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"XXI Century. Contemporary Russian Art ”- IV. Artists who choose Tradition ARTinvestment.RU February 25, 2020
Exhibition 24 − February 28, 2020
"XXI Century. Contemporary Russian Art ”- IV. Artists who choose Tradition
ARTinvestment.RU February 25, 2020
10 contemporary Moscow artists: individual characteristics of each’s art, their origins, the context of the artistic environment in which their work was formed, the main vector in search of their own language and imagery
All these artists, who have gone through a rather long way of metamorphoses and searches, are distinguished by the deepest rootedness in the Tradition of Russian and European plastic culture. Traditions, as you know, do not become obsolete and survive generations of artists. Not artists come up with them. Tradition chooses who to trust yourself
We represent the work of artists who can be seen at the auction on February 24–28, 2020, curated by Rodina Vera Yuryevna.
Valery Babin (1945), painter, graphic artist, book artist
The artist writes only about how he feels well. In his biography, the house in Berezovsk, in the Urals, became that cradle, that sacred place that shaped his attitude to the world and art. In his poetry, color is important. For Babin’s paintings, at the reception level, a monumental generalization of writing, restraint of color, and at the semantic level, the timelessness of circumstances and provisions are characteristic. This makes his paintings related to the old Russian fresco, where painting is an image of silence. Worldly raised to a high interpretation of the solemn rite of life. In the work of Babin there is a kind of paradoxical interweaving of instant and Eternity, the “inadvertence” of the look and the accuracy of the solution to the composition. This rare ability to find a monumental form, without losing the character of improvisation, especially attracts the viewer. The artist makes extensive use of the rich heritage of Russian revolutionary graphics and engravings. The art of drawing Babin is quite comparable with the mastery of the domestic classics Kupreyanov and Barto.
The artist is also obliged by the poetic ingenuity of plastic to the Moscow art environment, in which he was formed into a great master.
Babin Valery Iosifovich (1945) Dream of a gardener. 2001
Canvas, oil. 60 × 100
Source es.gallerix.ru
Babin Valery Iosifovich (1945) White bather. 2007
Canvas, oil. 30 × 30
Source: retro.openklub.ru
Nadezhda Gaiduk (1948–2016), painter, designer
It was part of the Odessa nonconformist art movement. Exhibited with the main Odessa "informals": Oleg Sokolov, Stanislav Sychev, Vladimir Strelnikov, Valentin Khrushch, Vladimir Sazonov and others.
Since 1972, in Moscow, it has joined the circle of Moscow unofficial artists, becoming a prominent representative of the group "21" in Malaya Gruzinka, exhibited along with Sergei Bordachev, Anatoly Lepin, Boris Beach, Peter Belenok and others.
The work of Haiduk is diverse, it is distinguished by a constant interest in the experiment, but the main artistic searches of the author always lie in the field of pointless painting.
Starting with artless pictorial cycles depicting a quiet, unhurried life, attention to details and signs of life, landscapes of his native city, the artist proceeds to sophisticated experiments in the field of lyrical and geometric abstraction. There arises the theme of “Archeology”, where artifacts of the past are combined with a conventional, only reminiscent of a real, landscape. The artist introduces into the fabric of painting materials of the reality that gives impetus to these images - flickering pieces of quartz, sand, shell rock, makes the viewer tactile and visually involved in the breath of Time. At a certain stage, Haiduk turns to collage and assemblage, creates vivid expressive messages of the Past; lovingly calling the series "Secrets", it refers to a personal gaming space. She skillfully uses the game of textures; rare photographs from the personal archive, hand-made unique embroideries, badges, flags, etc. add up to free improvisations, as if allowing the author to take a break from the impeccable discipline of geometric constructions. A series of works on the book as an art object appears. Gaiduk's works are distinguished by their sharpness, unexpected use of techniques and materials, freshness and optimistic poise.
