Choose a language
Use Arthive in the language you prefer
Sign up
Create an account
Register to use Arthive functionality to the maximum

Lvovich Schwartz

born in 1945

Biography and information


Born in Moscow in the family of the famous composer Leo Schwartz. Mother, Nadezhda G. Snezhko-Blotskaya, by profession was a painter, house shvartsev was always open for friends: musicians, actors, poets, and artists. There were Sergei Prokofiev, Mikhail Svetlov, family Vertinsky, Director mark Donskoy, Isaak Dunaevsky, the singer Paul Robeson.

In ten years, Sasha Schwartz starts to learn to paint in the workshop of V. Y. Tarasova. In addition to the classical school of drawing and painting the boy gets the opportunity to use the library V. Y. Tarasova, where was collected a huge number of books on Russian art, poetry and Russian futurism and constructivism, in those days little is available. In 1962, dies the father of the future artist and the young man goes to work in theatre as a stagehand and entered the School-Studio (INSTITUTE) the Moscow art theatre. Artistic staging Department of the Studio School in those years was unique in its composition of teachers and traditions. The study of art history, consumer culture, literature, theatre, technology, theory, aesthetics and philosophy and the atmosphere of the Studio allowed the students to very high professional and cultural level. In 1969 A. Schwartz graduated from the School-Studio (INSTITUTE) the Moscow art theatre. Having worked in distribution in the film Studio. Gorky it in 1971 began working as a freelance artist and, inheriting from his father's ability and love of music, whilst continuing in 1962 to study jazz as an Amateur musician. A strong influence on the young artist has rendered the protest "youth counterculture" of the 60s-70s.

Since 1972, Schwartz begins to participate in exhibitions in the hall on Malaya Gruzinskaya street. In those days it was the only exhibition hall in Moscow is not subject to strict ideological censorship. By this time A. Schwartz begins to form his aesthetic credo and understanding of what he wants to do in art. Subsequently, in his "miscellaneous Notes" he writes: "For me, as for the artist, a moment of harmony in the feelings felt while working on the painting, is seen as the perfection of form works, or rather as an infinite approximation to perfection of form, wyrazami color, line, texture, location of spots, etc. and Thus the plot of avsloja the reason for the appearance of the form. Therefore the picture is figurative, and the problem of time as the most difficult in the intellectual aspect, moves intuitively in task prospects, the volume, or lack of both, quantity and movement of points of view on the objects. It is in any case does not denote absolute ideas decor. Just to Express their attitude, are not direct literary tools leading to illustrative the type of thinking and more abstract. The conflict between the need for literary content in the film and the specifics of the solutions in composition, problems of time as the main structure inside the plot, forces the artist consciously or intuitively choose from an infinite number of ways to work on his painting. A simple illustration of the plot, as an extreme vision is an expression of solution to this conflict, I'm not interested, since it dictates the secondary close to me such categories as, for example, line, color, stain, texture. On the other hand experimentation with a pure means of plastic and color expressions on a certain level the technique results in combinatorics, reminiscent of the children's experiments with the kaleidoscope. You can add that the invention of fundamentally new means of expression in the absolute approximation to the free choice of these tools leads to a lack of "resistance of material" while working and, in my opinion, the result of this are not works of art, and some "action" and "phenomenon", having the right to exist, but of interest to or professionals, or attracting the attention of the public the original exterior solutions, such as direct associations with the historical and momentary context, and therefore short-lived ewusie. All of the above should exist in art, there's no doubt about it. In General, we can add that the adoption of the dogmatic systems and the presentation of ideological demands to the artist and to the work of art (before this work), leads to the impoverishment of all aspects of the work and comes to a dead end."

Explicit protest A. Schwartz against imposing any political-social and ideological concepts did not save it from ideological censorship of the time, but led to detachment from the trendy "social and conceptual" views in art. Several years working as a painter in the Gift Fund of the Moscow Patriarchate, the artist enjoys learning perspectives and svetotekhniki old Russian masters, and then, having been in 1980 in the far East and the Kuril Islands really engaged in the technique and the philosophy of the East. This does not prevent him to experiment with installations, collages and other his own personal funds.

Since 1975, paintings Aleksadr Schwartz start to buy in other countries, and since 1985 the artist begins, almost always, to put abroad their work. In Moscow, he participated in exhibitions, shows per-formance, which acts not only as an artist but as a songwriter and performer. He works with different groups of artists, playing with famous musicians. In the mid 90s, Schwartz takes part in organizing the Moscow music club "Bunker".

Finally, in 1993-1994, the artist gets his brand new tool — the computer and began working in 2-and 3-dimensional computer graphics. He writes in "Notes": "Can we find a relationship between "device" objects (spots, lines, plans, pseudoperfect subjects) in a two-dimensional (picture) or three-dimensional (painting, installation) space — "continuum", which uses the artist, and such a concept as "time" -(not "artistic" or used to prepare and work on ourselves "creativity"), and in its literal, physical sense? I could imagine the possibility of using "time" as a tool in virtual space, using a computer to create environments and themselves "objects of creativity".The computer is initially able to build the space solely according to the laws of "Euclidean" direct perspective (also referred to as "Calloway") and we cannot observe the 3D object from two or more viewpoints simultaneously. But instead of this continuum, with expanded space, where the movement from one perspective to another, and, consequently, a certain period of time, expressed by using "non-traditional" perspectives in the virtual space of the computer can construct the trajectory from one endpoint to the other view and view the changes in real time. But this technique is a natural attribute of cinema and contrary to the "simultaneous" perception of the phenomenon of art. Attempts consciously or unconsciously to use n + 1 points of view on a two dimensional plane lead to a change in the usual perspective, and time becomes physically perceptible, it is almost a truism. Then there is another solution: if a sequential "movie" viewing such motion is replaced by the opportunity to work with the space interactive. Similar programs that allows you to distort the space conscious I have not seen."

Alexander Schwartz writes still lifes and models, landscapes and portraits working in black-and-white graphics. It is mobile in the technique and definite in his aesthetic views: "I am against the division of art into "popular" and "elitist". Either art is present or not."

In 1993, the biography of the artist was published in Cambridge in the biographical dictionary "who's Who?" and in the "Outstanding people of 1993"

In 1995, the film "They wait" awarded by the Moscow municipality and the Italian company "Maimeri", and in 1996 the artist received the first prize at the exhibition "Fantasy" in the nomination "Graphics in computer games".

In 2002 the Russian Fund of Culture there was held his personal exhibition and a concert Aleksadr Schwartz and acquired in the collection of the Museum of Modern Art picture Aleksadr Schwartz "Steinway".

Alexander L. Schwartz, 1972, is a member of the joint Committee of graphs, and since 1992 a member of the International Union of Artists (UNESCO).

The last personal exhibition Aleksadr Schwartz was held in Spain. The exhibition was widely covered in the press and was accompanied by a television interview.

Alexander Schwarz are in the collections of such countries as : Germany, UK, Spain, USA, Greece, Japan, Holland, etc.

Did you like the article? Share it with friends
  Share    Tweet