Alexander Vedernikov, the "Rose Azora"

[I-V]

"Alexander Vedernikov. Works on Paper"

BRIGHT Cloudy

Alexander Vedernikov Roza Azora Gallery
 
In Roza Azora Gallery opened the exhibition "Alexander Vedernikov. Works on Paper", made a friendly gallery of "The Ark". The first Moscow exhibition of Leningrad artists visited Anna TOLSTOV.

Alexander Vedernikov (1898-1975) was, as they say, a typical representative of what nebulous denoted by the term "Leningrad school." Of the art, which silently and at first very quietly blossomed in Leningrad of the 1920s and 1930s. Refined, or rather a "cultural" as it called itself, as oriented to the picturesque and graphic culture, the French, mainly, Fauvism, and especially Albert Marquet, whose landscape scheme and the mood so well lay on the nature of Leningrad. So-called "silent art", the landscape in the way of seeing the world and restrained expressionist temperament that does not fit with the high-profile defeat, which is regularly exposed to for twenty years, beginning with the assassination of Kirov, and to complete the "Leningrad affair".

Vladimir Lebedev, Vyacheslav Pakulin, Nicholas Tyrsa, Vladimir Konashevich, Nikolai Lapshin, Vladimir Grinberg, Alexander Rusakov, Alex Assumption - Alexander Vedernikov was out of this series. From the fraction of landscape, "markistov" as they dubbed it as a joke for the love of Mark, but then became synonymous with playful nickname is fraught with all sorts of troubles label "formalist." He was a "Circle of Artists", worked in the famous experimental lithographic workshop at LOSH. His fate has developed relatively well: bowed his name is not in the newspaper "Pravda", as the names of "artists poorest dauber," Lebedev and Konashevich, his work did not destroy the Union of Artists, both destroyed pakulinskie things. Perhaps because he was not such a great master like Lebedev and Pakulin. Still, was a master, and this is easily seen on the show.

It consists of works of the late 1950s - early 1970s. This is mainly autolithographies, however, limited edition, more than a dozen prints from stone Vedernikov did, but there are also watercolors. One half of landscapes, still lifes and nudes - a brownish-gray scale, as if here were cast from water and air paintings Marche in the gray haze of black barges go down the Neva and the white steamers on the Volga, chubby naked dissolve and melt the interiors. The other half, where more colors, tailored on the patterns of Matisse and Dufy, just from the windows instead of Tangier, overlooking the Neva River for the summer garden and Griboedov, and instead of racing at Ascot and promenades of Nice - volleyball court and in the nearby football stadium Lenin. In these nemudrenyh, unprincipled and petty, as one would say in "Pravda", the plots in "just because" landscapes and still lifes of vases philistine poured a strange sensation of infinite happiness, and even in the dull gray and lead the Leningrad has a foretaste of the sun and light. Maybe happiness is born of absolute freedom, not limited by anything except its own artistic features. Vedernikov, as always, at least since the early 1930s, and painted, just after 1958 began the first of his little show. And, perhaps, after the XX Congress of this schedule appeared greetings from Leningrad Leningrad thaw frostbitten not 1934, 1937, 1942, 1946 and other winter for years. As the air-solar "just so" stories of Victor Golyavkina seemed greetings from Harms and oberiutov.


More information: http://www.kommersant.ru/doc/1869270

Gallery "Roza Azora" http://www.rozaazora.ru/ (with the support of the gallery, "The Ark" http://www.kovcheg-art.ru/)


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important! - Gallery "Roza Azora" moved from the Museum of Oriental Art at the new address:

Moscow, Nikita Boulevard, 14
v. 8 (495) 695 81 19
E-mail: roza.azora @ mail.ru

[fabosch]

Here is a review
People Third Way
Exhibition "Alexander Vedernikov. Works on Paper "is devoted to one of the most notable artists," Leningrad school "- in the gallery" Roza Azora "You can see his watercolors and autolithographies mid-twentieth century.
Hypotheses about how would look the domestic arts, do not run into it once in a socialist-realist trap seem no less empty than talk about the development of Russia without Bolsheviks. You can not undo what happened, but still useful to remember the people and artistic events that undermined the very existence of a coherent theory of "best practices" and "class character". It is doubtful that any of the secret enemies of socialist realism was hoping to gain the upper hand in the unequal struggle. Just do not let them choose to act differently.
It is not about nonconformity thaw, as you might think. Disagreement with the policy settings in the field of visual culture has much earlier origins and, incidentally, is not necessarily dictated by the avant-garde ideas.
Art historians are increasingly think of the so-called "third pillar", which adherents were equally alien to the canons of Bolshevik agitok, and avant-garde utopia.
In fact, these authors advocated a normal European way of the evolution of art, dissociating himself from the radical extremes. The proposed historic conditions such "normality" looked almost insane.
One of the most important "nurseries of normality" was the union of the "Circle of Artists," which appeared in Leningrad in 1926. Ambitious young writers have proclaimed the motto "a picture to create the style of" clearly designating its rejection of the avant-garde position, denied the value of the painting itself. The program includes freshly baked Society said: "" Circle "extends the notion of realism in the plane of the professional activities: Realism in proper relation to the material of paint and canvas, to the laws of visual perception of color and form, the structure of the body beautiful paintings." As you can see, not a word about the priority tasks of communist construction, and more about the subtleties of the profession. Hardly, these artists - Vyacheslav Pakulin, Alexander Samokhvalov, Alexander Rusakov, Alexei Pakhomov, Vladimir Grinberg, - did not realize that fall out of the mainstream.
But they certainly existed an illusion of some of its relevance in the future. As a result, the way it turned out, only the future it was too far away. He did not live to see it.
One of the most outstanding artists of the "Circle" was Alexander Vedernikov, whose exhibition, and we are now considering. And with the background of the problem had to start on the grounds that without it would not be very clear to the true meaning of the works presented here. They are dated 1950-1970-ies and the pre-war era seems to be little correlated. However, the connection is direct. Vedernikov, due to their aesthetic views were on the sidelines of the official art, life-long series went on line, which marked the dawn of his career.
First of all, he was a master of the chamber of the urban landscape and built his manner as on the aesthetics of the "World of Art", and on the achievements of moderate Fauves Albert Marquet. It would seem, because of what was then the Soviet censorship bother?
But Vedernikov, like his colleagues on "The Circle of Artists," a government of the elite squeezed forever.
As the niche he had left teaching in universities of Leningrad, and he found another niche for himself. From 1939 until his death in 1975 he worked in the Experimental Vedernikov lithographic workshop LOSH (Leningrad Branch of the Union of Artists), creating limited edition prints by copyright. Perhaps for him it was the only legal way to change yourself.
The motives of these seemingly simple autolithographs: Leningrad quays, piers Volga, the flowers on the windowsill, naked. And in the background spanning decades, barely audible, but the decisive manifesto:
Art - it will not promotional toy, here the rules and their values.
Strictly speaking, Vedernikov and was one of those who defended these values ​​by not allowing them to completely trash. Today his works are seen by many as a purely antiques, but there is money in them, making you still feel the excitement.
Taken from here:
http://www.gazeta.ru/culture/2012/02/10/a_3995769.shtml
and add a couple more pictures

[Glasha]

Сообщение от IV; 1972681"

... autolithographies ... The other half , where more colors, tailored on the patterns of Matisse ...

These are very popular and his work. Bright, vibrant and life-affirming -

Сообщение от IV; 1972681 "

in " just because" landscapes and still lifes of vases philistine poured a strange sensation of infinite happiness

( alas, only those pictures )