Продам: Vladimir Sterligov - "Mountains"

[bykinist]

For Sale:

Vladimir Sterligov Mountains, 12.5 x 11.5 cm, cardboard /oil


Vladimir Sterligov (1904, Warsaw - November 1, 1973, Peterhof) - Russian artist, painter, easel and book illustrator. One of the pupils, KS Malevich.
He spent his childhood in Moscow. In 1922-1925 he studied in the literature courses at the All-Russian Union of Poets, in 1923-1925 he studied painting and drawing in private studios.

GINHUK
In the summer of 1925, on the advice of the artist VM Ermolayeva moved to Leningrad in the autumn of 1925 and began working at the Institute of Artistic Culture Malevich. With the January 1926 formalized intern Department of Artistic Culture Institute of Artistic Culture, studied painting under the guidance of Malevich, studied Cubism and Suprematism, and after closing the Institute of Artistic Culture worked under the guidance of Malevich (up to 1934). Met with NN Punin, Pavel Filonov, PA Mansurov, MV Matiushin, NI Khardzhiev, BV Ender. Together with VM Ermolayeva, KI Christmas, L. Yudin, NM Suyetin, AA Leporskaya entered the "group of pictorial and plastic realism", formed in 1929, remained close to these artists in the throughout their lives.
In December 1926 met with a range of poets OBERIU - AI Vvedenskii DI Harms, their personal and artistic friendship lasted until 1941.
In 1929 he began working in book and magazine illustrations, collaborated with the magazines "hedgehog" and "Siskin", illustrated books, including "own text books." All the pre-war years, wrote poetry and prose.
Since 1930 began working as a teacher, and his first student became an artist PI Basmanov. In 1932 he joined the Union of Artists. In October 1932 participated in the exhibition "Artists of the RSFSR for 15 years" in the Russian Museum. The works of this period: "Equilibrium" (1927), a series of "Guys", "Reapers", "Poluobraz" (1933).

Читать дальше... 

The arrest and pre-war years
December 25, 1934 he was arrested and was under investigation until February 26, 1935. March 27, 1935 was sentenced according to the decision of the NKVD under Article 58-10, 58-11, March 29, 1935 sent to serve his sentence in the first compartment third division of the Karaganda labor camp. In the camp with him had served time artists Yermolayeva VM and P. Sokolov. Was in custody (Karlag, settlement Dolinka) until December 19, 1938, was released early.
In December 1938 has been registered in the Union of Artists of Kazakhstan, Karaganda.
In August 1939 he moved to Moscow (in the End of the Line), despite the prohibition to live in Moscow, ever been there, staying with friends (EV Speranskii EV Safonovoj). In 1940 he worked on the panel at the Agricultural Exhibition in Moscow. During these years, met with AI Vvedenskii became godfather to his son Peter.

War and the evacuation
In 1941 he moved to the village of Malaya Vishera Leningrad region. July 22, 1941 is intended to mobilize Malovishersky RVC Leningrad region in the 47th reserve artillery regiment (Private 2nd reserve). Together with the regiment was at the front, walking along the river Sister, January 12, 1942 where he was wounded. Was treated in a field hospital, from February 28 to May 15 - number 1354 in the evacuation hospital (where he made a series of drawings "In the hospital"). In February 1942 learned of the death of Daniel Kharms wrote the text "On the Death of Daniel Ivanovich." April 15, 1942 discharged from the Army disabled the second group, and June 1, 1942 declared unfit for military service with the exception of the register. He was awarded the military medal "For the Defense of Leningrad".
June 13, 1942 evacuated from the siege of Leningrad in Alma-Ata, where 3 July 1942 has been registered in the Union of Artists of the Kazakh SSR. Entered the circle of artists who were evacuated from Moscow and Leningrad: D. Mitrokhin B.Urmanche, S. Kalmyks, P. Salzman, F. Bernstamm, N. Khardzhiev, B. Kuzin, N. Berkovskiy, M. Axelrod, R. Velykanova . Close friend of Vladimir Voinov. In 1943 he married a Leningrad artist T. Glebova. Organized artistic life in Alma-Ata: CDKA worked in hospitals, organized a studio in the Union of Artists, where he developed artistic problems, taught history and perspective in art school, led the literary transmission of radio and studied the technique of fresco painting and wrote a mural on the walls Artists' Union of Kazakhstan. Under a contract with KazIZO performed illustrations for the seven children's books, participated in the republican exhibition "Great Patriotic War", organized an exhibition of artists-veterans (1944), as well as his solo exhibition (1943) and group exhibitions "On coloring", "Drawing"; beautiful work participated in the exhibition for the anniversary of the national hero Amangeldi Imanova. Among his works of this time is allocated a series of "Memories of Suprematism." From 1944 to November 1945 was part of the graphics section of the Bureau of the Union of Artists of the Kazakh SSR, in 1945, elected secretary of the graphics section of the Union of Artists of the Kazakh SSR. In November 1945 he returned to Leningrad.

