(6 (18) December 1886 — January 6, 1923) is an avant-garde artist, the author of more than 40 paintings and about 100 graphic works, teacher, Professor of decorative painting.
Born in Russia, Kudymkar of Perm province (now Komi-Permyak Okrug of Perm Krai). In 1914 he graduated from the Stroganov art-industrial school in Moscow, then taught from 1914 to 1918 From 1919 he worked in the Perm province. Organized art-production workshops in Perm, Kudymkar and Kungur, which have become the Foundation of art education in the Kama area. Was the first Director of the Perm art College. Founded the Komi-Permyak district local history Museum, which now bears his name. In his works Subbotin-Permyak tied the traditions of Komi-Permyak folk art and the achievements of the artistic avant-garde of the early XX century. His works are kept in the Permian Komi district Museum and Perm state art gallery.
Buried in Perm on Egoshikha cemetery. In 2001, his grave was opened a new monument.
Literature:
O. M. Vlasova. The Artist P. I. Subbotin-Permyak. — Perm, 1990.
Pyotr Ivanovich Subbotin-Permyak (1886-1923) lived a short life, rich dynamics of time and creativity. Its pedagogical, organizational, theoretical and artistic activities have left a bright trace in the history of culture of the Perm region. In their native land, carefully preserved everything associated with the name of the outstanding artist and citizen. The Permian Komi district local history Museum named after him.
Brief creative and organizational activities of Pyotr Ivanovich Subbotin-Permyak reflected the uniqueness of the pre-revolutionary and first post-revolutionary years, with their energy and daring impulse, has absorbed the contradictions of the time, romantic ideals and utopian ideas, the transcendental enthusiasm and faith of the people of that era. His painting as well as theoretical works, pedagogical work embodied the ideological aspirations of the Russian avant-garde 1910-1920-ies.
P. I. Subbotin-Permyak studied at the Imperial Stroganov school of industrial art in Moscow (1907-1914), and then was left there by the teacher. The youth of the artist comes at a time when the artistic milieu of matured ideas of the "new" art. In the famous Moscow's "Cafe of poets", he met with young artists and poets — subversives traditionalism V. Khodasevich, V. Tatlin, A. Lentulov, V. Khlebnikov, D. Burliuk, V. Kamensky, and Vladimir Mayakovsky. They believed that all culture, art especially, is intended to serve as a teacher of the "New man of the New time", which would have the spiritual and physical qualities not seen before.
Subbotin was passionate about finding new ways in art and convinced that only through struggle that one can achieve positive results in the "new" art. He felt an Iconoclast philistinism and consumerism in art. Their ideas about this "New and Unprecedented", he sought to bring to life in the action. He was preparing himself to serving his people and Homeland in his student years, studying at the Stroganov school.
In may, 1911, taking care of the education of the Komi people, he wrote his Eustolia the I. Subbotina, his wife, helpmate and friend: "I want to work for the library in Kudymkar. Here come the plays to make in favor of it. The same young employee always agrees to participate... more to choral singing, the pictures are beautiful (scenery). I'll draw and expenditure from revenue. The scenery, too, or donate to the club, or the city school". About this he wrote in 1914: "in the Summer I want to work and participate in public life Kudymkar. Want to work for him. Books bought for Kudymkar".
The contribution of P. I. Subbotin-Permyak culture in Perm region you can understand and appreciate, considering in totality his organizational, creative, pedagogical and theoretical work. He was the Creator in all its multifaceted activities.
In the summer of 1918, he came home and immediately started to work: created in Kudymkar theatre workshop, where he designed the sets; reorganized the work of the people's house. P. I. Subbotin had a brilliant talent of the artist-organizer. It recalled the poet Vasily Kamensky, who worked in those years in the top military inspection of the workers and peasants red Army. "This special, rare gift once assessed the whole of Moscow, and the soldiers of the young red Army, in 1919, when the revolutionary military Council instructed Peter Ivanovich to decorate Moscow for the day of the first anniversary of the red Army, — he wrote. — With all his creative energy Peter Ivanovich took this great social thing and it perfectly fulfilled. This Moscow red army looked very elegant, lush, colorful, beautifully... In the streets and squares everywhere sparkled just made huge paintings paintings and posters of various prominent Soviet artists, including many works of Peter Ivanovich on red army themes. Name of P. I. Subbotin-Permyak was known to all Moscow."
In July 1919 Subbotin started his activity in a radical reorganization of the culture of the Perm province. He began to implement the idea of the people's Commissariat of education (Narkompros) in the global restructuring of culture and art, the basis of which lay "a new unified system of arts education to upbringing of a New man". The idea is "to create a New man through the New art" developed by the College of fine arts Commissariat, was as Grand as utopian and not achievable. But with the purpose to eliminate all the former artistic educational institutions (the Academy of arts, the Moscow school of painting, sculpture, architecture). Instead, they opened the vkhutein (Higher art and technical Institute) and across the country — from Petrograd to Vladivostok, in district and provincial cities — to create a network of Higher state art-technical studios (VKhUTEMAS). Art-industrial workshops of Marc Chagall, Kazimir Malevich in Vitebsk, workshops Subbotina-Permyakov in Perm and Kudymkar — links of a single process.
In 1919-1920 P. I. Subbotin-Permyak was organized by art-industrial workshops in Perm, Kudymkar and Kungur. Workshops were "the base of art education of the local region". Before them were set the task: to raise the General cultural level of the people, to provide elementary art education through formal and non-formal exposure. All experienced difficulties of that time famine: not enough food, fuel, was not qualified teachers and money to pay for them.
