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Vladimir
Vasilevich Sterligov

Russia 
1904−1973
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(1904 – 1973 Petrodvorets)

Painter, Illustrator and printmaker, has not received official recognition.

In 1926 studied the principles of cubism and Suprematism in Ginhuke from K. Malevich. Included (together with V. M. Ermolaeva, K. K. Rozhdestvensky and L. A. Yudin) to the Group of pictorial and plastic realism. Worked in children's magazines "Siskin" and "Hedgehog". From 1934 to 1938 on trumped-up charges served time in a camp near Karaganda. In 60-ies developed her own method in the visual arts, the so – called bowl-dome system, based on the spherical element shaping. In 1966 Leningrad branch of Union of artists was closed by the authorities on the day of opening of the joint exhibition of the artist and his wife, T. N. Glebova. To this day there is a "Sterligov school" – a circle of disciples and followers that bring together many talented and recognized artists now.

1904

March 18 — born in Warsaw to a family of University professors.

"The translation of father in Moscow, studied at the gymnasium before reaching 7th grade. In 1921 he entered the service in the library Sokolnicheskaya Ermolov workshops. In the same year, he left the service, enrolled in the Red fleet, where he served until 1923 In the same goal enrolled in Literature courses at the all-Russian Union of Poets, where he studied until may, 1925 August 25, arrived in Leningrad. V. Sterligov" (GEORSS, f. 4340, op. 11, ed. KHR. 71-L. 130).

1925

Met in Moscow with the artist V. Ermolaeva, employee Ginhuke, which Sterligov was advised to go to Leningrad to study with K. Malevich.

1926

Studied painting at the Leningrad Ginhuke. Under the leadership of Malevich studied the principles of cubism and Suprematism.

"The Director of the Institute of artistic culture K. S. Malevich — gr. Vladimir Sterligov

Statement

Please allow me to work in You entrusted to the Institute by the Department of painterly culture.

V. Sterligov. 23/1—26"

Resolution Malevich:

"To work on otd. tra. cult. to prevent.

K. Malevich. 23/1—26"

(GEORSS, f. 4340, op. 1, ed. KHR. 69, L. 95).

1929-1934

Worked in children's magazines "the Hedgehog" (1929) and "Chizh" (1930) as an artist and writer; was close to the poets-oberiuts; illustrated poems of Alexander Vvedensky and Daniil Kharms. Released books in Detgiz "Garden", "On the plane To America" with his own drawings. Together with L. Yudin, V. Ermolaeva, K. Christmas was among a group of pictorial and plastic realism.

1934-1938

Slanderous denunciation, he was arrested, Served time in a camp near Karaganda together with artists V. Ermolaeva and P. Sokolov.

"1935 goal. May. Spring in the desert. Huge space. Increasing them, lying gentle rolling hills — huge bellies of giants. Them blowing the raw spring wind blows away the last patches of snow. With the beginning of the world here, right... But why get here "cultural Petersburg"? How an intellectual from St. Petersburg believed that he was called an enemy of the people, will meet the spring here? Combination is invalid even for nonsense... Long barracks, in which there can live no matter what the hope, spread in a single stomach of a giant. They are surrounded by a double row of wire. Over the wire rigs, and they are coats guardians with guns. And in a special room of the dog — a German shepherd. To catch runners... hard labor..." (V. Sterligov. Memories with Pyotr Ivanovich Sokolov. — In the album: the avant-garde stopped on the run. L., 1989, p. B.)

1938

Liberated from the camp.

1939

He was Chairman of the organizational Bureau of the Union of artists in Karaganda.

1940

"After serving the term of imprisonment, Vladimir received a "minus six". Among the forbidden cities included, of course, Moscow and Leningrad. He is a fixture in Petushki, a small town, at a lawful distance from Moscow." (E. V. Speransky, memories of V. V. Sterligov. 1982)

Worked in Moscow all-Union agricultural exhibition in the pavilion "Leningrad and North-East of the RSFSR".

1941

Moved to Leningrad oblast.

"Before the war was spelled out in Malaya Vishera, as well as live in Leningrad he was forbidden. Spent the night at "the Bowl" (A. A. Leporsky) Belinsky" (E. Kovtun. Record story Sterligov)

Were mobilized and got to the Karelian front. After a concussion evacuated to Central Asia.

1942-1945

In Alma-ATA met with a student Filonov, T. Glebova, who became his wife. Worked in Studio of the children's broadcast radio, taught perspective and art history at fine arts College. Wrote poems and again engaged in drawing and painting.