HAYDUK Nadezhda Mikhailovna (1948–2016) Composition. Triptych. Right part. 1991
Canvas, oil. 100 × 80
Source: property of the artist’s family
HAYDUK Nadezhda Mikhailovna (1948–2016) 30 years later. Diptych. 2008
Oil on canvas, collage. 60 × 50
Source: property of the artist’s family
Sergey Zhavoronkov (1945), schedule
Sergey Zhavoronkov is an amazing master who managed to capture a variety of simple things in small formats of his works, raising them to the level of a standard. Once, at the beginning of his career, he consciously preferred the graphics to painting. Having made self-restraint one of the most important modules of his creative method, eventually limiting the number of techniques, the artist usually uses pastel, sauce, charcoal in his sheets.
The artist is characterized by a contemplative attitude to his work, which makes him related to his beloved Borisov-Musatov, Bonnard and Morandi. He can return endlessly to the same motive without trying to change his impressions.
For many years, the artist paints the same hills in the vicinity of his house in Alepino. The cycle is called "Alepin Hills". I recall the chiseled words of Mandelstam: “Where there is more heaven for me - there I am ready to wander, / And a clear longing does not let me go / From the young Voronezh hills / To the universal, brightening in Tuscany”. This is precisely the universal, universal landscape, conditional, cleared of any signs and emotions, almost turned into a landscape formula.
In still lifes, interiors, images of the city, Zhavoronkov remains true to himself, strict and precise, minimalist with absolute pitch. The artist deliberately limits the number of techniques, sheet sizes, themes, and lately, colors, using them very sparingly, in this austerity condensing and clarifying the color. Refusing color at all is an interesting task in the framework of his work, which he sets himself at the present time.
Sergei Zhavoronkov, true to himself, not tempted to succumb to the dictates of modern art fashion, follows his own, “unlike” path of traditional art.
ZHAVORONKOV Sergey Gavrilovich (1945) My yard. 2012
Pastel Paper
Source: pushkinmuseum.ru
ZHAVORONKOV Sergey Gavrilovich (1945) Broken chair. 2007
Pastel Paper
Source: pushkinmuseum.ru
Igor Kislitsyn (1948), painter, graphic artist, stage designer, icon painter
If we talk about the traditions that Kislitsyn continues, then, with all the obviousness of the soil beginning and belonging to the Russian tradition - from ancient Russian sacred art to the Russian classical avant-garde - it relies on the rich cultural heritage of the whole continent of Eurasia. His work is distinguished by the integrity of the alloy and a very personal "organic" style. The author’s painting always has a sacred landmark, it is always a question of the Eternal from the stream of time, always a movement to the “invisible” degree, like Kitezh or Belovodyod, to the heavenly “homeland”. This is reflected in the names of the cycles of paintings - “Heavenly City”, “Apocalypse”, “Black Sun”, “Red Earth”, etc. The artist’s approach to sacred issues, however, is devoid of illustrativeness and declarativeness, far from any scheme or stylization canon, bad eclecticism, mixing of obviously incompatible (this postmodern disease of taste).
In the context of painting, the author builds a personal "symbolography" of the Spirit. Plastic “hieroglyphs of form” exist parallel to the figuratively figurative level of paintings. Representing various solar sign-forms, they unexpectedly penetrate into the strata of writing, ascending, like stars, moons and other luminaries, into spaces of metaphysical landscapes that are extremely abstract, brought to the degree of a conventional sign. Slots, contours, other shapes, like the oldest mural, are sharply and accurately scratched in the thickness of the multilayer colorful masonry. By invading the statically frozen picture plane, they enhance the image, introduce additional levels of symbolism and semantics.
Kislitsyn is undoubtedly a colorist, a significant role is assigned to color - both as a means of enhancing the figurative effect of the picture on the viewer, and as a carrier of his ideas. The author confidently and expressively cultivates a colorful surface, using numerous linings and glazes; By complicating and densifying color relationships, it achieves a precious flicker effect. This is a painting that, of course, is able to please not only the spirit, but also the eye.
