Aron Zinshtein, Blue Lake, 2006, 70 x 80 cm, oil on canvas /oil
Aron Zinshtein born October 13, 1947 in Nizhny Tagil, Sverdlovsk region. As a child, studied drawing at the local House of Culture. In 1968 he graduated from the Ural College of Applied Arts in Nizhny Tagil. From 1972-1977 he studied at the Faculty of "Interior and equipment" of the Leningrad Higher Industrial Arts School. Mukhina (now SPGHPA them. Stieglitz). After graduation he worked in the "GlavLeningradStroe" a monumental arts, at this time began his first experiments in painting. The artist already making sketches, which later will be created many of his works. In 1983, he received his first workshop, it was then experimented with wet paint - with gouache, began writing in his usual manner by which it is called "Russian Matisse." Since 1988 - Member of the Union of Artists.
Since 1994 - member of the St. Petersburg Academy of Contemporary Art.
Aron Zinshtein known not only as a talented painter, but also as a graph: in addition to the creation of hundreds of etchings and linocuts, artist designed many publications. Shakespeare, Dostoyevsky and Bulat Okudzhava were published with his illustrations. Work Zinshtein often resemble children's drawings, which the artist willingly collects.
Zinshtein working pronounced expressive manner. In his work there is always movement, joy, emotion. The artist does not write much from life. He makes numerous sketches, collect them in albums, and only then, in the workshop recreates them in color on canvas or paper. Masters interested in the most diverse and the most simple stories that tells his life.
Aron Zinshtein always stayed away from all sorts of "left" and "right" movement in art. He was not accepted by either Soviet official art or among non-conformist artists. In art, he appreciates the spontaneity and freedom, saying: "I am a naive artist, I can represent all."
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A tram ... and human maelstrom ...
Okudzhava
In talking about the art of Aaron Zinshtein invariably recalls a child's drawing. At first glance, there is nothing special about it is hard to find an artist who would not like that. However, the "case Zinshtein" other: appealing to children's art, the artist shows the nature of his own gift, puts his life and picturesque credo. Aron Zinshtein - mature and wise master - and remained a big kid. Few who can and gained experience and a sophisticated professional culture, to preserve the children's perception - the ability to surprise and delight, the ability to open everyday and believe in their fantasies.
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The work Zinshtein, indeed, even stylistically evoke associations with the children's creativity. However, we are not in any case is not a banal imitation, as well as reflective of the fashion "assignment." The reason - the coincidence of vision: the master and the child are "friends on the sensations."
Freedom, improvisation, selfless attitude to art - top quality children's creativity - are key categories shaped the world of the artist.
In the typological point Zinshtein art, no doubt, is related to the general - through to the twentieth century - the expressionist trend (for which, by the way, a child's drawing was one of the sources). Expressionism as a concept broader than the specific art direction and defines rather a type of artistic consciousness and plastic temperament. In works such Zinshtein signs of consciousness and the temperament of the obvious: the priority of the expressiveness of Fine, active deformation of reality, the desire for acute specificity plastic interpretation of nature, unrestrained imagination, "loud" spontaneous, "tempo", spontaneous painting, rapid, vibrating stroke, forced, emotionally charged color, maximum sincerity and openness of the author's tone. Zinshtein really called German Expressionism (as a whole and of its masters, as Kirchner, Schmidt-Rotluf, Nolde) among the most important of their artistic preferences. However, the full set of expressionist vocabulary Zinshtein find another rather peculiar impressionism, pitch attitude. He too appreciates the immediate visual impression. He's like a child, "dabbles colors" and get a visible pleasure from the process writing. His philosophy - the philosophy of joy, not pain, hope, not despair. In his painting, a lot of mischief and excitement.
Zinshtein art grew and developed as a once in a while, when the West, a new wave of interest in the actual painting in its spontaneous and expressive forms. It is unlikely that many young artist knew then about the "new wild" or trans avant, and purely radicalism of these areas could not be close to him. However, it is important to match the total motion vector. More significant in the development of Aaron Zinshtein, perhaps, was the tradition of a kind of expressionism Leningrad 1930 - 1940's, associated with the merger, "Circle of Artists" (A. Rusakov, V. Pakulin, G.Traugot), echoes of which somehow felt in art our city and decades later. In his "family tree" can include such diverse names Leningrad as O. Hildebrandt-Arbenina or B. Ermolaeva, although proximity to them some of the works of A. Zinshtein rather a consequence of the "memory style" rather than the direct impact or directed self-interest. Among contemporary artists from Aaron Zinshtein - and in life and in art - the most in common with Anatoly Zaslavsky. They - people of the same artistic circles, congruent thoughts and feelings. With the basis of common views on the nature of art (both not see themselves outside scenic elements and above all appreciate the plastic freedom, looseness hands and feelings, both are inspired by everyday situations in the natural daily life), they are, nevertheless, remain different, acutely individual craftsmen.
