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It was getting late in Tula in October and the sun was not providing a lot of light. That, combined with the still-blue sky and the blue building I was photographing, gave a wonderful blue hue to all the pictures I took of this building in which the artist Vasily Gilbert once plied his art. I had just finished photographing a neighboring building that had something to do with Leo Tolstoy – one that was on my list – when I happened upon this one at 49 Gogolevskaya Street – which was not. I had never heard of Vasily Gilbert and, if you’re not from Tula, you may not have either. He is not mentioned in John Milner’s massive A Dictionary of Russian and Soviet Artists, 1420-1970, and the cookie cutter bios on the Russian net suggest his work is not held in collections far beyond Tula. These biographical accounts also bury the fact that Gilbert was murdered in the Purges of 1938 at the very end of the bios, adding no explanation or elaboration. We’ll get to that in a moment. The only English reference I find to him is in the ArtHive website, which provides a translation of the basic circulating Russian text.
Gilbert was born in the city of Samara in 1874. His father was an Englishman, surely named Thomas since Gilbert’s patronymic in Russian is Foma. Thomas immigrated to Russia in 1860, for reasons I have not discerned. In any case, he apparently had some artistic talent, because he gave drawing and painting lessons to all his sons when they were young of age. In 1894 Gilbert began studies at the Moscow College of Portraiture, Sculpture and Architecture where he was fortunate enough to study at least some under the tutelage of Valentin Serov and Isaac Levitan, two of the finest Russian painters of that time. It’s hard to tell how much he actually worked with them, but it is a recorded fact that he did his graduate project with another artist, Alexander Stepanov, described by Milner as a “painter of landscape and animal subjects” who was “known as one of the so-called Young Wanderers.”
Gilbert moved to Tula in 1904 and remained there until his death in 1938. He apparently made the move to take up a position teaching art in three different schools, including a local boys’ gymnasium. He also taught at a trade school and the famous local arms factory. According to an online Tula library, “The students immediately fell in love with their new teacher, an incredibly gentle man with a friendly manner of teaching. The artist taught students to see nature, to understand the subtlest shades of its moods, to apply light, soft tones in their painting.”
In addition to the landscapes and animal portraiture that Gilbert created, he spent a good deal of time illustrating texts for some of Russia’s top publishers. He drew and painted illustrations for the popular periodical Nature and Hunting, and illustrated the poetry of Alexei Koltsov, Alexander Pushkin, and Leo Tolstoy for the famed Moscow publisher Ivan Sytin.
Gilbert lived in Tula during the last six years of Tolstoy’s life. I do not find any proof that they met or knew each other, although it is a fact that Gilbert would often take his students on Sunday excursions to Tolstoy’s estate in Yasnaya Polyana to paint and draw the landscapes there. I don’t know whether these trips were taken before or after Tolstoy’s death.
The same online library mentioned above has a fairly concise description of Gilbert’s place in Tula’s artistic life and I might as well just let their text speak for itself:
“Gilbert took an active part in the life of the Tula Arts and Crafts College, where he taught artistic casting, forging from metal, and where he gave lessons evenings and Sundays for anyone who wished to attend. At the beginning of the 20th century, the artist made a trip to Arkhangelsk and Solovki, whence he brought many watercolors depicting the harsh, poetic nature and architecture of the North. Gilbert’s Mooses, painted in 1910 and exhibited at the Tula Museum of Fine Arts, is done in the best traditions of Russian art of the second half of the 19th century. Gilbert took the revolution to heart and worked hard for the new government. He wrote slogans, posters and panels, and decorated public houses and clubs.”
Gilbert occupied a visible place in Tula’s cultural life for the first four decades of the 20th century. Whenever there was an art exhibit, it seemed he was a participant. Whenever a new school or new classes were opened, it seemed he was there to help and participate. His illustrations were frequently published in local magazines and journals. He appears to have been a truly popular and genuinely beloved figure in the city. That online biography ends with these words: “Gilbert’s works are held in Tula museums and private collections, and when you study them, you see a figure of an outstanding, intelligent, kind person, a talented painter whose whole life and work placed him in the ranks of the older generation of Russian artists.”
I’m not entirely sure what an achievement it was to be “placed in the ranks of the older generation of Russian artists,” but we’ll skip over that for the time being in order to come quickly to two sentences in the bio that kill me: “His last personal exhibition opened in 1936. Soon he was arrested and in 1938 he was shot near Tula in the Nikolskoye forest.”
What?! What happened to all the “love” and “respect” and “adoration” that the city lavished on Vasily Gilbert?
The Russian Nekropole website has only the barest of information. His date of execution is given as April 7, 1938. The sentence is listed as VMN (ВМН in Russian), which means literally, “highest degree of punishment,” usually translated into English as “capital punishment,” and, in actual fact, meaning that Gilbert was shot.
Another site, Open List, repeats this basic information, adding only that Gilbert is buried in the Tesnitsky forest.
I spent more than the usual time surfing the net to find more details, if not an explanation, about Gilbert’s demise. Every one of the deaths in the purges was unbearably heinous. Gilbert’s is no less so and it makes me want to have answers. If anyone knows more, I would love to hear from you.
4 thoughts on “Vasily Gilbert plaque, Tula”
Impressive research, bravo. Why you searched a name not so famous? You know anything about his descendants?
I’m fascinated by lesser known artists, writers, etc. My impression is that Gilbert had no descendants. No biography ever mentions a wife or children, and at least one source (https://artchive.ru/en/artists/17621~Vasily_Fomich_Gilbert) mentions that the city of Tula “became his family.”
My guess would be simply that he was of British origin and ipso facto a traitor. In those days you could get shot for corresponding with Englishmen, let alone having an English name and an English father. (He might have been OK if he’d changed his name to Ivanov before the Revolution.)
Very possible, of course. I would love to hear some details though. One feels like the story cuts off too easily, too quickly. I’m not hinting at anything by that. Just thinking about an individual’s biography. And how this one trundles along quite nicely, and then just – wham! – ends.