Today in the gallery at Solianke opening exhibition of the works of Vera Ivanovna Preobrazhenskaya “permanent head formalism”, dedicated to the 90-th anniversary of the author

Today, August 5, in the gallery at Solianke open exhibition of paintings and graphic works Vera Ivanovna Preobrazhenskaya «permanent head formalism», dedicated to the 90-th anniversary of the author.

«The rhythm and scale of the coming century, in the inexorable swiftness of its onset, where a person has no choice: either accept them or stay on the sidelines of life», - so see the famous American critic, director of the Institute of the Arts E . Blume Linda Vayntraub creativity Vera Preobrazhenskaya. Contact the artist with the surrounding reality is very dramatic, and the dramatic increases ability to concentrate Preobrazhenskaya human emotions, using the voltage fine space.

Some people, despite all the hardships and sufferings which accompanied them, the fate of not only offers a long physical life, but filled with spiritual interests almost to the last years of creative life. It is to such people include Vera Ivanovna Preobrazhenskaya, almost rovesnitsa twentieth century. She was born in 1919 in Sakhalin, in the family of a geologist, who later became a doctor of geological-mineralogical sciences, professor. From Sakhalin family moved to Baku and then to Moscow. In 1937, Vera Preobrazhenskaya, continuing the family tradition of research, came to the Faculty of Biology of Moscow State University, who graduated in 1944. But in addition to academic classes throughout the years of study at university, she managed the art team, which dealt with the issuance of wall, slogans and posters. Thirst for art kept the girl and after graduating from university. In 1945 she entered the famous art studio with VTSSPS, where he studied and B. ÷ÅÊÓÂÅÒÇ , and then in the art studio at his club. Serafimovicha where her teacher was G. Ryazhsky . A passion for fine arts have a powerful life lessons. While scientific knowledge is very useful when Vera Preobrazhenskaya joined artist - designer of educational publications in the publishing Uchpedgiz. She worked in the publishing house for nearly half a century. However, the soul sought other creative flights. Yes, and it is a wonderful time.

Late 1950's - early 1960's in Soviet-era art is defined as the «Thaw». It was a time of great hope for radical change not only in ideology and politics, but also in the cultural life of the country. The young Soviet artists with great interest began to experiment in areas prohibited by prior art. Of particular interest are areas such as expressionism and abstraction.

One of the most active artistic communities of the time was the language to create a new studio under the direction of Belyutina Elia , subsequently received the title of «new reality».

This art studio is already beginning to work practically since 1954 when City artists books and charts. Sam Head, E. Belyutin, was a professional artist and teacher. He completed postgraduate studies in the creative department of painting and drawing at the Moscow State Pedagogical Institute. During the 1950's Belyutin taught at the Moscow Association of Artists and then in the textile and Polygraphic Institute, released during this time the number of books on the theory of art education system XVIII - XX centuries. As a result, E. Belyutin created his own «Theory liaison», on which to build their studies with several groups of artists. By the early 1960's studio Belyutina there were already about 200 people. Having started his major exhibitions from around 1958, the studio stepped up especially in terms of social activities in the years 1961-1962.

It was at this time in the studio came Vera Preobrazhenskaya, and remained there for 50 years, becoming not only an active participant, but also the same age. She actively participated in all the exhibitions the studio.

After the exhibition on the theme «The boundaries and innovation», held in the cafe «Youth», followed by several proposals on the organization of exhibitions. A few shows, especially during 1962 - in the House of Cinema, literary institute, etc.

The largest exhibition in this series was the so-called Taganskaya exhibition, opened Nov. 26, 1962 at Great Communist Street. It shows the works of more than 50 artists working in different groups under the leadership of E. Belyutina. In general, it was the first exhibition of the most representative, show the innovative trends in the artistic life of Moscow. The exhibition attracted great interest and was in the confluence of a large audience. He came all the correspondent corps. On request Eurovison Soviet cameraman otsnyali exhibition, and this survey then was shown abroad. From correspondents went frivolous claims information on the dissemination of abstract art in the Soviet Union. However, it should be noted that Taganka most exhibited works are referring to ekspressionisticheskomu direction, keeping in quite some figurative beginning.

