"Exhibition of one picture." On the 125th anniversary of the birth of Marina Ivanovna Tsvetaeva

From October 10, the “Exhibition of One Painting” will begin. On the 125th anniversary of the birth of Marina Ivanovna Tsvetaeva (1892 - 1941). (104 Lenin St., main exposition)

Marina Ivanovna Tsvetaeva, a Russian poetess, prose writer, translator, was born on October 8 (September 26), 1892 in Moscow in the family of Ivan Vladimirovich Tsvetaev, professor of Moscow University, a famous philologist and art historian, founder of the Museum of Fine Arts. Her mother, Maria Alexandrovna Maine, was a pianist, a student of Nikolai Rubinstein. Educated in a creative environment, Marina Ivanovna began to write poetry in early childhood in Russian, German and French. The Tsvetaevs lived abroad for a long time, and in the summer of 1906, his father brought his family to Tarusa. Subsequently, M. Tsvetaeva more than once came to her relatives. Her mother died there.

The creative activity of M. I. Tsvetaeva began in 1909, when she attended lectures and club meetings at the Musaget publishing house of Moscow symbolists. In 1910, she printed in the Printing House Partnership of A. I. Mamontov at her own expense the first collection of poems “An Evening Album”, which mainly included her school work. The responses to her first book of such famous poets of the Silver Age as V. Bryusov, M. Voloshin and N. Gumilev were approving.

In 1911, in Koktebel, in the house of M. Voloshin, Marina Ivanovna met with Sergei Efron, and soon they got married. In 1912, their daughter Ariadne was born.

The turbulent events of 1917 changed the life of the poetess. She perceived the revolution in a contradictory way, as did a significant part of the Russian intelligentsia, which at first welcomed the fall of the Russian autocracy, but frightened by the bloody events of the Civil War, turned its back on the Bolsheviks. S. Ya. Efron participated in the white movement, after the defeat of the Wrangel army in the Crimea fled abroad. And M. I. Tsvetaeva remained in Moscow with two daughters, almost without a livelihood. In 1918 - 1920 Tsvetaeva writes romantic plays, poems “Egorushka”, “Tsar Maiden”, “On the Red Horse”. Since January 1921, Marina Ivanovna regularly attended literary evenings of the All-Russian Union of Poets and meetings of the Nikitinsky Subbotniks, and read her new works. At the beginning of 1922, a collection of "Versts" was published in Moscow, warmly received by readers and critics.

In 1922, Tsvetaeva and her daughter emigrated to S. Efron in the Czech Republic. In Prague, their son George was born. Her wanderings in foreign cities began. The lyrics of those years are longing for Russia, not for that tormented, warped, but ideal country; motive of broken wings, hopelessness of poverty.

In 1925, Tsvetaeva moved with her children to Paris. The poetess participated in the publication of the magazine “Versts”, in which the “Poem of the Mountain”, the drama “Theseus”, the poems “From the Sea” and “New Year’s” in memory of Rilke were published. Most of the created by M. I. Tsvetaeva in exile remained unpublished. In 1928, the last lifetime collection of the poetess After Russia was published in Paris. Later Tsvetaeva writes: “My failure in emigration is that I am not an emigrant, that I am in spirit, that is, in air and in scope - there, there, from there…”.

In the 1930s unlike poems that did not receive recognition in the emigrant milieu, prose, which occupied the main place in her work, was a success. In 1937, Ariadne left for the USSR, followed by S. Efron. Gathering after them, Marina Ivanovna did not write anything, she was preparing to send her archive. But the annexation of the Sudetenland by fascist Germany in 1938 caused an outburst of indignation at Tsvetaeva. And there appeared “Poems to the Czech Republic”, in which she lovingly sang a beautiful country, where she had once found shelter.

In 1939, M.I. Tsvetaeva and her son left for the Soviet Union. Their reunited family lived at the NKVD dacha in Bolshev, near Moscow. But happiness did not last long: at first Ariadne was arrested, who spent 15 years in the camps, later her husband, who was shot in 1941. While in the USSR, M. I. Tsvetaeva practically did not write poetry, doing translations. The war caught her behind the translations of Federico Garcia Lorca. The work was interrupted. On August 8, 1941, Tsvetaeva and her son left for evacuation to Yelabuga. Having lost loved ones, separated from few friends, and being depressed, she did not find the strength to resist the blows of fate and on August 31 committed suicide.

The exhibition presents a sculpture made by Moscow sculptor Valery Aleksandrovich Maloletkov. V. A. Maloletkov is a well-known master of contemporary decorative art, People’s Artist of the Russian Federation, full member of the Russian Academy of Arts, professor.

The path of V. A. Maloletkov in art began with work in the youth group on ceramics at the Vorontsovo Experimental Creative and Production Plant. The artist’s desire to discover new means of artistic expression, to master various materials and decor techniques, to identify the volumetric, spatial, plastic, structural and color possibilities of clay combined his work with the searches of Moscow artists V. Kosmachev, V. Petrov, L. Soshinskaya, T. Gan and S. Malyana.

The works of V. A. Maloletkov cover a huge range of topics. Mythological, religious, historical, literary and everyday subjects in them are embodied in the language of polychrome plastic enriched with spiritual tension, symbolism and metaphors. The artist embodied his ideas in a large series of ceramic works "Creators of the Spirit." It included sculptural compositions dedicated to prominent personalities of Russia - A. S. Pushkin, N. V. Gogol, S. A. Yesenin, M. I. Tsvetaeva, A. A. Akhmatova and V. Tatlin. In each of the works, the portrait similarity and psychological state of the depicted organically combines with the plastic and structural qualities of polychrome ceramics. In the image of M. I. Tsvetaeva, the artist in a laconic form conveyed the tragedy of the position of the poetess, the rejection of her work at home, her inability to withstand the blows of fate, to deal with difficult living conditions.