"Twenty-first century. Contemporary Russian art" — IV. Artists, which selects the Tradition
10 contemporary artists from Moscow: the individual characteristics of each art, their origins, the context of the artistic environment in which they matured, their creativity, the main vector for its own language and imagery
All these artists who have quite a long way metamorphosis and search, distinguished by a profound rootedness in the traditions of Russian and European culture plastic. Traditions are not known to be obsolete and survive generations of artists. Don't artists come up with them. Tradition chooses who can be trusted
Presenting the work of artists, which can be seen on auction 24-28 Feb 2020, curated homeland Vera Yurievna.
Valery Babin (1945), painter, graphic artist, artist books
the Artist paints only what he feels. In his biography of the house in the Berezovsk in the Urals, became the cradle of the innermost place, which shaped his attitude to the world and art. In his poetics important color. For the paintings of Babina at the level of the reception characteristic monumental generalization of letters, restraint of color, and on the semantic level — timelessness of circumstances and conditions. This makes his paintings with ancient fresco, where the painting — a way of silence. Everyday raised to high interpretation of the solemn rite of life. In the work of Babin is a paradoxical combination of moment and Eternity, "I unfortunately" the look and the accuracy of the solution composition. This is a rare ability to find the monumental form, without losing the nature of improvisation, especially attracts the audience. The artist widely uses the rich legacy of Russian revolutionary graphics and prints. The art of drawing Babina is comparable to the mastery of the domestic classics of kupreyanov and Barto.
the Poetic ingenuity of plastics, the artist is also obliged Moscow artistic environment, which was formed in the big master.
Hope Hayduk (1948-2016), painter, designer
Included in the circle of the Odessa nonconformist art movement. Exhibited with the major Odessa "informal": Oleg Sokolov, Stanislav Sychev, Vladimir Strelnikov, Valentin Khrushchev, Vladimir Sazonov and others.
Since 1972 in Moscow, joined the circle of Moscow's unofficial artists, it becomes an outstanding representative of the "21" on Small Georgian, were exhibited together with Sergey Bordachev, Anatoly Lepin, Boris Beauchamp, Peter Belenko etc.
Gaiduk Work is diverse, it is distinguished by a continued interest in the experiment, but the artistic search for the author always lie in the field of non-objective painting.
Starting with a naive pictorial cycles depicting the quiet, unhurried life, attention to detail and signs of life, the landscapes of his native city, the artist goes to sophisticated experiments in the field of lyrical and geometric abstraction. The issue of "Archaeology", where artifacts of the past combined with conditional, only in color resembling a real landscape. The artist introduces into the fabric of painting the material reality that gives rise to these images, — shimmering pieces of quartz, sand, limestone makes the viewer tactilely-визуально communion with the breath of Time. At some point, the soldier turns to collage and assemblage, createsbright expressive messages of the Past; lovingly calling the cycle "Secrets", refers to a personal game space. She skillfully uses the play of textures; rare photos from the personal archive, unique hand embroidery, badges, flags, etc. are formed in a free improvisation, as if allowing the author to break from the impeccable discipline of geometry. There is a cycle of works devoted to the book as art-объекту. Work Hayduk different sharpness, a surprise use of techniques and materials, freshness and optimistic poise of the look.
Sergey Zhavoronkov (1945), schedule
Sergey Zhavoronkov — is an amazing master, who in the small formats of his work to capture the diversity of the simple things, raising them to the level of the standard. When-то in his early career, he consciously chose to schedule painting. Having self-restraint is one of the most important modules of his artistic method, over time and limiting the number of techniques in their leaves, the artist usually uses pastel, sauce, charcoal.
the Artist's peculiar contemplative attitude to their work that makes his favorite they Borisov-Мусатовым, by Bonnard and Morandi .For the same motive it can come back, not trying to change impressions.
for Many years the artist painted the same hills surrounding his home in Alpino. The cycle is called "Lapinskii hills." Remember the measured words of Mandelstam "Where there is more sky for me — where I roam ready, / And clear the longing won't let me go / young Voronezh hills / To common to all mankind, shining in Tuscany." This is all-human, Ecumenical landscape,conditional, cleared of any-либо will and emotions, almost turned into the formula of the landscape.
In the still lifes, interiors, images of the city larks remains true to itself, a precise and rigorous minimalist with absolute pitch. The artist deliberately restricts the number of techniques, sizes of sheet, however, and in recent years, and colors, using them very sparingly, in this austerity plumping and refining the flavor. To forgo the color entirely — interesting in the framework of his work the task it has set itself in the present.
Sergey Zhavoronkov, true to yourself, do not feel the temptation to succumb to the dictates of modern art-моды, is his, "untrodden" path for traditional art.
