Hold on "Mayakovskaya" or "Novokuznetskaya", lift your head up —, and you will see mosaic Deineka. And not over you the earth strata — through the window images one can see the sky, skydivers, flying planes, fuming factory chimneys and the tops of flowering trees

In times of total domination of socialist realism in our country work Deineka, does not Shine with purity of style, invariably became the key exhibits of the exhibitions of Soviet art abroad, including the Venice Biennale. Figurative language Deineka were so impressive that many of his paintings, purchased from those exhibitions, settled in Western collections. And even almost a century later, in 2011-м, that his stuff was taken to the Roman exhibition in the framework of the year of cultural exchange. The Italians us — Caravaggio, and we have them — Deineka.

Alexander Deineka Source: 20art.ru

ALEXANDER DEINEKA Future pilots. 1938 oil on Canvas. 131.5 x 160. TG Source: artsait.ru

As noted by modern researcher of creativity of artist Andrey Kovalev, talent Deineka could develop in the bosom of the American social realists, Mexican muralists or even Italian-немецких the Nazis. But all these ways for Deineka was too small. It was the Soviet state, in dire need of expressing their ideas, goals and objectives, created for Deineka sufficient scale field activities. For a fairly long life, Alexander tried his hand in painting, graphics (including magazine, book, poster and theatrical), monumental art (murals, frescoes, mosaics), sculpture. But in talking about Deineka even more important to describe a variety of techniques, and the relevance of the topics for which they have applied. Deineka idealized Soviet world when the concept of socialist realism did not invent. And when the country was left with no other style is permitted, except socialist realism, Deineka still continued to work. His avant-garde style has evolved in the direction of social realism, but his works haven't become less sincere. The reason, probably, that the proletarian state he loved with your heart and not under compulsion.

Alexander Deineka (according to another version, Deyneko) was born 8 (20) may 1899 in the family of a railroad mechanic in district of Kursk. From childhood he absorbed the mores and practices of the working class, grew up in a simple, not very devout family. The nature of the boy was strong-willed: he was tempered threat boyish pranks like racing on skates on thin ice, raids on other gardens, street fights, etc. Along with the thirst for the beautiful was the boy always walks in the surrounding fields and forests brought the love for nature, illustration from the magazine "Niva" and popular prints were acquainted with the art. In Nana gave it secretly from the parents album appeared first drawings — soldiers, organ-grinders, the birders, ladies, different animals (pictures, alas, has not survived). "Since I remember myself I always painted", — recalled Deineka.

while studying in primary school Kursk Deineka was passionately fond of technology, mathematics, and even dreamed to become an engineer. At the same time he studied drawing at the Studio of local Kurdish artists M. N. Yakimenko-Забуги, V. V. Golikova, and A. A. Politico. Teachers saw the talent in the boy and advised him to go to the Kharkiv art College, where Dejneka successfully received in 1916 in the class M. R. Pestrikova. Not just to draw but to make their drawings on the life of Alexander Deineka had to learn from an early age: creative peopleprofessions his father openly disliked, to the choice of the son was skeptical and to help him financially was not going to. The artist's academic training, R. M. Pestrikov trained student of classical drawing. Deineka himself drawn more to the graphic than to the sweeping, thickly applied painting under the impressionist or symbolist, and not only from-за creative preferences. He recalled that as-то hard times on the money accumulated I bought an expensive set of paints and the shore, and so pitied him that I tried to apply a thin layer of paint. Seeing this, Professor A. M. Lyubimov told the student to work with thick, broad strokes — on a single sketch took almost the entire set. Deineka was upset, because the new paint will have to save up for a whole month.

