Vladimir
Nikolaevich Nemukhin

Painter. Studied in Moscow. thin in-those (since 1975), is excluded due to the orientation of creativity. He lived in Moscow, from the beginning. 1960s one of the leaders of Moscow. artists - "non-conformists", a member of the "Lianozovo group" that has developed around the artist E. Kropyvnytsky. In 1952-59 he made a living as a designer and poster artist. Active participant "Bulldozer exhibition" in the wasteland in Belyaevo (1974). Bright color abstract canvases (“Dedication to Bahu”, 1960 “To poker on the beach”, 1965 and other works).

Born in Moscow on February 12, 1925 in the family of a native of the village who became a worker. He spent his childhood in the villages of Priluki (Kaluga Region), on the banks of the Oka. In 1943-1946 he studied in the Moscow art studio of the All-Union Central Council of Trade Unions. He used the advice of the artist P.E.Sokolov, thanks to whom he discovered the art of post-impressionism and cubism. For some time (1952-1959) he made a living as a designer and poster artist. He actively participated in private-apartment and public exhibitions of avant-garde art, including the scandalous "bulldozer exhibition" on the Moscow wasteland in Belyaevo (1974). Since the late 1960s, his painting has been increasingly recognized in the West. He lived in Moscow and Priluki.

After the early Prioksky landscapes in a traditional manner, as well as experiments in the spirit of cubism and picturesque abstractionism, he found his style in a random motif of cards on the beach sand (In poker on the beach, painting and collage with real cards, 1965, The Other Art Museum under the Russian Humanitarian University, Moscow; version of the same year - at the Zimmerley Museum at Rutgers University, New Jersey, USA). By the mid-1960s, this spontaneous motif took shape in semi-abstract “still lifes with maps,” which became an extremely distinctive manifestation of “Informel,” a special abstractionist movement based on combinations of pure pictorial expression and a dramatic and symbolic element. Then Nemukhin for many years varied his find, sometimes turning the surface of the canvas into an object “counter-relief” plane, reminiscent of an old, time-wasted wall or surface of a playing table. Often he wrote - in mixed, as it were, pictorial-graphic technique - and on paper (Jack of Diamonds series, late 1960 - early 1970s).

Comparing the painting to the subject brought his works of the 1980s closer to pop art. During this period, he repeatedly turned to sculptural-three-dimensional abstractions, biomorphic or geometric (a series of "compositions-dedications" - to D.M. Krasnopevtsev, E.A. Steinberg and P. Cezanne - 1983-1985; the artist’s property and other collections), then more and more often, exhibiting his works, accompanied paintings and graphic sheets with large installations. At the turn of the 20th-21st centuries For the most part he lived in Germany (Düsseldorf), constantly visiting Russia, where in 2000 his works occupied a prominent place in the Tretyakov Gallery and the Moscow Museum of Modern Art.