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Permanent Collection

Filip Andreievich Maliavine - From 1918 onwards

(Orenburg, 1869 – Nice, 1940)

Handbooks and lexica list various places where the painter is said to have been born and where he died. They also give different dates for his birth and death. The latest research suggests that Maliavin was born in 1869 in Kazanka (Samara province, today's Orenburg) and that he died in 1940 in Nice. From 1885 to 1891 he was painting icons in the monastery of Saint Pantelejmon on Mount Athos, from 1892 to 1899 he studied painting with Ilija E. Repin at the academy in Saint Petersburg. The portraits of his fellow students Igor Grabar, Elisaveta Martinovna and Konstantin Andreievich Somov date from this time. In 1895 Pavel Tretjakov bought his paintings Peasant Girl Knitting and A Girl with a Book for his gallery. Maliavin depicted motifs from Russian peasant life, peasant girls and old women. In 1900 he went to France. He lived in Paris where he exhibited Laughter at the World Exhibition and won the gold medal (the painting was bought by the Museo d'Arte Moderna in Venice in 1901). In the same year he returned to Russia, married Natalija Novak-Savić, bought a property near Ryazan and settled there. In Paris he had begun painting decoratively in the modern manner with light strokes. In his portraits the faces remained realistically and plastically calm, but he brought liveliness to the clothing of his sitters, the backgrounds and objects in his paintings with a play of restless disintegrating splashes of colour (Self-portrait, Russian Girl). In France he signed Ph. Maliavine. Between 1908 and 1910 he again lived in Paris, then he returned home. He painted a portrait of Lev Davidovich Trotsky, and in 1920 he drew about twenty sketches for a portrait of Lenin in the Kremlin. In the same year he also painted Anatoly Vasilievich Lunacharski. In 1918 he propagated the fine arts under the patronage of the Ryazan Commissariat for Education and in 1920 he participated in the Federal Conference as a representative of the Association of Russian Artists. In the autumn of 1922 he went to Paris with his family, where he exhibited in the Galerie Charpentier in 1924, in the Salon d'Automne 1923–25, and also in New York, Chicago, Washington, Philadelphia, Pittsburgh and many European centres. In 1933 he accompanied his exhibition to Yugoslavia, England, Czechoslovakia and Sweden. Maliavin was also a graphic artist. A Portrait of the Artist's Father is kept in the Narodni muzej in Belgrade, other works are in galleries and museums in Saint Petersburg, Moscow, Prague, London and elsewhere.

Lit.: N. Aleksandrova, Filip Andrejevič Maljavin, Moskva 1966; O. A. Živova, Filip Andrejevič Maljavin (1869-1940); Žizn' i tvorčestvo, Moskva 1967; Alla Korobtsova, Philip Maliavin, Masters of World Painting, Leningrad 1988.

The Third Renaissance in Slovenia

The twentieth century was the third period in history that elevated Ljubljana to an active art centre on the Slovenian ethnic territory. This era is marked by artistic trends that originated in the world art centres, while only rarely symptoms of local tradition and continuity can be traced. Although the Expressionists are usually ranked as belonging to the historical avant-garde, it is necessary to distinguish within their group between continuity and radicalism. The long shadow of Art Nouveau – particularly in the expressionist oeuvres of the brothers Kralj, France and Tone, and some other representatives of this generation who studied in Prague – extends via the expressive pre-WW1 paintings by Fran Tratnik all the way from its hard core with Gustav Klimt and the Wiener Werkstätte of the turn of the century. The artists’ updated formal methods frequently carry on the patterns of allegorical interpretation. Not even Stane Kregar is completely free from it in his Surrealist manner which he adopted in Prague. The dominant line is paralleled by a more promising colour intimism of the older generation with the relationship between the Flowers, Fruit and Jug by Alexey Jawlensky and The Sava by Jakopič. 

Colour realism of the 1930s prevailed in the generation or two that came from the Zagreb academy (France Mihelič, Maksim Sedej, early Zoran Mušič, and Gabriel Stupica), and their counterpart Gojmir Anton Kos is an outstanding representative of pure painting which likewise drew on the orthodox premises of Courbet’s and Manet’s realism. Among the sculptors, Frančišek Smerdu belongs to this generation. These representatives, who with authority and teaching zeal settled in the core of the newly established Ljubljana academy, helped to spread modernist trends in the second half of the century, which were all to the end of the 1970s still influenced by the authority of Paris as the principal art centre. Younger artists, such as Marij Pregelj among painters and Jakob Savinšek, Drago Tršar and Stojan Batič among sculptors, belong to this eminent company. Representatives of Italian painting of the 1930s, such as Gino Severini, Giorgio Morandi and Filippo de Pisis, demonstrate that Slovenian art in this century surpassed the limits of regional ambitions as well as achievements.
OwnerBirth - death
Stojan Batič (Trbovlje, 1925 − Ljubljana, 2015)
Mirsad Begić (*Glamoč, 1953)
Renato Birolli (Verona, 1907 – Milan, 1959)
Massimo Campigli (Berlin, 1895 – Saint-Tropez, 1971)
Filippo De Pisis (Ferrara, 1896 – Milan, 1956)
Lojze Dolinar (Ljubljana, 1893 − Ičići, Opatija, 1970)
France Gorše (Zamostec, Sodražica, 1897 − Golnik, 1986)
Zdenko Kalin (Solkan, Gorizia, 1911 − Ljubljana, 1990)
Fran Klemenčič (Ljubljana, 1880−1961)
Gojmir Anton Kos (Gorizia, 1896 − Ljubljana, 1970)
Tone Kralj (Zagorica, Dobrepolje, 1900 − Ljubljana, 1975)
France Kralj (Zagorica, Dobrepolje, 1895 – Ljubljana, 1960)
Stane Kregar (Zapuže, 1905 − Ljubljana, 1973)
Peter Loboda (Domžale, 1894 − Ljubljana, 1952)
Filip Andreievich Maliavine (Orenburg, 1869 – Nice, 1940)
France Mihelič (Virmaše, Škofja Loka, 1907 − Ljubljana, 1998)
Giorgio Morandi (Bologna, 1890–1964)
Zoran Mušič (Bukovica near Gorizia, 1909 – Venice, 2005)
Ivan Napotnik (Zavodnje, Šoštanj, 1888 − Šoštanj, 1960)
Cipriano Efisio Oppo (Rome, 1891–1962)
Veno Pilon (Ajdovščina, 1896−1970)
Jože Plečnik (Ljubljana, 1872−1957)
Marij Pregelj (Kranj, 1913 − Ljubljana, 1967)
Alojzij Repič (Vrhpolje, 1866 – Ljubljana, 1941)
Janko Samsa (Žirje, Sežana)
Jakob Savinšek (Kamnik, 1922 − Kirchheim, 1961)
Maksim Sedej (Dobračeva, Žiri, 1909 − Ljubljana, 1974)
Gino Severini (Cortona, 1883 – Paris, 1966)
Frančišek Smerdu (Postojna, 1908 − Ljubljana, 1964)
Matej Sternen (Verd, 1870 – Ljubljana, 1949)
Gabrijel Stupica (Dražgoše, 1913 – Ljubljana, 1990)
Saša Šantel (Gorizia, 1883 − Ljubljana, 1945)
Fran Tratnik (Potok, Nazarje, 1881 − Ljubljana, 1957)
Drago Tršar (*Planina, Rakek, 1927)
Ivan Vavpotič (Kamnik, 1877 – Ljubljana, 1943)
Alexej von Jawlensky (Torzhok, 1864 – Wiesbaden, 1941)