Pre-Revolutionary Postcards: How They Connected Sisters of Mercy and Great Artists

Contents:

• Why do sisters of mercy need money?
• Roerich, Bakst, and Benois are volunteers.
• Design for education.
• Enterprise success.

Why do sisters of mercy need money?

The systemic nursing movement in Europe arose during the Crimean War of 1853–1856 and laid the foundation for the International Red Cross. Women who actively participated in caring for the wounded at the front did not abandon their noble mission after the end of the conflict. They continued to dedicate their efforts to helping the disadvantaged, including the poor, the sick, the elderly, orphans, and those who found themselves at the bottom of society. This contribution by women to the nursing movement laid the foundation for a systematic approach to caring for vulnerable groups, marking an important step in the development of social work and humanitarian aid. Communities of women formed in the Russian capital to provide assistance to those in need and attract wealthy benefactors who contributed their capital and resources. These nursing communities were typically led by noblewomen and renowned sisters of mercy who had endured military trials. These organizations played a vital role in social support and charity, helping to improve the lives of those in difficult situations. In 1869, Countess Heyden, who headed the 5th St. Petersburg Committee of the Russian Red Cross Society, approached Princess Eugenia Maximilianovna of Oldenburg, Chairperson of the 2nd Committee of the RRC, with a proposal to establish a new community. The goal of this initiative was to provide assistance to elderly and sick sisters of mercy, marking an important step in the development of charity and medical care in Russia. The creation of such a community contributed to improving living conditions and caring for those in need, as well as strengthening the traditions of mercy and humanism in society.

Oldenburgskaya became the head of the Community's governing commission and its honorary patroness. In 1893, the organization was renamed the Community of St. Eugenia. This change emphasized the importance of the spiritual and cultural heritage embodied by St. Eugenia and strengthened the ties between the members of the Community and its leadership.

The Community of St. Eugenia was originally a place where elderly sisters of mercy found support. Over time, it developed into a significant charitable organization, providing assistance to the sick and needy in St. Petersburg and Vyborg. The community actively sent sisters to regions affected by epidemics and conflicts, and was also involved in training women in medical skills.

The community needed premises and buildings to provide medical care to the sick, train female students, care for orphans, and accommodate the sisters of mercy. The creation of such conditions would contribute to improving the quality of life and providing necessary services to vulnerable segments of the population.

Roerich, Bakst and Benois — Volunteers

To finance the construction of the hospital and shelter, the Committee decided to engage in publishing activities that were not related to medicine. In 1896, a series of envelopes for business cards was issued "in favor of the Community of St. Eugenia", despite the fact that such printed materials were not widely distributed at the time. This initiative was a significant step in raising funds and raising awareness of the Community's activities.

During that era, business cards became an essential attribute for aristocrats, business people and entrepreneurs. They were able to purchase envelopes at an affordable price and at the same time demonstrate their commitment to good causes to others. Business cards served not only as a means of introduction but also as a reflection of the owner's status and social standing. Thus, the use of business cards and envelopes became an important part of business culture, emphasizing a desire to support social initiatives. By Easter 1898, the first four "Red Cross artistic postcards" were issued, containing reproductions of watercolors by N. Karazin, such as "Spring," "Ploughman," "At the Chapel," and "Troika in Summer." Later, postcards appeared featuring drawings by famous Russian artists, including Repin, Makovsky, and Elizaveta Boehm. These works were created free of charge at the request of the Empress's lady-in-waiting, Dzhunkovskaya, specifically for the Community's publishing house. These unique postcards not only highlighted Russia's artistic heritage but also served as an important part of the Red Cross's charitable work, drawing attention to the important social issues of the time.

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The Trustee Committee announces the start of sales of open letters dedicated to the establishment of a hospital pavilion in memory of Emperor Alexander III. The letters feature illustrations by renowned Russian artists who expressed support for the Committee's humanitarian initiatives. These works of art not only highlight the importance of charitable efforts but also help spread information about the Committee's work aimed at improving medical conditions. By purchasing such letters, you support a vital cause and contribute to the development of healthcare.

