"The Luxembourg Garden - Nicolas Milioti (1874-1962)"An oil on cardboard measuring 46X38 cm (without the Louis XIV style montparnasse frame) representing the Luxembourg garden in Paris signed lower right and dated 1930
Nicolas Millioti was born January 16, 1874 in Moscow in a family of Greek origin. He also had family ties with: Morozovy, Aleksiev and Korcha. He spent his summer vacation with his brothers in the Moscow property of Prince Golitsin Kuzminka. He finished high school in Moscow, then from 1894 to 1900 he attended the School of Painting, Sculpture and Architecture of Moscow, the courses of Abram Arkhipov, Leonid Pasternak and Valentin Serov. He also attended the private studio of Constantin Korovin. From 1900, the exhibitions of Russian painters ceased to be international and were marked by a more individual character: the Petersburg school on one side was distinguished by the importance of form, and on the other, that of Moscow gave primacy to color. That of St. Petersburg included Alexander Benois, Yevgeny Alexandrovich Lanceray, Leon Bakst. In the Moscow group the newcomers were Igor Grabar, Pavel Kuznetsov, Pyotr Savvich Utkin, Nikolai Sapunov, Nicholas Milliouti and his brother Vassili Millioti. Victor Borisov-Musatov, the symbolist painter par excellence was the only one to combine the characteristics of the two schools, whose differences were accentuated over the years1. In 1898 he entered the Faculty of Philology and History at the Moscow State University, and finished his studies at the Sorbonne in Paris. There, he became interested for some time in the Academy Julian met Jean-Paul Laurens, and James Abbott McNeill Whistler. N. Millioti by Boris Kustodiev in 1916 During the years following 1900, he painted a series of symbolist works with the subject as a dream, but also gallant scenes. He collaborated in the magazine "La Toison d'Or" and participated in exhibitions. His paintings are often allegorical images of angels, mirages, magical, and close to abstract ornamentation. In April 1907, with his brother Vassili, he was one of the organizers of the Muscovite exhibition of the "Blue Rose". In 1910 he left the "Union of Russian Painters" at the same time as the group of Alexander Nikolayevich Benois and was among the founders of the artistic group "Mir iskousstva" ("the world of art"), and from 1912 to 1916, he joined the organizing committee. During the period of the First World War he was mobilized as an artillery officer and took part in military actions in the Carpathians, as adjutant to General Radko Dimitriev; he was wounded twice and was decorated for his actions. In June 1917, at the request of a series of eminent actors of the cultural life of Moscow he was among the 23 artists who were released from their military and demobilized obligations. In 1918 he moved to Yalta, where he worked as chairman of the Commission for the Protection of the Artistic Riches of Crimea, in which he met Sergey Makovsky, Ivan Bilibin, Maximilian Voloshin, Sergey Elpatyevsky and others. In 1920 he emigrated first to Sofia in Bulgaria where Tsar Boris III came to visit his studio, then in 1921 and 1922 he worked in Berlin. In 1923 he left for Paris, where Paul Valery, Rainer Maria Rilke, André Maurois, came to visit his workshop 3bis-place of the Sorbonne. At that time, together with Nathalie Goncharoff, they performed a puppet show at the Théâtre du Vieux-Colombier: the "Théâtre des comédiens de bois" (directed by Sazonova-Slonimska and Michel Larionov, music by NN Tcherepina, 1924). He created the decoration and the costumes of the show "Princess Carême" of Lessage (1925). In 1925 he traveled to America, then to Europe: Italy, Spain, Holland and Germany. From 1929 to 1930 he taught in Paris. In 1931 he became a member of the board of directors of the Union of Russian Artists in France, and from 1933 he became a member of the painting section attached to this union. One of his pupils in Paris was Leonide Ouspensky. During the 1930s, the work of portraits predominated in his work: (Alexander Nikolayevich Benois, the writer Nadejda Teffi, Tatyana Sukhotina-Tolstaya, Fédor Chaliapine). In 1938 the French state acquired his self-portrait. Time and time again he offered his paintings as prize money to help the Russian Artists and Scholars Committee, the Moscow friendship, and others.