ARTIST IGOR EMMANUILOVICH GRABAR
SOVIET REALISM
ABOUT the artist Igor Emmanuilovich Grabar should talk a lot and enthusiastically though, because in Russian culture, he became a real ангелом-хранителем.
Guardianship of the Tretyakov gallery from 1913 to 1925 years, the creation of the restoration workshops in Moscow in the midst of Civil war, enrichment of the collections of Soviet museums, the victims of the great Patriotic war, in the framework of compensation and confiscation, the management of the Institute of art history Academy of Sciences of the USSR, – I can just imagine the Grand scale of the activities, the fruits of which we are not really thinking, I use to this day.
Talented writer and researcher, Igor Grabar left to posterity a gallery of amazing deep accurate verbal portraits of his contemporaries – painters, sculptors, architects, those whose life stories happening in front of him. And yet, without diminishing their own achievements in the field of protection and preservation of cultural values, Igor Emmanuilovich always considered myself, first and foremost, it is the artist, and then everyone else. With the incredible workload he definitely made time for painting, but even in this ancient as the world, the occupation managed to find new techniques and revolutionary technology.
Favorite time of the year the artist was winter; in the cold winter landscapes he saw an incredible charm, which sought to accurately convey on the canvas. In the depths of Sunny days in Grabar literally buried along with his easel in the snow, out of deep trenches, to admire the rosy glow of tiny ice crystals on the birch trees. White furry frost from the branches on the background of a heavenly ultramarine not just flashed; melodiously they sounded, filling the silent neighborhood of the pure crystal bells.
Repeatedly returning to the landscapes with frost, the painter sought to convey the volume, glow, iridescence of this magical ice-effect with normal colors; as if he competed with nature in skill. During a short open air, while the palette is not completely froze in the cold weather, the master was in a hurry to capture on canvas the momentary play of sunlight, refracted into a thousand tiny snow faces. It is no coincidence that the period of the passion of Grabar Russian winter that had fallen on 1905-1908 he is considered a truly impressionistic, although Igor Emmanuilovich never indulged in imitation of the French metres, while developing his own techniques in the transmission of the light of harmony.
Artistic experiments Grabar were not in vain: dazzling, the picture is floating in the air of frost and comes to life in front of astonished spectators, and captures the spirit of cool mesmerizing her beauty.
Link to original
