Person attributes
Nina Alexandrovna was born on July 15, 1936 in Leningrad in a family of architects.
In 1941, during the Great Patriotic War, together with her sister Maria, she was evacuated to Uzbekistan. After the lifting of the blockade in 1944, she returned to Leningrad. She graduated from school with a gold medal and entered the History Department of Leningrad University (Department of Art History). In 1957, she graduated from Leningrad State University and moved with her husband from Leningrad to Moscow, where she entered the Graphic department at the Polygraphic Institute.
In the early 1960s, she actively participated in the activities of the patriotic club "Rodina".
Tragically died (fell out of the window) on May 24, 1986. She was buried at the Novodevichy cemetery next to her husband.
Father - Alexander Nikolaevich Vinogradov (1.3.1904, St. Petersburg - 5.6.1972, Leningrad), chief architect of the Institute "Hydropower Project".
Mother - Marianna Ludvigovna Schroeter-Vinogradova (1902-1982); sister of mosaic artist Gali Ludvigovna Voitskevich (1906-2001) and architect Login Ludvigovich Schroeter. Marianna Ludvigovna designed residential buildings in the area of the Black River, according to her project, a power plant was built in China in 1953-1955.
My parents studied at the Institute. Repin of the USSR Academy of Sciences, worked in the Leningrad Theater. The family had three daughters: Maria, Nina and Ekaterina.
On the maternal side , Nina Alexandrovna was a descendant of:
- Catarino Cavos (1775-1840), director of Imperial opera orchestras, composer (among his works is the opera Ivan Susanin, 1815), grandfather of Camilla Cavos - in the 6th generation;
- Albert Katerinovich Kavos (1800-1863), academician of architecture (among his buildings is the Mariinsky Theater, 1859-1860), father of Camilla Kavos - in the 5th generation;
- Alexander Petrovich Sapozhnikov, owner of an art gallery, father of Alexander Alexandrovich Sapozhnikov[Genus 3] - in the 5th generation;
- Nikolai Leontievich Benois (1813-1898), chief architect of Peterhof - in the 4th generation;
- Leonty Nikolaevich Benois (1856-1928), architect, rector of the Higher Art School at the Imperial Academy of Arts - in the 3rd generation.
On the maternal side , Nina Alexandrovna had:
- great-niece - Anna Alexandrovna Benois-Cherkesova (1895-1984), daughter of A. N. Benois; Nina Alexandrovna met her in 1965 on her first trip to France and subsequently corresponded for a long time;
- second cousin granddaughter - Zinaida Evgenievna Serebryakova, an artist;
- cousin niece - Peter Ustinov, a British actor and writer.
In 1956, she married Ilya Sergeevich Glazunov, becoming for him the closest like-minded person and assistant in all creative and social endeavors. I. S. Glazunov created a number of pictorial and graphic portraits of N. A. Vinogradova-Benois in 1955, 1956, 1958, 1961, 1968, 1980 years.
The gentle girlish face in my work "Love" is Nina. She was so different from everyone I knew before her! I was forever struck by the combination in her of the trembling femininity of the Renoir girls and the inner willpower inherent in the heroines of Turgenev and Dostoevsky. From the first meeting until her tragic death, I did not part with Nina, who illuminated my life with the calm clarity of her dawn eyes. Having forgotten about loneliness forever, I was endlessly surprised by her selfless devotion, which knows no boundaries, the tender beauty of her soul. Our endless walks through the winter city, our meetings on windy bridges hanging over the snowy Neva with black sagebrush, the fabulous flickering of evening lights through a wall of falling snow, the endless prospect of deserted night streets with a lonely figure of a street sweeper - everything became new with Nina, as if the world was born anew with the sound of joy, and the miracle of human existence on earth came to life… I looked with surprise and delight at the world that had opened up to me, as if I had seen it for the first time, tremulously sought to retain these impressions for a longer time and worked endlessly, working, feeling our being in a new way. - Ilya Sergeevich Glazunov
- Ivan (b. 1969) is a Russian painter, People's Artist of the Russian Federation (2020), Member of the Presidium of the Russian Academy of Fine Arts, Rector of the Russian Academy of Painting, Sculpture and Architecture Ilya Glazunov, Candidate of Art History, Professor, Head of the Department of Historical Painting Ilya Glazunov.
- Vera (b. 1973) is an artist, a graduate of the Faculty of Painting of Ilya Glazunov's Razhviz.
Since the late 1950s, she has created graphic and pictorial compositions, sketches of theatrical scenery and costumes, worked in the genres of landscape, portrait, still life, engaged in linocut.
According to the watercolors of N. A. Vinogradova-Benois, in the year the publishing house "Fine Art" released a series of postcards (1969, in the provinces), "Russian headdress" (1971).
