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Arseniy Schulz (December 23, 1910, Tallinn - September 23, 1976, Moscow) - Russian and Soviet artist, graphic artist.
Since childhood, he was interested in painting and graphics, his attention was attracted primarily by the latest trends in art. The artist’s archive preserved drawings of 1924, fourteen-year-old teenagers painted in drawings, noticeably influenced by Aristarch Lentulov and Robert Delaunay, in later works by the artist the influence of fashionable artists will be seen - D. P. Shterenberg, V. V. Lebedeva, A. A. Deineka and others, while A. L. Schulz does not seek to copy the techniques of already recognized masters, he is looking for his own way and creates his own style.
In 1925, A. L. Schulz began to work in the studio of D. N. Kardovsky, a brilliant draftsman and teacher. "... His (D. N. Kardovsky) method of teaching, expressed in the fact that he, not trying to break the nature of his students, gave them the freedom to experiment, search, but at the same time taught" a strict analysis of the tasks set ... any creative effort ", the studies in the studio had a great influence on the fate of A. L. Schultz, allowed the artist’s talent to develop freely. Already in this early period, A. L. Schulz acts as a mature master, works as an artist in book and magazine publishing houses, creates and newspaper illustrations, sometimes earns money by creating sketches for advertising, but most of the sketches and drawings were created for themselves during this period, he was especially interested in grotesque and caricature not limited by the rules, which allowed him to look at modernity from the other side through the prism of humor and sarcasm. A. Balashov wrote : “The artist (A. L. Schulz) seeks to discover and present to contemporaries the grotesque drawing as an illustration and handwriting of time, as its style, as an artistic text and as reality itself; perhaps, so he seeks to express the meaning of the era, its reality and authenticity maybe he says that art can make visible the hidden, not obvious, but the true meanings of time, but it is important that the artist himself always remains limited space of his subjective experience. "
A special place among the early drawings of A. L. Schulz is the album “Hind limbs” written in 1930. The focus of the artist's attention is that every person sees every day, and at the same time does not pay attention to it - the feet. This is a story without words, containing images without meaning, not claiming historical significance or rethinking social problems, art without power and out of power, when the artist’s attention is focused on the observation of everyday “nothing”, which becomes the new language of art, “a new absurd mechanics appears art, originating from avant-garde literary-plastic experiments and accepting the messages of Dada and surrealism; a system in which OBERIU literature exists and from which European conceptualism and American pop art are growing. ”
In 1932, a happy event occurs in the artist's life - he marries Adele Pavlovna Shik, who later became his faithful companion of life and the keeper of his artistic heritage. He draws her portraits, creates a series of photographs, writes touching letters with drawings in the margins.
The desire to improve their own skills lead A. L. Schulz first to classes at Rabfak Arts VHUTEIN, then, in 1933, at the Moscow Architectural Institute. After graduating from the institute in 1937, he was keen on research work in the field of printing technology, worked in an architectural studio, and continued working on illustrations for newspapers and magazines.
In 1941 he was called up for military service, fulfilled tasks for the magazines Ogonek, Krasnoarmeets and Krasnooflotets. In April-May 1942, he became seriously ill with typhus, after recovering, he was sent to Yoshkar-Ola, worked in the printing house of the Sniper newspaper, and also as a graphic designer. The illness seriously undermined the master's health, and in October 1944, A. L. Schulz was discharged and returned to Moscow. He worked in the Project Management Academy of Sciences of the USSR "Akademproekt" under the leadership of Academician A. V. Shchusev, worked in book illustration, worked as an artist in Detgiz.
In September 1945 he joined the Moscow Branch of the Union of Soviet Artists. He did not leave the scientific and research work; in January 1946, A. L. Schulz submitted an application for an inventor's certificate for the invention “A method of manual printing of engravings or similar images with dry ink with thermal reinforcement of an imprint”; "A device for making cliches with a monotype set of tone matrices using a photocell". On February 3, 1948, he received reference number 373016 on primacy in the Patent Office of the Committee on Inventions and Discoveries under the Council of Ministers of the USSR.
Takes part in several exhibitions - in 1946 in the exhibition of works of artists-participants of the Great Patriotic War in the MOSSH hall, in 1947 in the exhibition of graphics (colored engraving on linoleum) in the Russian Museum, where he exhibited a portrait of Leo Tolstoy.
In August 1948, A. L. Schulz was arrested and held in the inner prison of the MGB of the USSR; in May 1949 he was convicted under articles 17-58-8, 58-10 and 58-11 by a special meeting at the MGB of the USSR and exiled. In January 1956, he was released; the case was dismissed “by the absence of corpus delicti” by the decision of the Military Collegium of the USSR Supreme Court. Practically nothing is known about the years of A. L. Schulz’s imprisonment, according to some data in 1954 A. L. Schulz was in a camp in Vorkuta, he worked at Mine No. 1 “Kapitalnaya”, where he met Yakov Yakovlevich Wunder (1919–1966), created an artistic circle at the camp theater "Vorkutaugol".
After returning from Vorkuta, A. L. Schulz is long restored, not without the help of her eternal guardian angel, wife, Adele Pavlovna Schick. The stay in the camp does not pass without a trace, now he just wants to live and work in peace. In 1957, A. L. Schulz again turns to book graphics, works as an artist in various publishing houses, draws about 60 books, mostly adventure ones.
Among the works of this period, a special attention is drawn to the series of portraits of F. M. Dostoevsky, the theme of loneliness and the incredibly difficult path of the artist in Russia, experienced and experienced through his own experience. [6]
September 23, 1976 the artist died in Moscow.
