Largely determined artistic life of Tyumen, the mid 20-ies and left its culture a lasting imprint of his own bright creative individuality. The childhood and adolescence of the future artist were held in Tyumen. It was here under the guidance of an experienced teacher, teacher of arts of the Alexander real school, NV.In. Kuzmin (1858-191?) he received his first professional skills in the field of drawing and painting. Later, in 1906, he went to Moscow, entered the Stroganov school of industrial art and after some time it teaches "watercolor, drawing, styling, and learning the Russian style". In Moscow Trofimov enters in a completely different intellectual-spiritual milieu. He communicates and works with the greatest masters of the fine art of the end of H1H-beginning of XX centuries: architects V. Zholtovsky I. Rerberg, sculptors N. Andreev and V. Domogatskii, painters and graphs E. Lanceray and I. Nivinsky and many others. During this period he participated in restoration works of the Moscow Kremlin, painted the ceilings in the Museum of fine arts (now the Museum of fine arts. A. S. Pushkin) are covered by frescoes one of the halls of the mansion of the Moscow merchant-millionaire G. G. Tarasov on Spiridonovka street (now the street A. Tolstoy), constructed under the project and under the guidance of his teacher, the architect I. Zholtovsky, performs decorative and finishing works for the building of the Racing community and the Bryansk station (1934 - Kyiv), drawn to ceramics.
Returning to Tyumen in 1923, Trofimov takes an active part in the artistic life of the city, largely continued established by his predecessors, in particular, I. Baskovym. He is working in the provincial newspaper "trudovoi Nabat," writes the scenery for the performances of Chamber theatre, has been teaching drawing in schools and institutions of the city, participates in exhibitions, and through the newspaper gives the announcement of the opening of the art Studio. It was opened in a two-story red brick building located on the corner of Republic and Woinowsky (now the Institute of culture).
"...For the first year includes the following items: a pencil drawing, charcoal, painting, stylization, composition, art history, study of styles in connection with composition. If funds are available, will open the workshops of applied arts" is offered by the artist the syllabus of the Studio. The past itself is excellent school professional skills, Trofimov paid much attention to in the Studio, teaching drawing, developing their students skills compositional thinking, instilled in them a love for line - whimsical and melodic flavor to the brightness, sonority of color, decorative top. It was he who introduced the students to the works of your favorite and most of his close-minded Russian artists N. Roerich, I. Bilibin, V. Vasnetsov, artists circle "World of art".
So, the wealth of knowledge, a fine sense of style helped the artist to work on a sketch cover of the book "history of the middle ages". The work brings to mind the elegance of cloisonné enamel in Western Europe, the coloristic richness of medieval miniatures.
Some graphic sheets of mills inspired by the art of the East. The artist's interest in Chinese scrolls and Japanese prints to the period of his studies at the Stroganov school. In Tyumen, the company Oriental art was a constant source of creative inspiration. So, at a meeting in Tyumen in 1925 art exhibition Trofimov presents several works. Here is what the author of the article published in the local press: "...a Very good impression leave a few things Trofimova: stylized Samurai, whimsical, soft combining Oriental flavor with a geometric figure. "Dance" in the same colors and the same stylized, full of movement and expression." Unfortunately, these works have not survived and is known to us only by Amateur photos.
In the Museum are the work of the mills, they also performed in 1925 watercolor technique using ink and pen - "fairy Tale", which showed all typical of the art Nouveau features of the plastic language - planar solution of the first plan, increased compositional and rhythmic role, contour drawing, and line - flexible and musical, brilliance and sonority of color. This watercolour is surprisingly in tune with Eastern poetry:
"Studded with pearls patterns
And stones the emerald in KOs town
And gold on silk patterns
And the competition in the glamour and glory...".
Excellent knowledge of General history of arts, the ability to convey the spirit of different epochs, their style has greatly assisted the artist in the work on the interior re-built in Tyumen in 1924, the Chamber theatre. So, Trofimov "...the lobby of the theatre painted in the ancient Roman style takedowns in the art Nouveau style as the Smoking room in Oriental style,"- says the author "Theatre and art". The opening of the Chamber theater." After graduating from College in 1912 with the title artist of the first degree in decorative painting and ceramics, he later enthusiastically engaged in small plastic carving.
While still a student, Trofimov had a strong fascination with majolica. Under the guidance of a talented teacher, in the future of the famous sculptor N.. Andreeva, head of ceramic workshop at the College, he is studying the features and properties of clay meets with the technology of firing, is engaged in the preparation of porcelain mass, glazes, and later leads "the search for beautiful forms and colors, in the incarnation in the nature of their plans". In the early 1900-ies the artist was filled with small-sized decorative sculpture, "Alice", depicting a lady in a suit XV11I century, This is the only authentic his works, translated into the material (variant with a modified painting is stored in one of the private collections). The statuette is made in the technique of majolica and covered with rich, colorful underglaze painting. Its plastic form and the decoration of the figures give a complete picture of the art Nouveau style with characteristic retrospectivism.
On arrival in Tyumen Trofimov designs furniture and objects of decorative art. So, in private collections and are varied in form shelves, chairs, table, Shrine, Bratina, buckets, vases, portrait frames, decorated surround, mellow carving with stones, colored glass, metal, made according to the drawings of a great master Trofimova V. V. Teplyakov (1888-1957). It is important that the artist not only studied and organically embraced the tradition of folk art, but passed their knowledge on to Tepljakova, having taught him also to read professional drawings.
In 1925 Trofimov went to Omsk, where for several years he has been teaching drawing and composition in Siberian art-industrial College named. M. Vrubel. In connection with his departure, the Studio, which lasted less than three years, was closed. However, the best endeavour of such unique and talented artists and teachers like M. Avilov, I. Oveshkov, E. Kropivnitsky, K. Trofimov, largely determine the activity and uniqueness of cultural life in Tyumen in the early 1920-ies, in the future, found its natural continuation in the work of their students - the next generation of artists - V. P. Barashev, I. I. Krotov , I. P. Kotovskova, Mitinskaya A. P., P. A. Rossomakhin. The years spent in the Studio (1918-1920; 1920-1923; 1923-1925) United artists, taught them a lot, polished their talent. But despite the common origins (Studio teacher) gradually each of them gets a unique creative personality, your artistic style, themes and images.
