Dmitri Nikolajewitsch Kardowski

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Portrait of Dmitri Kardowsky , 1896/97 painted by Ilya Jefimowitsch Repin (1844–1930), oil on canvas
Portrait of Maria Krustschoff , 1900, oil on canvas
Moscow 1812 , painted in 1913

Dmitri Nikolajewitsch Kardowski ( Russian Дмитрий Николаевич Кардовский ; born September 5, 1866 in the village of Ossurowo near Pereslavl- Zalessky ; † February 9, 1943 in Pereslavl-Zalessky) was a Russian painter and illustrator .

Life

Artistic beginnings

Kardowsky began his studies in 1892 at the Art Academy in Saint Petersburg . There were u. a. Pawel Tschistjakow and Ilja Eefimowitsch Repin his teachers.

Studied at the Ažbe School

From 1896 to 1900 he attended the Ažbe School in Munich. Together with Igor Emmanuilowitsch Grabar he came to Munich in May 1896. The painter friend Nikolaj von Seddeler arrived in the Bavarian capital in October of that year. The arrival of Marianne von Werefkin with Alexej Jawlensky and her maid Helene Nesnakomoff is also precisely documented by the residents' registration office for "10/27/96". The men registered with Anton Ažbe . Jawlensky was enthusiastic about the Ažbe school and describes his carefree daily routine, which was usual at the time: “At 7.30 in the morning, Kardowsky rang my doorbell and we then went to school together. We worked all day, and after the nude drawing , which was usually out at eight o'clock in the evening, we mostly went to me to eat together and then chat. Werefkin was always in the house. The atmosphere was always very lively, funny and friendly. ”In his memoirs , Jawlensky wrote:“ Once in 1899 we went to Venice in April - Werefkin, Grabar, Kardowsky, Ažbe and I - ”Jawlensky did not remember exactly. because it was in 1897, as evidenced by a number of facts. A large exhibition by Repin was visited there. At that time, the whole of Venice was intoxicated by his pictures and spoke delightedly of “il luce di Repin”.

Tempera versus oil painting

Grabar and Jawlensky provide information about many an incident in Kardowsky's life. For 1898 z. B. Jawlensky: “In 1898 we all went to Russia except Grabar. Kardowsky went to his mother for a few months […], Werefkin, Helene and I to my brother Dimitrij. ”During his stay in Russia, Kardowky kept in touch with the Grabar who had stayed in Munich by letter. The latter wrote the following to him on “October 16, 1898” that he had “spread out in Jawlensky's studio”. This is set up like a “chemical laboratory”. “We were back in Munich in autumn. And again I went to the Ažbe school with Grabar and Kardowsky, ”Jawlensky reports for the end of 1898.

In the context of the “studio-laboratory debates in their [Werefkins] apartment”, Grabar's letter is very informative for art history with regard to the technical problems of painting at the time. It proves that in the Werefkin / Jawlensky studio the artist friends, Wassily Kandinsky , Seddeler, Kardowsky, Grabar and others. a. could experiment with colors at will. At that time she was particularly interested in tempera painting in comparison to oil painting . In another letter, Kardowsky describes how he worked with Grabar on various technical means of painting and that they were based on the recipes of old masters. He formulated u. a .: “If you work with today's oil and tempera paints, you will never [...] achieve a decent, beautiful and pure color. […] There is not a single company that would not cheat in the manufacture of paints for sale - to the detriment of their paints. [...] We have come to this sad result: our studies, which were painted with the oil paints from Möves, Schmincke, Schadlinger, Windsor and Newton, changed and darkened so much within two weeks that we started working with them Jawlensky's memoirs of tempera studies also refer to the period around 1898: “Grabar, Kardowsky and I once visited the painter Stuck in his famous house on Prinzregentenstrasse . His studio was very ostentatious. […] Stuck was a very handsome man, silent, but with the three of us Russians he spoke very lively. He showed us his painting material and talked to us about different techniques of tempera painting. Because we were concerned with the tempera technique. ”About six months later, on April 17, 1899, Grabar reported how Jawlensky was struggling with tempera painting:“ But now there is a sensation. Jawlensky always groaned and groaned, couldn't master the tempera technique, came one morning and announced that he would now paint [again] in oil. ”The information that Jawlensky gave about the duration of his own visit to the Ažbe school and that of his friends: "After working with Kardowsky and Grabar for a few years in the Ažbeschule in Munich, they both went back to Russia." At another point in his memoirs, he even set a time: "We worked in this school for three years until 1899. "Kardowsky, who had started his studies with Ažbe with the statement:" Ažbe began to teach us something ", left school and Munich in the spring of 1900. In the spring of 1899 Kardowsky married the painter Olga Della-Vos (1874–1952).

