Alexander Baturin:
1. Two spruce, 1997, canvas /oil, 62 x 51 cm
2. Blue Spring, 1998, oil on canvas /canvas, 40 x 30 cm
3. Autumn in the park near Moscow, 1998, canvas /oil, 45 x 40 cm
4. Blue Forest, 1998, oil on canvas /canvas, 52 x 39 cm
Beautiful, strong and subtle master, faithful to the principle of elected without becoming a slave, but to make it a means of continuous improvement. The artist who has mastered the rare even for his vast experience artistry of the maestro who provided only impeccable taste, hard labor and brutal demands imposed on himself. But also - and most worthy example of service to the business, a man of great courage and light. People, to preserve the moral and professional independence, tolerance and faith in life. No matter what. Alexander Borisovich Baturin impossible not to admire.
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The other, through what he suffered, could harden, or lose heart, wearing the crown of a martyr, martyr fate substitute his own art. Recent history is replete with such examples. Mythology is the last hard times for the protection of other artists from fair to blame the current insolvency. But life is ruthless and former courage, as well as even the once committed deeds do not present a picture better. In fact, an artist in his own heroic destiny, who spent many years in Stalin's camps, Baturin least likely (as sometimes happens with many worthy people) make of their past suffering foot current success. Not so long ago, when asked about the years of imprisonment and exile, he replied: "You know, there were unusually beautiful scenery." This answer is not just the artist with a capital letter, in the first place, seeing the beautiful and despising their executioners. This is the answer truly chivalrous, the man said, do not sink to the wails. Alexander - that goes without saying for many years. But to say he is not old - to say nothing.
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Sometimes people are lucky, and biological aging is delayed, the person is willing and in old age. But here - something. Perhaps the phenomenon of Alexander Baturin concluded yet in his professional endurance, courage and ability to hold on. "Who speaks of victory - to survive, that's all," - wrote Rilke. Baturin held and kept putting unseemly and unnecessary to show how much effort all worth it. Cheerful fighter all his life he opposed (not speeches, work) of the oppressive reality of which was to free art totalitarian power. He spent eight years in the camps and in exile. He has not forgotten the terrible years, the price of which are known only to those who lived through them myself. But he managed to look at a difficult past camp without anger, with meditation, with the desire not to settle scores, but pay is good. It has always been - in his work, in his judgment. And in his fiction: in 1994, the magazine "Star" first published "Memories of a meeting with Vladimir Sterligov" and the essay "The bright spark in the dark" - the good people I met and Buchanan in the camps ("The Star", 1994 , 10). He - "sterligovets" and for anyone who knows the history of the Leningrad (St. Petersburg) culture, this concept means a lot to everyone and explains a lot. Vladimir Sterligov - student of Malevich, an amazing artist and teacher who has created his own school, which has become an important part of the cultural space of the St. Petersburg culture. Buchanan met Sterligov before entering the technical school at the Academy of Fine Arts, therefore, entered its walls with a certain setting for serious service of art and very critical attitude to officialdom. But he remembered the words Sterligov: "Not tushuytes! Artist should be able to draw everything as he needed." The teacher had in mind that the high plastic and formal harmony can be maintained in a completely Object pictures. As for the overall attitudes, the Buchanan from infancy had no illusions about the "Soviet reality." He was ten (he was born in 1914), when the family was expelled from their homes near Tula in the Sverdlovsk region: parents were nobles, to the same father - an officer. In 1930, Baturin in Leningrad. Here, in an apartment of their relatives still retain the atmosphere of an enlightened master's life, there loved art of the century - and the Wanderers, and the "World of Art" - all that took the liberal intelligentsia of the revolution. And he began his education at the school Leningrad (factory school). From there and went to the "technical school of Fine Arts." Still in high school, Alexander Baturin perfectly painted, the teacher sets it apart. The future artist was ready to embark on a respectable and highly professional way traditional art. It took not only the credibility and arguments Sterligov, but, of course, the amazing gift of suggestion, persuasion, genuine prophetic gift to represent the neophyte of art changed drastically. Of course, in such a dangerous occupation for the power crank was a big risk. The artist, who combined in