Exhibition closed in just a few days before the opening of the Manezh 2 Dec., 1962 big the Jubilee Exhibition in Commemoration of the 30 th anniversary MOSHa. December 1, anticipated attendance on the party and government leaders led by Khrushchev. November 30 Belyutinu was officially invited for a night and prepare to carry on the second floor of the Manege exhibition hall, I repeat Taganskaya. Accommodation offered in Manezh was significantly less than at the Great Communist. Therefore, placing all Taganskaya show there was impossible. Of the six artists - participants of this exhibition - at the Manezh exhibition were selected only about twenty. In a small room located somewhere around fifty works. Subsequently, the number of participants and the works Belyutinskoy studio Manezh much overstatement, therefore, advisable to submit a validated list of key participants: N. Borisov, AN Vorob'ev, L. Gribkov , D. GROHMAN , B. Zhutovsky , V. Katonina, A. collies , N. Krylov, N. Levyant, L. Mechnikov, V. Mironov , V. Preobrazhenskaya, L. Rabici , A . Rossal-Voronov , AM Sapozhnikov, T. Ter-Ghevondyan , M. Filippova, IV Shmelev, B. Shor , V. Shumilin , G. Yanovskaya. In fact, at the Manege exhibition in general have not been submitted to the purely abstract work, as well as for «security», they were replaced by a «figurative».

The day after the exhibition opening, December 2, 1962, in the newspaper «Pravda», body of the Central Committee of the CPSU, in the article «The high calling of Soviet art - to serve the people, the cause of Communism» reported the following: «Yesterday , December 1, the leaders of the Party and Government have visited the exhibition of works of Moscow artists set up in the Central Exhibition Hall and on the 30 th anniversary of the Moscow branch of the Union of Artists. In the halls of the exhibition on display more than 2 000 pieces of painting, drawing, sculpture ...

If the advantages or disadvantages of P. Nikonova , R. Falk , A. Vasnetsov more like something you can argue that the so-called" pictures "of young abstraktsionistov, grouped around the E. Belyutina and calling themselves" seekers ", nothing at all to argue - they are outside of the arts ».

Thus, the incompetence of the press and their advisers led to a historic mistake: expressionists recorded in abstraktsionisty. Manezhnaya exhibition, and the party Central Committee meeting with the creative intelligentsia definitely showed in 1963 that, with hopes for liberalization and pluralism in the field of official culture for an indefinite period will have to bow out.

The first months of 1963 for the alternative art schools of Moscow, and especially for the studio E. Belyutina were quite tense. The paintings, exhibited at the Manege exhibition of students were arrested and held for several months, not returning artists. Some of belyutintsev have been expelled from the ranks of the Moscow Union of Artists, of which they are members of «formalism». This looks like the official repression and stopped. But from that time was the notion of «underground», or «underground» Art. Until 1963, Nonconformist Art if not taken, so do not formally forbidden, which gave the opportunity of some free exhibiting. Since the early 1960's alternative exhibition activities left in the «underground». Activities informal run mainly in shops, on the flats, rarely have been able to exhibit for a few hours in the cafes or clubs. A few months later after the defeat of the Manezh, in August 1964 Ely Belyutin resumed classes at its studio cottage in Abramtsevo.

Vera Preobrazhenskaya caught in the middle of all these events, nor do not doubt for a moment - whether to remain in the studio, or discreetly «slinyat». From the first days of the resumption of classes in the studio Abramtsevo until recent years it has remained an active member of the artistic community. Money for life, raising children earned in Moscow Uchpedgize. It was obyazalovka. And only in Abramtsevo life becomes the present, until the edges filled with creative experiments. Belyutin offered endless options formotvorchestva different kinds of art in different techniques. From the figurative, albeit strained expressionism, a path for further artistic development went in the direction of increasing abstraction. And while figurativ never disappeared from art Preobrazhenskaya, prescind formotvorchestvo with color spots, graphic lines, texture, each time a new interaction in space, became the basis of all subsequent creative artist. In their experiments in this field Vera Preobrazhenskaya asked how to use texture color stains, as well as work from a purely geometrical forms.

Terms of Belyutinskoy studio, to a certain isolation from the main feature of contemporary art over time resulted in some attenuation of creative experimentation. But for Vera Preobrazhenskaya energy charge, resulting in the sixties, throughout her life remained unchanged. She will always remain loyal soldier in the army of art. Half a century in order to consistently be perceived as happiness, - such a fate is not given to each.

Vera Ivanovna Preobrazhenskaya now lives and works in Moscow. She exhibited in New York, London, Warsaw, Lodz, Budapest, Cyprus, in Frankfurt-am-Main and the museums of Russia (Kaliningrad, Orel, Istra, Moscow, including the Tretyakov Gallery). Portfolio Vera Ivanovna exist in museums in Lithuania, Hungary, the CIS countries, USA, Germany, Luxembourg, Cyprus.

Exhibition Gallery at Solianke until August 16, 2009.

Source: solgallery.ru