Back in St. Petersburg

In 1900 Kardowsky returned to St. Petersburg, where he mainly dealt with portraiture . In the spring of 1901, Kardowsky was sent from the St. Petersburg Academy to Munich to set up the Russian section of the International Art Exhibition in the royal glass palace . In 1902 he received his diploma from the art academy . Kardowsky had chosen Alupka for the summer stay on the Crimean peninsula in the Black Sea . There he received a visit from Werefkin and Jawlensky after Jawlensky's son Andreas was born in Ansbach Castle near Prely in the Vitebsk Governorate . Jawlensky still remembered in the 1930s: “In Alupka, a place by the sea, we met Kardowsky with his wife and lived together in a house. […] It was a great time. ”In 1903 he taught at the“ Höhere Lehranstalt ”, which was attached to the academy, in the Ilja Repin studio. In 1904 he became chairman of the newly founded “New Artists Society” in St. Petersburg. He worked as an illustrator and caricaturist from 1905, e.g. B. in the derisive magazine "Župel", Schreckgespenst, a counterpart to the Munich "Simplizissimus" . He also worked for the satirical magazine "adskaja Počta", "Höllenpost". Kardowsky came to office and dignity in 1907 by being appointed professor of graphics at the St. Petersburg Academy and as Repin's successor as head of the master class . As a book illustrator of the works z. B. by Nikolai Wassiljewitsch Gogol , Mikhail Jurjewitsch Lermontow , Lew Nikolajewitsch Tolstoy and Anton Pavlovich Chekhov , he was considered a keeper of the realistic tradition. In 1911 Kardowsky became a full member of the art academy. Kardowsky traveled to Western Europe in 1912 with his wife Olga and his 12-year-old daughter Ekaterina . In Oberstdorf in the Allgäu they visited Werefkin, Jawlensky and Helene with their son Andreas in the summer, which is illustrated by a photo. Jawlensky reports on this: “In the summer we all went to Oberstdorf. [...] Later the painter Kardowsky came with his family. [...] Kardowsky illustrated Gribojedow - Gore ot uma (suffering from prudence). "

After the revolution

After the October Revolution , Kardowsky lived and worked in Moscow, where he made a name for himself as a set designer . For a long time, both before and after the revolution, he was an influential teacher at the Russian Academy of Arts in St. Petersburg. He never abandoned the realism that he practiced until the end of his Munich student years, from which it is partly understandable that in 1920 he vehemently opposed Kandinsky's Moscow professorship. Kardowsky's "private notes" prove his aversion to z. B. against his "fellow professors Kandinsky, Malewitsch , Tatlin u. a. ”When Jawlensky began to dictate his memoirs to his Wiesbaden friend Lisa Kümmel from 1936 , he came back to Kardowsky:“ Now he is a professor at the Petersburg Academy, […] and a very famous artist. He was named a People's Artist under the Soviets . "

