Boris Vladimirovich Ender

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Boris Vladimirovich Ender ( Russian Борис Владимирович Эндер * January 23 . Jul / 4. February  1893 greg. In St. Petersburg , Russian Empire ; † 12. June 1960 in Moscow ) was a Russian painter .

Life

Boris Ender was the son of a gardener of German descent. His great-grandfather was a Saxon glassmaker who settled in St. Petersburg. He and his younger siblings Xenia (1895–1955), Maria (1897–1942) and Juri (1898–1963) attended the Petri School in St. Petersburg , showed strong artistic inclinations and were very interested in music, poetry and theater.

From 1905 to 1907 Boris Ender took drawing lessons from the painter Iwan Jakowlewitsch Bilibin . In 1911 he became friends with the painter and musician Mikhail Wassiljewitsch Matjuschin and his partner and later wife, the painter and author Jelena Genrichowna Guro , in whose St. Petersburg apartment he often stayed. In 1913 he began studying at the Faculty of History at the University of St. Petersburg . After the outbreak of World War I , he was drafted into military service in 1915. In 1918 after demobilization , he enrolled in the Petrograd Free Artistic Workshops (SWOMAS) (successor organization to the imperial art academy ) to study with Kuzma Sergeyevich Petrov-Vodkin and then with Matyushin.

After completing his training in 1923, Ender continued to work under Matyushin's direction in the Department of Organic Culture of the State Institute for Artistic Culture and joined the avant-garde group Sorwed (Seeing and Leading) founded by Matyushin . From 1925 to 1927 he headed the laboratory for sensory organs and research into color shapes and space. In the 1920s he took an active part in the exhibitions of the workshop of spatial realism . He got to know Kasimir Severinovich Malevich , Nikolai Mikhailovich Sujetin , Nikolai Ivanovich Chardschijew and Ilya Grigoryevich Ehrenburg , with whom he corresponded continuously .

In the mid-1920s, Ender created non-representational compositions and developed the biomorphic variant of abstraction, aiming for the representation of a natural rhythm with the help of pulsating spots of light. He explained his theory images in connection with the laws of light sensation and the brain - physiology . At the end of the 1920s, he approached more traditional representational painting, preferring landscape painting . His works could be seen at the painting exhibition Petrograd painters of all directions in 1923, the Fourteenth Biennale di Venezia in 1924, the exhibitions of the State Institute of Artistic Culture in Leningrad in 1924 and Moscow in 1926 and the exhibition of the art of the USSR in Tokyo in 1927.

In 1927 Ender moved to Moscow and worked in the 1930s as an interior decorator and designer in the field of large-scale sculpture . Together with Hinnerk Scheper and Erich Borchert he worked on the Maljarstrojprojekt, a planning office for color design in Moscow. He took part in the design of the USSR pavilion at the Paris World Exhibition in 1937 . 1938–1939 he designed together with his sister Marija and E. Ja. Astafew the Leningrad Pavilion at the All Union Exhibition of Economics of the USSR in Moscow.

In the Second World War Ender was in Kuzbass evacuated and returned in 1944 back to Moscow. He was one of the supervisors of a building exhibition and leading artist of the USSR pavilion at the industrial exhibition in Budapest in 1949.

Ender's works hang in many Russian museums, especially the Tretyakov Gallery , and a significant part of his estate is kept in the Russian State Archives for Literature and Art .

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Web links

Individual evidence

  1. ^ Alfred Eisfeld , Victor Herdt, Boris Meissner (eds.): Germans in Russia and in the Soviet Union 1914-1941 . LIT Verlag , Münster 2007, p. 356.
  2. Germans in Russia and the Soviet Union 1914-1941 edited by Alfred Eisfeld, Victor Herdt, Boris Meissner Lit Verlag Dr. W. Hopf Berlin 2007 p. 356