After the February revolution of classes in the school stopped. Deineka had to work as a art teacher in a girls ' school, artist in Kursk theatre, photographer in the criminal investigation, the designer of the campaign train. Revolutionary event drew eighteen-year-old boy, who had no reason —религиозных, family, material, — to resist change. Under the excitement, he even printed the Kursk newspaper semblance of a Manifesto on the tasks of art in modern times: "I Deeply believe in the great art of our days... Someone may grab today? ...Bright impulses, the Titanic proportions of the proletariat ...want to write a thousand semi-precious stones, to capture this heroic struggle of the proletarian masses..." Dejneka was going to write, neither more nor less, "the beauty of plants" and "works of collective creativity" for the "temples of modernity".

What to write — he understood, but as — is not. The Department of education of Kursk was attracted to the artist's propaganda work, was commissioned to illustrate the poems of Mayakovsky posters of the type "rosta Windows". Watching the fashionable "isms" during the capital trips, Deineka began to "impose on the Kursk potholes vivid cubism". His first monumental mural in the cubist manner are then turned into beautiful canopies for the local shopkeepers. The need to continue training was felt, and in 1921 Deineka was sent to raise qualification in VHUTEMAS (Higher art-технические workshops).

VKHUTEMAS in the early 1920-х years — is another story. Deineka recalled: "Like today, sitting on the barrier of the dry fountain in a small courtyard with a garden and looking at the bustling people crowding around. Here is discreet, with a black beard cockroaches, listens carefully to chubby, with a MOP of hair on his head, gesticulating wildly Andrew Goncharov. Is graceful Peter Williams with a young blond by Sergey Obraztsov. One by one, not knowing each other, wander to the future Kukryniksy. Stomping a cute goof Sergei Eisenstein, setting the camera in a circle of colleagues Rodchenko... and here is the Professor. Mighty Petr Petrovich Konchalovsky what-то arguing with a small, barely keeping up behind him the Schr. Slowly marched along-мужицки clad bearded Tabor..." by the Way, the graphic faculty of the Vladimir Favorsky chose Deineka from the diversity, taught at that time in VKhUTEMAS. Graphic art he found most useful for propaganda purposes. Drawings that later it would be possible to publish in thousands of copies, — that's what I dreamed of young Deineka. And Tabor, however, taught him classical engraving — is useful but not so important. Student Deineka winter lived at five degrees of heat, worked at night, but the enthusiasm is not lost. Was one of the best in Boxing section VKhUTEMAS (say, even fought with the champion Gradopolov, whose portrait later wrote).

With 1923 in addition to the study Deineka began to collaborate with the magazine "Atheist at the machine"@the semicolon later — publications "At the machine", "Spotlight", "Give", "Red Niva", "Change". Magazine graphic art the artist was actively engaged in until the early 1930-х. During this time he created hundreds of drawings, many of which served as the basis for future paintings. It is in the magazines largely developed dankowski unique style. Many graphical techniques are then moved in the artist's painting. The specifics of the work in periodicals (threading, time constraints, low quality printing) were forced to adapt, work quickly to simplify the figure and to put a maximum of meaning into form and composition. The figures Deineka, monochromatic or just two-три colors, instantly recognizable social types — farmer, pioneer, nepman, a priest or a soldier. However, cartoons drawings Deineka all-таки difficult to call. Despite the plausibility, funny they were smaller than the same Kukryniksov. In the work of Deineka then very far removed from satire.

ALEXANDER DEINEKA the Golden youth. 1928 picture for magazine "Searchlight", 1929, № 8 ink on Paper. 34,3 x 40. Timing Source: Dejneka. Graphics. Publishing program "Interros", 2009. C. 46

ALEXANDER DEINEKA a new construction site Magazine illustration. Fragment "Atheist at the bench", 1926, No. 11 Source: Dejneka. Graphics. Publishing program "Interros", 2009. C. 108

meanwhile, in the higher art by the mid 1920-х years formed the artistic group OST — "Society of easel". It was young artists, United by their love of easel painting, despite the fact that the constructivists and other extreme left heralded the painting as work of art the demise. In his paintings, ostovtsy sang industrial, urban world, technical progress, people production. The machine world, the son of a railway worker Deineka was captured, as we remember, from childhood. Therefore, in the East he became one of the main participants (as long as the left Association).