Creative heritage Zinshtein consists of a large number of works - etchings and linocuts folders, hundreds of canvases, and probably at least a thousand large and small gouaches. This efficiency is not only connected with the peculiarities of temperament, character, or the perception of manner of writing (Aaron really fast, trying to immediately bring the idea to the end, is not coming back, not adjusting - as important to him was found to retain a sense preserve the integrity of organic and emotional state experienced ), but with the very meaning of the concept of imagery. Zinshtein if wants to capture "a continuous stream of life", composed of individual pieces (paintings) ceaselessly moving belt of human existence. The picture is so much, ideally, no moment of life should not go unnoticed. One can even say that the instant Zinshtein engaged in painting, as strong an impression of immediacy and unintentional. At the same stories, always showing a person in action, or the very situation of the appreciation, listening, speaking, singing, playing music, sitting, standing, walking, festivals), the dynamics of which support the "fast" state of art, as a rule, have no special eventfulness. I remember the ironic miniature Daniil Kharms, in which he talks about the meaninglessness of the phrase "carpe diem". "I caught the moment, but did not catch, and only broke the clock. Now I know that this is impossible ... Another thing, if you say:" Captures what is happening at this moment "... This is a different matter. For example one, two, three! Nothing happened! So I captured the moment in which nothing happened. I told this Zabolotsky. Tom loved it, and he sat all day and counting: one, two, three! and notes that nothing happened. During this occupation found Z Schwartz. Schwartz and also became interested in the original way capture what is happening in our time, because in fact the sum of the moments of the era. "
At the same Harms is a cycle called "Cases" - a mosaic of "episodes", "jokes", "illustrations", "history" and only the "cases." Harmsovsky term seems to exhaustively characterize the content and the overall "track" intermittent, but a coherent narrative painting Zinshtein. Each of his paintings - a separate, specific - often autobiographical - "case", in something like this at least of the described Harms: "One day a man went to the service but on the road met another man who, having bought a loaf of Polish, directed Me back home. That's all. " Characteristically artist explains his stories, "Here is what we once stood at the bus stop", "Olga once played us on the organ, and then ate the cake", "and that's what we took pictures at the exhibition Zaslavsky in the Forest." Whole, like Harms, built on the principle of coupling of these "cases". I am far from spending any direct parallels between Zinshtein and Harms. This is a different philosophy and a different style. In Zinshtein no harmsovskogo bitterness nor harmsovskoy "sinister antilogiki" nor harmsovskoy irrationality. However, some oberiutskie intonation in his painting, of course, there are - and interest in Physical urban inhabitants, and in a fun absurd situations depicted, and a total eccentricity plastic speech, and in a game in a characteristic manner.
Story - "case" reinforces Zinshtein respective plastic means. He likes to "random" song - the figures do not fully "get the shot", the picture moves to the edge, people sit back or sideways. Color barely has time to find the correct form and do not always fit into the "bouncing" circuit, hasty pace quickens brush strokes, leaving streaks of free paint. In gouache recent "accident" lives in the very irregular shape of a leaf, as though caught by the arm, with jagged or torn edges.
The line from the old song by Bulat Okudzhava, made by the epigraph to me, with remarkable accuracy indicates the dominant theme of the world shaped Aron Zinshtein. Its landscape interest, really, is not focused on the architectural forms, and the arbitrariness of the imagination strengthened the rhythms and sounds of urban life ("the noise of trams"), I was unrecognizable historical realities. In an elegant light colonnade turns stagnant expanse of St. Isaac's Cathedral. Melts, swaying in a pink haze, scattering colored spray - people and machines. "Dancing" with the tourists losing rigidity solemnity, the Alexander Column. Ready to mingle with the crowd of menacing "The Bronze Horseman."
Zinshtein involve urban hustle and bustle - the very "human whirlwind." He has a clear passion for the image of human clusters. The situation may be very different - subway at rush hour, cycling, football match, plays, music concerts, festivities, art exhibitions, market, restaurant, band, chorus. Each, of course, is its own special situational meaning: sports passion in the work of the artist, of course, not like the Philharmonic inspiration or transport hype. But all individuals and shapes merge into the general mass, forming a moving "human material." At the same tune of "human anthill" devoid of critical or satirical pathos and seems to attract an artist of his purely sculptural expressiveness, phantasmagoric spectacle. Zinshtein, unlike many contemporary artists are not interested in psychology or sociology of the crowd, but it organic.
Zinshtein work can be divided into two thematic channel. In the first act outsiders - those who are keen and curious mind of the artist picks from the street crowd, who he stops his pictorial account. The second embraces what is called a "home range" - Chad and the household, friends and acquaintances. Reference to specific characters, pointing to the realities of life, allows you to "alien" viewers more acutely feel the difference between reality and image. "Ours" is an additional pleasure from the process of recognition, being able to assess the work of the imagination, precision and expressiveness of the original transformation.