KISLITSYN Igor Vasilievich (1948) The Black Horseman. From the cycle “Praise to the Blue.” 2002
Canvas, oil. 170 × 140
Source: property of the author
KISLITSYN Igor Vasilievich (1948) Composition with the Tower. 2000
Canvas, oil. 90 × 110
Source: property of the author
Victor Kraposhin (1952), painter
Viktor Kraposhin is a Moscow painter who is close to the circle of informal art of the 1960s and 70s.
As an adherent of figurative painting, clear, objective, with detailed details, he long ago preferred to excerpts in the field of objectlessness a thin multi-layer glaze painting, moving towards realism, metaphysical realism. The paintings are deceptively idyllic, the skillfully painted landscape background is meek and peaceful, directly referring to the well-learned lessons of the Russian landscape school. In this world, there is no disturbing Boskhiana of early Sveshnikov, the bizarre city phantasmagoria of Vladimir Pyatnitsky, but the atmosphere of the presence of a different, transcendental dimension pervades the viewer. At first glance, there is a “story” in the paintings, but it is difficult to tell. The artist does not comment on any ideas within the framework of the picture, but subjugates them to the picturesque fabric of the work, enlivens them with his vision, sometimes not reflecting at all and moving intuitively. Slightly deforming the forms, using different points and angles of view in the composition at the same time, the artist builds a paradoxical and multifaceted image. To understand its metaphysical polysemy, the viewer must change the angle of “optics”, make it “antinomic,” discarding logic and concept. Passing the mask of reality, the viewer, following the artist, penetrates into its core, falling into the dimension of freedom, where the Present, including the Past and the Future, becomes the only possible place of the Presence. So, a broken egg turns out to be larger than a frying pan and scrambled eggs made from it, enclosing the whole house and all life, and the whole whirl of life - from infancy to the end (“Egg”. 2019).
Kraposhin Victor Sidorovich (1952) Nest. 2018
Oil on canvas, acrylic. 50 × 70
Source: property of the author
Kraposhin Victor Sidorovich (1952) Cosmos swing. 2014
Canvas, oil. 60 × 70
Source: property of the author
Konstantin Kuznetsov (1944), painter
Moscow painter Konstantin Kuznetsov is a representative of the circle of artists of the second wave of the avant-garde. The figure of Mikhail Vrubel was extremely important for him, followed by Alexander Golovin, Victor Borisov-Musatov, Alexander Ivanov.
The artist works most often in cycles, the themes of which reflect the course of world time or are devoted to natural and cultural toposs, architectural and park ensembles, replete with quotes (mainly architecture and sculpture): antiquity, the European Middle Ages, the Renaissance, Russian classicism.
In the artist’s perception, art objects are not only monuments of art, but are also surrounded by a shell, or aura, of semantic strata and allow the viewer to “turn on” in the era, revealing for themselves a whole fan of meanings and associations. The artist, and after him the viewer feels himself in the space of world culture. The seasons and individual months, parts of the day are for him the embodiment of cyclicality and timelessness; because when you controlled the time, you are outside of it.
His paintings can be seen as a spiritual experience, that is, at its core, religious art. Kuznetsov understands the religious orientation of art as the possibility of layering, “shining through” of historiosophical reflections, cultural images, signs and interpretations of nature as a divine creation. In the polyphonic space of the flickering mosaicism of Kuznetsov’s painting, the exquisite fluidity of pictorial rhythms, an endless metamorphosis of forms and states, the dreams of earth, water and air about the reality of the miraculous and the illusory nature of the external, empirical is guessed.
KUZNETSOV Konstantin Nikolaevich (1944) Tsaritsyno. 1981
Oil on canvas, acrylic
Source art-critic-kuskov.com
KUZNETSOV Konstantin Nikolaevich (1944) Sign. 1996
Oil on canvas, mixed media. 80 × 100
Source: artinfo.ru
Olga Rudakova (1951–2017), painter
Born in the family of the artist Mikhail Zakharyevich Rudakov.