the Picturesque style Deineka by the time they were fully formed. On the First discussion exhibition (1924), prior to the formation of OST Deineka in the company Yuri Pimenov and Andrei Goncharov put his painting "Football". Very long time he wanted to paint a picture about your favorite game but numerous sketches in traditional compositional schemes are not passed on the dynamics of the match. And then Deineka decided again he paints a picture of what no one had ever portrayed, he has to invent for her a new song — "game gave me a separate language." Since then Dejneka safely and very successfully experimented with placing his characters on the surface of the canvas, portrayed them in unexpected angles, gave dynamics POS. Whenit tried to bring the form to such a degree of generalization that it spoke for itself, without explaining and cluttering the composition of your details.

Another feature of the early paintings of Deineka was their graphic — clear silhouettes, contrast with the background, some flatness, clear color separation and poor color palette. Initially, the artist was drawn to the almost monochrome and in General, to a dark, murky color. Other members of the OST is also distinguished graphic dry letter in opposition to a loose impressionistic style. Pictorial works Deineki 1920-х years resembled a magnified drawings. Many pictures, however, was preceded by coffee illustration. A great influence on Deineka had the German expressionists (Otto Dix, Emil Nolde, Oskar Kokoschka, George Grosz), which brought to the exhibition in Moscow in autumn 1924.

ALEXANDER DEINEKA the Football. 1924 oil on Canvas. 105 x 113,5 the Private collection Source: deineka.ru

ALEXANDER DEINEKA Before descending into the mine. 1925 oil on Canvas. 248 x 210. TG Source: kartin.net

At the first exhibition of OST in 1925 Deineka was shown pictures of "Before descending into the mine" and "In the pit" inspired by a trip to the Donbass. Black from coal dust miners, weekdays work the artist managed to convey through almost black-белой range. The song "Before descending into the mine" creates a sense of elongation vertically, like you're anticipating a long descent into the bowels of the earth. This painting is based on the figure of 1924, published in the journal "machine".

In the next edition of the OST, in 1926 Deineka struck all the painting "In the construction of new workshops". In his poetizatsii physical work the artist has reached unprecedented heights. Limiting the generality of images turns them into symbols. In the foreground is shot down and a sturdy woman in dark dress with ease pushes a trolley loaded with coal; to the left and above — more youthful and light, but the same strong woman in heaven-голубом dress. They — characters present and future of the Soviet country — were talking, smiling at each other. Figures, for all its flatness and some graphic quality, however, have a "pictorial weightiness in the spirit of Michelangelo," as the leading Western scholar of creativity Deineki Kristina Kjær. Open roof construction of the shop went off, adds some-то the underlying dynamism of the composition. In the picture there is purely documentary, almost all the rules of realistic painting broken, but perceived it nonetheless as very vital. As the author says, "the art of the higher likelihood of life, it must be life itself".

ALEXANDER DEINEKA On the construction of new plants. 1926 oil on Canvas. 213 x 201. TG Source: artsait.ru

ALEXANDER DEINEKA Textile workers. 1928 , oil on Canvas. 171 x 195. Timing Source: deineka.ru

At the end of 1927 — early in 1928 the country was celebrating two significant dates: 10-летие the October revolution and 10-летие Working-крестьянской the red Army. For the jubilee exhibition of Alexander Deineka created two landmark works — painting "Textile workers" and "defense of Petrograd". In these studies, with increasingpower began to manifest itself the craving of the artist for monumentality. As later wrote Deineka about "the textile workers", he "treated surface, making it smooth, patent, vaguely wanting to find unity of surface texture of polished, bright, not-yet-existing walls, which he wanted to paint". Presented at the exhibition by 10-летию Oct painting "Textile workers" resolved to light, almost white with hints of red ocher on their faces and arms of girls. The precise movements of girls are subject to the rhythm of the loom, girls like woven into the pattern of coils, spools, man and machine merge into a kind of organic whole.

ostovsky More thing it is difficult to imagine, however, at the fourth exhibition of the Association in 1928 "Textile workers" was not shown. Moreover, Deineka was not specified in the list of participants of the OST. The Union withdrew one of its best representatives from-за excessive, according to him, the passion of the participants in easel painting. According to the memoirs of Deineka, the role of the propaganda poster, a journal of the pattern was reduced in the East to nothing, while the artist himself felt at that time, schedule more than a painter (he wrote only a few paintings per year). Deineka moved to the established in the same year, the Association "October". It, however, also did not stay long.