Web links

Commons : Dmitri Nikolajewitsch Kardowski  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ NZ, Kardovskij, Dimitrij Nikolajevič, in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 121
  2. ↑ Joseph Brodski, Ilja Repin, Leipzig 1981, p. 172
  3. ↑ NZ, Kardovskij, Dimitrij Nikolajevič, in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 121
  4. ↑ Kylliki Zacharias, From the exterior to the interior, The Blue Rider and the Russian Avant-garde, in exh. Cat .: From the Blue Rider to the Russian Avant-garde, Berlin-Moscow-Munich, Orlando Gallery, Zurich 2005, p. 4
  5. ↑ Bernd Fäthke, Elisabeth Ivanowna Epstein, An artist friendship with Kandinsky and Jawlensky, Clemens Weiler zum Andenken, Galleria Sacchetti, Ascona 1989, p. 10
  6. ↑ Brigitte Roßbeck, Marianne von Werefkin, Die Russin from the circle of the Blue Rider, Munich 2010, p. 54, note 102
  7. ↑ Bernd Fäthke, Marianne Werefkin, Munich 2001, p. 46, Doc. 3
  8. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 107
  9. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 108
  10. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, p. 38 ff
  11. ↑ Katarina Ambrozic, The Artist Anton Ažbe (1862–1905), in exh. Cat .: Paths to Modernity and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 73, note 91a
  12. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 107
  13. ↑ Jelena Hahl-Koch, The early Jawlensky, in exhib. Cat .: Alexej Jawlensky 1864–1941, Städtische Galerie im Lenbachhaus, Munich 1983, p. 43
  14. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 108
  15. ↑ Rudolf H. Wackernagel, "I will trick people ... in oil and tempera ...". News about Kandinsky's painting technique, With a contribution by Johann Koller and Ursula Baumer (V), Journal for Art Technology and Conservation, vol. 11/1997, issue 1, p. 110
  16. ↑ NB Avtonomova, Wasilly Kandinsky's letters to Dmitrij Kardovkij, in exh. Cat .: Wasilly Kandinsky, The first Soviet retrospective, paintings, drawings and graphics from Soviet and Western museums, Shirn Kunsthalle Frankfurt 1989, p. 47
  17. ↑ B. Avtonomova, Wasilly Kandinsky's letters to Dmitrij Kardovkij, in exh. Cat .: Wasilly Kandinsky, The first Soviet retrospective, paintings, drawings and graphics from Soviet and Western museums, Shirn Kunsthalle Frankfurt 1989, p. 47
  18. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 108
  19. ↑ Jelena Hahl-Koch, The early Jawlensky, in exhib. Cat .: Alexej Jawlensky 1864–1941, Städtische Galerie im Lenbachhaus, Munich 1983, p. 43
  20. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 108
  21. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 108
  22. ↑ Jelena Hahl-Koch, Kandinsky and Kardowskij, On the portrait of Maria Krustschoff, Pantheon, Issue XXXII / 4, 1974, p. 382
  23. ↑ Jelena Hahl-Koch, Kandinsky and Kardowskij, On the portrait of Maria Krustschoff, Pantheon, issue XXXII / 4, 1974, p. 387
  24. ↑ NZ, Kardovskij, Dimitrij Nikolajevič, in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 121
  25. ↑ NB Avtonomova, Wasilly Kandinsky's letters to Dmitrij Kardovkij, in exh. Cat .: Wasilly Kandinsky, The first Soviet retrospective, paintings, drawings and graphics from Soviet and Western museums, Shirn Kunsthalle Frankfurt 1989, p. 47
  26. ↑ NB Avtonomova, Wasilly Kandinsky's letters to Dmitrij Kardovkij, in exh. Cat .: Wasilly Kandinsky, The first Soviet retrospective, paintings, drawings and graphics from Soviet and Western museums, Shirn Kunsthalle Frankfurt 1989, p. 48
  27. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 108 f
  28. ↑ NB Avtonomova, Wasilly Kandinsky's letters to Dmitrij Kardovkij, in exh. Cat .: Wasilly Kansinsky, The first Soviet retrospective, paintings, drawings and graphics from Soviet and Western museums, Shirn Kunsthalle Frankfurt 1989, p. 52, note 1
  29. ↑ Grigori J. Sternin, The Art of Russia's Art Life at the Beginning of the Twentieth Century, Dresden 1980, p. 98
  30. ↑ Grigori J. Sternin, Das Kunstleben Rußlands zu Anfang des Twezzeckest Century, Dresden 1980, pp. 117 ff
  31. ↑ NZ, Kardovskij, Dimitrij Nikolajevič, in exh. Cat .: Paths to Modernism and the Ažbe School in Munich, Museum Wiesbaden 1988, p. 121
  32. ↑ NB Avtonomova, Wasilly Kandinsky's letters to Dmitrij Kardovkij, in exh. Cat .: Wasilly Kandinsky, The first Soviet retrospective, paintings, drawings and graphics from Soviet and Western museums, Shirn Kunsthalle Frankfurt 1989, p. 52, note 1
  33. ↑ Grigori J. Sternin, Das Kunstleben Rußlands zu Anfang des Twentietest Century, Dresden 1980, p. 266
  34. ↑ NB Avtonomova, Wasilly Kandinsky's letters to Dmitrij Kardovkij, in exh. Cat .: Wasilly Kandinsky, The first Soviet retrospective, paintings, drawings and graphics from Soviet and Western museums, Shirn Kunsthalle Frankfurt 1989, p. 52, note 1
  35. ↑ Bernd Fäthke, Marianne Werefkin, Munich 2001, p. 179, fig. 203
  36. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 114
  37. ↑ Gisela Kleine, Gabriele Münter and Wassily Kandinsky, biography of a couple, Frankfurt / M. 1990, p. 508
  38. ↑ NB Avtonomova, Wasilly Kandinsky's letters to Dmitrij Kardovkij, in exh. Cat .: Wasilly Kandinsky, The First Soviet Retrospective, Paintings, Drawings and Graphics from Soviet and Western Museums, Shirn Kunsthalle Frankfurt 1989, p. 53
  39. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, p. 188
  40. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 114
personal data
SURNAME Kardovsky, Dmitri Nikolayevich
ALTERNATIVE NAMES Кардовский, Дмитрий Николаевич (Russian)
BRIEF DESCRIPTION Russian painter and illustrator
DATE OF BIRTH September 5, 1866
PLACE OF BIRTH Pereslavl-Zalessky
DATE OF DEATH February 9, 1943
Place of death Pereslavl-Zalessky