Head on the wall. Boris Devision for soon in the Tretyakov gallery
ARTinvestment.RU   19 февраля 2019

In March of 2019 for the first time the Tretyakov gallery will show a solo exhibition of one of the most exciting, but erased from the history of avant-garde 1920-30-х years

the Exhibition has received the name in honor of the most dramatic paintings of Boris Aleksandrovich golopolosova (1900-1983) "a Man beating his head against the wall." Energy, the impression of horror and hopelessness of it, perhaps, can compete even with "the Scream" by Munch. Of the Devision for graduated in 1937-м — in the year of his graduation from Moshe. Former vhutemasovtsev, once a member of the creative Association "Shop painters" Golopolosova in one fell swoop denied access to the exhibitions from the familiar to the avant-garde the term "formalism".

Over the decades of forced separation with the audience, the artist was virtually forgotten. An important step in the rehabilitation process golopolosova was an acquaintance of the artist with the art critic Olga Roytenberg. She was the first in many years, organized in 1977-м the exhibition artists of the first five-year plan, known as "one-Day exhibition". Participation in the exhibition of Boris golopolosova Olga levinton remembered: "And that was when for the first time, after forty years of solitude, heeding my request, brought to the exhibition in the evening "the artists of the first five-year plan" seven paintings from the series "dneprostroy", "Caspian", "Chiatura"! When sitting at the podium next to 16 other peers. When everyone in the room happily supported the proposal to apply to the Board of Moscow Union of artists with a request to restore golopolosova in the Union. Justice won. 1977 six of his paintings 20-30-х. in Nukus; 1978 @three mdas in the state Tretyakov gallery, four since the early 80-х — in Arkhangelsk, where he came from, and many acquired posthumously in the MHC of the USSR (now TG). I was happy to give the artist the "Panorama of arts" with the publication of excerpts of one of our conversations and the reproduction of his painting "In the cockpit"". (CIT. by: O. Roytenberg "Do-то remembered that we were..." — Moscow: Galart, 2008. P. 194-196). Golopolosova at the time was already 77. Behind — 43 years of oblivion.

the Last exhibition in which Boris Devision for was allowed to participate, — is an exhibition organized by the Komsomol in 1934 in Moscow in the halls of the State Historical Museum. It showed 862 390 works of young artists, 34-летний of the Devision for was presented the work "Batum. Turkish Bazaar". The show was preceded by the even more ambitious Grand national exhibition. And the organizers of the Moscow exhibition, in particular, the author of the introductory article to the exhibition catalogue Poluyanov, did not hide the true selection criteria: "In recent years, young artists-настоящему no one did. The young cadres of fine arts were left to themselves, mash until very recently, beyond talk and declarations about youth work was not. Not provided sufficient attention to the youth and the peoples ' Commissariat for education... Our purpose in organizing the exhibition was to identify and know what our youth is on isoprene, in what ways is it, what ideas of socialist realism included in a creativethe consciousness of young artists, what is the level of skill, what technology can do to solve the problem of displaying our socialist reality." (source: gruppa5.ru).

In the same 1934 of the Devision for was sent in Chiatura, where he mined manganese. Olga Roytenberg remembered the stories of the artist on the trip: "the Development took place high in the mountains. The winds piercing. Watercolor froze in the cold. Saved Italian pencil. Tried to convey the dynamics and theme show — atmosphere of manganese". (CIT. by: O. Roytenberg "Do-то remembered that we were..." — Moscow: Galart, 2008). It is difficult to understand how the artist was "to create" in such conditions. Of the Devision for on their own backs felt all the hardships of life of the miners. Perhaps that is why the work was powerful, sincere, but absolutely ideologically incorrect. Does not match the new propaganda Canon. Of the Devision for like refused to understand what challenges the art for two years set by the state. Instead of the idyllic images of well-fed and contented miners, calling for the labor feats of the Devision for gave pressing industrial landscapes and heavy emotions exhausted by hard physical work, people. When the authorities Moshe came to his Studio to check the work, it was unpleasantly surprised. Edification was useless in the face of golopolosova functionaries from culture collided with the rock. From this moment on, the repression of the lines Mosha become inevitable.

so, ironically the son of an old revolutionary and a member of the revolutionary developments of the Devision for Boris was thrown out of this revolutionary power of artistic process and shared the fate of many young artists of 1920-30-х. Their names were expunged from the official history of art. According to Olga, Roitenberg, artists of this generation were United by the first confrontation between the "impersonal beginning, authoritarianism, rationalism, constructivists; and mighty onslaught of sensual exploration of the nature and bombastic allegorical paintings AHR; and romantic technicism OST... <...> the Sense of time, of passionate involvement around the country, the people, brings people together, often disparate nature of talent, and even not knowing each other. And their mother educated teachers consciousness that they are designed to preserve the continuity of development of artistic culture" (op. CIT. in: a Panorama of art, 1981. P.307).

the Painting of Boris golopolosova not inferior to the best examples of European expressionism. His paintings — acute-драматичные, overflowing with fear of loneliness. Sometimes it seems that their stories — is part of the nightmare or the game of the inflamed consciousness. Elusive meanings, ambiguity — all this makes it similar to painting with the culture of modernity, and deliberate "delusional" — with the tradition of Absurdistan and, perhaps, Dadaists. And all this is expressed maximally expressive, ie, with the help of sharp contrasts, offset angles and dark colors.

it is Interesting in this respect to compare the work of Boris golopolosova "Uprising" with a painting by the German expressionist Georg Grosz "metropolis" 1917. Working German made much earlier. And perhaps the Devision for her even saw. Both paintings similar compositional scheme. Designated center, is extremely aggressive towards the audience: the corner building is coming into focus on the viewer, as if against my throat the knife of a bandit. Both paintings passed creepy atmosphere: on one picture — city of debauchery@the semicolon to another — city mired in riots and atrocities.

By definition, art historian Alexander Balashov, of the Devision for — with-самый "Soviet expressionist". The author of the studies on this direction in Russia, said that in his paintings "live and painful body art language is not disassembled and torn, the painting erupts, showing how tense muscle tissue". The plot is golopolosova — experienced and suffered. "Struggle for the banner", "the mausoleum of Lenin", "Lenin — leader of the world proletariat", "the Revolt" he wrote as a direct witness, and the witness of the revolutionary events and processes of the Soviet state. Another thing is that the attitude and "political evaluation", which gave them the author, too independent, controversial and far from safe for the doctrine of socialist realism.

the Exhibition will open next month. And art lovers can only envy: we are waiting for the opening of a bold and original artist, and each will be entitled to draw their own conclusions. Viewers will be interesting to unravel the hidden meanings in the paintings of Boris golopolosov, together with the art historians.

the Exhibition will include around 40 paintings and more than 80 graphic works — original drawings and gouaches. In addition, it is planned to publish the directory — the first scientific publication devoted to the work golopolosova.

Source: tretyakovgallery.ru



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