As characters Zinshtein men prefers women - a variety of clothing, entertainment behavior distinctiveness external reactions. Very often his characters are children - "children's perception of" encouraging the artist not only as a specific language, but as a rich pictorial theme. Large range of products associated with musical motifs. People sing and play different instruments (like any artist, especially appreciates Zinshtein violin and guitar), listen to music. Reasons beautiful music lovers are not only in the real love of music, for bringing to the story of art experiences frequent visitor nights and concerts. Zinshtein attracts inherent performing visual demonstrative actions and appearance, particularly noticeable in the situation, "muted" - showiness dresses, exaggerated gestures, dynamic poses, the brightness of the characters, the power of passion. No less interesting picture are an audience - the very perception of the artist becomes necessary visible form. In the music scene may be unwittingly thematizes and other, deeper - at the level of thought, language - links to music is no accident painting Zinshtein easiest to describe musical terms: chord, jarring counterpoint, Major, tempo forte, presto .. .
Least attention Zinshtein draws the faces of his characters. As already mentioned, the characters often turned his back to the viewer, so that the focus are just heads, hair, hats. In the event that the artist gives a front view, and not the back, features just outlined, "reduced" or nonexistent. A reception in the Russian art of the twentieth century - are not uncommon. Let us recall the "poluobrazy" Kazimir Malevich, Suprematist faces Nikolai Suetin, athletes, boys and peasant women Vera Ermolaeva, Alexander Aref'eva bullies. The entire list Zinshtein perhaps closest to receive Ermolayeva peasant whose face "omitted" for reasons of pure plastic expression, caused the most picturesque elements as such. The rest, one way or another, write "no person", pursuing - each different - purposes symbolic generalizations. Disappearance of persons Zinshtein exacerbates other features of individual differences: physical constitution, posture, attitude, choice of clothing or hairstyle. The role of the attributes, accessories, parts, toilets (the size of which is usually beyond the normal parameters) - a wonderful hat, collar incredible, lush bow artsy bag, big earrings ... Surprisingly, people with face-spot is recognizable - even if their appearance deprived speaking parts, and the process of identification is much more fun than the usual portrait. Often, a person in a child's drawing, replaced some characteristic appearance of the character (or particularly necessary to the plot), his part - open mouth, brightly painted full lips, big nose, winking eyes, mustache. Expressiveness situation too often achieved emphasis object - carrier sense. So, the violin to be sverhpredmetno noticeable changes natural brown color to a bright red. Becoming a small, soft, supple, lively, she, as a child, trustingly leaned against the shoulder musician.
It remains to add that all these effects artist achieves extremely pictorial means. Dear to him unpredictable actions have been released brush. His mesmerizing transformation smear figure spots - in the face, color - in the form plane - in space, dead - a living. Painting - in life, life - painting.
Aron Zinshtein loves the definition of "beautiful." It even gets to the title, for example: "In the subway for Beautiful Girls" (2000). Zinshteynovskaya "beauty" in this case is far from the usual - trendy or classic - standards. "Beautiful" is what has been brought to the limit of specificity, expression, catchiness, trivia, inaccuracy. Here again, I can not do without oberiutskoy tips.
It amazes me, I admire
Nature's beautiful dress:
And the wind, like a fly, flies,
The stars, like the fish, shining.
In the understanding of beauty, how to describe it clearly Zinshtein "coincides" with Nikolai Oleinikov. "Beauty" - a synonym for exaggeration, grotesque. His characters - often funny and ridiculous as zoschenkovskogo inhabitants, and the sight of the artist is not without light irony. However, the essence of the author's attitude to them is not that. Zinshtein openly admire their heroes, all of his most bold statements invariably end with an exclamation mark.
So far I have described as a kind of art Zinshtein stable integrity. You can and should consider it as a process of change and development.
In gouache paintings of the early 1980's schedule affects the experience, accustomed to working with metaphorical literary texts. They have a lot frank theatricality, sophisticated techniques, staged "fantastic" stories. The shape of the characters reminds of masks, puppets, dolls. Perceptibly some emotional and plastic strain. In the mid-1980s, the desire for a free picturesque leads to multiple compositions, to weaken the subject in advance. In landscapes of space taken, for the most part, the top, and if vzdybleno "rotate", the composition gets centrifugal character. This artist is also often makes the picture plane, giving the surface - color scheme, compositional shifts, textural means - properties shaky, vibrating tissue. By this time, the interest to the image of collective action, of which we have already discussed.
