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KONSTANTIN DROBOV

About Boris Zaborov – world famous artist and book graphic artist from Belarus

I am leafing through the 1972 edition of the poem of the national poet of Belarus Yakub Kolas "Symon the Musician". Minsk book publishing house "Belarus". Its circulation is unique – 20 thousand (!) copies. A real gift for the 90th anniversary of the birth of Yakub Kolas. The author of the book is the book graphic artist Boris Zaborov. …"What a real success – to meet the right person at the beginning of the Path. Teacher. He was and remains my first teacher: Sergey Petrovich Katkov. He was a man of broad, kind soul, generous love for us, insightful. He understood that we all, six or seven of us in a group of boys, love him very much, so he treated everyone equally and attentively, not letting envy settle in our hearts," – Boris Zaborov said in a preface to a book that cannot be forgotten, which was published in St. Petersburg in 2018. I wish this book were republished, translated into Belarusian! On the pages of the publication there are meetings with Vasil Bykov, Naum Kislik, Ryhor Baradulin, Petrus Brovka, the artistic and literary life of Minsk in the 1950-1980s...

And some more passeges from the book of memoirs of the artist Boris Zaborov: "In summer, Sergey Petrovich took us out for plein air. One trip to Polesie, a region known in Belarus for impenetrable forests, swamps and peat bogs, is alive in my memory. We stayed in a small village surrounded by forest. We slept on the barn-floor... In the morning, we got up before dawn and we went out with a local guide. Our hike was called "Around partisan places." We walked through the forest along a narrow, with tree abatis, animal path. After several hours of hiking, we got tired, decided to rest, and then it turned out that our guide had lost his way. But we didn’t worry as Sergey Petrovich was with us. He, a former Soviet army officer, had a compass. I was impressed by this image, this artistic symbol, which, perhaps, even by the future famous artist was not chosen for the sake of an accent... The compass of Sergey Petrovich Katkov... Boris Abramovich Zaborov (1935-2021) was born in Minsk. Belarusian and French painter, graphic artist. The son of the artist Abram Zaborov. From 1949 to 1954 Boris Zaborov studied at Minsk Art School. Then he studied at Ilya Repin Institute of Painting, Sculpture and Architecture of the USSR Academy of Arts in Leningrad. In 1956 he

Autograph from a famous artist

Illustrations by Boris Zaborov for Yakub Kolas' book "Symon the Musician"

changed it for V.I. Surikov Moscow State Art Institute, which he graduated from in 1961 with a degree in stage design. After graduation he returned to Minsk. Member of the Union of Artists of the BSSR since 1962. In October 1980 he emigrated from Belarus. At first he lived and worked for several months in Austria. Then – in France... In Belarus, Boris Zaborov was known as a talented book graphic artist. He designed dozens of books of works of Belarusian and Russian writers, books of translations into Belarusian, e.g."Hamlet", "Sonnets" by William Shakespeare, "King Matt" by Janusz Korczak, "Blow the Wind" by Janis Rainis... The National Art Museum of Belarus contains 50 graphic sheets of Boris Zaborov. Abroad, the artist was engaged in painting. Already in 1983 in Paris his solo exhibition was held in the gallery of Claude Bernard, in 1986 – Exhibition at the Art Point Gallery in Japan, Tokyo, in 1991 – solo exhibitions in Paris, Amsterdam and Tokyo... In 2008 – "Exhibition of one painting", Uffizi Gallery, Florence. Recognition that no Belarusian artist has!.. The date of foundation of the Uffizi Gallery is 1581. About two million people are known to visit it annually... It houses permanent exhibitions of works by Botticelli ("Spring", "The Birth of Venus", "Slander", "Madonna and Child with an Angel"), Leonardo da Vinci, Titian...

As for the graphic discoveries of Belarusian and French artists, let's get acquainted with the already mentioned book by Yakub Kolas "Symon the Musician". In the 1972 edition, there are nine sheets with Boris Zaborov’s graphic pictures... The protagonist of the illustrations is Symon the Musician. His creative life begins with a pipe given to him by his grandfather. Then, waking up from fantasies, he picks up a violin... This is how the guy with the violin becomes a typical character in colorful illustrations. The artist created his own poem, perhaps no less important than the work of Yakub Kolas. It seems to me that Boris Zaborov felt the colors of his home land, followed the musician's path through his native land and managed to find a place for his fantasies. The artist is not afraid to distort reality. Symon the Musician is not only connected to the earth, but also finds a place in heaven. I wish the author could have seen such a publication, enriched with the imagination of the book illustrator!.. But the artistic fate of the classics usually continues in eternity. Boris Zaborov's graphics dedicated to "Symon the Musician", together with the poem, will also remain in eternity. There is no doubt about that!..

Now one of the national book publishers is preparing a personal encyclopedia "Yakub Kolas" in several volumes. Undoubtedly, among the articles about other artists who contributed to the reading of the Belarusian folk poet’s heritage, there is a worthy story about Boris Zaborov, the great artist of our time.