On the anniversary exhibition to 10-летию the red army one of the Central works became dankowska "defense of Petrograd". The work was done by order of the RVS of the USSR, and, interestingly, in just one week. Deineka recalled that the preparatory sketch was approved ahead of time, and for a large canvas he could not take. Then one morning, when he was doing morning exercises in his boxers, came to him the inspection of the Committee on the arrangement of the exhibition and saw the crystal white canvas. The artist began to make excuses that picture, he allegedly writes, not here but in another place and that it is almost ready, but the inspectors didn't believe it and reported that, as they say, and so: canvas from Deineka clean, and he is in front of me naked. The Committee thought, and do not write it is a picture, but Deyneka gathered and wrote a great job in just a week — he was distinguished by remarkable performance when you need it. The picture made a huge impression on the audience and idea of what art means the idea was disclosed. The canvas is divided into two parts: the bottom of concerted series go into battle, the defenders of Petrograd, at the top of the bridge back walking wounded. This circularity of movement creates a feeling of inexhaustible strength of the defenders, although the painting shows only a few dozen people. The composition is simplified, many details of the original sketch from the canvas left. Planar, nearly monochromatic solution of the paintings refers to the figure, almost all the characters in profile — to the bas-reliefs and architectural friezes. The success of the picture was such that in 1928 she was sent to the Venice Biennale, and later "defense of Petrograd" was purchased by the government (now included in the collection of the state Tretyakov gallery).

ALEXANDER DEINEKA the defense of Petrograd. 1928 , oil on Canvas. 210 x 238 CMS, Moscow Source: tretyakovgallery.ru

ALEXANDER DEINEKA Work, build and not whine! 1933. Poster Source: artinvestment.ru

With the beginning of 1930-х years, the subjects of the works Deineka began to change. Severe, in the spirit of expressionism miners, weavers and revolutionaries replaced the energetic athletes, sensual and beautiful in its ancient nakedness girls and boys, lyrical landscapes and still lifes. A clear distinction between these two creative periods it is difficult to conduct: athletes Deineka wrote in 1920-х, and to the themes of the Civil war and technology (especially aircraft), the artist turned and 1930-х. But judging overall, the General mood of the artist in 1930-х obviously changed.

brushwork, previously smooth and picturesque, became very pasty and dark and poor color palette became lighter and more diverse. Deineka gradually moved away from graphic works in magazines. One of the last was the magazine "Give", which also worked Rodchenko and Mayakovsky. But soon the editors began to give preference to photos, not drawings, and Deineka left. In the early 1930-х the artist suffered another graphic fascination — poster: created about 20 posters, many of which were very popular ("Machine Donbass", "to Work, build and not whine!", "China is on the path of liberation from imperialism", etc.). Periodically Deineka worked in book illustration: in the late 1920-х and 1930-е years, it has issued about a dozen books for children and adults. But in General, "coffee-плакатная work" (such a unifying term he outlined his graphic works) Deineka pretty exhausted. He began to work in painting and then in monumental art. Graphics have faded into the background, but the skills of a draftsman came in handy Deineka, for example, when creating preparatory sketches for the paintings. The artist was able to instantly grasp the silhouettes of the athletes to catch their characteristic movement; he was constantly seen at the stadiums for these "sniper" sketches.