A letter from the chairperson of the Community, E. F. Dzhunkovskaya, to the Main Administration of the Russian Branch of the Red Cross, dated October 27, 1898, contains important information about the activities of the Community and its contribution to helping those in need. This document raises issues of supporting charitable initiatives, as well as the need for cooperation with the Red Cross to effectively address social issues. Dzhunkovskaya emphasizes the importance of joint efforts in providing assistance to the victims and those in need, emphasizing the role of the Red Cross as an organization facilitating humanitarian support. The letter serves as evidence of the Community's active position in matters of charity and social responsibility, which is relevant in the modern context.

The full name of the publication published by the Committee is as follows: "Publication under the patronage of Her Majesty Princess Eugenia Maximilianovna of Oldenburg, St. Petersburg Board of Trustees for the Sisters of the Red Cross in favor of the Hospital and Courses at the Community of St. Eugenia." This publication is dedicated to the activities of the Red Cross sisters and their contribution to the development of medical care, as well as the educational courses supported by this committee.The Community Publishing House produced medical reference books, postmarks, and other printed materials. However, it was postcards that brought it considerable fame and the financial resources necessary to support the hospital and its staff. The late 19th and early 20th centuries saw the flourishing of postal communication in Russia, as well as a time of rapid development in the art of illustration. Postcards created during this period not only served as a means of communication, but also became works of art, reflecting the cultural and social realities of the time.

The Community of St. Eugenia was the first in Russia to publish reproductions of graphic art, paintings, and landscape photographs in postcard format. These postcards quickly gained popularity and sold in thousands of copies both within the country and abroad. However, most importantly, the publishing house did not limit itself to classical examples of art, but actively promoted the development of a new artistic direction.

In 1902, a competition for the creation of drawings for open letters was held, timed to coincide with the 200th anniversary of St. Petersburg. Alexander Benois, a renowned artist and publisher of the progressive magazine "World of Art," chaired the jury. From that moment on, he became the unofficial art director and head of the publishing house of the Community of St. Eugenia. The competition attracted the attention of many artists and became an important milestone in the development of the artistic culture of St. Petersburg.

Postcards "in favor of the Community of St. Eugenia" began to include reproductions of works of art, as well as unique illustrations created famous representatives of the "World of Art" movement. Such artists include Benois, Bakst, Bilibin, Lanceray, Somov, Serov, and Roerich. These works emphasize the artistic value of postcards and serve as an important contribution to the popularization of the art of that time.

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Ten famous paintings by Valentin Serov that are a must-see

Valentin Serov is an outstanding Russian artist whose works left a significant mark on the world of art. His paintings embody a subtle sense of beauty and a profound understanding of human nature. Explore ten of his most significant works that every art lover should know.

His works include such masterpieces as "Girl with Peaches," "Portrait of M. V. Nesterova," and "Alenushka." Each of these paintings has a unique style and conveys the inimitable atmosphere of the time in which they were created. Serov masterfully used light and color, creating inimitable images that continue to inspire artists and viewers today.

Studying Valentin Serov's paintings not only broadens one's horizons but also allows one to gain a deeper understanding of the history of Russian art. Each work reveals not only the artist's artistic skills but also his philosophical ideas, which remain relevant today.

The group, associated with the "World of Art," shaped a new "Russian" aesthetic, distinguished by magic and theatricality. Collaboration with the Community publishing house proved beneficial for both parties: the postcards attracted attention and sold well, promoting the artists and their unique style. As a result, demand for postcards increased, creating a virtuous cycle that helped develop both the artistic movement and the art market.

Design for Education

The Community's postcards featured not only works by contemporary non-academic artists, but also other important elements of art. These postcards became a platform for promoting unique artistic styles and ideas that differed from traditional academic painting. They reflected the spirit of the times and the desire for self-expression, which attracted the attention of a wide audience. Thus, the Community's postcards served not only as a means of communication, but also as an important tool for the popularization of contemporary art.

The postcards served as a channel for the dissemination of culture and art among the "common people" and provincial residents, providing them with access to works of art and sculpture that would otherwise have remained inaccessible. Publishers turned to such reputable institutions as the Hermitage, the Baron Stieglitz Museum, the Russian Museum, and other respected museums for reproductions. This contributed to the popularization of art and broadened the horizons of a wider audience, allowing people to get acquainted with great works without leaving their cities.

The activities of the Community of St. Eugenia had a significant influence on the formation and development of Russian open letter as a unique form of graphic art. It also contributed to the popularization of both domestic and foreign art in Russia. High marks and awards received by the Community's publications at international and domestic exhibitions confirm this contribution. In particular, in 1900, the Community's postcards were awarded a Gold Medal at the World's Fair in Paris, underscoring their quality and artistic value.

