Copyright ©2013 NPR. For personal, noncommercial use only. See Terms of Use. For other uses, prior permission required.

ROBERT SIEGEL, HOST:

From NPR News, this is ALL THINGS CONSIDERED. I'm Robert Siegel.

AUDIE CORNISH, HOST:

And I'm Audie Cornish. The work of the late Russian sculptor Vasily Konovalenko may not sound controversial. He carved scenes from Russian folk life out of semiprecious stones. But during Soviet times, he ran afoul of the Communist Party. He immigrated to the U.S. in search of artistic freedom. Now, some of his sculptures can be seen in Denver, and recently, researchers from Denver visited Russia to document more of his work. NPR's Corey Flintoff met them in Moscow.

COREY FLINTOFF, BYLINE: Stephen Nash came to the Moscow Gem Museum to see the work that got Konovalenko in trouble with Soviet authorities. Nash is a curator from the Denver Museum of Nature & Science, and his enthusiasm bubbles up as he describes a piece called "Sultry Mid-day." It's maybe 15 inches long, set on a platter carved from malachite stone, as green as moss. Gray-blue agate has been set into the malachite.

STEPHEN NASH: Into those agate circles, which look like pools of water, are two middle-aged women who are enjoying cooling off in the summertime with tea that's being cooked in a samovar...

FLINTOFF: The ample bodies of the women are carved from a ruddy-colored quartz. The samovar is of clear crystal.

NASH: ...and they're sitting across from each other. There's a table between them. It's floating on the water. It's made out of petrified wood so that it looks like a wooden table.

FLINTOFF: The Konovalenko sculptures aren't studded with gems like a Faberge Easter egg. They are gems, big chunks of semiprecious stone. In the 1950s, Vasily Konovalenko was a young set designer in St. Petersburg's Mariinsky Ballet Theater. He discovered gem carving when he had to make a malachite box as a prop for a ballet called "The Stone Flower." According to his widow, Anna, he fell in love with the art and began using it in daring ways. Konovalenko had his first big public exhibition in 1973, and people loved it, she says, except for a certain Communist Party official.

ANNA KONOVALENKO: The main person of Communist Party of St. Petersburg, he was angry. He became angry not to be invited for opening of exhibit, and he started to try to put my husband in jail.

FLINTOFF: Among other things, she says, her husband was accused of making fun of the Soviet people. Konovalenko was eventually forced to give his entire collection to the State Geological Museum and to take a job creating sculptures that were often given as gifts to visiting dignitaries. In 1981, the Konovalenkos got a chance to immigrate to the United States, and they took it. From then until his death in 1989, Konovalenko produced dozens of works, some 20 of which are now in the Denver Museum of Nature & Science.

For all their masterful workmanship and exquisite materials, the pieces are broad and bold, essentially caricatures of Russian types: Cossacks, drinkers, warriors and country folk, even a czar's henchman who might have been a forerunner of the dreaded KGB. Anna Konovalenko scoffs at the charge that the sculptor was making fun of his subjects.

KONOVALENKO: He was a very interesting, very artistic person, like actor on the scene, because everything that was done he had in mind a certain person whom he met during his lifetime.

FLINTOFF: Stephen Nash says he thinks the result rises above folk art or caricature.

NASH: Personally, I see it as fine art. There's no other way to interpret it.

FLINTOFF: Nash thinks Konovalenko's background in the theater contributed to the dynamic, theatrical quality of his pieces. Nash and photographer Rick Wicker hope to document as many of the sculptures as possible in the United States and Russia for a book on Konovalenko's work. Corey Flintoff, NPR News, Moscow.

Copyright © 2013 NPR. All rights reserved. No quotes from the materials contained herein may be used in any media without attribution to NPR. This transcript is provided for personal, noncommercial use only, pursuant to our Terms of Use. Any other use requires NPR's prior permission. Visit our permissions page for further information.

NPR transcripts are created on a rush deadline by a contractor for NPR, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of NPR's programming is the audio.

Comments

 

Please keep your community civil. All comments must follow the NPR.org Community rules and terms of use, and will be moderated prior to posting. NPR reserves the right to use the comments we receive, in whole or in part, and to use the commenter's name and location, in any medium. See also the Terms of Use, Privacy Policy and Community FAQ.