In the first half of 1930-х power first talked about the fact that people in the arts should be a single creative method and his name is — socialist realism. Theorists have not fully understood what will be the new style, but the main thing that it was truthful, specific image of the historical era in its revolutionary development, to achieve socialism was, so to speak, is obvious. Initially, in the period of registration and crystallization of socialist realism, figurative and ideologically correct art of Alexander Deineka have got the right jet. The key exhibition "Artists of the RSFSR over fifteen years" (1933) work Deineki were shown as the most intimate, defining the right direction towards socialist realism, in contrast to the works of the avant-garde. Subsequently Deineka has got a "formalist" experiments 1920-х years with color, form and composition, but in the first half of 1930-х while he was in favor.

Adjusts whether Dejneka under the requirements of officials from the art, or the evolution of his style was natural? The artist, of course, seen that coffee chart is losing its propaganda value (it can successfully replace a photo) and that more attention, in contrast, is paid to easel painting. Therefore, the concentration of Deineka in the painting looks quitenatural. A call to new to him, full of lyricism subjects may explain the dream to embody in painting the image of the man of the future, while adhering to the standards of antique beauty, and purely personal reasons (in the early 1930-х the artist was in love with the swimmer Lucy Vtorova, to pose for him for paintings and posters). The result of such fine works as "the balcony" (1931), "the ball Game" (1932), "Mother" (1932), "Bathing girls" (1933). Especially powerful for all its simplicity and brevity came the vision of the mother of the present Soviet Madonnas, gentle and loving and at the same time strong, able to protect. This is one of the most monumental things Deineka as the scale of the project (the image of the mother, existing outside of time and historical context), and the form perfected. "Mother" could well become the main icon of those "temples of modernity", which dreamed Deineka in 18 years.

ALEXANDER DEINEKA ball Game. 1932 oil on Canvas. 124,5 x 124,5. TG Source: art1.ru

ALEXANDER DEINEKA the Mother. 1932 oil on Canvas. 121 x 160,5. TG Source: EN.wahooart.co

Nude in the paintings of Deineka — is almost always strong, sturdy, healthy boys and girls, similar to the ancient gods and Olympic heroes. "True Spartan" was called by contemporaries and the artist himself. Deineka from childhood was fond of sports, has tempered his body and spirit. "Sometimes you are seized by enthusiasm, energy, muscle pruinata, the body is a chill of energy. You kind of just in the morning came out of the cold river. You want to run, reset the inventory excess energy to waste it in big handfuls, with a laugh and enthusiasm to look at life..." This feeling of energy was trying to convey Deineka in their sports pictures. On the subject of sport was one of the artist throughout his life. Deineka, being an experienced athlete, deftly grasped the dynamics of the movements of runners, swimmers, football players, basketball players... Who-то could criticize the artist for the excessive enthusiasm for sports theme which he had allegedly fenced off from pressing problems, but in fact, these works contributed to the establishment of the cult of serenity, strength and beauty that has become one of the key in the socialist realism.

ALEXANDER DEINEKA Run. 1932-1933 oil on Canvas. 229 x 259. Timing Source: deineka.ru

ALEXANDER DEINEKA Skydiver over the sea. 1934 oil on Canvas. 174 x 122. G., Bishkek Source: deineka.ru

had a huge impact on the artist's trip to the Crimea in the summer of 1934 in the direction of the Navy of the red army. Deineka was captivated by the sun-drenched Sebastopol with his "prepareline with purple tint" boys, the tourists, the strict embankments and of course the sea. But Sevastopol in the works Deineka — is not exotic and still soft after the resort, and the base of military Navy and air force. The artist tried to see the landscape with the eyes of an observer, but a sailor or pilot. The theme of aviation took Deineka in the past, but in the Crimea, the artist managed to see the world from the cockpit. It was not his first flight (he flew once in the Kursk), but this time he managed to remember after to convey on canvas the vastness of the air, upside down onthe head of the world. In the film "Parachuter above the sea" (1934) did not immediately distinguish where the sky, water and land; the figure of the parachutist is shown from an unexpected angle — upside down; all this creates a feeling of flight, the vast sky. A few years Crimean experience will result in one of the most romantic works of Deineka — "Future pilots" (1938).