his artistic and teaching of Christian asceticism with unyielding logical, philosophical, structural thinking and amazing gift of teaching. Sterligov around not only when Buchanan met him, but many years later, there was and there is a special, filled with high sense of emotional and intellectual space. There are tablets of the commandments, myths. And most importantly - formed a special, enlightened voltage, which are arranged in a special professional destiny, formed a style honed plastic systems emerging principles, moral postulates, and finally, it comes to a sense of belonging to the higher mysteries of the art. Sympathize the classical avant-garde in Russia often seemed prophets. Sterligov not only seemed - in practice it has been. Where there is no freedom, convinced reluctant teacher becomes a preacher and martyr. In the art of totalitarian phenomena such time (and Sterligov - this is a phenomenon), the very sublime aesthetics of official opposition, finding a genuine and not a dogmatic knowledge, moral courage, understanding that art independently and has its own system of values alien to market conditions, acquire a special, sacred meaning. In 1994, speaking on the occasion of the award of the prestigious award Puninskaya, Buchanan claimed all that he has done good things from Sterligov all that he failed - from himself. Baturina talent and originality are evident, but the system Sterligov devotion and ability to assess themselves is through the prism of ideas Teachers - for his followers characterized. Become "sterligovtsem" it is not enough just certain doctrine and devotion to work in line with the prescribed methods. It means - above all - not just in words but in practice grasp basics Sterligov system. In addition, she helped develop and mental courage. "Art (and nature), the teacher told him, - ruthless and indifferent to the artist and his experiences. If you turn away from it, it will not hesitate to respond in kind, and you will feel hurt." "Art - a feat, it's work to a bloody sweat, and it is suffering and suffering and deprivation, and persecution ... and no reward. You must renounce everything and devote themselves to Him. And, art - it is above all spiritual and moral job for life. Whether you agree to it? " - Asked Sterligov seventeen Baturina. Buchanan replied: "Yes." In the three years spent near Sterligov, outlook, taste, artistic direction Baturina decisive change. Sterligov learned to understand Cezanne, revolution, they produced, opened the mysteries of painting technique, high craft. In 1934, Sterligov arrested, "anti-Soviet agitation", five years imprisonment. The very next day and was arrested Baturina. He spent eight years in the camps and in exile. Teacher and student met only twenty-two years - in 1956. In essence, these twenty-two Buchanan was lonely, from twenty to forty-two years, he had no teachers, serious colleagues, professional environment, museums, just the freedom, without which so painfully hard to survive each, but the artist still unbearably hard to stay artist. How did it Baturina? In exile, he had to make countless copies of paintings ever Wanderers, which include it very cool, but that at that time, and especially in the province were the standards of art. I had to write and "on the given topic" - leaders and military commanders. Saved skill. What young Sterligov said Baturin in the thirty-second, "Do not tushuytes! Artist should be able to draw everything as he needed." Skillfully and precisely executed work is not allowed to think about the nature and content. He did not lose heart and not lose themselves and their aspirations for genuine art. Keep up, though very little, and write for themselves. He returned to Leningrad, where intellectuals were full of hope. Denounced the cult of personality has opened up unprecedented exhibition (even Picasso exhibition!), Printed books, where slightly open at least part of the truth, which is too well known Alexander B. Buchanan. Survived and kept the enthusiasm favorite teacher. Life stretched before him, full of hope. If both camps Buchanan remains optimistic, but now it was - or so it seemed? - Much easier. It was more difficult to find the time and energy to painting. He went on to study at Sterligov, although at that time the painting was more happy leisure, rather than real work. In the fifties, having terrible trials of Stalin's camps, Sterligov was quite a religious man. Perhaps the above art was his aspiration to spiritual perfection, without which, in his opinion, there is no professional accomplishments. "Art - is, above all, a spiritual and moral job for life." It was not a declaration - Sterligov lived and worked in accordance with this postulate. In the center of the system, which has become in later years more and more elaborate - "spherical geometry is a result of the searches of some poetic structures that underlie the emergence of a form when the periphery becomes a function of the cavity and the center." So he represented and saw a kind of