Старый 27.05.2008, 13:45 Язык оригинала: Русский       #1
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По умолчанию Forgotten Artists

I noticed that there is a decent amount of forgotten artists, and from different periods. And among the impressionists, and among the avant-garde artists, and among the classics. I became so interested in the reasons for this: they are exhibited along with those artists who are a lot of millions, had their own exhibitions, and sometimes were even more popular than those who "survived" up to the present time. And what happened? Their names can be found only in art history books, and even then not always. Who has any opinions?



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Старый 27.05.2008, 21:51 Язык оригинала: Русский       #2
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По умолчанию I propose to list surnames

En masse to consider a complex phenomenon. Each has its own story. I propose to establish the terms of the order of names. Just do not get forgotten, so that the offer without thinking: Tarkhov (conflict with gallerists), Bart (emigration), Gayan Kazhdan (misfortune) ... Who else?



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Старый 27.05.2008, 22:17 Язык оригинала: Русский       #3
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По умолчанию

Probably - Clover.
When life was very successful.

Who wants to see Tarkhova, go to the salon in the arena.
Not very impressed, though recognizable.



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Старый 28.05.2008, 11:16 Язык оригинала: Русский       #4
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По умолчанию

Vladimir, please tell me who is Gayan Kazhdan? And pay attention to Olga Amoz-Bunak, very interesting artist, by the way - with a personal exhibition in 1915, recently Elliziume was her exhibition. And yet - Vladimir Sterligov, an excellent artist, a small exhibition just ended in Proun gallery. By the way, and Ellizium and Proun released a very decent directories - all advise.



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Старый 28.05.2008, 15:14 Язык оригинала: Русский       #5
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По умолчанию Gayan Kazhdan

qwerty, live work saw her once, last year at an antique showroom. Gallery Watercolor ", Gayan Kazhdan (1930-1973)," Portrait of a woman with a bird and an aquarium, "1965, oil on cardboard, 76 x 56, price of 625 thousand rubles. I can not find the fotoggrafiyu, but I remember that thing very much. Specifically, I was not looking for it, I saw an interesting thing came up, read, rassrosil. Photos give a very brief introduction, because her paintings with texture, the picture is not visible.

Previously, the name of Guyana Kazhdan seen in the literature, but also drew attention in connection with the search for a surgeon and collector Michael Bakulevki Alshibaya. Here's what Alshibaya wrote:
In 1999, fate brought me to a wonderful poet, Tetyana Vrubel, which gave me a book of his poems. With surprise, I found this book in the whole poem, dedicated to the memory of the artist Guyana Kazhdan. Tatiana Vrubel told the tragic story of the life of Guyana, especially the detail about the last years, when she was "evicted" from the alley in Kamergersky Chertanovo. During these years, T. Vrubel was one of the few who continued to maintain relations with the artist. Tatiana Vrubel argued that Guyana after the death of all her work had been thrown in the trash.
I decided to no matter what it is to find pictures of Guyana Kazhdan. The search began on the Internet. The only reference to the name of Guyana was a poem of Henry Sapgir "The Firebird".
To finish this story, I will say that searching works Guyana Kazhdan invaluable assistance to me has artist Boris Zhutovski. Thanks to his efforts, I found the heirs of Guyana, who survived nearly thirty works. Of course, Tatiana Vrubel has largely been a law, a significant part of things lost. Drawings and gouaches, apparently, did not survive, though, as I found out, there were very many. In addition to the family, I found in Moscow a few homes, which house the work of Guyana, has her things and abroad. In general, I know the location of some fifty works. Heritage Guyana Kazhdan still waiting in the wings. I think that the exhibition of her works, sooner or later take place.
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Старый 28.05.2008, 15:25 Язык оригинала: Русский       #6
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По умолчанию Here are common on the Internet text of Kazhdan

