The Russian avant-gardists were maximalists. Maximalism is characteristic of Russian culture in general, but in the feverish atmosphere after 1910, it grew more pronounced. Malevich and Tatlin and Filonov considered themselves not only artists but prophets of a new form of life. Artistic creation for them was a profoundly spiritual experience. Each of these artists was tied, in his own way, to the Russian religious tradition. In the paintings of each, one could find traces of the influence of ancient Russian icons. And in those artists’ speeches, refrains from religious and mystical ideas often echoed.
This could not have escaped Zheverzheyev’s attention, since he was a specialist in that area, owning a church supply store, after all. For him the ties between the Russian avant-garde and folk art were also obvious: they all adored the ancient designs, the primitive art of shop signs and serving trays, embroidery and ornaments. As a collector, Zheverzheyev knew those items well, too.
In the annals of the Russian avant-garde theater, there is an example of the influence on contemporary innovation of Zheverzheyev’s collection and his interest in historical rarities. He commissioned a model of the famous “Scene in Hell,” which was the finale of the once-popular old Russian show
Mayakovsky came to the craftsman’s studio while he was working on the project and peppered him with questions on the traditional techniques of folk fairy plays and mysteries. A while later Meyerhold produced Mayakovsky’s new play,
Every major Russian avant-garde artist wanted to be a leader and felt he had the right to be one. And among themselves, the artists fought fiercely. This worried Zheverzheyev, who wanted to make peace among these warring talents, believing it would be easier for them to confront the philistines among the public if they were united. So he took pains to help organize the Union of Youth, a society of avant-garde artists, in 1910.
The Union of Youth lasted almost four years, giving seven major exhibits, producing three issues of a daring magazine, publishing books, and holding debates that drew attention to the new art. None of this would have been possible without Zheverzheyev: the magazine, the exhibits, and all the rest were paid for out of his pocket.
And in general without his peacemaking and unifying presence, the Union of Youth could not have lasted as long as it did. As its chairman, Zheverzheyev insisted that Moscow avant-garde artists and futurist poets join this Petersburg society. Such a goal was not easy to achieve, but the results included two extraordinary theatrical presentations that left a deep impression on the history of the Russian avant-garde: the performances in Petersburg of the tragedy
Russian avant-gardists believed the theater was the best instrument for expressing their ideas. This conception originated with the Russian symbolists, who had always maintained, “From art will come a new life and the salvation of humanity.” For them, the theater was not simply inseparable from ethics and religion but became a means for transforming the spirit. Andrei Bely preached that “at the heart of the goals proposed by art there are religious aims: those aims are the transformation of humanity.”43
These messianic ideas were vividly reflected in the late work of Alexander Scriabin, who conceived the great music and dance work
Scriabin’s
