"The Memoirs of Grigorio Sciltian: A Bridge Between Russian and Italian Cultures" by Carlo Coppola
The original Italian edition of La mia avventura was published by Rizzoli in 1963. Sciltian meticulously revised and corrected the text himself, including family photographs in the volume.
A Complex Editorial Journey
Professor Talalay's work was both lengthy and complex, as he spent years reorganizing the memoirs as source material for numerous research projects. Originally written in Russian and then translated into Italian by Sciltian himself for the 1963 Rizzoli edition, the autobiographical corpus remained unpublished in Russian for decades. Only after confirming the absence of Russian-language manuscripts in Sciltian's archive—preserved at the Vittoriale on Lake Garda—could Talalay proceed with commissioning and editing the Russian edition.
The translation was carried out by Andrei Letovaltsev, a local historian from Rostov and Italian language expert, who enriched the text with valuable notes on the Rostov and Nakhichevan context.
Cultural Bridges in Troubled Times
The dissemination of this book—both in the new Russian version commissioned and edited by Talalay and in reprints of the 1963 Italian Rizzoli edition—can significantly help counter the "Russophobia" phenomena that have become widespread in Italy following the military operations that began in February 2022. Grigorio Sciltian's memoirs bear witness to the profound cultural, artistic, and human ties between Russia and Italy, demonstrating how Russian culture enriched the Italian artistic landscape of the twentieth century, particularly within the avant-garde movements, and how these cultural exchanges represent a common heritage to be preserved beyond political contingencies.
A Portrait of Nakhichevan-on-Don
Sciltian describes Nakhichevan-on-Don with vivid precision—an Armenian city founded in the eighteenth century thanks to Catherine the Great, in recognition of Armenian assistance in the conquest of Crimea. Until 1929, when it was incorporated into Rostov, Nakhichevan maintained substantial autonomy, with Armenian administration, schools, and legislation.
The artist belonged to the local elite: his father was the city's most prominent lawyer, while his mother came from the wealthy Melkonov-Ezekov family. His memoirs offer a unique glimpse into this community, with its churches, Oriental-style cafés, and the monument to Catherine. It is worth noting that Rostov-on-Don also gave birth to another great painter of the Armenian tradition: Martiros Saryan, an absolute protagonist of twentieth-century Armenian painting.
Sciltian paints his Rostov as a multiethnic and vibrant city, "a mixture of peoples" where East and West merged. He describes the main street, Bolshaya Sadovaya, with its Parisian cafés, symphony orchestras in the squares, merchants of various nationalities, and the cosmopolitan atmosphere that characterized the city.
From Civil War to Italian Success
The memoirs also document the chaos of the Civil War: the alternation between Whites, Reds, and German occupation in Rostov. Sciltian recounts curious episodes, such as when he painted a portrait for Ataman Shkuro, buying time to avoid military service at the front.
In 1920, at just twenty years old, he finally managed to sail to Constantinople and then to Italy, fulfilling a lifelong dream. Settling in Milan, he became a renowned photorealist portraitist, going against the grain of the abstract avant-garde movements of the era. He painted industrialists, bankers, actresses, and even the King of Italy; he collaborated with La Scala, illustrated books, and frequented Milan's bohemian circles, building an extraordinarily successful career.
Sacred Works and Spiritual Roots
His body of work also included sacred subjects for several Roman churches and sketches that would become successful postage stamps. Among his most significant works is the Madonna of the Grape, an altarpiece preserved in the Holy See of the Catholicosate of the Armenian Apostolic Church and displayed during Divine Liturgy celebrations in the outdoor plaza—a testament to the artist's deep connection with his Armenian spiritual roots.
Publication and Future Plans
The Russian edition commissioned and edited by Talalay was published in the series "Lives of the Extraordinary Inhabitants of Nakhichevan," thanks to the efforts of Sergei Sayadov and Nona Mirzabekova. Talalay is now commendably seeking funding to translate the second part, dedicated to the artist's Italian life.
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