction and a further drop in demand for the material.

The company's management decides to invite third-party design artists to expand the range of products. However, the invited students of Vkhutemas turn out to be unprepared for work in production; then they tried to turn to the venerable artists Pavel Kuznetsov and Aristarkh Lentulov, but the first asked for too high a price, the second demanded to put his signature on every meter of fabric.

The management of the cotton-printing factory had no choice but to publish an article in Pravda with a call to artists. Lyubov Popova, Varvara Stepanova and Alexander Rodchenko responded to the ad. For all three avant-garde artists, this was an opportunity to comply with the rule of constructivism - the rejection of "art for art's sake", from now on art was to serve production, and production - to the people. And if Rodchenko just tried himself in a new field, for Stepanova and Popova working with fabrics became one of the important stages that determined their artistic face.

In 1924, Stepanova and Popova began to "familiarize themselves with the state of art" at the factory and, while trying to get more closely involved in the production process, they came across confusion and surprise on the part of the production workers: "Better go to museums, you have nothing to do with your business."

Nevertheless, with the support of the directorate of the artist, they get down to work. In less than a year (in May 1924, Lyubov Popova dies), several hundred ornaments were created in the best spirit of constructivism: simple geometric shapes, contrasting colors, a clear rhythmic structure. About twenty sketches were selected for production.

Lefov colleagues Lef (Left Front of the Arts)- a creative association that existed in 1922-1928 in Moscow, Odessa and other cities of the USSR. were delighted and viewed Popova and Stepanova as passionate production workers, fighters for the ideas of life-building. Some textile sketches were even selected for the 1925 Paris International Exhibition of Decorative Arts and Art Industry. Alexander Rodchenko, who was in Paris at the exhibition as the designer of the Soviet pavilion, writes to Stepanova about the sketches selected for the exhibition: "... the textiles of Lyubov Popova's drawings are 60, and yours are 4. Well, nothing."

The second issue of the Lef magazine for 1924, in a material dedicated to the memory of Lyubov Popova, says: “Popova began her artistic career with easel painting. I made pictures. And when I realized that there was no need to make pictures, that new ways of artistic creation had opened up, I stopped painting pictures, threw it once and for all, without the slightest thought of ever returning to this bourgeois-aesthetic occupation. “To guess” a sitchik was incomparably more attractive to her than to “please” aesthetic gentlemen from pure art ”.

Cover of the magazine "Lef" No. 2 (6) for 1924

Varvara Stepanova was forced to leave production in 1926
because of the desire of the management "to have 'grass', and not geometrically-machined drawings."

Almost forty years later, recalling Stepanova and Popova, the magazine "Decorative Art of the USSR" for 1963 notes the textile experiments of 1924: "In the summer, during the" Congress of Nations "in Moscow, all fabrics were sold out" to an arshin "according to new designs. Representatives of Tatarstan and Uzbekistan ordered the wagons of the manufactory, finding in the colors of these fabrics an echo of their ideas of beauty. "

Students in sportswear designed by Stepanova. Photo by Alexander Rodchenko. 1924 year© Heritage Images / Hulton Fine Art Collection / Getty Images

Sketch of a tracksuit modeled by Stepanova. 1923 year© Magazine "Lef"

Application. An article by Varvara Stepanova in the Lef magazine # 2 for 1923 “The suit of today is an overalls”, in which the artist suggests replacing decorativeness and embellishment with convenience and expediency of production functions.

“Fashion, which psychologically reflected everyday life, habits, aesthetic taste, gives way to clothing organized for work in various branches of labor, for a certain social action, clothing that can only be shown in the process of working in it, which is not representative of real life. of self-sufficient value, a special kind of “works of art”.

In it, the most important point is its textured part (material processing), that is, execution. It is not enough to give a project of a convenient, ingeniously designed costume - you need to make it and demonstrate it in your work; only then will we see and have an idea of ​​it. Shop windows with models of costumes on wax dummies displayed in them become an aesthetic relic. Today's costume must be seen in action, there is no costume outside of it, just as a machine is meaningless outside of the work it produces.

The entire decorative and embellishing aspect of clothing is destroyed by the slogan: "the convenience and appropriateness of the suit for a given production function." The latter, however, requires a mass verification of its consumption, and the costume from the handicraft forms of its production must go to industrial mass production. By this, the costume loses its “ideological” meaning, becoming a part of material culture.