Ales Karlyukevich

Vladimir Prokoptsov: "The museum mission is primarily educational"

The National Art Museum of Belarus always cordially, with the hospitality of a friendly host, invites art lovers to its home

This building in the center of Minsk is well known. Outwardly, it immediately resembles a museum by its architectural style. Of course, both the citizens of Minsk and numerous guests of the capital have been here. Fortunately, there is always something to see in the National Art Museum.

But the collection of the country's main museum was not easy to form. During the Second World War, it was actually lost. And only thanks to the enormous selfless work, the museum today can be proud of its collection of the most valuable and interesting exhibits.

In fact, in the post-war revival of the museum collection much merit belonged to the then director Elena Aladova. This woman is fondly remembered not only by museum workers. This is the story I heard once from the People's Artist of Belarus Leonid Schemelev: "My graduate work "Wedding"was lost under strange circumstances. But there is a higher justice: I found it. As a student, I heard a lot about Elena Aladova. I dared to come up to her and ask for advice on how to safe my work. I remember Elena Aladova saying only one word: "Bring..." I, of course, was taken aback, did not realize at first what a lucky chance I had, but when I did, I was absolutely over the moon. Since then, my graduate work has been kept in the main museum of the country. But Elena Aladova took it, as they say, not for my good looks. She had a very subtle perception of fine arts and it is thanks to her that the museum has a very worthy collection."

Even now, when the time for mass events is not the most suitable due to the well-known pandemic reasons, the National Art Museum lives a rich exhibition life. A number of other educational projects in a modern style are being implemented. And this is largely due to the activity of the current Director General of the museum, Vladimir Prokoptsov. For the last twenty-three years, it is he who has been in charge of the staff of the museum. He literally gushes out ideas that are based on an understanding of the high status of culture and art in the turbulent flow of time. It is interesting to talk with

Vladimir Prokoptsov, to receive frank answers, which reflect the essence

Vladimir Prokoptsov

of personal views on museum business and his belief that he is engaged in this business by vocation.

– It is interesting to hear your opinion on whether the museum should somehow shape the taste of visitors?

– Definitely. A museum cannot be just for fun. The mission of the museum is scientific and educational or educational and pedagogical. It is, highest level at one time. The project was well-invested in. I hope that the museum quarter will be finished in the near future.

– After all, what will be the main function of the museum quarter?

– Firstly, we will allocate, evenly distribute our funds, our collections. Secondly, we will create the necessary infrastructure. After all, today the museum does not have a good cafe. And

it should have at least one hundred seats, with special equipment. And in the project for the development of the museum quarter such a cafe will be situated on Karl Marx Street. Unfortunately, we do not have a museum shop either, where the relevant cultural literature would be sold. I have been to many European museums. You come into it – there is a store with an area of two hundred meters: books,

There are always many interesting events in the museum

if you like, an educational center. The museum today takes on a completely different form. In spite of everything, it should be active, if necessary, it should go beyond its walls. That is, today an exhibition can have its applied continuation in various directions. For schoolchildren it may be one thing, for adults it may be another. A lot of money is invested in the museum: halls, equipment, salaries... Everything in order to develop people's tastes. That is why the museum should always be proactive, even aggressive in an amicable way. And be three steps ahead. Especially now, during the time of globalization. If a person is attracted to a museum, then it should be interesting for him/her there. There should be lectures, excursions, albeit in online

format, if the situation requires it. The mission of the museum, I am absolutely sure of this, is primarily educational. So take it or leave it.

– Judging by the new building and reconstruction, do you count on the development of the museum's infrastructure?

– Certainly. Firstly, the idea of a museum quarter was supported at the

albums, various souvenirs with the logo of the museum, some decorations – just everything. And from the sale of souvenirs, the museum, on average, has up to forty percent of its profits. In the future, we will have all this. I wish it were. So that no one, leaving the museum, remains indifferent. So that a schoolchild would buy some kind of branded magnet, a tourist who came from abroad would buy an album dedicated to this or that exhibition, a catalog of works of this or that Belarusian artist or sculptor. Catalogs, albums should be in at least three languages: Belarusian, Russian and English. For a tourist to come and say: give me a book dedicated to the work of your famous fellow countrymen Pen, Chagall, your icons. And such things should always be in stock in the museum shop. It is a must. The main mission and goal of our future museum quarter is for a person to enter the museum at eleven a.m., and leave it in the evening. If he/she is tired, he/she goes to a cafe. Or he/she goes to the patio and sits on the bench. Rests in the fresh air and goes back to the museum – to visit another exhibition. This is how it should be in an ideal scenario. We will try to promote this. The main thing is that there is support.

– In a word, you do not avoid using the experience of others?

– When I come to another country, when I get to a museum, I look not at the paintings, but at the way the paintings are fixed. What kind of exhibition equipment is used, what kind of lighting, finally, what kind of parquet is laid in the halls. First of all, I look at it with the eyes of a business executive. Then I look at the pictures.

– Over the years of your directorship of the National Art Museum, you have become convinced that the viewer has become more prepared, more fastidious.