This article by T. V. Belko and N. P. Beschatnov examines the evolution of the postcard, or open letter, in Russia against the backdrop of 20th-century historical events. The authors analyze how sociopolitical changes and cultural transformations influenced the development of this form of communication. Initially a simple means of exchanging messages, the postcard eventually became an important element of cultural life, reflecting public sentiment and historical realities. The study emphasizes the significance of the postcard as a historical document that illustrates changes in public consciousness and artistic movements. As a result, the postcard was transformed into a unique artifact that captured the spirit of the times and the characteristics of the era.

The postcards and other printed materials of the Community of St. Eugenia are an example of modern design. They are distinguished by aesthetic illustrations, carefully crafted lettering, balanced compositions, and contemporary typography. This creates a fresh and trendy impression, and also demonstrates a high level of visual art and graphic design. Each piece not only attracts attention but also reflects contemporary trends in printing, making it a worthy addition to the collection.

The Community's postcards set high design standards for other publishers and printers. Their unique style and quality of execution have become a benchmark in the industry, inspiring many companies to create original and attractive products.

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The careful attention of the artists of the World of Art group to the postcard underscores its significant influence on public tastes, which, in their opinion, needed improvement. Striving to create a "living environment as perfect as art," the "World of Art" group used mass-produced graphic forms to cultivate aesthetic taste in Russian society. Their efforts aimed to make art accessible and relatable to everyday life, thereby fostering a new perspective on graphics and its role in culture. The image of St. Petersburg in the original artistic postcards of the Community of St. Eugenia, described by N. A. Mozokhina, represents a unique combination of the city's cultural and historical aspects. Postcards created by this Community serve not only as a means of conveying visual impressions but also reflect the spirit of the times and the peculiarities of St. Petersburg life. Each postcard is a unique artifact that showcases both architectural landmarks and the everyday life of the city's residents.

Art postcards have become an important part of St. Petersburg's cultural heritage, preserving images and moments that might otherwise be forgotten. Mozokhina emphasizes how these works of art convey the city's atmosphere, its unique style, and identity.

Studying the postcards of the Community of St. Eugenia provides an opportunity to gain a deeper understanding of the cultural and social changes that have occurred in St. Petersburg over time. These visual materials are becoming a valuable resource for researchers, historians, and anyone interested in the culture of St. Petersburg.

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Art Nouveau is a style that emerged in the late 19th century and became one of the most significant trends in architecture and design. It is characterized by organic forms, smooth lines, and a desire for harmony with nature. Art Nouveau emphasizes functionality and aesthetics, rejecting excessive decoration and classical canons. This style made extensive use of new materials, such as glass and metal, allowing for the creation of light and airy structures. Art Nouveau manifested itself not only in architecture but also in art, graphic design, furniture, and textiles. This style had a significant influence on subsequent artistic movements and became a symbol of an era of change and innovation. In the modern context, Art Nouveau continues to inspire designers and architects, remaining relevant and in demand.

Open letters that people purchase and send not only contribute to the development of their critical thinking but also continue to serve an educational function for many years. These letters foster diverse perspectives and enrich knowledge, helping readers gain a deeper understanding of current topics and issues.

The Community Publishing House issued "artistic cards" with images of people in ethnic costumes and professional attire. The vintage postcards depict scenes from everyday life, architectural monuments, and lost traditions. There is also a series of postcards with photographs of Russia created by the great master Prokudin-Gorsky. These cards not only reflect cultural heritage, but also serve as an important source of information about the life and history of the country.

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History of photography: the first 20 photographs in the world

Photography as an art and science began its development in the early 19th century. The first photographs were made using various technologies that allowed images to be captured on light-sensitive materials. These early images marked an important stage in the history of visual art and the documentation of reality.

One of the first famous photographers is considered to be Joseph Nicéphore Niépce, who in 1826 or 1827 created "View from the Window at Le Gras." This image, created using the bitumen process, is considered the first permanent photograph. The next step in the development of photography was made by Louis Daguerre, who in 1839 introduced the daguerreotype, a process that produced sharp and detailed images.