About Moscow artist Gayane Kazhdan now known, perhaps, only a very small circle of connoisseurs or direct participants in the cultural and artistic life of the late 1950's and early 1970's. In this case, resurrecting the memory of her image, people who knew Gayane, tend, rather, to speak about her outrageous bohemian life or household and personal insecurity, rather than enthusiastically talk about her art. Meanwhile, appearing before us as an integral nature, passionate and uncompromising, Kazhdan especially interesting as an artist. Unfortunately, the creative heritage of Guyana is not too lucky: preserved today in Moscow with relatives, friends and admirers of her talent about fifty paintings are unlikely to be the subject of extensive case studies and serious scientific studies. Also annoyingly short life of the artist being pressed her pursuits to the size of little more than just one decade. And, nevertheless, organized by the gallery "G.O.S.T." first solo exhibition Guyana Kazhdan gives appropriate opportunity to focus more intently on her art. It is important to emphasize that the creative development of Guyana is closely linked with the activities of the studio Elia Belutin inscribed one of the most prominent pages in the history of non-domestic art 1950-1960. Standing out among belyutintsev (AP Valyus, Vorobyov, D. Groman, B. Zhutovski, I. Snegur and others) of his bright personality, partly even in unlikeness to other participants in the studio, Kazhdan very consistently and eloquently reveals the basic artistic principles proclaimed its leader. The most important one - is the principle of "contact" in the art, which Belyutin understood as "the transfer of vital human response to a certain quality of material that can irritate and influence, excite, conveying to people that contact with the world, which the artist has experienced." In this sense, painting Guyana only "contact", because it is extremely emotional, expressive, trusting, even confessional. This art, if I may say so, "open" that can tell the audience about the most intimate secrets of his soul. In this setup, "the picture should not be considered a spectator, it should go for it as the ceiling during an earthquake." These words, spoken by the Italian professor Franco Miele about creativity Belutin, quite appropriate for the characteristics of works Guyana Kazhdan. It naturally follows, and is a key quality of the art of Guyana, as autobiographical, which, however, should not be taken literally. It does not imply a creative self-centeredness and self-experience in painting his own image in its various manifestations. Although the main genre in which to work Gayan, this portrait, and often self-portrait, but the deeper meaning and imagery of intonation, concealing veil, at first glance, the chamber "feminine" art, in fact, able to tell us about pain and suffering on a scale not instantaneous human dimension. Thus, a very specific psychological and social cross-section of images turns into a kind of universal spiritual space. Similar quality painting Guyana is largely due to a kind of understanding and processing of the proposed Belyutin to translate "theory of contact" system of codes relating to categories of formal order. For example, in painting the special role played by space, color, texture, weight, surface, etc. By implementing this system in not an abstract or symbolic and symbolic as the most belyutintsev and figurative art, Kazhdan with admirable directness and mastery of large-scale naively depicts the simplified shapes and objects safely allow the actual anatomical and illogic ( "broken" forms, a checkered cat), eliminates illusory depths of space, the maximum pushing it to the periphery of the picture plane, Thicken, sometimes exaggerates color, bold "stepping up" the texture of the surface due to viscous almost sculptural relief smear of paint. So, it turns out that apparently unpretentious, occasionally painted naive romanticism of pictorial images that constitute a Kazhdan Guyana almost chthonic on its degree of internal tension and struggle of the subject area, spots and "linear" van gogovskogo smear, viscous, lifelike, and the inertial mass of colorful picture plane . It works Guyana wholly possess the degree of "significance", which is in accordance with the theory Belutin reports symbolic representational momentum space "and" speaks of the expressive weight of the space in the overall design. As a result, not surprisingly, perhaps, that Gayan Kazhdan from among members of the school that embodies the most openly honest and passionate creative position that Belyutin in his youth had learned from his mentor Lentulova: "Art - this is not a craft, not an aesthetic category and experience of the nightmare of life. Art - is a spiritual communion of people. " In this sense, Kazhdan, belongs entirely to their own time, naturally continues steady in the world and probably the strongest "passive" line in art and literature associated with the names and Dostoyevsky and van Gogh, and Drevin, and Falk, and etc. One of its most oppressive in the mood and dramatic self-portraits depicting a woman's throat would have encased the hands of anonymous character named Gayan tinged with sad irony, "Seliava" - such is life. However, today, when creativity Guyana Kazhdan naturally and rightly be returned to us from historical oblivion, I want to ask a question: can, and not true that Seliava? .. Elena Gribonosova-Grebneva



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Старый 28.05.2008, 22:28 Язык оригинала: Русский       #7
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По умолчанию

Konstantin, Clover and now ooooochen successful artist, he sells for under a hundred thousand dollars, if not more, is it a forgotten artist? well as Tarkhov and Bart. if they appear on the market, I assure you, they will demand and the price will be not a few thousand dollars, and much more. In the past, or the year before the cabin Tarkhova sold under hundreds of thousands. I'm not saying that this is a reasonable price, but it was and some things were sold. but about Guyana Kazhdan agree. Name unknown, but work is very good, IMHO. and certainly it would have sold well.

Vladimir, surnames probably not easy. it must be deep to climb in history. in that time and again that we do not know these artists



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Старый 03.08.2011, 05:28 Язык оригинала: Русский       #8
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По умолчанию

V. Fedorov, Hermann 1886 (Moscow) - 1976 (Moscow)


I think that the artist can also be considered "forgotten". His works appear at auction is rare, solo show, if not mistaken, was not very long ago. Information on the web about it quite a bit, but it felt good, probably the most informative reference is precisely to AI.