As an authorized Perm, gubono P. I. Subbotin-Permyak continuously monitor the workshops, has provided creative assistance, took care of the invitation of teachers. He wrote programs for training, developed manuals, he traveled around the province and gave lectures, campaigning for a "new" art. "We need to interest and acquaint the youth with questions of art", the painter thought. He called his disciples and teachers to work to "inspire the masses to great things".
Famous Ural writer A. N. Speshilov, then a student Perm art-industrial workshops, recalled: "Subbotin was a man obsessed. Wherever he was, around him immediately formed a crowd of people, and it is for the art of campaigning".
Despite the difficult conditions, hunger and devastation, teachers and students considered it his duty "to keep up with the times." A. N. Speshilov talked about those years: "the Students participated in the initiative, we were called budhwani (future artists). All wrote poetry, was an artist — very talented people then studied. Hot, live young people were then. In the 1920-ies, remember, we are at Karl Marx street (in Perm. — N. K.), on the street, on the sidewalk, making their exhibitions every spring and summer."
29 Oct 1921 P. I. Subbotin-Permyak was given a mandate to appoint him "head of the Perm art College". As if summing up its activities, and arguing with his opponents, he wrote in 1922: "it is stated that in the province a lot of work in the visual arts. I have done a lot of work, reports, written programs, manuals, questionnaires, etc., and most of the paid (99%), as it was all done in the name of ideas."
He gave a lot of effort organizational, pedagogical work. The creation of the "new" art — especially his beloved painting — he wanted to devote much more time than he was allowed by the circumstances. The creative heritage of P. I. Subbotin-Permyak includes about 50 paintings of different years, 40 graphic sheets, more than 30 theatrical thumbnails over 50 thumbnails of festive decoration of Moscow in 1919, the First anniversary of the red Army.
The artist's work can be divided as follows: the first period of work prior to 1920 on the pieces that continue the traditions of classical and decorative painting. In the second period (1920-1922 years) paintings, which expressed plastic ideas of futurism.
In the first period of creativity of the paintings, "Stay over the river. The tea party" (1916), "Red holiday" (1917), "families" (1918). These years decorative and festive, even in their titles and subjects transferred to the idle state of joy and happiness.
Works of the second period activities of P. I. Subbotina-Permyakov should be read in conjunction with his theoretical writings (e.g. "the Kitchen is beautiful craftsmanship"), he justifies a system of "new" art. In 1921 he wrote "the Methods and system of new art" which was a program for teaching the theory and practice of painting. Casting down traditional styles in art, the artist States that "in painting for all time of its development was never released at the same time all three problems with it: color, shape, texture.
Subbotin-Permyak in his "first literary experience" aims: "to organize new techniques, find new laws of art, appropriate to the revolutionary era of searching, creativity, and new construction of giant proportions". The author States the principles of the "new" art: "structure, texture, dynamism, Economism, centralization". And every principle he justifies. The consequence or effect of justification: "Color is the sound of music; the rhythm of the lines is an art phrase, a chord in music; the colors, sounds and rhythms of the lines create a unique style."
P. I. Subbotin-Permyak offers to "split the canvas intuitive lines, split, penetrating the lines." On the one hand, these lines "break" the canvas, on the other — "connect the subject with the background." This allows, considered by the artist to reveal "the life of objects," their movement and "dynamic state". In the paintings of 1921-1922 "work", "still life with a roll", "still life with pie", "still life with art accessories", "still life with loaves and dishes," the author brings developed the basic theoretical principles of the art of the future (futuristic). He breaks up the canvas "intuitive lines." Fragmented space of the picture is connected a kind of grid-wide web, combining the subjects of still life. Each piece of still lifes presented in the "dynamic state" from different points of view. Even if you do not know about the theoretical aspirations of the Subbotina, the decorative beauty of the still life, the harmony of colours and colour combinations — the "beautiful phrases," according to Subbotin, — make a strong impression. This incarnation of "pictorial dynamism" can be seen in the paintings of "the Factory (depot)", "quay", "City", "Pagina", "field", "Ay".
The process of movement in the plastic art has tried to pass many artists, avant-gardists. P. I. Subbotin-Permyak is a theoretical justification of the plastic concept of the transmission of the "dynamic state" and represents this state in the paintings. He believes that objects in the real world are never alone. They are constantly changing with the movement of the perceiver of their men, come in various relationships with the environment. Hence the task for a painter is to Express the dynamics, movement and status of objects in a changing space.
For the avant-garde artists-futurists, "Express of the future", for P. I. Subbotin-Permyak, "dynamic state", the movement is not only a literary and artistic ideas, but also a system of values, the basis of behavior. Theory and life experience connected. Even the funeral of the artist in the winter of 1922/23 year was in the spirit of his being, or "dynamic state". His optimism and boundless faith in the future did the fact of death is unimportant, not to think about the tragedy of life. At the funeral Subbotina, at his request, played only polka and Krakowiak. That was remembered by the writer A. N. Speshilov.
Life of P. I. Subbotin-Permyak is "combustion", activity, motion, "dynamic state" no rest and pauses. The fate gave him little more than five years of creative life. In 1919 he was already seriously ill.
Of all the things he managed to carry out P. I. Subbotin-Permyak, would be enough for several lives. He is the Creator of numerous paintings and graphic works, theoretical works, programme. "Benefit, good is the Supreme goal of life" — so he believed and followed this principle all his life. The activity of P. I. Subbotin-Permyak, his work has set a high standard of service to the people.
Currently, paintings by the artist adorn the halls of the Museum in Kudymkar, are on permanent exhibition in the Perm art gallery. It works together with the works of his close artistic avant-garde ideas of D. Burliuk, V. Kamensky and other avant-garde artists exhibited in many exhibitions in Germany, Spain, Finland.
(author - Kazarinova N. V.)