In 1987, I wrote an article about the work of Aron Zinshtein. Potential for further development, I then saw the big picture in a new "Holiday Table" and made no mistake. Today it is clear that this is not just good, but really fundamental work. Problems linked with it all the subsequent painting Craftsman and sustainable range of motives - "from the field of child crying, from the field of women's concerns," and not a manifestation of the characters with faces, and compositional techniques, and form-building principles. In place of the vortex smears, smudges and stains crush, shaky colorful Mareva come large and clear, long and dense color plans. Moving within the canvas, they are attracted to each other, "attached" to the right place. In the 1990s, found the plastic language is complicated. Artist increases the size of the figures and there is an image of the heavy, textured, colorful, angular masses, causing the eye to the viewer not to slip, but to work: there is traction, perceive energy color light, fix bedding surface of the canvas. The paintings of this time-consuming process formostroitelstva naked noticeable disciplinary role design. A similar experience was Zinshtein necessary experience of self-restraint. By 2000, it allowed the acquisition of a new painting of freedom. Amazing integrity and completeness of world view, absolutely natural scenic visions inspired simplicity and naturalness of execution - the distinctive quality of paintings and gouaches, created in recent years. The results are amazing for an artist who began his career as a graphic artist, working in a busy and laborious technique of dry needles.
The booklets and catalogs biography Aron Zinshtein looks quite safe: School in Nizhny Tagil, LVHPU them. Mukhina, membership in the Union of Artists, the impressive list of exhibitions - city, Union, International, group, personal. But in reality, the way the artist did was not that smooth.
With Aron Zinshtein we've known for 20 years. The circumstances of this dating is quite indicative of the times in which there was much that does not fit the strict definition of "official" and "unofficial". The fall of 1982 as a member of Zinshtein youth association at LOSH offered to put the product in the room of association. He happily agreed, as an opportunity to show their stuff were then more than limited. He brought the best, most essential, most "own" - large gouaches (on black paper): "vzvihrennye" dramatic landscapes, strange domestic scenes with grotesque figures. However, the opening day turned into a "working." Loskhovskie prominent functionaries not imagine until then, what does a young writer, were shocked by what they saw. Zinshtein branded a departure from the truth of life, with the formalistic distortion of reality, for the inappropriate topics and unacceptable for the Soviet artist "shagalovschinu." This was not enough, and the union leadership decided to arrange another discussion and involve young critics. Among other invited me, giving appropriate "orientation." Needless to say, I acted completely on the side of the artist, defending his creative world, his right to his own statement. In my diary is a record of the event and even theses "speech." Connected emotionally and formally integrated perception, visual and scenic surprise sensation, plastic temperament, ability to surprise and transformation, connection funny and strange poetry and drama, expressionistic nature of creativity. So we met. Visit to a strengthened sympathy arose, which gradually developed into a friendly and creative relationship.
For Zinshtein exhibition was fatal. It stubbornly refused to accept the Union of artists, each time denying at the level of the graphic section, although taught by bitter experience, Aaron represented a "passing" easel illustration - a genre in which - because of the bond with a literary text - the supposed famous "deviations from the rules. " Bureau unanimously voted against, citing one irrefutable argument: "Why is no shadow under the cow?". Aron with stubborn regularity repeated attempts. Friends joked: "Lucky! Every year - personal exhibition". The saga ended only in 1988. It took the intervention of the influential Dmitry Bisti and more liberal Moscow soyuzovskih structures. Perhaps today as persistent desire to find a niche official, to join the organization that does not understand or accept you as an artist, it would seem at least strange. But this had its reasons, but the act itself is not necessarily a consequence had to change their principles. Membership in the Union above all gave the public standing to leave the service (Zinshtein worked long enough - "from here to here" - for "the Mukhina" specialty - designed interiors) and completely surrender to the beloved. The position of underground existence not all happy - and not for lack of courage. This was a bold choice in the early 1980s, too connected, albeit with an alternative, but the policy, professional expenses, and not one Zinshtein then tried to find a creative way to preserve the dignity of the underground environment is. LOSH not confined to zealous functionaries and social realism, to "the edge" soyuzovskogo continent had many good artists that are far from the official rhetoric. These artists are usually not allowed to prestigious exhibition venues - the Arena, the great hall of the Union of Artists. They will have their exhibition space - because of non-specificity, social marginality less-ideological censorship - from the "blue room" LOSHa (here were permitted "experiments") to the House of Writers Museum or Dostoevsky. It is in the museum of Dostoevsky and passed in 1986, the first real solo show Aron Zinshtein.
As if trying to take revenge for years semi-legal existence, Zinshtein today exposed a lot and often. His extrovert creative needs in the classroom. Ideal environment for the perception of art Zinshtein - vernissage situation when heroes paintings mixed with the audience in the hall. Now nothing can cancel the meeting. And shout-judgmental question: "Why is no shade under the cow?" never again will determine the fate of art and the artist's fate. (Irina Karasik)
20.11.2012, 15:33
Aron Zinshtein - "Blue Lake"
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