Talent Deineka fueled new experiences. A large body of works was written in a foreign trip to USA, France and Italy at the end of the 1934-1935 year, hosted by the all-Union society of cultural ties with abroad (VOKS). Creativity Deineki already well known to foreign exhibitions; Henri Matisse, who as-то sent photos of paintings by Soviet artists, called Deineka "most gifted" and "gone forward in his artistic development."

Dejneka traveled around the country and always drew; he is imbued with the culture of African-Americans: "They sing such sad songs, prayers come in ecstasy by-особенному wildly and rhythmically dancing, and most importantly, they — workers." But not only the Negro jazz concerts or dancing embodied Deineka; he painted pictures about baseball and Alpine skiing, road scenery with cars and advertising signs, urban views of skyscrapers and even portraits of bourgeois ladies. The most interesting of them — "Boredom" (1935), a portrait of Mrs. Snyder. The artist himself later said that he tried to convey the soul of the model with all its holinaty and luxury environment of her home. American researcher Kristina Kjær, however, suggests that the portrait in the spirit of Kees van Dongen could have been written with more sympathy to the model and her bourgeois life. At home Deineka then for a long time was blamed for this experiment.

ALEXANDER DEINEKA Boredom. 1935 , tempera on Canvas. 88 x 100 Private collection Source: deineka.ru

ALEXANDER DEINEKA a Street in Rome. 1935 oil on Canvas. 186,5 x 196,5. TG Source: artinvestment.ru

After the United States Deineka briefly stopped in Paris. The city with the "winding streets", "small shops" and "old-престарыми houses" has not made it a special experience, but from the Louvre Deineka was delighted — in less than two weeks had to go there six times. Parisian work (mainly watercolors) are much softer and lighter than the urban American, made mostly with gouache.

Italian sketches is different from American or French. Italy them bright and Sunny@the semicolon on her bike, working, walking the mysterious monks, and the marble Roman statues look down on everyone from their pedestals. Deineka managed to walk through the museums to get acquainted with the creations of his idols, Michelangelo, Tiepolo, and others. Special impression on the artist produced the Sistine chapel: looking at the painting of Michelangelo, the artist was convinced that "temperament is not a sweeping brush stroke, and in the deeper manifestations."

In the Renaissance Deineka was very impressed by the skill with which its members were able to subdue the art of architectural tasks. Attraction to monumental art, he felt for a long time, wanted to decorate architecture, bright frescos, mosaics, among which people would feel bolder, fuller, richer. His first experiments inthe field of monumental art Dating back to the first half of 1930-х. It was the murals and paintings for factory-кухни in Fili (1932), sketches of murals for the club of the people's Commissariat, alas, not implemented (1933). Upon his return to the USSR from overseas Deineka, inspired by the monumental works of the Renaissance masters and with great enthusiasm undertakes orders for lampshades, murals and mosaics. In 1936, he made two panels for the red Army House in Minsk (destroyed in the war). In 1937 Deineka created a panel called "the Noble people of the Country of Soviets" for the Soviet pavilion at the world exhibition in Paris. The sketch was approved, but in France the artist has not released — had to write a panel size of 7 x 12 meters, so to speak, to the touch, with only a rough idea of where and how it then will mount. The task, however, he still did it.

In the same year 1937, the artist received the order for the 35 sketches of mosaics for the decoration of under construction metro station "Mayakovskaya". Placed in the dome mosaic was about a day in the life of the Country of the Soviets: "...to be Replaced, is a series of paintings: the construction of the country, tractors and combines are on the boundless collective farm fields, blooming gardens, Mature fruit heaven day and night busy planes, young people heroically working fine and is resting, preparing himself for work and defense... the Life of the Soviet Union has a full pulse round the clock". Inbound to the station to meet the ceiling in the morning, over the middle of the platform settled evening and night scenes.