– Of course. After all, there is the Internet, and an art lover can, for example, easily, albeit virtually, walk around the Tretyakov Gallery. Or one can

watch online masterpieces in other famous galleries and museums in the world. Today, nothing will surprise the viewer. He/she became a gourmet, more demanding, discerning. And we need to be ready for this. So that we do not lag behind: in technology, in methodology. In staff. The new generation is changing – this is a global issue. And the director of the museum cannot stay idle. I constantly keep the team in suspense. Maybe someone doesn't like it. In the 60s-70s, the museum was a safe haven. And now it has to make money, maintain the image of its country. And it should definitely do international projects. What does the visitor ask and demand? Give him/her an exhibition by Marc Chagall or other famous masters from Belarus, give an exhibition from the Tretyakov Gallery. Today, employees should necessarily have knowledge of foreign languages. In short, we need to constantly expand the format of the museum.

– This means that even at the present time, when there are certain restrictions due to the pandemic, the term "fight for the viewer" is not outdated and is still relevant.

– On the contrary, now we have to fight for every visitor. Only with interesting projects, meaningful programs will we be able to attract the viewer to us. In an ideal scenario, a museum is a large cultural industry. Like Hollywood.

– It is probably difficult to manage such a mechanism.

– Not easy. This is a great responsibility, because the museum is the country's visiting card. I tell the staff that over time we will all be replaced. A museum shouldn't be like a nursing home. The museum has to work. And therefore, of course, a great responsibility lies directly with the head. I feel it, I understand it. That's why I turned gray so early.

– Is the museum director more of a manager or a scientist?

– All at once. I cannot imagine that the director of the National Museum of Art is not an artist, not an art critic, but only an economist-manager. Can you imagine an economist at the head of the Hermitage? Or at the head of the Tretyakov Gallery? I can't. Yes, they have managers, but still, there should be an art specialist in charge. The manager can be the chairperson of an agricultural complex. If I had chosen an agricultural path, I would have become an agronomist, I would have been the head of an agricultural plant. But I took a different path, so I am the director of the museum. Today the figure of the museum director is universal. He/she should be a manager, an economist, and an art critic. Especially if it is a museum of such field of art. Firstly, artists come to the director to discuss the organization of their solo exhibition, some other issues. And how I, just an economist, will behave with a prominent artist. What will I talk to him/ her about? We will not understand each other. That is why I am not ashamed to learn everything.

– What criteria are used to determine the value of a particular work that a museum acquires?

– We do not buy ourselves, we have a council when it comes to contemporary art. If a thing is purchased abroad, for example, sashes of Slutsk, we persuade the Ministry of Culture that it is absolutely necessary for the exhibition. But the decision is made collectively. If it is a particularly valuable item, then a tender is held. And so, of course, the whole policy is formed by the museum community headed by the director. That is why today the director is obliged to understand everything: both in tenders and in paintings.

– Do you happen to have a split personality – between the director Prokoptsov and the artist Prokoptsov?

– It is very difficult to acquire something substantial. Firstly, masterpieces cost a lot of money. If there were means, I would not be chasing Rembrandt or Picasso. I would buy something from Chagall's work. I would have acquired the works of the artists of Paris School. But the fact that we have two

works by Chagall, two works by Genin is already a step forward. These names are widely represented in the world's leading museums. And here, in their homeland, still thinly represented... This is the gap I would eliminate in the first place.

– Could you continue the phrase: "Real fine art is…"

– …Life. There is no life without art. Fine art makes a person richer spiritually. It makes him/her kinder, more harmonious. There is a general set of cultural values that are mandatory as rules of behavior in society: for example, to give up seats to elders, let women go first... But in general, art is life. There will be no development of civilization without art. Why did they start drawing and painting in the caves? People even then looked at the stars and wanted to see something that was reflected by their vision on the wall. The stars disappeared in the morning. But a handsome hunter appeared on the wall, a scene from the life of a primitive man. And these drawings are also admirable. Many of them are heritage. A kind of museum value.

– What is your current directorial job interesting for?

– In it, as the head, I am self-

sufficient. I received an education in art and can be on equal footing with any artist, by the way, as well as with the director of the Louvre museum. I feel good in this place. I like working at the museum: I am satisfied with it, I feel very comfortable.

– On the contrary, there is complete harmony. One complements the other. I had a split personality when I worked in the office of the Council of Ministers and did not participate much in exhibitions. Then officials were not encouraged to exhibit together with artists. This was not welcomed, to put it mildly, in the 80s-90s. But now, on the contrary, I feel very comfortable.

– During your museum directorship, there were many exhibitions from foreign museums. Regarding the presentation of works of the National Museum of Art abroad, are you planning actions to show our museum wealth?

– Yes, there are such plans. We have already shown Khrutsky's paintings in Vilnius as part of the bicentennial of the artist's birth. We successfully implemented a project with the Vatican – they showed Belarusian icons there: Orthodox and Catholic. Of course, this is all a very troublesome business, at least for the reason that it is associated with insurance.

– And what could the museum afford to purchase for the permanent fund?

Veniamin Mikheev. Photo credit: the author.

There is always something to see in the National Art Museum