Nikolai Ivanovich Chardschiev

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Photo with Malevich, Vladimir Trenin, Theodor Grits and Chardschijew (1933) in the Russian Wikipedia
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Nikolai Iwanowitsch Chardschijew ( Russian Харджиев, Николай Иванович , English Nikolai Khardzhiev , born June 26, 1903 in Kachowka , Russian Empire ; died 1996 in Amsterdam ) was a Russian art collector, literary editor and writer. His collection included in particular writings, documents and works of the Russian avant-garde .

Life

Nikolai Chardschiev’s father was of Armenian-Greek origin and worked on the Askanija-Nowa estate of Baron Friedrich von Falz-Fein , his mother a Greek from Smyrna . He attended high school in Kachowka and studied law in Odessa , where he graduated in 1925. But he was primarily interested in art and literature and worked on the editorial team of the literary magazine Moryak . As Konstantin Paustowski describes in his work The Time of Great Expectations ("Время больших ожиданий", 1958), not only as a young man had very decisive views of art, he was a fierce advocate of futurism and rejected established painters like Ilya Repin and Kyriak Kostandi just as violently. Years later he advised the Moscow art collector George Costakis with the same determination , passing on to him his view of the artists of the Russian avant-garde he valued and those who were not. When his monopoly on knowledge of the history of the Russian avant-garde crumbled in the 1980s, he could not stand it.

In 1928 he moved to Moscow and got to know representatives of the progressive art scene in Moscow and Leningrad , whose artistic works were increasingly being supplanted by the party art of Socialist Realism and the artists were politically persecuted. The poet Eduard Bagrizki introduced him to Ossip Brik and Wiktor Schklowski . As Schklowski's assistant, he also met the few remaining avant-garde artists who had not emigrated, such as Tatlin , El Lissitzky and Vladimir Mayakovsky , and collected works of art and documents by these artists. He encouraged Mayakovsky and Mikhail Matyushin to write memoirs on futurism. After Mayakowski's suicide in 1930, he was considered an expert on his work and became a board member of the Mayakowski Museum. Chardschiev began to work on a twelve-volume edition of Mayakovsky works in 1932, but it was only published after the end of the war in 1947. From Daniil Charms he received a theatrical manuscript of his production of his play Jelisaweta Bam . Khardschiev became a member of the writers' association in 1940 . He was also friends with Anna Achmatova . In 1953 he married his second wife, the sculptor Lidia Vasilievna Chaga.

Chardschiev also wrote poems himself, which appeared under the pseudonym Buka . In 1940, when the reins of censorship loosened for a short time, he published a small selection of poems by Velimir Khlebnikov ; a complete edition of Khlebnikov was a lifelong project that failed due to the political circumstances in the Soviet Union, as did his monograph on the Russian avant-garde. In 1970 he was responsible for the first collection of Ossip Mandelstam's poems to be published in Russia . In 1992 he was involved in a posthumous edition of poems by the futurist Wassilisk Gnedow .

Chardschijew collected works and written testimonies by Kazimir Malevich , his collection included around 1,350 works of art by Pavel Filonov , Mikhail Fyodorowitsch Larionov , Marina Goncharova and Olga Rozanova and drawings by El Lissitzky .

Because of the censorship it took until 1980 until he was able to display parts of his picture collection in the Mayakovsky Museum as an accessory to exhibitions on Mayakovsky. During this time, Khardzhiev wrote (officially tolerated) articles in the western magazine Russian Literature .

In the mid-1970s, Khardschiev attempted to smuggle part of his pictures to Sweden, when he was robbed by the supposed helper from the West. In this way four paintings by Malevich disappeared, three of which found their way into the collections of the Center Pompidou , the Fondation Beyeler and the Stockholm Moderna museet , the fourth had not reappeared until 2013. In 1993, his collection of pictures and manuscripts was smuggled to Amsterdam with the help of the Gmurzynska Gallery , some of the manuscripts were discovered by Russian customs and confiscated as a national cultural asset; this part later went to the Russian State Archives for Literature and Art (RGALI).