ALEXANDER DEINEKA Tractor. Mosaics for the metro station "Paveletskaya". Set to "Novokuznetsk". 1940 Source: Dejneka. Monumental art. Sculpture. M.: Publishing program of Interros, 2011. C. 230

ALEXANDER DEINEKA the Cross of the red army. 1939-1940 the Ceiling of the cupboard of the Central theater of the red Army Source: Dejneka. Monumental art the Sculpture. M.: Publishing program of Interros, 2011. C. 148

In 1939-1940 Deineka painted ceiling in the Central theater of the red Army in Moscow and was commissioned to make sketches of the 14 mosaics for the current station "Paveletskaya". Then it was planned to be called "Donbass" octagonal mosaics were United by the theme of "Donbass —-Union stokehold". The war changed everything: mosaic "Paveletskaya" were not needed; of 14 mosaics, heroically gathered in the siege of Leningrad 70-летним a mosaic artist Vladimir Frolov (died of starvation in 1942, just finished and sent on the "road of life" in Moscow last box of mosaics), managed to retain only seven, setting them on a nearby Novokuznetskaya. Where are the rest of mosaic — is unknown. Perhaps they still lie under the ground (during the bombing were hiding them in a temporary storage, whose whereabouts have not been established).

One of the best works of the war period Deineka became a "Outskirts of Moscow. November 1941". Leaving for the front truck, the empty eye sockets burned houses, bristling with defensive hedgehogs filled with internal anxiety this military landscape. In the winter of 1942 Deineka was sent to the front near Yukhnov. What he saw reflected in the dramatic paintings of "the Burned village", "restless nights", etc. the Real blow was to Deineka breakthrough of the German defense of Sevastopol. See on the photos in the German presscute heart of the city in ruins, imagine how desperately defended Sevastopol his "future pilots", Deineka decided to paint a picture of it on this episode of the war, though not seen with his own eyes. Later, the artist recalled: "This period of my life fell out of my mind, he was absorbed in the single desire to paint a picture. Don't know, this picture is good or bad, but it seems that the real". Full of tragedy, rage, heroics, "defense of Sevastopol" is considered one of the best works devoted to the great Patriotic war.

ALEXANDER DEINEKA the Outskirts of Moscow. November 1941. 1941 oil on Canvas. 92 x 134,5. TG Source: pokartinam.ru

ALEXANDER DEINEKA the defense of Sevastopol. 1942 oil on Canvas. 200 x 400. Timing Source: deineka.ru

In the late 1940-х — 1950-е Deineka began to increasingly criticized for "formalism" and "sketchiness". The artist tried to adapt, tamed your avant-garde style and wrote more in the spirit of academic realism. But the government orders in this period, he still almost did not give. One of the few — sketch ceiling painting of the Chelyabinsk Opera and ballet theatre — selection Committee recognized the "low quality" and even called the artist to fix the painting. The ceiling however was done in the original version. Outlet during this period Deineka became a sculpture (he worked in wood, majolica, bronze, porcelain, cement) and the chamber painting — portraits of friends, still lifes, and landscapes.

With the onset of the thaw thawed officials in relation to the Deineka. After a solo exhibition in 1957 returned to him the glory of one of the best Soviet artists. In his later years, in the late 1950-х — 1960-е, Deineka began to heap honors and awards: became a people's artist of the RSFSR (1959) and the USSR (1963), was elected Vice-президентом arts of the USSR (1962-1966), was awarded the order of red banner of Labor (1962) and others In 1969 at the Academy of fine arts opened a personal exhibition, but the artist was not destined to see her — on the opening day he came down with heart failure and a week later, on 12 June, passed away.

ALEXANDER DEINEKA a Girl tying a ribbon on the head. 1951 a sketch for the painting "bather" Shovel. 25.10.2008. Lot 51 evaluation of the auction (estimate): 10-15 million rubles Price: 25 million rubles Source: artinvestment.ru

Alexander Deineka is one of the artists, of course, recognized by audiences and critics, and art-рынком. Moreover, the main body of his works are kept in museums; in database AI recorded only 80 works attributed to Deineka, over the last 30 years appear at public auction.