1945-1960-ies.

Returned to Leningrad together with Glebova. Stayed in the room of the former apartment Glebov. Draw and painting.

"In a room on the square by Leo Tolstoy we entered with excitement, and went home spiritually enriched. Often there were organized "exhibitions". We sat down and they laid on the floor of their new works. It was a generous gift on their part". (E. V. Speransky. Memories of V. V. Sterligov)

1951

Created the "Gospel cycle".

1954

"The cycle of angels."

"The angel crossed the threshold. Less left behind. More will be left behind when the angel crossed his threshold. In between is understand. When it reaches its fullness — there is an angel. He always comes unexpectedly and again perihelic threshold smaller to a larger. Not only different." (V. Sterligov. 1967).

1960, April 17

"The first butterfly" pattern, outline for Sterligov new path in art. The beginning of the development (in conjunction with Glebova) new plastic-spatial principle (curve, bowl, dome). From that time until the death of Sterligov is surrounded by numerous disciples. Theoretical and practical development of a new artistic force::

Properties chasney curve.

Straight-curve as a new surplus item.

"Direct — a division of the world, the curve — connecting it (two worlds)".

"Now is the time to create a Canon."

"In our time the art of the thrown object. But destroyed and God".

"There was a desert called Khovrino. I was in the middle of it. He lived in it. And no one around her knew. And about too... New, huge residential area of Moscow. I lived in an empty apartment. Brand new. Three rooms. Empty. Exactly. Slept, got into the bag with the paper. Day bag were in the apartment closet. Woke up with the sun and tried to leave in the drawings to surprise standing around domes, flame them and fire bowls. All were displayed for the first time. At that time I had already passed through sixty in human years, and every morning thought that I was born just now. Felt so surprised before emerging flames, curves, domes, bowls, And suddenly, in an empty apartment, great emptiness, the owners brought Polish set".

Created the cycle "the Sea", a series of "Deacons" and "Choristers".

1965, October 10

An exhibition of works by Sterligov in the workshop on Forest Avenue (Leningrad).

Catalog was published (etching, 10 copies, boards destroyed) with the theoretical notes of the artist.

"I refuse that it's my show. There is no question about my show. The case phenomenon, and it is, the exhibition is universal. It is a draw. This is the highest and invites you."

1966, April 19

An exhibition of works by Sterligov and Glebova in Loshe. Speech Sterligov. (The exhibition was closed by the Board of Losh 4 hours after opening).

1968, 11 Jan

Meeting Sterligov in the Coffee house of the Summer garden (club "Russia"). Speech Sterligov on new plastic ideas, demonstration of drawings. The problem antimirov.

"The space turned inside out". Constant feeling of the top and bottom, but not as much as only the top and bottom, and bottom — and the top and the top and bottom. Bottom — as the bar up, now tend to fall bottom upwards, and the top as a permanent residence, fearlessly preserving the possibility of a fall down. Example — the painting of Poussin's "Orpheus and Eurydice", where in the corner of the clothes fly upwards. The feeling of pictorial and plastic gravity, but because of the fact that the top and bottom are now able to take a place each other, creates a sense of BEZVEZE. If you do not have painting this feeling, then wait to write. La, pictorial and plastic world of the picture hangs, and does not weigh the same as the sun." (Recording of Sterligov 11 Jan 1968 Coffee house).

1970, January 31

A one-day exhibition of works by Sterligov and Glebova at the research Institute of theory and history of architecture (Moscow). Has also exhibited works of the students Sterligov, E. Alexandrova, A. Baturin, A. Kiselev, and S. Spitsyn. Theoretical night "On straight and curved (Some spatial problems after cubism)".

1970, October 22

Exhibition of works by Sterligov and Glebova in the Print Cabinet of the Pushkin Museum. A. S. Pushkin, Moscow). Theoretical night.

1971

French art critic Michel Ragon visited Sterligov in Peterhof and published an article about it.

"Sterligov created a school. Its influence is felt even to artists of other areas." (Jardin des Arts, Paris, 1971, No. 200-201).

1972, November 5,

The exhibition "Matyushin in his Studio".

Exhibition of works by E. Guro in the workshop Sterligov. Theoretical night.

1973

Created a series of works: "Crucifixion", "Calvary", "Christmas", "Mount Zion".

21 October — the latest exhibition of works by Sterligov "the Hidden geometry of forms" (with the participation of students of the artist). The artist's Studio on the Petrograd side Leningrad.

1973, November 1,

Vladimir Sterligov died in Peterhof.

(Author: E. F. Kovtun)

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