In the late 1970s - 1980s, together with I. S. Glazunov, she worked on sketches of scenery and costumes for theatrical productions:
- at the Berlin State Opera:
- the operas "Prince Igor" by A. P. Borodin (1978-1980),
A theatrical costume is not just a dress. It characterizes the one who wears it and speaks about the art of those who created it. It was necessary to do a lot of work so that the year 1185 could be recreated on the stage of the Berlin State Opera and Alexander Borodin's opera Prince Igor could delight the audience. Nina Vinogradova-Glazunova is not actually a costume designer. She is an artist, and the artistic costumes were created by her for "Prince Igor". - Fragment of Ilona Ryuman's article "The Prince's New Dresses" in a German magazine dated 10/27/1978
- opera "The Queen of Spades" by P. I. Tchaikovsky (1981-1982);
- in the Odessa Opera and Ballet Theater:
- The Masquerade ballet by A. I. Khachaturian (1982);
- in the Bolshoi Theater:
- the opera "The Legend of the Invisible City of Kitezh and the Virgin of Fevronia" by N. A. Rimsky-Korsakov (1983).
Already in the sketches, the contrast noted by reviewers after the premiere of the play is visible: gold leaf and canvas, the splendor of the costumes (more than four hundred of them were made for the performance) and the severity of architectural forms, the brightness and grotesqueness of the costumes of the Tatar army and the nobility of the coloristic solution of Russian costumes. In Nina Alexandrovna's sketches, all the characters are individual: facial expressions, poses, angles of figures allow you to fantasize about the characters, moods, destinies of the depicted characters, they communicate with each other, being located on a sheet in ready-made mise en scene. Translucent watercolor in combination with gold, sometimes clear and clear, sometimes darkened and deaf, like the golden mist that hid the Great Kitezh, with glimpses of whitewash that turned into placers and threads of pearls in the workshops of the theater, create the feeling that a fairy tale, maybe not a fairy tale at all, but a true story, the fine line between historical truth and legend dissolves in a combination of gentle, ethical color and authenticity of ornaments and cut. Here is the Metropolitan standing, sadly lowering his eyes and leaning on a massive staff, here is Prince Yuri in festive attire, in a cloak with a sky-blue lining, holding his hand to his chest with hope, young Fevronia in a wedding dress with a veil fluttering in the wind takes a timid step forward, and on the next sheet Tatars Bedyai and Burundai - face masks, bodies are hidden by armor, from under which bright eastern clothes of nomadic conquerors are knocked out.The work of the artist and do not copy do not quote the work of predecessors, they are original, created to exist in a particular setting, who embodied Glazunov, but they felt the influence of Russian stage design school, which stood at the origins of the outstanding artists Vasnetsov, Korovin, N. Roerich and others: interest in historical accuracy, poesy coming from the music artworks, dynamic and picturesque groups of actors on the stage, designed at the stage of the sketch. — E. A. Churakova, chief curator of the Museum of the Bolshoi theatre of Russia.
Together with her husband, she traveled a lot around Russia, collected and restored icons and objects of Russian antiquity.
The works are in the collections of: the State Central Theater Museum named after A. A. Bakhrushin (128 works), the Museum of the Bolshoi Theater of Russia, private collections of Ivan Ilyich and Vera Ilyinichna Glazunov. Theatrical costumes, made according to sketches by N. A. Vinogradova-Benois in the art production workshops of the State Academic Bolshoi Theater, restored and painted by Vera Ilyinichna Glazunova, belong to the collection of Ivan Ilyich Glazunov.
Main source: RNB electronic Catalogs
Vinogradova-Benois N. A. Nina Vinogradova-Benois = Nina Vinogradova-Benois : [album of works / article: I. S. Glazunov]. - Moscow: Moscow State Art Gallery of the People's Artist of the USSR Ilya Glazunov, 2016. - 190+1 p.
Glazunov I. S. Ilya Glazunov : [album / comp.: N. A. Vinogradova; author of the text S. A. Vysotsky]. - M. : Fine Arts, 1986— - 325+2 p. + Adj. (8 p.).
Glazunov I. S. Images of F. M. Dostoevsky in illustrations by Ilya Glazunov : [photo album / comp. N. A. Vinogradov-Benois; author of the text L. Ya. Ermilova]. - Moscow : Planeta, 1986— - 207 p.
- 2nd ed. - Moscow : Planeta, 1990. - 208 p.
Glazunov I. S. Artist and time : Ilya Glazunov : [album / comp.: N. Vinogradova ; author of the text O. Volkov]. - M. : Sov. Russia, 1984— - 263 p.
Gift of the USSR to UNESCO : [panel of the artist I. Glazunov "Contribution of the peoples of the USSR to world culture and civilization" : photobook / comp. N. Vinogradova-Benois; author of the introduction. articles by Ilya Glazunov]. - M. : Planeta, 1982— - [19] p.