With the distant 1989, and almost to the end of 2000-х about the artist no full-fledged monographs, and it is in this period in our country there art-рынок it became possible to auction or sell through galleries of work from private collections, i.e., the participants received access to a number of works, which previously wasn't known to them little or nothing. It is clear that in major publications about the artist these things too, as a rule, no.

All this creates the perfect environment for counterfeiters. They create a compilation of elements of different artist's works (soeven "nasnodename" the audience seems fake already seen), in other cases they write something completely new, but trying to emulate the style of the author. A number of things in our database is marked with a red indicator, which indicates the high risk of investing in them (recall that doubts about the authenticity of — is one of the conditions of production of the red indicator). Forum AI from time to time the unfolding of discussion of works Deineki of those that appear at auction (read more — here, and do not be lazy to read to the end).

We have written many times about what to do to not by a deliberate forgery. Of course, absolutely can not be insured (it is known that false Deineka "pierced" even experienced collectors). Any work Deineka at auction — event, whether it be a painting, drawing or pencil sketch. Of great importance in this case has a provenance (history of life); and if the thing is not exposed, have not been published in major publications, i.e. appeared from nowhere right before the auction or in the last few years — is a reason to be very wary and, if the work is liked to check everything carefully. Listen to knowledgeable people, especially those who doubt. The simplest — to turn to the forum AI: expert opinion, of course, will not receive, but the full set of arguments for and against is almost guaranteed. Go to museums, view the albums, not focus on the Internet (some rather questionable works are there genuine). As rightly said one of the participants of the forum, "expertise is expertise, but the brains need to have their own", so to the works of Deineka, as well as any other "Museum" of an artist should be treated with increased attention and alertness.

However, the modern investor who desires to purchase works of Deineka, there are some advantages. The fact that in 2009, 110-летию artist, was launched three-year project "Alexander Dejneka. Research, books and exhibitions. 2009-2011". Within its framework in 2009, the Tretyakov gallery held an exhibition of graphics Deineki from the collection of the Kursk art gallery, 2010-м in the state Tretyakov gallery held a big retrospective, but in 2011-м work Deineki lucky in Italy. But most importantly, the project has published three separate comprehensive studies on the chart (volume 1), painting (volume 2) and the monumental work (volume 3) artist. In the volume devoted to painting, published all known and identified during recent studies of paintings. They got about 300. This is the most complete to date scenic directory Deineka. Please note that, in addition to well-known works from the collections of 42 museums, the book includes works from national and foreign private collections, the authorship of which is not in doubt. In the catalog of available works whose whereabouts are unknown, but their existence is confirmed by the publications in the old exhibition catalogs, archival documents, photographs.

To date, the most expensive work of Alexander Deineka, sold at public auction, is "the Girl tying a ribbon on the head" (1951). In 2008 at auction "SOVKOM" (Moscow) the buyer has paid for this almost a meter (99 x 79) sketch sanguine and charcoal on paper of the painting "bather" (1951,TG) 25 million rubles.

Maria Onuchina, AI

Sources:

1. Sysoev, V. p.. Alexander Deineka: A Monograph. M: Fine art, 1989.
2. Alexander Deineka: Album / Author-составитель Sysoev V. P. L.-Aurora, 1982.
3. Kostin V. I. the Society of easel painters. Leningrad: Khudozhnik RSFSR, 1976.
4. Dolgopolov I. In. Master. Stories about the artists. Moscow: Military Publishing, 1981.
5. Dejneka. Graphics. Publishing program "Interros", 2009.
6. Deineka. Painting. Publishing program "Interros", 2010.
7. Deineka. Monumental art. Sculpture. Publishing program "Interros", 2011.
8. renclassic.ru.
9. deinekagallery.ru.