Over time, photographic technology continued to improve. The advent of negatives, color photography, and digital technology radically changed the approach to image creation. These changes opened up new possibilities for artists, documentary filmmakers, and photography enthusiasts.

The world's first 20 photographs represent not only historical value but also a testament to changes in the perception of art and documentation. Each of these images marked a key moment in the development of photography, shaping what we perceive today as photomagic.

Studying the history of photography and the first photographs allows us to better understand how this art developed and how it continues to influence our perception of the world around us.

One of the unique trends in art became postcards with architectural landscapes. This phenomenon arose under the influence of several factors. Firstly, sketches and drawings of architectural motifs began to be perceived as an independent genre of graphics. Secondly, Art Nouveau practitioners began to recognize architecture as a fully-fledged art form. Thirdly, the active development of both global and domestic tourism contributed to a growing interest in architectural landmarks. Such postcards not only conveyed the beauty of buildings but also served as a kind of catalog of cultural heritage, inspiring people to travel and explore architectural styles.

The evolution of the postcard, or open letter, in Russia throughout the 20th century was closely linked to the historical events taking place in the country. Postcards became a popular means of communication and expression, encompassing various aspects of social life. At the beginning of the century, postcards were most often used to convey congratulations and best wishes, reflecting cultural and social changes. Over time, amid historical upheavals such as wars and revolutions, the postcard acquired new functions. It became not only a means of personal correspondence but also a tool for political propaganda and social advertising. Developments in printing and mailing technologies contributed to the growth of postcards, making them accessible to a wider audience. Thus, in 20th-century Russia, the postcard became not just an element of everyday life, but also an important part of the country's cultural and historical memory.

The Success of the Enterprise

In 1904, the Obshchina publishing house opened a shop in the building of the Imperial Society for the Encouragement of the Arts at 38 Bolshaya Morskaya Street. The space displayed originals from which postcards were printed, and charity sales were also held. Artists and publishers organized exhibitions and auctions to raise funds to support the Sisters of Mercy and hospitals. The store became an important venue for the city's cultural life, promoting the development of art and charity.

Publishing activities in support of the Community of St. Eugenia were carried out between 1898 and 1917. During this time, between 6,400 and 6,500 different postcards were issued, with print runs reaching 10,000 copies. This activity played an important role in disseminating information and cultural values, helping to strengthen community ties and preserve historical heritage.

The exact number of samples remains unknown. Despite the fact that the publishing house itself and the "World of Art" enthusiast Somov compiled detailed catalogs after 1918, they still contain significant gaps. This complicates a full analysis and study of the collection, and also creates difficulties for researchers interested in the history and meaning of these works.

The success of the Community of St. Eugenia's postcard production can be attributed to several factors. Firstly, the postcards reflect the uniqueness and spirit of the Community, which attracts the attention of the target audience. Secondly, the high quality of printing and design makes them attractive to buyers. Moreover, postcards can serve not only as a means of communication but also as a collectible, which increases interest in them. It is also important to note that active promotion through social media and Community events has contributed to their popularity. All these aspects have made the postcard production successful and in demand among people who value spiritual and cultural values.

Advertising plays a key role in promoting charitable initiatives. The Community's Art Publications Committee actively conducts advertising campaigns in popular magazines and newspapers, placing eye-catching announcements about the release of new samples of "open letters." These letters are intended to raise funds for charitable causes, thus raising awareness and drawing attention to important social issues. The publication of such materials helps not only in collecting donations, but also in creating a sustainable image of the Community as an active participant in charitable projects.

These postcards were of high quality in both artistic and technical aspects, as they were created by professionals. Despite the fact that the project had a charitable focus, the postcards were printed in well-known printing houses using high-quality materials. Thanks to this, many of them remain in excellent condition even after more than a hundred years.

In high society, there was a practice of buying and signing cards with symbols of good deeds. This was considered a sign of good manners and social responsibility. Such actions emphasized their status and desire to help those in need, which contributed to the formation of a positive image among the elite.

The Community of St. Eugenia and the Russian branch of the Red Cross ceased to exist in 1920. The publishing house associated with the community was integrated into the Russian Academy of the History of Material Culture and transformed into the Committee for the Popularization of Art Publications. This event became an important milestone in the history of the country's cultural life, as it made it possible to preserve and develop the traditions of art publishing in a new format.

It published books and catalogues, and its activities continued until 1929.