The art of Olga Rudakova is a complex, ambiguous and wonderful story about what she saw, how she saw, what excited her and what she loved. She lived in a unique, tragic and at the same time very bright world, very objective, full of smells, colors and sounds. With very few exceptions, she never sought to write anything abstract, formal, or abstract in the literal sense.
The language and style of Olga Rudakova's still lifes is based on a finely designed plastic base, on the roll-call and intersection of pictorial symbols and universal meanings. The still lifes of her favorite Gris, Georges Braque, Kuznetsov, Cezanne, Mikhail Sokolov for her were more like the alphabet of the genre, but not role models. She found her own artistic module of still life, drama of color and pure and absolute objectivity, she preferred a dry rational layout and natural similarity. In recent years, the black color began to play in the works of Rudakova emphasized expressive role, reinforcing and sharpening the nature of the design. The thickened contours of objects, dense black segments of the picturesque space give the impression of a strong bass part in a transparent and delicate overall harmony.
It can be argued that the still life for the author is a comprehensive, inalienable, universal genre. This is a genre-picture, a genre-universe, a genre-symphony, which includes elements of a landscape, and hints of a self-portrait, and allegorical collisions of everyday life, and veiled meanings of a philosophical parable.
RUDAKOVA Olga Mikhailovna (1951–2017) Winter on Bryanskaya Street. 2006
Canvas, oil. 90 × 75
Source: artinvestment.ru
RUDAKOVA Olga Mikhailovna (1951–2017) Business bouquet. 2007
Canvas, oil. 85 × 55
Source: artinvestment.ru
RUDAKOVA Olga Mikhailovna (1951–2017) Yellow fabric. 2010
Canvas, oil. 95 × 110
Source: gallerix.ru
Alexander Rusov (1966), architect, photographer, painter
RUSOV Alexander Fedorovich (1966) Fontanka. View of the domes of Izmailovsky Cathedral. 2018
Canvas, oil
Source tverskaya13.ru
RUSOV Alexander Fedorovich (1966) Moscow landscape with a temple. Pokrovka. 2017
Canvas, oil
Source tverskaya13.ru
Valery Sakhatov (1947), painter
SAKHATOV Valery Taganovich (1947) From the series “Horizon”. 2019
Oil on canvas on cardboard. 50 × 70
Source: property of the author
SAKHATOV Valery Taganovich (1947) Portrait without resemblance. 2019
Source: property of the author
Sergey Smurov (1957), sculptor
Smurov considers the language of sculpture and its essence form, space and plasticity. Always seeks to generalize and abstract, metaphorical, monumental image. For him, laconicism of form and lack of literature are important, although sometimes it brings an element of some irony and play with social overtones. At the same time, Smurov always emphasizes that for him art is apolitical, individual and not momentary.
The sculptor often introduces a color that unexpectedly organizes the rhythm of the whole composition and gives the forms a harmonious balance. This is especially evident in his work with wood, which he loves for his special warm energy. As a regular participant in the International Outdoor Stone Sculpture Symposiums, the sculptor eagerly works with stone. “You need to go behind the stone,” the artist says. “A sketch is one thing, and a stone often gives a completely different thing.” Smurov’s monumental sculptures adorn Moscow streets and parks: Autumn Boulevard, Dmitry Donskoy Boulevard, Museum, and others; he also created a tombstone for the poet Arseny Tarkovsky.
Completely rejecting all sorts of journalism and journalism in sculpture, the so-called. "Topicality" of those, he always seeks to find the exact plastic image of a particular idea. His monumental project (the total height of the composition is 5 meters) “In Memory of the Fallen Journalists” is interesting - a stylized steel feather turning into a winged, wounded, falling Muse. The image of winged Muse is the key in the artist's work.
