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Фалилеев, Вадим Дмитриевич
FALILEEV Vadim Dmitrievich
Graphic artist, painter
Vadim Falileev was born to a family of landowner. He finished the agricultural college. In 1899–1901 he studied at Penza Art School, in 1901–1902 — at Kiev Art School. In 1903 he entered the Imperial Academy of Arts (IAKh), studied under Y. F. Tsionglinsky, G. R. Zaleman, G. G. Myasoedov. Since 1905 Falileev studied engraving under the guidance of V. V. Matai, in 1907 he attended studio of V. V. Matai.
In 1905 Falileev created his first colored woodcuts Mowers, Wind, Thunderstorm; linocuts Lake, Sleeping coachman. One year later these works were exposed at the exhibition of the group Mir Iskusstva (“World of Art”) in St. Petersburg and at the exhibition of the Union of Russian Artists in Moscow. In 1907 Falileev was awarded 300 rubles premium at the exhibition Blanc et Noir in the Academy of Arts. He made a trip to Europe, visited Munich, Berlin, Vienna and Paris. He studied the history of arts in the museums. In 1910 he was conferred the title of an artist and awarded the pensioner trip abroad for the etchings Pan after the original of N. Poussin, The Parable of the Laborers in the Vineyard after Rembrandt, Diana and Athena after Veronese.
In 1911 Falileev as a pensioner of the Imperial Academy of Arts lived and worked in Italy together with his wife — painter E. N. Kachura-Falileeva. Due to his works The Portrait of Cardinal Inghirami after the painting of Raphael, The Miracle of St. Mark after Tintoretto, and his engravings, views of the Italian cities, Falileev was allowed to extend his pensioner’s trip. In 1912 the painter traveled to Italy again. He visited Rome, Venice, Florence and Capri.
After returning to St. Petersburg Falileev collaborated with different publishing houses, in particular he made engravings for postal cards. In 1913 he moved to his relatives on Volga, lived there for three years. In 1916 Falileev moved to Moscow. In 1917 he created under the order of A. V. Shchusev a series of etchings and linocuts, which depicted the building of Kazan railway station, the cycle of etchings Views of Rome, about 20 lithographic and 30 etching portraits of his friends. Falileev participated in the exhibitions of the group Mir Iskusstva in Petrograd and in Moscow. At the beginning of 1917 his first personal exhibition was held in the Rumyantsev Museum.
After the October revolution in 1917, Falileev made in the technique of dry point the album Rains (1918–1919), the series of linocuts Through Italy (1921) and a lot of lithographic portraits. In yearly 1920s he worked at the First Model Printing House (former Sytin’s Printing House). He was also engaged in the magazine and book graphic art, in particular he designed the cover of the magazine Rabochy Mir (“Worker’s World”, 1919); he made illustrations to the books Paganini by V. L. Wolkenstein (1920), O-Tao by M. Morozova (1921) and Muddy wine by E. Y. Styrskaya (1922).
In 1918 Falileev took part in the Second exhibition of the Professional Union of Moscow painters. He exposed his works at the exhibitions of the group Mir Iskusstva (1921), the group Zhar-Tsvet (“Fiery Flower”, 1923), at the 6th exhibition of the Association of the artists of Revolutionary Russia (AKhRR, 1924) and at the exhibition The Russian lithography for 25 years in Petrograd (1923).
In 1918 Falileev was invited to work as a professor at the Stroganov School of Industrial Art. At the same time he lectured at the women’s polytechnic school. In 1920–1924 he was a dean of the faculty of graphic art and professor of the lithograph workshop at the Higher State Artistic and technical Workshops (VKhUTEMAS). His students were V. D. Bubnova, I. A. Sokolov and others. In 1923 N. I. Romanov, head of the Engraving Cabinet of the Rumyantsev Museum published the monograph about Vadim Falileev; until the present it is the only work about art of Falileev.
In May 1924 Falileev together with his wife visited Stockholm; he was engaged in organization of the exhibition of graphic art. He did not return to the Soviet Union. During two years he was working as a poster artist in Stockholm. In 1926 he moved to Berlin; in 1928 he settled in Rome and lived there. Falileev together with his wife held some exhibitions in Stockholm, Berlin, Breslau, Milan and Rome.
In 1924–1925 works of Falileev were exposed at the Traveling exhibition of the Russian art in USA and in Canada. In 1925 he was awarded gold medal at the International exhibition of decorative art in Paris. In 1927 he took part in the exhibition Art of the Book in Leipzig. Works by Falileev were also exposed at the exhibitions in USSR, in particular Russian xylography for 10 years (1927), Colored xylography. Methods and opportunities (1929) and others. In last years of his life Falileev was engaged in painting, he also printed woodcuts from old plates, which he created as far back as in Russia.
In 1971 the retrospective exhibition of Falileev’s works was held in the State Russian Museum.
Vadim Falileev was a significant engraver of the beginning of the 20th century. He should be called painter-engraver, because he could create such expressive graphic artwork as painting. Falileev’ heritage included a lot of color linocuts, color woodcuts, color etchings. Painter’s muse was Volga landscapes; for long periods he lived and worked in his estate Kenchurka in the Valley of Inza River, tributary of Volga. Falileev was also under the influence of the Old Masters Art and Japanese engraving.
Falileev always printed his plates himself, but before the departure from the country his student Sokolov often helped him to print. Prints of Sokolov differed from the Falileev’s ones by more intensive color. Some prints were signed with notes printed by Sokolov.
Early prints (till 1917) are very rare; there are not such prints even in significant museum collections, for example in the State Tretyakov Gallery and the State Russian Museum. Today at the antique market there are Falileev’s engravings, which he printed in emigration from the plates of 1900s–1910s.
Works by Vadim Falileev are in many museum collections, including the Pushkin State Museum of Fine Arts, the State Tretyakov Gallery, the State Russian Museum, the Metropolitan Museum of Art in New York, the State museums of Berlin, the Museum of Modern Art in the Hague.
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