spatial structure of the spiritual world, his universe. The basis of this formative design - curve, on the proposal of Sterligov connecting (as opposed to a straight line - disconnected) world, and spherical ("chashno-dome") space. System, synthesizing a unwavering logic and romantic notions about the original wisdom of the universe, affecting its simplicity formula, revealed only "involved in a mystery." Only those who work hard, purification of the soul and faith slowly and earnestly approaching their comprehension. The tragic and magnetic personality Sterligov man held Stalin's camps and has maintained a light into the world of faith and the arts, had a magical effect on his young followers. Sterligov house (his wife was a student PN Filonov - TN Glebov) was for many years a place of pilgrimage and a severe professional school. In totalitarian (and totalitarian) hard times free art naturally seek for achievement, independent artist becomes a hero, and officialdom proclaimed anathema sounds in the liberal community osannoy. And the artistic method, all other conditions remained the creative hypothesis becomes an unquestioned faith. Sterligov followers were not constrained in his personality, which is evident by how they are different (however, their "family" resemblance always noticeable), but magnetism Sterligov carried the tradition, of course, some danger. Baturin and could be completely dissolved in the School to become a fanatic, to find that intolerance that Russian avant-garde was in the highest degree characteristic. This differed Malevich, and Sterligov to some extent. Buchanan was able to learn the best kept looking for myself. As suggested by Chinese artist sage, only knowing the rules, you can succeed in the changes. School Malevich Sterligov armed, but not enslaved eye Baturina. He retained the divine freedom, he, in the words of Kipling, is able to "think, thought not to deify (not making goal - not make thoughts your aim)". Sterligov system adopted Baturin, but it illuminates the way for him, not blinding him. Probably, a lot of art Buchanan defined his universalism. Picture it now so well known that few people remember his work in commercial art - both now say, design. For almost thirty years, he and many of great interest to do it. Of course, "Caesar what is Caesar's and unto God," of course, "Not for Sale inspiration, but you can sell a manuscript." Unlike many sterligovtsev, he was - and still is - very worldly man, and did not need to justify: These orders were made for a living, but to do artistically and passionately, about what compromises might there be? Now mark and logos painted Baturin, felt as extremely ambitious work, defiantly ascetic and funny - qualities valued in a very modern design. In the seventies and eighties, he comes up with a picture for the cover of brown paper or purely technical Avenue infused with excellent knowledge of graphics of the 1920s, but were fixed in almost twenty first century. In many ways, and on this path Buchanan managed to beat his time. And the ability to be very concise, clear thinking structurally and is undoubtedly associated with the successes in creating lapidary and intensive graphic compositions. "But until such time as a graphic plant collapsed, I use very little paint. Main, and I had no idea that it is possible to live ..." - Buchanan admitted in an interview. And his artistic culture in this time has been steadily perfected. Not only in the rare hours at the easel, but inside his mind was hard work, skill and refined taste. Last fifteen years, Buchanan enjoys the fame and recognition, which deprived him of the totalitarian system, like the devil incense, who was afraid brave, "formalist" art. He was able, finally, to do just art, most - painting. Painting Buchanan also has a tangible moral principle, but of course, there is no "plastic didactics", as clearly shown by the religious music that distinguishes Sterligov. Baturina seriousness of a different kind, it is inherent in a truly "easy breathing." He seeks and finds in the simplicity of a complex nature, and the complexity of what fancies simple. Baturina has amazing quality, rooted in elementary principles of high modernism is the ability to "slow down time", which has Cezanne and then the Cubists. Slow down time, almost stop it, causing the particular strain of the canvas, the effect of the picturesque "freeze." The nature of the paintings Baturina fancies numb, but on the hidden from the viewer a mysterious and inflexible movement. There really is something of a tradition of Cezanne, although Baturin not find visible "plastic intonations" of the great Frenchman. He does things his own way. In his paintings there and the sullen aggression, which featured a Cubist (although it is much to learn from them in regard to analytical view of the form, especially in the figures), vague forebodings. His time is stopped, obeying ogle and eternal dream of the artist: "Stop a moment!" Unlike Faust Buchanan ready to feel the incomparable