Sculptor Sergey Smurov. In workshop
Photo: Elena Bubnova
A source:
photopodium.com
A fragment of the exposition of the personal exhibition of Sergey Smurov in the exhibition hall of the Moscow Union of Artists on Begovaya, 9. 2017
Source: art release.rf
Vera Rodina
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ARTinvestment.RU February 25, 2020
10 contemporary Moscow artists: individual characteristics of each’s art, their origins, the context of the artistic environment in which their work was formed, the main vector in search of their own language and imagery
All these artists, who have gone through a rather long way of metamorphoses and searches, are distinguished by the deepest rootedness in the Tradition of Russian and European plastic culture. Traditions, as you know, do not become obsolete and survive generations of artists. Not artists come up with them. Tradition chooses who to trust yourself
We represent the work of artists who can be seen at the auction on February 24–28, 2020, curated by Rodina Vera Yuryevna.
Valery Babin (1945), painter, graphic artist, book artist
The artist writes only about how he feels well. In his biography, the house in Berezovsk, in the Urals, became that cradle, that sacred place that shaped his attitude to the world and art. In his poetry, color is important. For Babin’s paintings, at the reception level, a monumental generalization of writing, restraint of color, and at the semantic level, the timelessness of circumstances and provisions are characteristic. This makes his paintings related to the old Russian fresco, where painting is an image of silence. Worldly raised to a high interpretation of the solemn rite of life. In the work of Babin there is a kind of paradoxical interweaving of instant and Eternity, the “inadvertence” of the look and the accuracy of the solution to the composition. This rare ability to find a monumental form, without losing the character of improvisation, especially attracts the viewer. The artist makes extensive use of the rich heritage of Russian revolutionary graphics and engravings. The art of drawing Babin is quite comparable with the mastery of the domestic classics Kupreyanov and Barto.
The artist is also obliged by the poetic ingenuity of plastic to the Moscow art environment, in which he was formed into a great master.
Babin Valery Iosifovich (1945) Dream of a gardener. 2001
Canvas, oil. 60 × 100
Source es.gallerix.ru
Babin Valery Iosifovich (1945) White bather. 2007
Canvas, oil. 30 × 30
Source: retro.openklub.ru
Nadezhda Gaiduk (1948–2016), painter, designer
It was part of the Odessa nonconformist art movement. Exhibited with the main Odessa "informals": Oleg Sokolov, Stanislav Sychev, Vladimir Strelnikov, Valentin Khrushch, Vladimir Sazonov and others.
Since 1972, in Moscow, it has joined the circle of Moscow unofficial artists, becoming a prominent representative of the group "21" in Malaya Gruzinka, exhibited along with Sergei Bordachev, Anatoly Lepin, Boris Beach, Peter Belenok and others.
The work of Haiduk is diverse, it is distinguished by a constant interest in the experiment, but the main artistic searches of the author always lie in the field of pointless painting.
Starting with artless pictorial cycles depicting a quiet, unhurried life, attention to details and signs of life, landscapes of his native city, the artist proceeds to sophisticated experiments in the field of lyrical and geometric abstraction. There arises the theme of “Archeology”, where artifacts of the past are combined with a conventional, only reminiscent of a real, landscape. The artist introduces into the fabric of painting materials of the reality that gives impetus to these images - flickering pieces of quartz, sand, shell rock, makes the viewer tactile and visually involved in the breath of Time. At a certain stage, Haiduk turns to collage and assemblage, creates vivid expressive messages of the Past; lovingly calling the series "Secrets", it refers to a personal gaming space. She skillfully uses the game of textures; rare photographs from the personal archive, hand-made unique embroideries, badges, flags, etc. add up to free improvisations, as if allowing the author to take a break from the impeccable discipline of geometric constructions. A series of works on the book as an art object appears. Gaiduk's works are distinguished by their sharpness, unexpected use of techniques and materials, freshness and optimistic poise.