Nevertheless, the German Fedorov - Master significant. Of particular interest are his works of the 1910s - 1920s. And if you remember that the artist has lived a long life (90 years), we can assume that its vast artistic heritage and, at the same time, poorly understood. In the Network, so one can only gather up the crumbs. It is obvious that this artist is waiting for his second discovery.

Цитата:
Solomon Shuster "Profession collector"., Publishing house "Shamrock", Moscow, 2005

"... There is an old man in front of me Herman Fedorov, one of the founders of" Jack of Diamonds. "His painting" Moscow ", written in 1912 is likely to have hung on the wall of the artist in Oslo (the exhibition" Time of Change. 1905 - 1930 " Soviet Cultural Foundation in Norway, 1988)
    And I see his room with a mezzanine in a communal apartment on the first Meschanskoy, his watery eyes, and suddenly acquired the former vigilance and interest who are looking not at me, and past - in the window. I turned around: bare tree trunks and sparrows, to jump from branch to branch.
    Herman V. gave me the original poster "Jack of Diamonds", later exhibited at the exhibition "Moscow-Paris", and allowed to descend from a long-standing mezzanines his paintings. Allowing, however, all wondering - who are they now need? "
 

Biography at http://artinvestment.ru/auctions/25150/biography.html


V. Fedorov Herman

1886 (Moscow) - 1976 (Moscow)


Painter, graphic artist

He studied at the Stroganov Art Central School of Technical Drawing (1902-1904), MUZHVZ (1905-1911), visited the studio II Mashkov. While a student, made friends with Pyotr Konchalovsky and other artists of the future of "The Jack of Diamonds".

He lived in Moscow. Wrote still lifes, landscapes, portraits, the second half of 1920 - the pictures on the theme of Soviet life, socialist construction.

Member and exhibitor of "The Jack of Diamonds" (1911-1917, with interruptions), "World of Art" (1917-1922), AHRR - AChRs (1926-1928, with interruptions), Society "Moscow Painters" (1925), the association of Moscow Artists (1928-1932). Participated in the 1st exhibition of paintings by artists of the trade union (1918), exhibitions of paintings (1923), works of art to the 10th anniversary of the October Revolution (1928), 1st touring exhibition (1929), "The building of socialism in the visual arts" ( 1930, 1931), reporting the work of artists, business travelers in areas of industrial and collective farms (1931) in Moscow, 1st All-Siberian exhibition of painting, sculpture, graphic arts and architecture (1927) in Novosibirsk, 1st citywide exhibition of Fine Arts (1930) in Leningrad, the anniversary exhibition "Artists of the RSFSR XV Years" (1932-1934) in Leningrad, Moscow and others. Talk XIV International Exhibition of Art in Venice (1924), exhibitions of Soviet art in Japan (1926-1927, mobile), Turkey (1927), USA (1929, traveling).

He taught painting and drawing at various schools and art studios in Moscow (1910), Higher Art - Vhuteine ​​(1920).

The works are in several museum collections including the National Art Museum of the Republic of Belarus in Minsk.


Biography at http://artru.info/ar/14138/


Art education Hermann V. Fedorov received at the Moscow School of Painting, Sculpture and Architecture in the walls of which remained from 1902 to 1911. Beginner painter immediately joined in exuberant artistic life of the early XX century. After graduation, he joined the Society of Artists, "Jack of Diamonds", communicating with the members of which contributed to the rapid emergence of the artist. Especially noticeable effect on the Fedorov had Konchalovsky, with whom the artist maintained close relations and in subsequent years. The outbreak of World War I (1914-1918) made it difficult, but it did not stop the work of Fedorov, he continues to paint, transfer their knowledge and skills an interest in the arts for young people in schools and art studios in Moscow.

In Soviet times, GV Fedorov lot of time to educational work, as, for example, since 1920 a professor of painting at the Higher Artistic-Technical Workshops. As a painter, GV Fedorov started with landscape and still life. In the second half of the 1920s theme and content of art expands considerably: he wrote many narrative scenes that reflect the construction of a new life. In this respect the work of the painter is typical of those Soviet artists, independent work and the path to mastery of which coincided in time with the construction of the country's new life.

Thumbnails - names of products and the creation date in file names:
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Старый 03.08.2011, 05:30 Язык оригинала: Русский       #9
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По умолчанию

GV Fedorov
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Последний раз редактировалось I-V; 03.08.2011 в 05:50.
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