Igor Kislitsyn (1948), painter, graphic designer, painter
speaking of the tradition that continues Kislitsyn, then, despite the obviousness of the soil and belonging to the Russian tradition — from the ancient sacred art of the Russian classical avant-garde, —, he relies on the richthe cultural heritage of the entire continent of Eurasia. His work is distinguished by the integrity of the alloy and very personal "organic" style. Painting always has a sacred point of reference, it is always a question about the Eternal flux of time, always moving to the "invisible" city, like Kitezh or bakers street, the heavenly "great-родине". This is reflected in the names of cycles of paintings — "heavenly city", "Apocalypse", "Black sun", "Red Earth", etc. the Approach of the artist to the sacred subject, however, devoid of illustrative and declarative, far from what-либо scheme or styling Canon, bad eclecticism, the mixing of known incompatible (this post-modern disease of taste).
In the context of painting, the author builds personal "simbologia" of the spirit. Plastic "characters shapes" exist in parallel figuratively-фигуративному the level of the paintings. Representing a different sun sign-формы, they suddenly embedded in layers of letters, ascending as stars, moons and other heavenly bodies, in spaces of metaphysical landscapes, very abstract, brought to the point of the symbol. Slots, the contours of other faces, like ancient murals, sharply and accurately incised in the thickness of the multilayer colorful walls. Their invasion uzrasa static frozen picture plane, they reinforce the image, contributing additional levels of symbolism and semantics.
Kislitsyn undoubtedly colorist, the color assigned considerable role — and as a tool to enhance the creative impact of the painting at the viewer, and as the carrier of his ideas. The author is confident and expressive colourful work surface, using multiple linings and glazing; complicating and compacting the color relationships that achieves the effect of precious flicker. This painting, which certainly is able to please not only your mind and eyes.
Victor I. Kostin (1952), painter
Victor I. Kostin — Moscow painter close circle of informal art 1960-70-х years.
As a follower of the figurative painting, clear, substantive, and all the details, he had preferred to exercise in the field of irrelevance thin layered scumbling painting, moving in the direction of realism, metaphysical realism. The paintings are deceptively idyllic, artfully written infinity von meek and peaceful, directly referring to the well learned lessons of Russian landscape school. In this world there is a disturbing boschian early Sveshnikov, a whimsical urban phantasmagoria Vladimir Pyatnitsky, but the atmosphere of the presence of another, transcendent dimension permeates the viewer. At first glance, the paintings have a "history", but it is difficult to tell. The artist does not comment on what-то ideas in the paintings, and subjects them painting fabric works, animates them with his vision, sometimes even without reflecting and moving intuitively. Slightly deforming the shape using the composition different points and angles at the same time, the artist constructs a paradoxical and the multidimensional image. In order to understand its metaphysical ambiguity, the viewer must change view "optics" to make it "antinomic phenomenon", rejecting the logic and concept. Bypassing the guise of reality, the audience followed the artist penetrates into her core, into the dimension of freedom, where Present, including past and Future, becomes the only possible place At-Сутствия. So, a broken egg turns out to be more and pans and eggs, made from it, embodying the whole house and the whole way of life, and all the pain of life, — from infancy to the outcome ("the Egg". 2019).
Konstantin Kuznetsov (1944), painter
Moscow artist Konstantin Kuznetsov — representative of the circle of artists of the second wave of the avant-garde. Crucial for him was the figure of Mikhail Vrubel, to be followed by — Alexander Golovin, Viktor Borisov-Мусатова, Alexander Ivanov.
the artist Works most often cycles, the themes of which reflect the current UTC time, or dedicated natural-культурным the topos, architectural-парковым ensembles, abounding with quotations (mainly architecture and sculpture): antiquity, the European middle Ages, Renaissance and Russian classicism.
In the perception of the artist's art objects not only monuments of art, but also surrounded by a sheath, or aura, semantic layers and allow the viewer to "get involved" in the era, opening up a whole spectrum of meanings and associations. Artist, and after him and the viewer feels in the space of world culture. Seasons and individual months, parts of day are for him the embodiment of circularity and timelessness; after all, when you mastered over time, you — out of it.
His paintings can be seen as a spiritual experience, that is, in religious art. Kuznetsov understands religious orientation of art as the possibility of layering, the "transmission" historiosophical reflection, cultural images-знаков and interpretation of nature as divine creation. In the polyphonic space of shimmering mosaic painting Kuznetsova, exquisite fluidity of the picturesque rhythms of guessed the endless metamorphosis of forms and States, dreams land, water and air about the reality of the miraculous and the illusory nature of the external, empirical.
