Biography and informationEdit
At the time of discipleship, K. N. Redko received extremely contradictory skills: first there was the icon-painting school at Kiswa-Pechersk Lavra (1910), then the lessons of A. A. Rylova at the Drawing school of the OPH (1914-15), then the class of V. V. Kandinsky in the Moscow VKhUTEMAS (1920-22).
Equally controversial look early painting experiments of the artist in the 1920s, realistic portraits and landscapes along with the symbolism and "cosmism" ("births", "Rebellion", "the midnight sun"), the General form of Suprematism - with their own versions of constructivism. The latest trend is the strongest: being fascinated by the theories of the connection of science and art, Redko develops the doctrine of "electroorganic" (later "socianism"), implementing it in a series of works ("Dynamite", "Speed", "the Dynamics of focus", all the 1920s), close to the Italian futurism.
With such works he has been involved in the "First discussion exhibition associations active revolutionary art" (1924) as a member of the group "Method"; charm machine world, on the other hand, brings him close to artists within the OCT. At this point in his creative development he is seeking from him the patron of A. V. Lunacharsky trip to France (1927).
Redko stayed in France until 1935, where he walked away from constructivism, and became a master of portraits and landscapes, executed in the spirit of the Paris Salon, combining realism with decorative shape and Shine performance with the semantic rasfoieste ("Motherhood", 1928; "Nina. A girl with a scythe", 1929; "Paris", 1931). These things were popular - the artist has had four solo exhibitions. But on arriving in the USSR Redko has shared the fate of many "returnees": creative irrelevance, the work of the all-Union agricultural exhibition (1938-39), with the exception of the Union of Soviet artists (1948). Last years (1950 - 55), he led the art Studio of the Moscow agricultural Academy im. To A. Timiryazev.