The dependence of the evolution of the suit on the development of the industry is undeniable, and only today, with just this state of technology and industry, suits of a pilot, a driver, work safety aprons, football boots, waterproof coats and a military jacket could appear. In organizing a timely costume, one must go from the task to its material design. From the characteristics of the work for which it is intended to the system of cut.

Replace the aesthetic elements with the production process of the costume sewing itself. Let me explain: do not attach jewelry to the costume, but the seams themselves, which are necessary in the cut, give the shape to the costume. To expose the ways of sewing the suit, its fasteners, etc., as it is all clear and in full view of the machine. There are no more blind handicraft seams, there is an industrial sewing machine stitching, which industrializes the manufacture of a suit and deprives it of the secrets of the charm of a hand-made individual tailor's work. And the form, that is, the entire appearance of the costume, will not become an arbitrary form, but one that emerges from the requirements of the task and its material implementation.

Modern clothing is divided into two parts - overalls - a work suit that differs both in profession and production. This, on the one hand, universalizes clothes and at the same time gives them an individual touch. Example: the driver's suit has a general principle in the cut design - protection against the possibility of being hit by the machine.

Depending on the nature of production - whether it is a suit for a machinist in a printing house, a steam locomotive or a metal factory - individual features are introduced into the choice of material and detailing of the cut, leaving the general scheme intact.

Next - the suit of a design engineer, practice; a common feature is the presence of a large number of pockets, but depending on the characteristics of the measuring instruments that he uses in his work - whether he is a woodworker, textile worker, aircraft designer, builder or metal worker - the size, shape and distribution of pockets on clothes change.

A special place in overalls is occupied by overalls, which have more precise specific requirements and some hardware part in the suit. These are the costumes of a surgeon, a pilot, workers at an acid factory, a firefighter, a suit for polar expeditions, etc. Sportswear obeys all the basic requirements of uniform and is modified depending on the nature of the sport - whether it be football, skiing, rowing, boxing or physical exercise.

A feature of any sportswear is the mandatory presence in it of sharp distinctive features in the suits of one team from another in the form of signs, emblems or the shape and color of the suit. In this case, the color of the suit is one of the most effective factors, since sports events take place in a large space, and demonstration sports events - with a huge number of spectators. It is often impossible for the viewer to distinguish participants by the cut of the costume, and for the participant himself - by color it is incomparably faster to recognize your partner.

The shape of a sports suit should come out of certain color combinations. The main requirement for the cut of sportswear for all kinds of sports is a minimum of clothing and the simplicity of dressing and wearing it. "

Born on May 6, 1889 in the village of Ivanovskoye, Moscow Region. Her father was a successful entrepreneur. The first lessons in the art of painting Popova were given by a family friend K.M. Orlov. In 1906 Popova moved to Moscow. From that moment on, she regularly takes painting lessons. Lyubov studied in many art studios: in the studio of V.E. Tatlina, A. Le-Fauconnier, K.F. Yuona, S.Yu. Zhukovsky. During this period, the aspiring artist travels a lot, visiting cities in Russia and Europe. In 1910, the artist lives and works in Italy, continuing to take lessons, after which she goes to Paris.

In her work, Popova went through many stages, paving the way from Cezanneism to Cubism and Futurism. At a certain period, the artist became a member of the Spremus group, organized by Kazimir Malevich. At this time, Suprematism is especially fascinating to her. Together with other members of the group, Popova works in the villages of Skoptsy and Verbovka. Popova actively participates in various exhibitions.

Her early paintings are executed in the traditions of analytical cubism and fauvism. Later, the artist will move away from this style, preferring more dynamic cubo-futurism and synthetic cubism. The works "Portrait of a Philosopher", "Man + Air + Space" belong to this period. The world in Popova's perception was a huge still life. She tried to transfer this still life to a graphic sheet or canvas. The artist paid special attention to the meaning of the sounds of colors. In this sense, her cycle "Picturesque Architectonics" is very important. He is distinguished from Malevich's works by the variety of colorful rhythms.

In the twenties, Popova moved away from painting a little, turning to scenography. She participates in the design of the performances "The Tale of the Priest and His Worker Balda", "The Chancellor and the Locksmith". Popova works in the Art Deco style, combining the traditions of the avant-garde and modern. She also takes part in the design of the performances "The Earth on End" and "The Magnanimous Cuckold", staged at the Meyerhold Theater.