HAYDUK Nadezhda Mikhailovna (1948–2016) Composition. Triptych. Right part. 1991
Canvas, oil. 100 × 80
Source: property of the artist’s family
HAYDUK Nadezhda Mikhailovna (1948–2016) 30 years later. Diptych. 2008
Oil on canvas, collage. 60 × 50
Source: property of the artist’s family
Sergey Zhavoronkov (1945), schedule
Sergey Zhavoronkov is an amazing master who managed to capture a variety of simple things in small formats of his works, raising them to the level of a standard. Once, at the beginning of his career, he consciously preferred the graphics to painting. Having made self-restraint one of the most important modules of his creative method, eventually limiting the number of techniques, the artist usually uses pastel, sauce, charcoal in his sheets.
The artist is characterized by a contemplative attitude to his work, which makes him related to his beloved Borisov-Musatov, Bonnard and Morandi. He can return endlessly to the same motive without trying to change his impressions.
For many years, the artist paints the same hills in the vicinity of his house in Alepino. The cycle is called "Alepin Hills". I recall the chiseled words of Mandelstam: “Where there is more heaven for me - there I am ready to wander, / And a clear longing does not let me go / From the young Voronezh hills / To the universal, brightening in Tuscany”. This is precisely the universal, universal landscape, conditional, cleared of any signs and emotions, almost turned into a landscape formula.
In still lifes, interiors, images of the city, Zhavoronkov remains true to himself, strict and precise, minimalist with absolute pitch. The artist deliberately limits the number of techniques, sheet sizes, themes, and lately, colors, using them very sparingly, in this austerity condensing and clarifying the color. Refusing color at all is an interesting task in the framework of his work, which he sets himself at the present time.
Sergei Zhavoronkov, true to himself, not tempted to succumb to the dictates of modern art fashion, follows his own, “unlike” path of traditional art.
ZHAVORONKOV Sergey Gavrilovich (1945) My yard. 2012
Pastel Paper
Source: pushkinmuseum.ru
ZHAVORONKOV Sergey Gavrilovich (1945) Broken chair. 2007
Pastel Paper
Source: pushkinmuseum.ru
Igor Kislitsyn (1948), painter, graphic artist, stage designer, icon painter
If we talk about the traditions that Kislitsyn continues, then, with all the obviousness of the soil beginning and belonging to the Russian tradition - from ancient Russian sacred art to the Russian classical avant-garde - it relies on the rich cultural heritage of the whole continent of Eurasia. His work is distinguished by the integrity of the alloy and a very personal "organic" style. The author’s painting always has a sacred landmark, it is always a question of the Eternal from the stream of time, always a movement to the “invisible” degree, like Kitezh or Belovodyod, to the heavenly “homeland”. This is reflected in the names of the cycles of paintings - “Heavenly City”, “Apocalypse”, “Black Sun”, “Red Earth”, etc. The artist’s approach to sacred issues, however, is devoid of illustrativeness and declarativeness, far from any scheme or stylization canon, bad eclecticism, mixing of obviously incompatible (this postmodern disease of taste).
In the context of painting, the author builds a personal "symbolography" of the Spirit. Plastic “hieroglyphs of form” exist parallel to the figuratively figurative level of paintings. Representing various solar sign-forms, they unexpectedly penetrate into the strata of writing, ascending, like stars, moons and other luminaries, into spaces of metaphysical landscapes that are extremely abstract, brought to the degree of a conventional sign. Slots, contours, other shapes, like the oldest mural, are sharply and accurately scratched in the thickness of the multilayer colorful masonry. By invading the statically frozen picture plane, they enhance the image, introduce additional levels of symbolism and semantics.
Kislitsyn is undoubtedly a colorist, a significant role is assigned to color - both as a means of enhancing the figurative effect of the picture on the viewer, and as a carrier of his ideas. The author confidently and expressively cultivates a colorful surface, using numerous linings and glazes; By complicating and densifying color relationships, it achieves a precious flicker effect. This is a painting that, of course, is able to please not only the spirit, but also the eye.