In November 1993, Chardschiev and his wife traveled to the Netherlands at the invitation of the University of Amsterdam and stayed there. He set up a foundation into which the picture collection and the manuscripts went. However, the foundation first had to finance the illegal transfer and other costs by submitting images. As a result, the collection initially lost a number of important works by Malevich and El Lissitzky, and the foundation came under public criticism. After Chardschiev's death, the foundation was reorganized, funded by the Dutch state, and the foundation paid the Dutch inheritance tax with Malevich's picture White Square on a Black Cross . The writings that went to Amsterdam were cataloged and filmed by the Stedelijk Museum . In 2011 they went to the RGALI in Moscow, in return the Amsterdam Museum received copies of the microfilms from Moscow's holdings.

Khardschiev was portrayed by Dawid Dawidowitsch Burljuk , Tatlin , Pawel Nikolajewitsch Filonow and Dawid Schterenberg .

Fonts (selection)

literature

  • Kazimir Malevich and the Russian avant-garde: with works from the collections of Chardschijew and Costakis . March 8 to June 22, 2014, Art and Exhibition Hall of the Federal Republic of Germany, Bonn. Bielefeld: Kerber, 2014 ISBN 978-3-86678-945-6
  • Geurt Imanse; Frank van Lamoen (Ed.): The Russian avant-garde - the Khardzhiev Collection . Rotterdam: nai010 Publ., 2013 ISBN 978-946-208-104-8
in this:
  • Willem Weststeeijn; Theo Bremer: Background. The Khardzhiev Collection and the Khardzhiev Foundation , pp. 12-16
  • Michael Meylac: An Absolute Ear for Poetry, a Sharp Eye for Artistic Vision , pp. 17-26
  • Elena Basner: Nikolai Khardzhiev. Collector, Historian, Legend , pp. 27-36
  • Evgenija Petrova (Ed.): A legacy regained: Nikolai Khardzhiev and the Russian avant-garde . Translation of the texts from the Russian Alan Myers a. a. Bad Breisig: Palace Ed., 2002 ISBN 978-3-935298-38-4 Note: The DNB has a scanned table of contents of the articles and documents.
  • Konstantin Akinsha; Grigoriĭ Kozlov; Sylvia Hochfield: The scholar who came in from the cold . ARTnews, vol. 95, no. 8 (Sept. 1996), p. 108-114
  • Mikhail Meylac; DV Sarabyanow (Ed.): Поэзия и живопись: сборник трудов памяти Н.И. Харджиева / Poėzii︠a︡ i zhivopisʹ: sbornik trudov pami︠a︡ti NI Khardzhieva . Moscow: I︠A︡zyki russkoĭ kulʹtury, 2000.

Web links

Individual evidence

  1. ^ Sophie Tates: Nikolai Ivanovich Khardzhiev . Short biography in: Kazimir Malewitsch and the Russian avant-garde . 2014, p. 183f.
  2. ↑ Gurt Imanse: The Russian avant-garde - the Khardzhiev Collection , 2013, p. 20
  3. ↑ Gurt Imanse: The Russian avant-garde - the Khardzhiev Collection , 2013, p. 21
  4. ↑ Gurt Imanse: The Russian avant-garde - the Khardzhiev Collection , 2013, p. 25
  5. Jump up ↑ Gurt Imanse: The Russian avant-garde - the Khardzhiev Collection , 2013, p. 13
  6. ↑ Gurt Imanse: The Russian avant-garde - the Khardzhiev Collection , 2013, pp. 22f.
  7. ↑ Gurt Imanse: The Russian avant-garde - the Khardzhiev Collection , 2013, p. 25
  8. ↑ Gurt Imanse: The Russian avant-garde - the Khardzhiev Collection , 2013, p. 25
  9. ↑ Gurt Imanse: The Russian avant-garde - the Khardzhiev Collection , 2013, p. 17
personal data
SURNAME Chardschiev, Nikolai Ivanovich
BRIEF DESCRIPTION Russian art collector and writer
DATE OF BIRTH June 26, 1903
PLACE OF BIRTH Kachowka
DATE OF DEATH 1996
Place of death Amsterdam