Popova also paid attention to teaching. Since 1920, she worked at the Vkhutemas and the Institute of Artistic Culture.

A variety of motives are harmoniously intertwined in the artist's work. Cubism, with which she met back in Paris, bizarrely merged with a natural predilection for the Renaissance and the Russian icon. Even the artist's non-objective works reflected the classical style. This is also characteristic of her “spatial-power constructions”, “picturesque constructions”. The traditions of the classics do not disappear from Popova's works even when she is engaged in the production of fabrics, leaving painting.

Pictures of the artist Popova L.S.

Pakhomova Anna Valerievna - Professor of the Moscow Art and Industry Academy named after I.I. SG Stroganova, PhD in Cultural Studies, permanent host of the Fashion and We column in Studio D'Anturage magazine, collaborates with the Atelier and Fashion Industry magazines, design expert of the Moscow Designers Union, member of the International Art Fund, member of the International Association of Writers and Publicists.

In the post-revolutionary years, among the artists who adopted the new regime, an active search for a "new art" began. With the denial by the proletarians and petty-bourgeois representatives of everything that related to the overthrown and, as they wanted to think, gone into the past culture, it was necessary to present something alternative "... we will destroy the old world to the ground, and then, we will build our new world ...". This opposition was the current that arose on the basis of the creative searches of a number of well-known innovative artists.

E. Lissitzky. People's Conservatory. Billboard draft, 1919-1920

A. Exter. Curtain sketch for the Chamber Theater, 1920

Many artists belonged to the direction that was already called in those years, "Russian avant-garde". Goncharova, Larionov, David Burliuk, Lisitsky, Malevich, Popova, Rodchenko, Rozanova, Stepanova, Tatlin, Filonov, Exter and Yakulov - their ideas and activities changed the course of the development of Russian art in the first decades of the twentieth century. The avant-garde represented several opposing directions - Goncharova and Larionov were supporters and in many respects the creators of Rayonism and neo-primitivism, Filonov defended the system of analytical art, Lisitsky and Malevich - Suprematism, Rodchenko, Popova, Alexander Vesnin and the Stenberg brothers were representatives of constructivist ideas. As a rule, these artists were not bound by the bonds of friendship, but they all believed in the new art infinitely. Lissitzky, Malevich and Filonov generally considered their art to be eschatological, convincing those around them that "Cubism and Futurism were revolutionary movements in art, which prevented a revolution in the economic and political life of 1917." They believed that the old world should be destroyed, and the new civilization should be designed and constructed. Lissitzky's creative range, as we know, was wide, and his field of artistic activity included experiments with painting, architecture and, of course, it was impossible to avoid the temptation to try his hand at theatrical space.

The opera "Victory over the Sun" can be seen as a symbol of this faith. “What a pity that ten Lissitzky figurines for Victory over the Sun were not used in the production of the opera! Such costumes as "The Old Man" and "Concerned" are deeply theatrical and no less fantastic than Benois's sketches for "Petrushka". The main thing in Lissitzky's costumes is to destroy the central axis and to emphasize the principles of disharmony, asymmetry and arrhythmia. Figures have not one focus, but many; they are open to the eye of the viewer not from two sides, but from many; gravity does not affect them, they seem to float in space. Violating our usual idea of ​​space, Lissitzky destroys our balance, makes us "circle like a planet" around the figure. " John Boult argued that Lissitzky's puppets are an ingenious application of his PROUN theory (a draft of a new one). But what the artist himself said about his PROUN: “PROUN is the creative construction of a form (based on the mastery of space) with the help of an economical design of the material used. The task of PROUN is a step-by-step movement on the path of concrete creativity, and not a justification, explanation or popularization of life. "

E. Lissitzky. Design for the opera "Victory over the Sun" (text by AE Kruchenykh, music by MV Matyushin).

E. Lissitzky.

E. Lissitzky. Design for the opera "Victory over the Sun".

E. Lissitzky. Design for the opera "Victory over the Sun".

E. Lissitzky. Design for the opera "Victory over the Sun".

Deviation from the traditional axis, its violation in a work of art is a fundamental concept for the development of the Russian avant-garde. Such shift in the years before the First World War is characteristic of all arts. The usual way of looking at things was changing. Now a person did not read the picture, as in the 19th century. He was required to look at her as a combination of colors, shapes and textures. Composers believed that music should no longer serve society and religion, they turned to abstract principles. Poets no longer write sentimental or moral poetry. The poem has healed as an independent sound and rhythmic experiment. Of course, we are talking about adherents of a new trend. Russian avant-garde graphic designers were also in active search, their range expanded and included theatrical space, where, in addition to pictoriality, gestures and sounds were involved. The Tairov Chamber Theater helped them a lot in this search.