KISLITSYN Igor Vasilievich (1948) The Black Horseman. From the cycle “Praise to the Blue.” 2002
Canvas, oil. 170 × 140
Source: property of the author
KISLITSYN Igor Vasilievich (1948) Composition with the Tower. 2000
Canvas, oil. 90 × 110
Source: property of the author
Victor Kraposhin (1952), painter
Viktor Kraposhin is a Moscow painter who is close to the circle of informal art of the 1960s and 70s.
As an adherent of figurative painting, clear, objective, with detailed details, he long ago preferred to excerpts in the field of objectlessness a thin multi-layer glaze painting, moving towards realism, metaphysical realism. The paintings are deceptively idyllic, the skillfully painted landscape background is meek and peaceful, directly referring to the well-learned lessons of the Russian landscape school. In this world, there is no disturbing Boskhiana of early Sveshnikov, the bizarre city phantasmagoria of Vladimir Pyatnitsky, but the atmosphere of the presence of a different, transcendental dimension pervades the viewer. At first glance, there is a “story” in the paintings, but it is difficult to tell. The artist does not comment on any ideas within the framework of the picture, but subjugates them to the picturesque fabric of the work, enlivens them with his vision, sometimes not reflecting at all and moving intuitively. Slightly deforming the forms, using different points and angles of view in the composition at the same time, the artist builds a paradoxical and multifaceted image. To understand its metaphysical polysemy, the viewer must change the angle of “optics”, make it “antinomic,” discarding logic and concept. Passing the mask of reality, the viewer, following the artist, penetrates into its core, falling into the dimension of freedom, where the Present, including the Past and the Future, becomes the only possible place of the Presence. So, a broken egg turns out to be larger than a frying pan and scrambled eggs made from it, enclosing the whole house and all life, and the whole whirl of life - from infancy to the end (“Egg”. 2019).
Kraposhin Victor Sidorovich (1952) Nest. 2018
Oil on canvas, acrylic. 50 × 70
Source: property of the author
Kraposhin Victor Sidorovich (1952) Cosmos swing. 2014
Canvas, oil. 60 × 70
Source: property of the author
Konstantin Kuznetsov (1944), painter
Moscow painter Konstantin Kuznetsov is a representative of the circle of artists of the second wave of the avant-garde. The figure of Mikhail Vrubel was extremely important for him, followed by Alexander Golovin, Victor Borisov-Musatov, Alexander Ivanov.
The artist works most often in cycles, the themes of which reflect the course of world time or are devoted to natural and cultural toposs, architectural and park ensembles, replete with quotes (mainly architecture and sculpture): antiquity, the European Middle Ages, the Renaissance, Russian classicism.
In the artist’s perception, art objects are not only monuments of art, but are also surrounded by a shell, or aura, of semantic strata and allow the viewer to “turn on” in the era, revealing for themselves a whole fan of meanings and associations. The artist, and after him the viewer feels himself in the space of world culture. The seasons and individual months, parts of the day are for him the embodiment of cyclicality and timelessness; because when you controlled the time, you are outside of it.
His paintings can be seen as a spiritual experience, that is, at its core, religious art. Kuznetsov understands the religious orientation of art as the possibility of layering, “shining through” of historiosophical reflections, cultural images, signs and interpretations of nature as a divine creation. In the polyphonic space of the flickering mosaicism of Kuznetsov’s painting, the exquisite fluidity of pictorial rhythms, an endless metamorphosis of forms and states, the dreams of earth, water and air about the reality of the miraculous and the illusory nature of the external, empirical is guessed.
KUZNETSOV Konstantin Nikolaevich (1944) Tsaritsyno. 1981
Oil on canvas, acrylic
Source art-critic-kuskov.com
KUZNETSOV Konstantin Nikolaevich (1944) Sign. 1996
Oil on canvas, mixed media. 80 × 100
Source: artinfo.ru
Olga Rudakova (1951–2017), painter
Born in the family of the artist Mikhail Zakharyevich Rudakov.
