Maksovich Nadezhdin-Birstein

Russia • born in 1941

Biography and information

Painter. Member of the Union of artists of the USSR.

The first exhibition of his works was opened on 40th day after his death. He never knew what it was worth as an artist. He quietly lived in "a patrimonial nest" - the apartment of Blistanov on Smolensk, - carrying the cross of illness.

It happens that with the child something happens, and this event does not allow him to grow into adulthood. Vladimir would have to be fun, easy, joyful person. At times he was able to embody, to gather, to become a real... But so happened not always. But his paintings - paintings that almost nobody saw - is probably the most true reflection of his personality. And a small exhibition of his paintings in the Literary Museum (Trubnikovsky, 17) was a revelation.

Look at one of the landscapes. Colorful cubes of houses piled on each other as the cubes in the nursery. And - as if it really was the cubes and their weight is not perceived to be heavy and dense. Easy RAID "igrushechniy" enhanced blind, windowless walls of buildings, the timid hierarchy tree, of delicate transparent smoky lilac sky...

In all this there is no illusory - as in the childhood ghosts don't exist: image touchable, they're cut thick strokes, but the pasty texture of the canvas is filled with spontaneity thoughtful look.

Vladimir Nadezhdin-Birshtein, he graduated from the School of the masters at art school, collaborated with the Works of pictorial art (kzhi), doing his orders, traveled to Siberia, Central Asia, Russian cities. Became a member of Moscow Union of artists. The value and quality of what he was doing was obvious to all, although the canvases are too obviously resonated with the landscape "sedition" 20 years to expose. In the early work - thick, colorful layers, but there is already some kind of barring the light, some kind of detachment in the treatment of forms. No wonder father. Max Avadevich Birshtein, in an attempt to make paintings sold son, "finishing" them, adapting to the taste standards of the art salon, and said with a sigh: "I Go to ruin Volodya's work*.

Over time, Vladimir Nadezhdin-Birshtein finds a different manner: the surface becomes easier, and the later still lifes look like children's drawings, left restless by the author... It is the impression of "incompleteness" creates a specific space in which is placed the humblest of things (a vase, Apple, flower): it is slightly curved, as if rolled up on itself, devoid of perspective, depth. The edge of the table almost topples on the audience, but not overturned - and the realities of a still life like hanging out at eye level, forcing you to peer into almost sketchy surface. Color dissolves the dense material shell of things, thoroughly familiar to everyone outside the picturesque environment. The art of Vladimir Nadezhdin - Birshtein held on the delicate edge, which is not painting, but for which there is no subject, there is only a sign, a symbol, anything but matter, not a thing.

How does it work? Now it will not ask. Sister, the painter Anna Birshtein, recalls how in Tarusa Volodya asked: "Put me still life". And here arose the lungs, as you exhale, without effort and effort image. That he felt?.. Probably gradually manifested picture supplanted all that "off canvas" concentrated inner light of the individual, who now, in the absence of the author, are still beautiful with light and shade, the epitome of the "easy breathing" artist Vladimir Nadezhdin-Birstein.