Продам: A.N.Basin, "Nude"

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For Sale:

Anatoly Basin Nisanovich, Nude, 100 x 130 cm, oil on canvas /oil


Anatoly Basin Nisanovich (b. 1936, Leningrad). Father - a professional soldier. Graduated from the Leningrad Radio-Technical School (1956) and the Faculty of Architecture LISI (1963). Worked as an architect (1965-1970), an engineer, a designer, a guard at a parking lot, a house painter. He was a group "Aleph". In 1979, he emigrated to Israel. He lives in Jerusalem. In 1994 he returned to the Russian citizenship and usually spends part of the year in St. Petersburg.

He studied painting in the studio O. Sidlin Palace of Culture. VP Kapranova (1956-1972). In the studio Basin came to its second, "dark" period, and, in his words, was formed this period so that the third and fourth is not influenced him. Basin have always remained dark gamma. The task of the "dark" period - the light extracted from the darkness, from a comparison of the initially vague "muddy and dirty Kolerov" - for Basin not only paramount, but has evolved from the work of admission to one of the foundations of his philosophy. Symbolism of light is constantly evolving Basin in the comments to his own painting. Sidlintsu as it is inherent in the generalized, "flowing", which serves the conservation picture plane color, dull, unsaturated colors, convergence almost monochromatic color relationships. Bassin also learned the basic principle of the school: the only content of painting is painting itself, "literature", "experiential" shall be deleted; nature - only the outside rein. This postulate is purely pictorial, reached by Kazimir Malevich, was in the studio as absolute. Probably from the same Malevich, his arguments about Cubism stems and awareness of design, construction, power canvas. Allocates painting Basin of sidlintsev presence in it the line. The artist first introduced contour line in the image, and later the subject is no longer molded colored mass, but only indicated sketchy, somewhat resembling rock paintings line. The line was the result of other influences. Basin of points: first, the impression made by the book "with the cave paintings (Chinese)", - the overall importance of this experience can be traced to Basinski quest for "pristine" to "dark ages", to praistokam, to freedom from the reins of culture. The second source - meeting in the late 1950s with R. Vasmi whose impact was in pursuit of brevity, the generality of the image. But the line has not introduced graphically in the manner Basin. Yearning, fragile, it retains the character of the picturesque trepidation. It "only energy carrier, not anatomy." In late Basin line is often massive, it performs the role of the dark spots, whose function - to lighten the darkness of the background. More highlights of Basin sidlintsev appearance in 1960. simple plots (mother and child, guitarist, guitarist and later, in 1970, - lovers) and lyrical relation to the object, which is somewhat at odds with the principle of pure painting. Although the Basin in the comments constantly declares lack of interest in his subject, which corresponds to a graceful carelessness with which it only outlines the object.

In the studio, where the postulated value only process, the product of which, in reality no one needs, was not needed and the artist. Basin (as Yu Nashivochnikovu) for understanding this situation resorting to Eastern philosophy. At that time, information about it can be extracted from the few treatises on yoga. Scenic process became in his eyes practice concentrating the mind, mystical practices. Basin and fixes his attention on the relationship between the artist and the canvas, in his formulation, the "plane of the body, plus scenic author." Purely internal, so to speak, the intimate relationship of these components, their mutual harmonization, mutual intention is the essence of painting. The purity of this process communicated to the exclusion of design as a foreign element. Images appear as a necessary building block, as a by-product of the relationship of the artist with the canvas. I must say that their result at Basin in the last two decades appears most often naked female body. As if to intimate, sensual connection with the canvas artist finds its expression only a metaphor. A cut out of the dusk light is perceived more as the heat radiated by the female body. In late Basin in these images - as opposed to a strict still life studio time and the average period of stress - something lightweight, refined, elegant, scruffy. In his rejection of the content samokommentirovanii offset saturation fundamental sense of the phenomenon of painting, in which the "eternity, the story itself homosapiensnosti itself the quintessence of the spirit." Talking about his own painting at Basin begins by talking about the creation of the world, painting fits into the history of the universe. If at first base of his philosophizing were drawn in yoga, then later it links interpretation meaning of painting with the teachings of Judaism, which seeks praosnovy existence. Color from dark Basin means "Old Testament darkness." Extraction of light on canvas - is "picking up fragments of broken vessels", the removal of some global damage, done in the early days, the restoration of the harmonic integrity of the world. Bassin very actively trying to influence the understanding of his art. In contrast to his own statement that "kaklichnosthudozhnik Basin" (sic), there is only the creative act in the beautiful plane, it does not belong to the artists known only to his painting. Most Basin, remarkable character non-art, its activity compensates for its detachment from the world. Its activity is expressed primarily in the texts are difficult to define the genre. Variegated content - this philosophizing, and arguments about art, about art, and stories about specific events, stories, recorded speech, etc. - they are served in a graphically organized, but often not semantically fastened abstracts, suitable for meditation rather than for the average reader. Their special shape offers visual experience it as a kind of avant-garde art. These texts are not intended to communicate, they are content with the fact of its existence. Primitivist philosophy Basin itself is perceived more as an action. Demonstrative inarticulateness, violation of general logic and syntax, semantic leaps, arbitrariness, disregard cultural norms when talking about the phenomena of culture, and the pursuit of first principles, the attempt to revise the history of art again - all this is somewhat reminiscent of the aesthetics and the pathos of the Futurists. Holds the text, making it the current special Basinski manner of speaking, recognizable tone. The very process of this speech is more important than its clarity. Not focus on the fruits of art, and the "creative act" allows Basin, in addition to the purely pictorial, and sympathize with conceptual art, performance, happening. He suggested the review and the first exhibitions of nonconformist movement itself as a happening. In contrast to the esoteric school Sidlin, its extremely captured events of the mid-1970s. He can say, mesmerized by them. Basin made the book "Gazanevschina", published in Jerusalem in 1989 - a collection of facts, documents, details, jokes - remains the main tool for the Leningrad unofficial art. Basin centripetal, and if he was concerned their own place in the universe, and a place for everything that surrounded him, which was associated with it, from Sidlin, group "Aleph" and to all "gazanevskoy culture." It aims to ensure that all of this fit into the story, which he does successfully. It is this activity and differ primarily Basin as a character that can not be exhausted his painting. And, perhaps, the very combination of his paintings, "the Old Testament of darkness" and secular models of elegance rhymes with his desire for the eternal and involvement in vain.
(Gurevich. Leningrad underground artists: Biographical Dictionary. Petersburg, Art, St. Petersburg, 2007.)

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