The art of Olga Rudakova is a complex, ambiguous and wonderful story about what she saw, how she saw, what excited her and what she loved. She lived in a unique, tragic and at the same time very bright world, very objective, full of smells, colors and sounds. With very few exceptions, she never sought to write anything abstract, formal, or abstract in the literal sense.
The language and style of Olga Rudakova's still lifes is based on a finely designed plastic base, on the roll-call and intersection of pictorial symbols and universal meanings. The still lifes of her favorite Gris, Georges Braque, Kuznetsov, Cezanne, Mikhail Sokolov for her were more like the alphabet of the genre, but not role models. She found her own artistic module of still life, drama of color and pure and absolute objectivity, she preferred a dry rational layout and natural similarity. In recent years, the black color began to play in the works of Rudakova emphasized expressive role, reinforcing and sharpening the nature of the design. The thickened contours of objects, dense black segments of the picturesque space give the impression of a strong bass part in a transparent and delicate overall harmony.
It can be argued that the still life for the author is a comprehensive, inalienable, universal genre. This is a genre-picture, a genre-universe, a genre-symphony, which includes elements of a landscape, and hints of a self-portrait, and allegorical collisions of everyday life, and veiled meanings of a philosophical parable.
RUDAKOVA Olga Mikhailovna (1951–2017) Winter on Bryanskaya Street. 2006
Canvas, oil. 90 × 75
Source: artinvestment.ru
RUDAKOVA Olga Mikhailovna (1951–2017) Business bouquet. 2007
Canvas, oil. 85 × 55
Source: artinvestment.ru
RUDAKOVA Olga Mikhailovna (1951–2017) Yellow fabric. 2010
Canvas, oil. 95 × 110
Source: gallerix.ru
Alexander Rusov (1966), architect, photographer, painter
RUSOV Alexander Fedorovich (1966) Fontanka. View of the domes of Izmailovsky Cathedral. 2018
Canvas, oil
Source tverskaya13.ru
RUSOV Alexander Fedorovich (1966) Moscow landscape with a temple. Pokrovka. 2017
Canvas, oil
Source tverskaya13.ru
Valery Sakhatov (1947), painter
SAKHATOV Valery Taganovich (1947) From the series “Horizon”. 2019
Oil on canvas on cardboard. 50 × 70
Source: property of the author
SAKHATOV Valery Taganovich (1947) Portrait without resemblance. 2019
Source: property of the author
Sergey Smurov (1957), sculptor
Smurov considers the language of sculpture and its essence form, space and plasticity. Always seeks to generalize and abstract, metaphorical, monumental image. For him, laconicism of form and lack of literature are important, although sometimes it brings an element of some irony and play with social overtones. At the same time, Smurov always emphasizes that for him art is apolitical, individual and not momentary.
The sculptor often introduces a color that unexpectedly organizes the rhythm of the whole composition and gives the forms a harmonious balance. This is especially evident in his work with wood, which he loves for his special warm energy. As a regular participant in the International Outdoor Stone Sculpture Symposiums, the sculptor eagerly works with stone. “You need to go behind the stone,” the artist says. “A sketch is one thing, and a stone often gives a completely different thing.” Smurov’s monumental sculptures adorn Moscow streets and parks: Autumn Boulevard, Dmitry Donskoy Boulevard, Museum, and others; he also created a tombstone for the poet Arseny Tarkovsky.
Completely rejecting all sorts of journalism and journalism in sculpture, the so-called. "Topicality" of those, he always seeks to find the exact plastic image of a particular idea. His monumental project (the total height of the composition is 5 meters) “In Memory of the Fallen Journalists” is interesting - a stylized steel feather turning into a winged, wounded, falling Muse. The image of winged Muse is the key in the artist's work.
Sculptor Sergey Smurov. In workshop
Photo: Elena Bubnova
A source:
photopodium.com
A fragment of the exposition of the personal exhibition of Sergey Smurov in the exhibition hall of the Moscow Union of Artists on Begovaya, 9. 2017
Source: art release.rf
Vera Rodina
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