and the beauty of each moment. Baturina world - it - it would seem - quite a subject. And at the same time - not material in the traditional sense of the word. His "full-scale" the world is essentially small. "I learned by rote rote walks salty - not a problem" (Anna Akhmatova). Most often, he writes near Leningrad-Petersburg, what he sees around his house. Following the great masters of the past, he seeks and finds space in the molecule. What is the art of grander "Small Worlds" by Wassily Kandinsky! The twentieth century brought an understanding of the atom - the whole universe, the macrocosm and microcosm partly identical. But most importantly, the nature of art exists as a material for endless plastic constructions and discovery. When you look at his landscapes an association with the best of modern philosophical pages of science fiction. We see worlds like begotten memory, extremely concentrated, transferred to another, mountain spaces, in the famous "Picture Hall of soul" Hesse. Baturina chudyatsya planetary landscapes, and the picture in 1995, "Dam on the river Oredezh" is perceived as the pairing of the elements, and possible outside the Earth as a transgalaktichesky metapeyzazh. Sky, water, earth, trees, grass - the elements and creatures of nature are the reasons, but not the essence of his paintings. All these tangible, having the weight and volume of the phenomenon seemed to shimmer in the "substance of art," and then hit the canvas as a vehicle of some poetic indivisible structure. Palette and brush Baturina give a unified picture of the texture, absorbed the universe, but not the details, "the plasma visible", but the difference between the water and the sky. His paintings - a completely self-contained phenomenon, comparable with nature, as different, alternative reality. They have the space, the atmosphere, even the volume, but the stuff in them is one, is a certain substance of painting itself. You can create a human figure in marble, and there will be some new money, which will result in the flesh of man flesh, but the other - the flesh of art. Where is marble and marble in the face, and hair, and in the folds of purple, miraculously telling different materials special significance and artistic unity. And painting Baturina. And it is not that thick, vibrant textures that are each in their own use Rembrandt, Delacroix and Van Gogh. It is not a power brush, not heavy, bulky, rapid smears, but in a very special effect of the Creative Baturin slightly detached, weighed the world, where everything is made from a single, as if the fragile and dense, almost transparent, satiated and restrained color persistent substances . Art dominates the visible reality, the artist reverses, if you read it necessary for the greater coloristic and spatial effect, simple and complex, seeking unity, invisible unsophisticated view links. Quiet reflection in the calm water of the sky becomes a canvas Baturina subtle nuances. A challenging volume tree crowns are often limited to a simple plastic formula. Artist opens the viewer amazing capabilities of the human eye and mind. The artist and the viewer with it power over a random show. Art gives a person a special intellectual and aesthetic lenses. Buchanan builds a picture with quiet and powerful color planes. Often they cross each other smoothly, shine through each other, melting, shimmer and appear again. In his universe - more than three dimensions (the "extra dimension", said all the same Hesse) - is what art is allowed to go since the Cubists. But - oddly enough, this multidimensionality is arguing with the plane of the canvas, but "reconciles" the image with it. Art created a fantasy of beautiful material space has depth, weight, sometimes up and down does not feel bound concepts in the world Baturina. "Top and bottom no, it lives only in the human brain, in the homeland of illusion" - I recall Hesse this judgment often comes to mind before painting the artist. Not the weight and depth of the reigns here, but almost poetic logic. Flattened volumes flimsy translucent plane, calm colors warm ash, blackened gold, rusty umbristo-specific elongated strokes, as if "melted" the color into the canvas - this combination is almost a mathematical calculation and mysterious divination. Look at these very similar at first glance, often small, even a small picture. It is difficult, even impossible, to see together, they went to museums and collections, but others we remember other remained in reproduction. Their quality is essential - in the film equivalent of all: no background, no priorities, the space between the bushes - as a precious piece of beautiful flesh, as important an effective silhouette as a tree, and then the figure in the foreground. Sometimes mnitsya: artist to break out of the world of objects, landscape turned purely formal non-figurative work. And then again in the space of pure forms shimmering mirage appears certain landscape or still life. Artist leads to peace and art artistic and disturbing