In the Samara regional art Museum opens exhibition of paintings, drawings and memorabilia — 108 exhibits

Samara regional art Museum
11 September @November 10. 2014
Samara, Kuibyshev str., 92

11 September Samara regional art Museum opens the exhibition Mikhail Nesterov of the Bashkir state art collection Musee@

Collection of works by Mikhail Nesterov (1862-1942) in the collection of the Bashkir art Museum — one of the largest in Russia: 108 exhibits — paintings, drawings and a large memorial section. Basically, all the exhibits are from the 1878-1917 years; works of the Soviet period are rare. Special research interest in the works of pre-revolutionary period can be easily explained: it was then formed and was implemented moral-эстетическая program Nesterov, framework provisions which have become the idea of "pustinjite", the theme of harmony between man and nature and the search of the Russian spiritual Ideal@

Among the works of the early period — interior "Cabinet" of the father (the late 1870-х (?)), sketch for the painting "house arrest" (1883, Tretyakov gallery), painting "the Pianist" (1885), "Old Yes small (Grandfather and grandson)" (1887), the final stage connected to the loop with the traditions of peredvizhnichestva: for all of them characterized by an increased interest of the artist to the details of everyday life and external characteristics personage@

From the point of view of searching Nesterov new ways in the art of particular interest is a study for a portrait of the famous Ukrainian actress, prima Little company of Mary Konstantinovna Zankovetska (1860-1934). The portrait was created in 1887 under the direct impression of the artist from the game of the actress in the role Niemytzki in the eponymous drama by I. K. Karpenko-Карого. Impressed, Nesterov wrote: "in Front of me feminine, such a flexible figure, tired pale face of his Prime, face a difficult, nervous, around wonderful brooding, perhaps, sad eyes — dark circles... mournful mouth, feverish..." But the portrait was not satisfactory and was therefore destroyed; only thing left — study, the value of which to create the loop can not be overestimated. It shows emerging to mid 1880-х, rethinking Nesterov chief for — semantic image interpretation: from now on, he is interested in the inner world of man, not his external harakteristiki@

In 1889 in Ufa Nesterov has completed one of his main works — painting "the Hermit" (1888-1889, RM), in which "sounded" Nesterovsky, theme, defined them as "...the poetry of loneliness, passionate pursuits of happiness, peace and peace of mind". After returning from the first trip abroad, the artist starts to work on a cycle of paintings devoted to the life and deeds of St. Sergius of Radonezh — prominent religious and political figure of the late FOURTEENTH century, founder of the Trinity-Сергиевой Lavra, who made an invaluable contribution to the spread of literacy in Russia and culture, one of the masterminds of the Russian people against the Tatar-монгольскими invaders who blessed Prince Dmitry Donskoy in the Kulikovo battle of 1380 God@

the Image of St. Sergius (in the world — Bartholomew) — one of the favorite images of the loop, and appeal to him as a carrier of a high spiritual ideas was caused by sudden grief: in 1886 after childbirth dies his beloved wife M. I. Martynov. As a rescue, he is persistently looking for a new theme and a new character. As a hero, and became Sergius, and with it was found. Works "Sergius cycle" mark main — principal waste Nesterov from social ideas peredvizhnichestva. Great impact on the substance of the emerging ethical program Nesterov had the principles of the "Tolstoyan", the essence of which — in need of moral purification of the human soul. The first work "Sergius cycle" was the painting "the Vision of the youth Bartholomew" (1889-1890; TG). In the Bashkir art Museum is stored first (unfinished) version of the picture, which says only the top, "Abramtsevo" part: working on a painting in Ufa and being at this time sick, Nesterov accidentally damaged the canvas, and he had to rewrite the picture again. It allows you to feel and understand creative "kitchen" of the artist. We see that Nesterov works without an underpainting, just by the picture, almost iconic, with the utmost attention to detail and caring about harmony zaloga@

"Sergius cycle" refer and etude "Head praying boys" and the sketch "Youth of St. Sergius of Radonezh" (both — 1891) as an aid to the eponymous painting (1892-1897, TG). Unlike the bright image of Bartholomew, the images in these works are characterized by a state of mystical exaltation. This new and not the best for the loop feature was the distinctive feature of his work of the second half of 1890-х. Her appearance was due to the above reasons and moral expectations of the artist, manifested already in the paintings of Vladimir Cathedral in Kiev, he worked in the years 1891-1895: still the concreteness of vision was in conflict with the desire to portray a certain lofty spiritual idea of life in the form of religious self-denial. In both works visual sublimation of this idea became a huge enquiring eyes that Express a state of inner detachment, reaching exaltation. At the same time the picture of "Queen Alexandra and Nicholas" (1897) again brings us back to "Bartholomew" meekness and dreaminess. With a total of solemnity composite-колористического solution that is derived from the style of art Nouveau figures in the growth, dominance of blue, red, ochre-зеленого and gold foil), this work — another example Nesterovsky lirismo@ 1900-е years became Nesterov turning points: they were marked by a passionate desire of the artist to withdraw from spiritual and creative crisis, which has been his reaction to social-политические upheavals in the country. But it is not immediately Nesterov: the emotional tone of many of his works — mental anxiety, frustration, inner loneliness. The Museum's collection of this period is represented by several works, including graphic sketch "Alexander Nevsky" and cardboard, depicting three female figures. Characteristic of these images is the spiritual beauty does not hide the drama that state, in which there were Nesterov in those years. At the time of his work in Abastumani the temple includes a number of landscapes of the South of Russia, including "Abastumani" and "Crimea" (both — 1900).

the Events of the 1905 revolution, the sense of crisis in his own work pushed the loop on a new path — way of portraiture. Among the portraits of this time — "Portrait of E. P. Nesterova", the second wife of the artist, written in August, 1906, in the village street. near Kharkov. His emotional dominant was internal elation and strict elevation of the image. In many ways this was so typical of Nesterovsky emotional images feature is achieved by a compositional technique of "figure in growth" as used generally in the representational portraits, and "wedenesday" harmony of man and nature. Nesterovsky lyricism that filled all his female characters a special poignancy and poetry, finds expression in many landscapes, including the Urals with their "almost jolt of spirituality". These landscapes "White River" (1909), "Ural" (1914), "Ural landscape" (1900-е (?)).

Источник: artmus.ru