A. Exter. Performance "Famira and Kifared", 1916.

Left: sketch of a costumedancers in a tunic. Right: uhBacchante costume sketch

A. Exter. WITH play "Ghost Lady", 1924.

Left: uh Sketch of a suit of a woman in a skirt with figs. Right: sketch of a woman's costume with a fan.

Left: A. Exter. WITH play "The Ghost Lady", 1924. Sketch of a man's suit with whiskers.

Right: A. Exter. Aelita costume design for the film "Aelita", 1924

In 1914, Alexandra Exter, one of the leading Russian graphic designers, returned from Paris. She willingly accepted Tairov's invitation to work at the Chamber Theater. Tairov believed that she was "an artist with exceptional sensitivity", "at the very first steps she discovered a wonderful sense of the effective element of the theater."

Together they created several performances: the first was Famira and Kifared (1916), then Salome (1917), Romeo and Juliet and Death of Tarelkin (1921), but the latter was not realized. The main feature of Exter's stylistic approach to theater was his focus on the rhythmic organization of space. She used this approach not only in theatrical productions. But also in the work on the collection of puppets (together with N. Shmushkovich, 1926), in the decoration of the Berlin apartment of the famous dancer Elsa Kruger (1927) and in other, as it would be said today, art projects, but the greatest work was the design of the film by Y. Protazanov "Aelita" (1924).

A. Exter. A sketch of the stage design for the revue. C. 1925

A. Exter. A sketch of the stage design for the Spanish pantomime. C. 1925

A. Exter. Sketch for the decoration of the duel scene in the play "Othello". C. 1927

A. Exter. Lighting sketch for tragedy. C. 1927

A. Exter. Stage lighting sketch with two dancers holding hoops. C. 1927

A group of women - artists who worked during that period (a little about one was described above) is usually called the "Amazons of the Russian avant-garde." Another outstanding representative of this creative community was Lyubov Popova. It was her, among others, that Meyerhold highly distinguished and appreciated. In September 1921, he visited the collective exhibition "5x5 = 25", at which 5 avant-garde artists (Alexander Vesnin, Popova, Rodchenko, Stepanova and Exter) presented five works each. The director immediately realized that this type of work can be applied in the design of a theatrical space. To implement his plans, he chose Popova, who in a fairly short time developed an interesting design concept for the play based on Fernand Crommelinck's farce about the unlucky miller constantly deceived by his wife, The Magnanimous Cuckold (staged by Meyerhold on April 25, 1922). “On the evening of the first performance of The Magnanimous Cuckold, Muscovites, who filled the uncomfortable hall of the theater on Sadovaya, 20, saw on a completely naked stage, without curtains, backdrops, portal and ramp, a strange-looking wooden machine-structure. It was assembled in the form of a kind of mill and was a combination of platforms, stairs, slopes, revolving doors and revolving wheels. The machine itself did not represent anything. It served only as a support, a device for acting - something like a complex combination of trampolines, trapezoids and gymnastics machines. " Despite such reviews and the fact that Meyerhold and Popova himself did not consider this performance as a model, it (the performance) influenced many theatrical decisions of the 1920s, including the design of Stepanova's “Death of Tarelkin”, design by A. Vesnin “ The Man Who Was Thursday ”(1923).

Right: A. Vesnin. A sketch of the cover of the program with fig. Phaedra (A. G. Koonen) and Theseus (K. V. Eggert) for the play "Phaedra", 1922

V. Stepanov. Playbill for the play "Death of Tarelkin". 1922. Sketch for the poster is dedicated to Vs. Meyerhold

Lyubov Popova. Play

Left: uh sketch of Balda's costume. On right: NS Booty costume sketch

Lyubov Popova. Play"The Tale of the Priest and His Worker Balda", 1919.