dialogue, reminding themselves and the audience, as, in fact, is thin and permeable edge between visible from the outside world and the world that we see in our minds. This was because the ghost spoke of Chekhov's short story "The Black Monk": "Think what you like ... I exist in your imagination, and your imagination is part of nature, therefore, I exist in nature." His world is a little flexible, but there is in it throbbing life, the world of objects spiritualized. Trees are perceived as living beings calm, slowly and inexorably rising to the sky, the sky seemed to exchanges of color and light, with water, shape and color patches according harmoniously develop in triumph, the harmonious mosaic, creating a parallel earth, infinitely more important, timeless reality. The movement continues, but it stopped - and disturbing paradox prelstitelny Baturina. There comes to mind a whole series of fundamental metaphors of art of the twentieth century, beginning with the textbook: sprouting mysterious patterns on glass cup of "Doctor Faustus" by Thomas Mann. Buchanan - the artist is very different. He can write for a holiday bright and fancies, even directly. But, it's not a fanatic, but still true adept Sterligov school - he works with nature, keeping in mind the clear structure of the composition ("The artist must see the entire song on the plane is ready," - said Sterligov). Baturin most philosophers in their plastic construction, and, after his mentor, drawing object "is not only the way he sees it, but the way it knows." The range of his vision and play a visible (and slave) in the last decade, of course, is great - from the lyrical, almost directly Etudes ("3elenogorsk. Poles and trees," 1960) to the detached "formula landscape" ("Breaking the space," 1995; " cloud ", 1997). But as in the earlier works through the inexorable logic of nature comes through, so in the later works of the cool well thought-forms and rational structure just makes you feel happy delight to the world. Figures Baturina world, of course, more intimate, but not idle glance, perhaps, even more eloquent. It is here in these monochrome or slightly podtsvechennyh sheets logical romanticism Baturinsky art space, his maestro and shine (that often signifies debt before the word "brio") are especially visible. These drawings - a magical and wise insight into the hidden depths of the form in the mysterious pair of planes, they pose for the true lovers of the visual arts "inexpressible delight" (Alexander Pushkin). Here Buchanan speaks truly European master, conscious of its inextricable link with experiments of Picasso, and with the Russian Cubo-Futurists - with the whole context of the twentieth century. That makes Buchanan, there are thoughtful and serious, but not sad. The very fact of being and, especially, the creation of art Buchanan perceives as happiness. But his choice is rooted in respect for life, which after all is what we see it. And if the people who were flour and despair, it may represent the world and to write about the world, so a hundred times embarrassing surrender to despondency. "Harmonic personality" - a term the erased from the frequent and at the applied use. By Baturina it applies in its original sense and usefulness. Alexander Borisovich not like Meaningful media Horní truths and lofty morality. He lives a fun and serious, hard working, very much, is pleased with himself, more often - unhappy. He knows all too well life to treat her badly. He has not forgotten the terrible years, the price of which are known only to those who lived through them myself. But he managed to look at a difficult past camp without anger, with meditation, with the desire not to settle scores, but pay is good. I think the turn of the century (even millennia) - a true sidereal time of Alexander Baturin. He successfully exhibited in many countries. In 1996, the zeal of French art lover Alexander Baturin and especially Mr. Georges Bumendilya in Paris was opened "Institute of Buchanan", is aimed at collecting and promoting the art and artists of the wizard school Sterligov. In September and October of the same year, an exhibition of his work at the City Hall District 7 on the street. Grenelle was an undoubted success. "The Insider's road passing to half" (Nel mezzo del cammin di nostra vita), - in the words of Dante, artists tend to think about the results. Buchanan is working, what is called, "vhrust" (Osip Mandelstam), the least thinking about eternity and the results accomplished. This is amazing. And finish what began, one has to admire them. "Michael Herman, Professor, Doctor of Arts, member of the Academy of Arts, a member of the International Association of Art Critics (AICA), chief researcher at the State Russian Museum Adapted from the publication, Herman M. Alexander Baturin . SPb.: OOO "P.R.P", 2002. - (Series "Vanguard on the Neva").
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12.11.2012, 19:27
A. B. Buchanan, 4 patterns
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