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The funeral of Barack
Oscar Yakovlevich Rabin • Graphics, 1965, 17×21 cm
Description of the artwork «The funeral of Barack»
"The grave of our cat Murzik and other Pets, bottle and herring – "a drink and a snack at the grave"... In the background to dig a grave, shovel, and special designs on towels out of the Church dragging to bury Barack. Then I had this oil painting "the Funeral of Barack". (From a story by Oscar Rabin)
In "revelatory" articles, Rabin periodically attacked in the Soviet press, the artist was accused of "slandering the" Soviet reality: "Troubled, frightened, neurotic little world gets in the canvases of the artist. Skosobochennoy home, curved Windows, herring heads, izmyzgany walls of the barracks – all this would seem ordinary bias of the layman, if it were not multiplied with meaningful symbols of meaninglessness," wrote Soviet culture" June 14, 1966 (V. Olszewski "Dear price lentil soup". This theme was picked up by the newspaper "Moscow artist" published may 26, 1967 article "Not to distort Soviet reality": "In our work with the Rabin distorts the image of our society. His works reflect the private, ugly, long-outmoded phenomenon that in no way characterizing the modern reality. They discredit the achievements of the Soviet people, their culture and way of life. Creativity Rabin is at odds with the objectives of Soviet art, puts a shadow on the Soviet system......"
Later in an interview, Rabin says: "I very quickly decided that the theme of my work is my life, everything around me that I know close to me – the wagons, the barracks, the life of this vodka-herring as a symbol of both joy and sorrow folk – even in this sense," [Osipov. 2007].
In another interview, Rabin said, "It was the same life of the Russian people, where is the vodka meant a lot. And at birth and death, in joy and in sorrow, and just from the gray melancholy of life has always been vodka. ..." [The drums. 2007].
"Rabin sooner all of us decided, found his artistic face. Already in the mid-60s he developed his individual style until the mid-70s was perhaps the only artist of the emerging "Moscow wave", who was able so forcefully and ruthlessly to embody in art a different vision of reality, in contrast to the ubiquitous enforcers of the heroic symbolism of the Soviet everyday life. In his paintings flashed familiar objects and images from everyday life: the barracks, fences, communal kitchens, churches, withered snow, icons, clothesline, cats, Newspapers and, of course, a bottle of vodka. Everything in them was recognizable, but, moreover, and unusually, as the picturesque images of these, impressing the spectator the amazing combination of squalor and splendor, were no longer in the household but in a metaphysical incarnation, as the eternal symbols indicating the tragic mystery of existence. Is captured, charmed and conquered." (Nemuhinskie monologues. 1999. P. 75)
In "revelatory" articles, Rabin periodically attacked in the Soviet press, the artist was accused of "slandering the" Soviet reality: "Troubled, frightened, neurotic little world gets in the canvases of the artist. Skosobochennoy home, curved Windows, herring heads, izmyzgany walls of the barracks – all this would seem ordinary bias of the layman, if it were not multiplied with meaningful symbols of meaninglessness," wrote Soviet culture" June 14, 1966 (V. Olszewski "Dear price lentil soup". This theme was picked up by the newspaper "Moscow artist" published may 26, 1967 article "Not to distort Soviet reality": "In our work with the Rabin distorts the image of our society. His works reflect the private, ugly, long-outmoded phenomenon that in no way characterizing the modern reality. They discredit the achievements of the Soviet people, their culture and way of life. Creativity Rabin is at odds with the objectives of Soviet art, puts a shadow on the Soviet system......"
Later in an interview, Rabin says: "I very quickly decided that the theme of my work is my life, everything around me that I know close to me – the wagons, the barracks, the life of this vodka-herring as a symbol of both joy and sorrow folk – even in this sense," [Osipov. 2007].
In another interview, Rabin said, "It was the same life of the Russian people, where is the vodka meant a lot. And at birth and death, in joy and in sorrow, and just from the gray melancholy of life has always been vodka. ..." [The drums. 2007].
"Rabin sooner all of us decided, found his artistic face. Already in the mid-60s he developed his individual style until the mid-70s was perhaps the only artist of the emerging "Moscow wave", who was able so forcefully and ruthlessly to embody in art a different vision of reality, in contrast to the ubiquitous enforcers of the heroic symbolism of the Soviet everyday life. In his paintings flashed familiar objects and images from everyday life: the barracks, fences, communal kitchens, churches, withered snow, icons, clothesline, cats, Newspapers and, of course, a bottle of vodka. Everything in them was recognizable, but, moreover, and unusually, as the picturesque images of these, impressing the spectator the amazing combination of squalor and splendor, were no longer in the household but in a metaphysical incarnation, as the eternal symbols indicating the tragic mystery of existence. Is captured, charmed and conquered." (Nemuhinskie monologues. 1999. P. 75)