Left: uh sketch of Baldy's costume in a hat. On right: NS Devil costume sketch

L. Popova. Play"Chancellor and Locksmith", 1921.

Left: uh sketch of a lady's costume in a blue hood. Right: uhSketch of a suit of a man in green

N. Goncharova. Set design for the 1st act of the opera-ballet "The Golden Cockerel", 1914

This “find” by Popova drew both praise and harsh criticism. For example, after the performance, I. Sokolov wrote: "... it is difficult to imagine anything more vulgar, rougher and more tasteless than the rotating red and black wheels of the priest's design" Cuckold ", increasing the emotions of jealousy or voluptuousness."

“Many Russian artists, poets and filmmakers deliberately put forward“ vulgar ”forms of art to leading positions in the hierarchy of the arts during the first years of the twentieth century. They wanted to remove the false, as it seemed to them, halo from the traditional styles “to abandon Pushkin, Dostoevsky, Tolstoy and others. and so on. etc. from the Steamer of the Present ”. It sounds absolutely crazy - to challenge Raphael as a signboard and replace Verdi with "Wampuka".

Whether we like this turn of events or not, Russian avant-garde artists influenced the further evolution of the theater, in particular, theatrical and decorative art. By the end of the 30s. The "Great Experiment" was almost forgotten. Ilya Shlepyanov wrote in 1938 that “Moscow theaters< …>now look like a series of communicating vessels - the water level is the same. "

In the preface to the book “Artists of the Russian Theater” John Boult wrote: “Fortunately, talented artists of the new generation, like Sergei Barkhin, Eduard Kochergin, Valery Leventhal and Enar Stenberg, have restored a creative connection with the great traditions of the beginning of the century,<…>by rediscovering the artistic, literary and musical achievements of the modernist era, they became more flexible, inclined to experiment. "

Left: Anat. Petritsky. Sketch for Medora's costume for the ballet Le Corsaire, 1926

Right: L. Popova. Women's costume for the play "Priest Tarquinius", 1922

N. Goncharova. B alet "Liturgy", 1915.

Left: uh Sketch of the costume of the sorcerer. Right: sketch of the costume of St. Petra

N. Goncharova. B alet "Liturgy", 1915.

Left: uh sketch of the costume of Christ. Right: sketch of the costume of St. Brand

At the end of this article, I will add that even today's young artists quite often turn to artistic means of expression that are characteristic of avant-garde art. It happens to me to attend the defense of the diplomas of artists issued by the Moscow Art Theater School and, for example, in the last year's graduation, 2/3 of the diploma works were literally entirely or fragmentarily decided in the avant-garde style. Such artistic solutions were present both in the sketches of the costumes and in the scenography.

Eschatology - (from the Greek eschatos - extreme, last and logos - doctrine) (historical religious). In various religions - teaching, the idea of ​​the end of the world, of the ultimate destinies of mankind, about the so-called. afterlife, etc. Jewish eschatology. Christian eschatology.

Malevich K. About new systems in art. Vitebsk, 1919, p. 10

Lissitzky Lazar Markovich (Mordukhovich) - November 10 (22), 1890 - December 30, 1941.

El Lissitzky. Suprematism and reconstruction of the world. (in English) London, 1968, p. 328

El Lissitzky. Abstracts to Proun (from painting to architecture). 1920. Quoted. according to the book: Masters of Soviet architecture about architecture. M., 1975, vol. 2. Pp. 133 - 134.

Tairov A.Ya. Director's notes. Articles, conversations, speeches, letters. M., 1970.S. 163

Yelagin Y. Dark genius. New York, 1955.S. 248-249.

Sokolov I. Theatrical constructivism. (Chamber Theater). - "Theater and Music", 1922, December 19, No. 12. P.288

From the manifesto futurists "Slap in the face to public taste". M., 1912, p. 3.

"Vampuka - African Bride", the so-called. "Exemplary opera in two acts" by V. Ehrenberg, libretto by M.N. Volkonsky, was staged in "Crooked Mirror" in St. Petersburg, 1909 "Vampuka" became synonymous with operatic routine and bad taste.

The title of the first edition of Camilla Gray's impressive research on the Russian avant-garde.

Ilya Shlepyanov. Ed. B. Graeva. M., 1969.S. 22

Russian theater artists 1880-1930. Text by Jlna Boult. M., 1991.S. 63