VEISBERG Vladimir Grigorievich

June 7, 1924 (Moscow) — January 1, 1985 (Moscow)

Painter, graphic artist, teacher

Vladimir Veisberg studied under S. N. Ivashev-Musatov at the Studio of Fine Art under the All-Union Central Council of Trade Unions (VTsSPS, 1943–1948). He also visited studios led by I. I. Mashkov and A. A. Osmerkin.

Veisberg began to participate in exhibitions in 1956. He became a member of the Union of artists of the USSR (SKh USSR) in 1961.

Veisberg taught painting at the studio under the Institute of Advanced Studies of the USSR Union of Architects (1959–1984), and at television courses in Moscow (1964–1966).

In 1962 Veisberg made a report Classification of main types of coloristic perception at the symposium on the structural study of sign systems at the USSR Academy of Sciences. In the report Veisberg proposed the system of coloristic perception, of metaphysically coloristic perception of the world, which later received the name white on white.

“The principal Veisberg’s originality lies in the fact that his work, unlike permanent avant-garde innovation, provides a cultural and successive synthesis. Veisberg, adhering to the traditional objective thinking, based on the principles of color harmonization, attached it to a very original interpretation. Unlike Cezanne (his influence was crucial for Veisberg until early 1960s), who created a model of the observable color constructing structure of the painting, the Russian artist put forward his own, at first absurd idea of invisible painting, which later received the name white on white. However works by Veisberg persuade the effectiveness of this idea, or whole ideological complex, the meaning of which could be defined as switching of painting from the sensory and emotional perception of color to the intellectual and sensory perception of advantage. Veisberg’s color differentiates into thousands of invisible (really invisible) particles, forming a completely unique substance, rich of tonal variations and luminous inside.”
(E. B. Murina)