No, Sofronov was not listed among the “Amazons of the avant-garde,” although the exhibition “Jack of diamonds” in the winter of 1914, her work has been shown together with works by Liubov Popova and Nadezhda Udaltsova. The reasons for that, having the Moscow school of Fedor Rerberg and Studio of Ilya Mashkov, Sofronova was in no hurry to move into the vastness of irrelevance after the Herald of Suprematism. She wasn’t attracted to the anthem and futurists the world of production and new velocities, which contrasted with the sleepy Kingdom of the past. “Extreme left-wing artists (Kazimir Malevich and his disciples) habitually oppose “green old world meat and bones” – the world of urban culture. But maybe this view: “green world” and the world of urban culture – a single. One came from the other, and may again return to “normal”. All of this – a single matter and a single spirit,” the artist writes in her diary in 1920 in Tver.
In Tver she was as a teacher of “State of the art workshops” organized by the Department of fine arts Narcompros. These workshops were organized in different cities of the country in parallel with the creation of the Museums of painterly culture. Scroll of history of the Moscow Museum of painterly culture, we recently launched the Tretyakov gallery. Art workshops in the cities were solved essentially the same problem that museums and freshly – planted interest, a taste for new art. Workshop classes Sofronova was based on the analysis of the experience of modern systems in the art. The exhibition in the “Ark” you can see her compositions in the early 1920s. It’s about them Vasily Rakitin notice: “In her improvisation nothing is automatic, a given, but there is nothing accidental, approximate. Everything is done accurately, sir.”
In the “Garage” was opened inexhibition “We keep our white dreams…”
In Tver she worked for a short time. But that’s where she found colleagues, companions and friends for life – art critic, theorist Nicholas Tarabukina and artist Mikhail Sokolov.
At first glance, her work after returning to Moscow fits into the range of activities left by the artist. She works in the workshops of propaganda on posters, sketches, banners (these banners, by the way, was shown in the introductory hall of the Soviet pavilion at the international industrial exhibition in Paris, 1925), makes illustrations for Leonov’s novel the badgers, covers for magazines. It seems that for one of the magazines she begins to draw Moscow types. Their characters she found at the Sukharev market in beer, on the porch. Artisan become sad with sunken eyes, bony young woman in a tied peasant-style headscarf, dashing street children, whose childish features marked by the brash militancy of the people, accustomed to the manners of the street drama of gamblers… the exhibition of these drawings in charcoal or ink fascinate accurately captured the character, expression types, a combination of expression and grace of line. The logs are not useful: where is the satire on the “ex”, where a clear accusatory position?
Actually, even then, found the calm firmness and independence of the position of the artist, as if not noticing the possibility of compromise in art. “Surely that – that itself isn’t aware of itself creates and maintains (…) all Sorts of intermediaries – calculation of material or moral, intervening in the act of birth makes the child a bastard …”, – she will write in her diary. This position was developed a long time ago. In 1919, it would offer: “human Right not to merge your life with the natural life if she goes against his task. It is not superfluous, but coming his way man.”
In St. Petersburg showed the anti-fascist cartoons
the Price of failure to keep the “foreign” way in an era when the slogan “who is not with us is against us” sounded from each of the “plates” on the post, was very high. Despite the fact that her drawings (but not the author) get to Paris gallery Devambe (thanks to lion Gugino!), and the work shown on the exhibitions of the Society Moscow painters, where there were a lot of “bubnovaya”, her path seems to lead further and further not only from the ideologists of the “Industry of socialism”, but from the “left” art. Much closer it is, oddly enough, his French contemporaries, whose work has been seen at the Moscow exhibition of 1928. No wonder Nina (Antonina so called loved ones) Sofronov styled “Russian Brand”. As the critic Erich Hollerbach, remembering her Moscow landscapes in one of the poems that will appeal to her: “And you, Sofronova, Marche // Priemlemaya as a fellow // I was there in the attic // In one of the streets of the Arbat”.
Her “Parisian” taste is shared by the master of the group “Thirteen”, the exhibition in which it participates in 1931. Along with her, Nikolai Kuzmin, Daniil Daran, Tatyana Mavrina, Vladimir Milashevsky, works for the exhibition gave Nadezhda Udaltsova and Alexander Drevin and even David Burliuk. There was first shown in Moscow scenery that can be seen today in “one of the streets of the Arbat”, Trubnikovsky lane – in the “Ark”.
it’s not the fact that its the canvas of a deserted quay of Moscow in a pearl-gray haze looks refined, like a Parisienne. In the end, a number of “Urban landscape with boat”, the same 1931 – Japanese brand for contemplation, economy of means, and absolute oneness of a fisherman in boat, world. Japanese art Sofronova knew and appreciated. More importantly, painting Sofronova is without pathos, the long-standing belief that “all are one substance and one spirit”. And because watercolors of bouquets and Nudes, bright pheasants (series “Moscow zoo”), portraits of “former Actresses” – friends, sisters, ladies with Toucan, daughter, grandchild, and tired refugee from sleeping in the hands of a child still fascinate calm self-sufficient beauty. If these are not paintings of the insane of the last century, and the ancient portal to eternity.
the Hermitage opened an exhibition of unique sculptures Klodt
At this point you begin to understand why the form and nature of art for her was not purely aesthetic choice. Rather, existential. “Lord, help me to be an artist!”, she writes in the diary. The fact that she’s in 1941 (!) working on illustrations to the Unit, and immediately after the war – over the illustrations to novels and novels of Andrei Bely, speaks volumes. It was not there on earnings – earn Sofronov in the difficult years, retouching photos for the “Young farmer” or “Medgiz”.
If you talk about the two alternatives of the new art of the twentieth century, one of which was the Museum of painterly culture and the other search Anthroposophical of Rudolf Steiner, and Andrew White, the traditions of which in the Russian art reminded exhibition in the “Garage”, it seems that Sofronova moved from the first path to the second. And if the “Amazons of the avant-garde” had to defend the new art, Antonina Sofronova “deaf” year has dropped to keep the notion of art as a free choice.