Olga Rudakova (1951-2017), painter
Born in the family of the artist Mikhail Rudakov Zakharievich.
the Art of Olga Rudakova — is a complex, ambiguous and beautiful story of what she saw, he saw that she cared and that she loved. She lived in a unique, tragic and at the same time very happy world, very concrete, full of smells, colors and sounds. With very few exceptions, she never wanted to write that-либо abstract, formal orabstract in the literal sense.
the Language and style of still-lifes Olga Rudakova is based on the delicately designed plastic basis, at roll call and the intersection of pictorial symbols and universal meanings. Her favorite still lifes Gris, Georges Braque, Kuznetsova, Cezanne, Mikhail Sokolov for her was more an ABC of the genre, but not role models. She found her own art module still life, a drama of color and pure and absolute objectivity rather dry, rational layout and field similarity. In recent years, the black color began to play in the works Rudakova emphasized the expressive role, reinforcing and exacerbating the nature of the design. Thickened the contours of objects, thick black segments in the space of the painting the impression of strong bass party in a transparent and delicate overall harmony.
it Can be argued that the still life for the author @genre mdas comprehensive, inalienable, universal. It's a genre-картина genre-мироздание genre-симфония, which includes elements of the landscape, and hints at a self-portrait, and allegorical conflicts of life-бытия, and the veiled meanings of a philosophical parable.
Alexander Russ (1966), architect, photographer, painter
Russ — representative externally of the chamber, "quiet", contemplative painting, which in the late 1920-х and 1930-е years, were fresh and innovative phenomenon, having replaced the radical directions and broke internally reasons. His constant theme — city skyline, the images of his architecture and space. Can't say it's the thirtieth, fiftieth, maybe what-то some years, and which was lost or, more likely, took refuge this was not like the usual metropolis city, devoid of bustle, crowds, noise. On the contrary, it is perceived as an oasis of peace, where the walls of buildings, pipes, valves, repair trailers, poplar and stray dogs live in the-то utopian harmony with all that space, not subject to corruption, destruction and rebuilding. Russ is not the catcher of the nature and impressions, he is not interested in the documentary depicted or fixation of the traces and States, "the orphan beauty of the suburbs," like the masters of the group "13". Through subtle abstraction, he overcomes all sorts of raw atudent. Landscape fundamentally redesigned, recreated from memory, sometimes simply written, free from definition topographic specifics. But when you look at these small canvases are almost always caused by the phenomenon of déjà vu, which, of course, not due to the recognition of specific places, and with instant and acceptance, and penetration into the essence and spirit of this painting. His landscapes are "completely developed photo", blurry, color thickened and as if "baked", sometimes "FAL", in its metaphorical. Following an artist and together we gaze into this dense, loaded with paintings, mysteriously hinting at a possible Meeting on the approximation of the Events in the space beyond the art of the impossible, only achievable through painting.
Valery Sakhatov (1947), painter
Sahatov — artist, abstract painting which always remains in contact with the organic nature at the level of visual counterpoints. Composite structure, color and texture are of particular importance to this sophisticated decorative painting. In recent years, the artist has a new quality — abstract symbolism. We are talking about a large series of paintings, "Portraits without similarities." Their magical "negosudarstvennogo", elusive, and a deliberate effacement of the image they are reminiscent of the old icons with the loss of the paint layer. Fantastic lot of colors and luminous ripple, and the symbolic volume and light in a linear silhouette create a play of energies and picturesque accents, giving the portrait a mysterious feature of the mark, the metaphorical formula. But, strictly speaking, these characters are not actors, but executors of his artistic improvisations, carriers of inherent properties of his painting. In a series of "Palettes" or "Visible flesh" original plastic plot generally appears without the participation of the author, although the idea — author from beginning to end. Sahatov to use their own palettes and turns them from the means of production to the final product — picturesque object, because the palette has "ancestral links" with the painting, which the artist is busy from day to day. And portrait images, and carpets (a project of the Fund "Marjani"), and "palette" are recreated by the artist exclusively using colors, different variations and combinations. The method involves Sahatova thin alloy reflection technology, the path of "gradual internal reform," while it is always uncompromising and true to himself.
Sergei Smurov (1957), sculptor
the Language of sculpture and its essence Smurov finds form, space and plastic. Always strives for generalization and abstraction, metaphor, monumentality of the image. It is important for the conciseness of form and the lack of the literary, though sometimes he brings a certain element of irony and games with a social message. At the same time, Smurov has always stressed that for him art is apolitical, individually and not momentary.
the Sculptor often introduces a color that suddenly organizes the rhythm of the composition gives the forms of harmonic balance. This is particularly evident in his work with wood he likes for his special warm energy. Being a permanent participant of International sculpture Symposium on stone in the open air, willing the sculptor works with stone. "The stone need to go, — says the artist. — Sketch — one, and the stone often gives completely different." Monumental sculpture Smurova decorate the Moscow streets and parks: Autumn Boulevard, the Boulevard of Dmitry Donskoy, Museon and др.; he also created a headstone to the poet Arseny Tarkovsky.
Completely rejecting any kind of journalism, and journalism in sculpture, the so-called "topical" topics, he always tries to find the exact image plastic some ideas. Interesting his monumental project (the total height of the composition is 5 meters) "memory of the fallen journalists" — stylized steel pen, turning into a winged falling wounded Muse. The winged Muse @key mdas in the artist.
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