Kruglikova Elizabeth S. (1865-1941)

ES Kruglikova very soon realized his calling thanks in part to an atmosphere of reverence for art that prevailed in her family. Vocational education she received training with a volunteer at the 1890 Moscow School of Painting.

In 1895, I moved to Paris and settled there for a long time, periodically coming to Russia and Russian-language newspapers publishing the correspondence of French life and about his trips to France.

In Paris, she worked in the studios of A. Vitti and F. Colarossi. Shot her shop in the street Buassonad soon became a kind of Russian cultural center here is not just worked and lived, but also hosted a myriad of familiar and unfamiliar visitors, not just artists.

Only the beginning of the First World War, catching Krooglikov in 1914 in St. Petersburg, forever severed her from Paris. The last tribute to her beloved city became her book "Paris on the eve of the war ..." (Pg. 1916), decorated with numerous monotype artist herself.

Creativity Kruglikova was quite specific. In her youth she was fascinated by a variety of print graphic techniques and eventually captured them perfectly. Special sympathy enjoyed her technique is very rare, half-forgotten or even completely forgotten - such as soft ground, aquatint, mezzotint.
 Endlessly experimenting artist restored or rediscovered their subtlety and gave them a modern sound.

The development of Russian engravings in the XX century. was much obliged to her enthusiasm and efforts. Back in Paris in Kruglikova were first disciples (among them M. A, Voloshin , KE Kostenko, etc.), and in the 1920s. in Petrograd, she became a professor of etching graphic faculty of Arts, later headed a cabinet with an etching printing department Vhuteina (Leningrad).

The most significant results Kruglikova been made ​​in two areas. The first of them in time (since 1909) has been monotype - old, but virtually disappeared techniques that allow interesting to connect art with printing. In his elegant and concise, beautiful color still lifes, landscapes and genre scenes Kruglikova managed to harness the power of this technique as fully as it was not possible, perhaps, to anyone after that.
 second area (from 1914) was a silhouette, and rarely attracts more so beloved of artists and artisans and amateurs. Elementary technique of cutting out black paper Kruglikova used to create beautiful and diverse works.

The best known is its huge (about 1000 works) a series of portrait images of contemporaries, mostly artists, which she created for nearly twenty years (MI Tsvetaeva, M. Voloshin, A. Block, AA - Akhmatova, AN Tolstoy, Vladimir Mayakovsky, and others). Undoubted similarities and sharp, sometimes a bit overact, psychological expressiveness give them the character of a kind of artistic document eloquently characterizes the people of this eventful time.