Post-war years
In December 1945 has been registered in the Leningrad Union of Artists and became active in the artistic life of Leningrad. In terms of its communication in 1940-1950 included artists GN, AG, VG Traugott, VP Janov, M. Wojciechowski, PI, NG and M. P. Basmanovs, AA Leporskaya and NM Cyemun, art critic Vladimir Petrov, an astrophysicist Nikolai Kozyrev, scholar antichnik AI Zaitsev, philosopher YS Druskin. In Moscow, met with BV Ender, DI Mitrokhin, NI Khardzhiev.
In some works of the 1940s an aspect of Suprematism, "Suprematist state": "Window", "The Old Ladoga" (1946-1947). His other works are already new images: a series of "Bulls" (1940-1950), a series of gouaches "Clouds in front of a non-existent" (1950-1951). In 1951, began to develop a religious theme: The New Testament cycle (1951-1954), a series of gouaches "Messengers" ("Angels", 1956-1957), this theme continued throughout life.

1960
In the 1950s, a friend of restorers and researchers of ancient art, took part in the celebration of the anniversary of Andrei Rublev in Moscow (1960). At this time in his graphic works and paintings are new plastic qualities.
In January 1962 the exhibition MV Matyushina in LOSHa delivered a speech on the Institute of Artistic Culture. In early 1962, developing a theory of his teacher Malevich on the additional element in the visual arts, has opened a new additional element of Art 1960 - "straight-curve." His theory is called "chashno-dome of consciousness", in 1962 dedicated to her young artists attracted them to work on a new form, on the creation of a new plastic space - spherical, curved. In 1963-1966 together with his friends created the "Staropetergofskuyu school" (as most of these meetings took place in the Old Peterhof from the artist SN Spitsyna.) This circle included painters Vladimir Sterligov T. Glebova, P . M. Kondratiev (until 1965), SN Spitsin, VP Volkov (up to 1965), art EF Kovtun and A. Povelikhina. In 1966 he moved to Sterligov Peterhof. At its meetings (fiction "Tuesdays") artists exploring "five new systems in art - impressionism, Cezannism, Cubism, Suprematism, except futurism", exploring color, working on "Russian scales." Sterligov called this work "invisible institution" because it saw it as a sequel, with a break of more than 30 years of research work carried out in the Institute of Artistic Culture. "Explanation of yesterday to today," a return to the past for a short period, is the artists to ensure that " refresh "their modern work. The focus Sterligov paid to work on the "chashno dome-consciousness."
Since 1957 he spent "apartment" of the exhibition at home and with friends (so that his personal exhibition was held in 1965 in one of the workshops) to June 1971, these exhibitions were held in the studio of T. Glebova on the street. Lenina 52, kv.43. Solo exhibitions of works by V. Sterligova in his life were rare: one-day exhibition in LOSH (1966), and two exhibitions at the Institute of Architecture and the Pushkin Museum in Moscow (1970).

Creation
Trainees Institute of Artistic Culture Kazimir Malevich said: "... it will be a school, and not the work of art, which you will deal with later, developing your own additional element" [9]. In this sense, Sterligov - Malevich's heir apparent, as recognized and named the new element of the surplus of the 1960s. Its output in the arts Sterligov made of Malevich's Suprematism, new color properties are studied Sterligov, have also been the conclusion of Suprematism. In Malevich and Sterligov took geometry as a module structure of the world, the beautiful and cosmogonic as "consideration on the construction of the universe." The idea of ​​the universe, presented in the form of spheres, which is produced at the touch Curve, has its explanation in science, where, according to one theory of the universe, it consists of an infinite number of spheres touching each other. Two mirror-reflected curves form a cup - so Sterligov and calls his idea "chashno-dome structure of the universe."

Vladimir Sterligov was declarative least their teachers, explaining that "the responsibility of each artist before the Supreme."

"I studied with Vladimir Tatlin, but took his point. Those who studied with Vladimir Tatlin - never his pupils were not.
I have not studied in Matyushina, but took his point. Those who studied with Matyushina, never his pupils were not.
I studied with Malevich's square and after I put the cup.
From Filonov - breathless attention to the microparticle surface.
From Malevich - a sense suprematichnosti nature of the universe.
From Tatlin - national characteristics.
From Matyushina - "impressionistic" "Cubism" "

All these qualities Sterligov and his colleagues developed in his work. Sterligova friend, artist BV Ender, gave this assessment of his work:
extremely formalist art, and yet so close and real, taken from the wild

"Sterligov .. was the leader of direction, bends considerable role of ideas, the language of the programs .. one of the major representatives of the Leningrad school of the 20th century. Feature of the Leningrad school of painting of the 20th century - almost iconic (almost ascetic) luminosity of the colors .. the darkness and the light-permeable to each other, Just as they relate and in the human world. "