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Gianna
Tajatovna Tutundzhan

Russia 
born in 1931
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Painter, graphic artist. Honored artist of the RSFSR (1972), people's artist of Russia (2004). Member of the Union of artists of the USSR (1964). Lives and works in Vologda since 1959 Participant of exhibitions since 1959, the Author of thematic paintings and graphic series on women of the Vologda village.

The title of people's artist of the Russian Federation was rated Tagatova Janneh, Tutunjian only in 2004, But truly the people's love and respect escorted her works throughout the years of creative activity.

Gianna, Tutundzhan was born in Moscow on 22 September 1931, she Graduated from the art school and then the Moscow art Institute named after V. I. Surikov (1959). He studied at the Studio M. M. Cheremnykh and N..Ponomareva, electing to thesis the monumental image of the Motherland in the technique of Florentine mosaic.

After graduation, in the same 1959 left the home of her husband, Nikolai Vladimirovich Baskakov and never subsequently regretted it. In one of his trips to the field they have chosen himself a country house on the banks of the Sukhona, and since then the village Sergievskaya, lost in the forests of Moscow district has become a source of themes and images in graphic and pictorial art, Tutundzhan. It was here, in the Vologda land, she found their characters, set itself the main goal of art is to tell the world about the simple and beautiful people, preserving in the hearts and souls of their best and bright qualities of the national character. These people she met in the Vologda province, these people surrounded her in Sergeyevka.

Gradually, the travel drawings and sketches overgrown flesh of reflection, becoming generalized, philosophically wise paintings and portraits. Perhaps, none of the Vologda artists so aptly and profoundly depicted the fate of the Russian Vologda peasants, as did Tutundzhan. Her gifts as a muralist and human cardiac sensitivity connected to images of village women, girls, old women to tell the world about spiritual beauty, wisdom and perseverance of the national character.

This thread was dedicated to her "Sergievsky sheets" – a Frank and intimate drawings, which Tutundzhan excitedly entered the Vologda art. "About the bread, with salt", "Herself" – character of her graphic works are akin to literary images of Vasily Belov, Alexander Romanov, Olga Fokina in which creativity rustic theme found its special expression. And surprisingly, the Vologda writers and poets – "villagers" took and understood it, the Muscovite Armenian surname, recognizing in her a kindred spirit. The main expressive advantage graphics, Tutundzhan was concise and realistic picture. Submitted close up of a female face, furrowed with wrinkles, looked into the soul of the audience with his intelligent, all knowing eyes, as if looking for support in them, and really just talked about his fate. Gradually to expand the storyline of the drawings, their semantic enrichment Gianna Talgatovna began to purposely introduce some addition text. As a creative person, with literary skills, she used the "word" not only as a text element, but also as a visual element. So there was her famous dialogues "the truth according to conscience" afflicting us lively personal sketches and vivid folk expressiveness of its lyrics. Fearing their Frank truthfulness and a double impact – visual and literary, officials from the arts at one of the exhibitions of the Vologda graphics in Leningrad in the early 1980s, it is strongly requested to remove them from exposure.

When the artist asked about that closer to her as the Creator of a painting or drawing, she answers: "Graphics – my roots, painting – crown". In the Arsenal of a great artist, all means are harmoniously unified and subordinated to one goal – creativity. Tutundzhan we can talk about the graphic quality of painting works and the fullness of the picturesque associations of her graphic compositions. The graphic element of expressive silhouette is always complemented by the picturesque symbolism of the color spots. So, soft red in one case symbolizes life and warmth of the hearth ("Gori yasno"); in the other, contrasting with black, light up the fire ("Fire"). And with that in each picture the artist emphasized a living relationship with nature. She writes modern people and modern life. Virtually every step the canvas, Tutunjian depth of idea and conciseness of expressive forms is a social genre, where the private motive turns into a generalized image, a symbol. "Forget-me-nots" (1969) and "Gori yasno" (1976), "Fire"(1991), "Free – will" (1996) and "Bereginya" (2001) – pictures of one theme, although created in different years and separated by decades. Started at the very beginning of the creative ways the dialogue of the artist with the audience about the meaning of human life continues today.

Probably the most burning questions of modern life are concentrated in the "village" works, Tutundzhan. Her favorite heroine, having survived war and revolution, did not lose the most important thing – faith and hope. It is they, these peasant women with folded on her knees, surrounded by old and new family photos and are the "root genus" of man, his "reliable". It is no accident that the symbol of revival of Russian villages, and hence the earth, in paintings, Tutunjian is a village woman surrounded by children and not afraid to take on the role of "Berehynia".

Expressive means, who uses in his paintings, the artist unwittingly send our memories to Russian icons. "Fresco" referred to many researchers, the language of the artist's monumental paintings, and Tutunjian uses them in the parable as the story outline. Her rustic characters are akin to medieval saints and martyrs, not only legendary, but living today in our land. And the names of the pictures she "wakes up" our national memory: "Bearing your cross", "Mother Queen of heaven", "Trinity", "all Seeing eye"...

"Truth and conscience", the artist conducts a dialogue with the audience almost in every work. In the genre of portrait, it appeals to people who are well familiar and loved, preaching and arguing through them the ideal of spiritual beauty and wealth. Probably because its portrait images romantic and deprived of daily life, and the color and fine detail help to reveal the thing that she appreciate in their nature: the creative impulse, passion, devotion.

The exhibition of Gianna Talgatovna usually gather the largest audience. What is the phenomenon of popularity of works, Tutundzhan the audience? Of course, not only the focus of her paintings that is close and understandable to people living in the province, but also in the aesthetics of their plastic language close to the ethical and aesthetic traditions of Russian folk culture.

Literature:

1.Belov V. I. Comprehension /Literary Russia. – 1969. – 7 Nov.

2.Gerchuk, I. Quiet graphics // Art. – 1971. – No. 1.

3.Naked City the Knowledge of the essence of life // Artist. – 1977. – No. 1.

4.Voronova O. A., The Artists Of Vologda. – L., 1979.

5.Romanov A. A. the Truth Gianna, Tutunjian // Spark the memory. – Vologda, 1995.

6.Gianna, Tutundzhan. Spring country. The album-catalogue of the jubilee exhibition /the Author Dementieva V. G. – Vologda, 2001.

Source: L. G. Sosnina. Outstanding people: Biographical essays, Ed. the Council "Vologda encyclopedia". -

Vologda, VSPU, publishing house "Rus", 2005. - 568 p. - ISBN 5-87822-271-X

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