Since childhood, he was interested in painting and graphics, his attention was attracted primarily by the latest trends in art. The artist’s archive preserved drawings of 1924, fourteen-year-old teenagers painted in drawings, noticeably influenced by Aristarch Lentulov and Robert Delaunay, in later works by the artist the influence of fashionable artists will be seen - D. P. Shterenberg, V. V. Lebedeva, A. A. Deineka and others, while A. L. Schulz does not seek to copy the techniques of already recognized masters, he is looking for his own way and creates his own style.
In 1925, A. L. Schulz began to work in the studio of D. N. Kardovsky, a brilliant draftsman and teacher. "... His (D. N. Kardovsky) method of teaching, expressed in the fact that he, not trying to break the nature of his students, gave them the freedom to experiment, search, but at the same time taught" a strict analysis of the tasks set ... any creative effort ", the studies in the studio had a great influence on the fate of A. L. Schultz, allowed the artist’s talent to develop freely. Already in this early period, A. L. Schulz acts as a mature master, works as an artist in book and magazine publishing houses, creates and newspaper illustrations, sometimes earns money by creating sketches for advertising, but most of the sketches and drawings were created for themselves during this period, he was especially interested in grotesque and caricature not limited by the rules, which allowed him to look at modernity from the other side through the prism of humor and sarcasm. A. Balashov wrote : “The artist (A. L. Schulz) seeks to discover and present to contemporaries the grotesque drawing as an illustration and handwriting of time, as its style, as an artistic text and as reality itself; perhaps, so he seeks to express the meaning of the era, its reality and authenticity maybe he says that art can make visible the hidden, not obvious, but the true meanings of time, but it is important that the artist himself always remains limited space of his subjective experience. "
A special place among the early drawings of A. L. Schulz is the album “Hind limbs” written in 1930. The focus of the artist's attention is that every person sees every day, and at the same time does not pay attention to it - the feet. This is a story without words, containing images without meaning, not claiming historical significance or rethinking social problems, art without power and out of power, when the artist’s attention is focused on the observation of everyday “nothing”, which becomes the new language of art, “a new absurd mechanics appears art, originating from avant-garde literary-plastic experiments and accepting the messages of Dada and surrealism; a system in which OBERIU literature exists and from which European conceptualism and American pop art are growing. ”
In 1932, a happy event occurs in the artist's life - he marries Adele Pavlovna Shik, who later became his faithful companion of life and the keeper of his artistic heritage. He draws her portraits, creates a series of photographs, writes touching letters with drawings in the margins.
The desire to improve their own skills lead A. L. Schulz first to classes at Rabfak Arts VHUTEIN, then, in 1933, at the Moscow Architectural Institute. After graduating from the institute in 1937, he was keen on research work in the field of printing technology, worked in an architectural studio, and continued working on illustrations for newspapers and magazines.
In 1941 he was called up for military service, fulfilled tasks for the magazines Ogonek, Krasnoarmeets and Krasnooflotets. In April-May 1942, he became seriously ill with typhus, after recovering, he was sent to Yoshkar-Ola, worked in the printing house of the Sniper newspaper, and also as a graphic designer. The illness seriously undermined the master's health, and in October 1944, A. L. Schulz was discharged and returned to Moscow. He worked in the Project Management Academy of Sciences of the USSR "Akademproekt" under the leadership of Academician A. V. Shchusev, worked in book illustration, worked as an artist in Detgiz.
In September 1945 he joined the Moscow Branch of the Union of Soviet Artists. He did not leave the scientific and research work; in January 1946, A. L. Schulz submitted an application for an inventor's certificate for the invention “A method of manual printing of engravings or similar images with dry ink with thermal reinforcement of an imprint”; "A device for making cliches with a monotype set of tone matrices using a photocell". On February 3, 1948, he received reference number 373016 on primacy in the Patent Office of the Committee on Inventions and Discoveries under the Council of Ministers of the USSR.
Takes part in several exhibitions - in 1946 in the exhibition of works of artists-participants of the Great Patriotic War in the MOSSH hall, in 1947 in the exhibition of graphics (colored engraving on linoleum) in the Russian Museum, where he exhibited a portrait of Leo Tolstoy.
In August 1948, A. L. Schulz was arrested and held in the inner prison of the MGB of the USSR; in May 1949 he was convicted under articles 17-58-8, 58-10 and 58-11 by a special meeting at the MGB of the USSR and exiled. In January 1956, he was released; the case was dismissed “by the absence of corpus delicti” by the decision of the Military Collegium of the USSR Supreme Court. Practically nothing is known about the years of A. L. Schulz’s imprisonment, according to some data in 1954 A. L. Schulz was in a camp in Vorkuta, he worked at Mine No. 1 “Kapitalnaya”, where he met Yakov Yakovlevich Wunder (1919–1966), created an artistic circle at the camp theater "Vorkutaugol".
After returning from Vorkuta, A. L. Schulz is long restored, not without the help of her eternal guardian angel, wife, Adele Pavlovna Schick. The stay in the camp does not pass without a trace, now he just wants to live and work in peace. In 1957, A. L. Schulz again turns to book graphics, works as an artist in various publishing houses, draws about 60 books, mostly adventure ones.
Among the works of this period, a special attention is drawn to the series of portraits of F. M. Dostoevsky, the theme of loneliness and the incredibly difficult path of the artist in Russia, experienced and experienced through his own experience. [6]
September 23, 1976 the artist died in Moscow.
- Artworks in 2 selections
