Biography and informationEdit
Born in 1925 in the village of Sylva of the Perm region in a family of intellectuals of German origin. Since childhood, fond of music, reading foreign literature, but won the love of the fine arts. In 14 years made Hiking along Bajowski. Thus appeared the first drawings on the nature of the Middle Urals.
During the great Patriotic war on Russian Germans barrage of repression. In 1942 the family Weibert was sent to Taborinskaya district on the settlement without the right to leave. 17-year-old Leo Weibert was "mobilized" in the Theological coal mines in Karpinsk, where he had to endure grueling hours in the cold, hunger and disease. The years spent in the German zone, influenced the attitude of the future artist. Since then, L. Weibert sees life as a gift from God, knows how to appreciate every moment of life.
Enrolling in 1949 in Sverdlovsk art school, he after 3 years, sent in my first taiga Hiking in the Northern Urals. Then finally formed his interest Weibert to the genre of landscape. The stark brevity of the Ural landscape determined and the conversion of the young artist easel printed graphics.
Secrets of the engraving the first time he had trained himself. The decisive event for L. Weibert was a meeting in 1959 with a legend of the XIX century - the 80-year-old G. N. Gaman-Gamon, who in his time spoke with such masters of etching as Penguin F., V. A. Serov, I. Shishkin, V. V. Matai. Friends and teachers Laberta L. – B. Semenov, and A. Burak, with whom he did a lot of Hiking in the mountains of the Northern Urals. L. Weibert also admitted that he held as an artist largely due to his wife, the artist Nadezhda Nikulina.
L. Weibert remained faithful to the traditions of academic realism.
In 1965 L. Weibert was accepted as a member of the Union of artists of the USSR.
Linocut, etching, aquatint, mezzotint, soft varnish... Artist correctly chooses the prints and skillfully uses all the technical possibilities to create expressive images in diverse landscapes: epic, lyrical, romantic. The etching with its subtle tonal transitions allows you to create a depth of space, striking in an epic panoramic mountain landscapes: "Guardians Konzhakovsky stone" (1964), "konzhakovsky stone" (1974). Mezzotint creates mysterious night (Lake, 1976). Contrast, more conventional linocut perfectly captures the harshness and the laconic power of the Ural nature ("Morning in the forest", 1959, series "seasons", 1998).