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Otroshchenko Sergei Borisovich 1910 Omsk-1988 Moscow.

Запись от Самвел размещена 26.12.2009 в 22:52
Обновил(-а) Самвел 13.02.2010 в 21:53

Otroshchenko Sergei Borisovich (02.04.1910 - 1988) Born in Omsk. Entered in 1925 in Omsk Art and Industry College, 1929 graduate. He graduated from Odessa Art Institute in 1935, and then the Kiev Art Institute in 1940, Member of the Artists' Union since 1941, works are in the Museum of the Revolution in Moscow, State Tretyakov Gallery, State Russian Museum, St. Petersburg, Kiev Museum of Russian Art, Odessa Art Museum , Lugansk Regional Art Museum. Monumental, theater artist. Article IV Tseltner in the Catalog

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With a few dates, biographies of Sergei Borisovich Otroshchenko, which is traditionally called the key, opens its far an unusual fate. And all his creative life, at first glance, it is difficult to understand. It obeys the pursuit of artistic excellence. Her main content, search, tireless, uncompromising and never-ending, ever more tense, as the artist is approaching maturity. In fact, already in 1947godu S. Otroshchenko-author of the picture "Partisans", one of the most significant works of Soviet painting of the first postwar years. in it with a rare power embodied representation of the people, the main hero and creator of history, people-winner in the most terrible of voyn.kakie only knew mankind.
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Easel Conversation guerrillas sounds powerful epic finale. athletic young man with a warehouse of anti-tank rifle on her shoulders for all the truly realistic image is perceived as a credibility-simvol.Zanim countless people's army, rose to defend Otchizny.Odna after another, as if we are witnessing, on the edge of the forest of translucent silvery haze, appear the figures of people . The whole fabric paintings are metaphorical: this is the composite solution in which the central figure as it stands on a pedestal, so is the decision space-an endless, elastic, full of motion, as if giving rise to the background figures partizan.I pure whiteness of the snow, giving the pattern of its color and tone solution is also the embodiment of spiritual purity unsullied people who have risen for a cause. Painting executed courageous cautious optimism. there is nothing artificial, deliberate, strained: it creates a whole picture of the plastic structure, which melted observation and reflection of the artist and embody his apprehension of the truth of the war. Painting With Otroshchenko not only just joined the mainstream of Ukrainian art as one of its major achievements, along with "Bread" T. Yablonska and "Return" V. Kostetskii. In it, embodying the artistic image of the greatest folk epic of our time, rightly saw another reliable evidence of spiritual maturity of the national art school. The success of the artist was more prepared all his life, he had considerable creative experience, his amazing ability to learn, improve, always feeling dissatisfied with himself. At the time of creation of the guerrilla artist of 37 years. Over his shoulders he gained fame painting "Partisan edge"-1945.A her preshevstvovali professionally for nearly fifteen years of study, the textiles and then in the printing offices of the Omsk Pedagogical and thin-prom-st college, then, at the Odessa Art. Institute, where VN Muller teaches him the art of scenography, finally, in the Kiev thin. institute, polytechnic or the studio outstanding owls. painter Professor Fedor Krichevsky. And then there was war. It is as if waiting for Sergey Otroshchenko at the very threshold of its independent life. He was immediately drafted into the army and three years became a painter of front-line Red Army House. all these years, he wrote, using every minute, the same as writing all the artists, marching, as he was on the road voyny.sozhzheny, bombed Stalingrad: snow-powdered fragments of walls with empty eye sockets of windows, stone rubble and osypi.ikorezhenny metal, and then-Kharkov railway station, residential quarters in Gomel, the bridge across the Dnieper, blown up by the fascists during the retreat, the ruins of ruins ... Essays written on Anything. This is a "horrible"-also document the living memory of the time. Kholstov not the case, the material the artist are cutting cardboard, scraps of dense bumagi.oborot posters poet Iosif Utkin addresses the front-line soldiers ... Together with artist sketches complete the journey long and difficult: the front of the South-West, Steppe, Stalingrad, Central, Belarus nglish, workshops in Kiev, a shop in Moscow. Now 40-year anniversary of the victory, the memorial lists rise to the surface of a powerful layer of sketches and drawings, the artist had accumulated over the years. Going over them, as if we go back to the origins of art Sergei Otroshchenko. However, it is not entirely accurate. Prior military sketches were his theatrical work independently, have declared it as stsenografe.Eto held, inter alia, drawing up plays "The Golden Cockerel-diplomeaya work \\ 1935 \\," Natalka-Poltavka ", in Kiev Opera and Ballet "May Night" at the Kiev-theater musical comedy. Last performance, prepared in 1941, has not been completed, the war interfered. Shortly after the war Otroshchenko travels on a fresh and infinitely poignant her tracks. In 1945, for the Donbas, performing a series of sketches "There have visited the Nazis. Lyzed later, the artist traveled to Odessa. The result of this trip was the series of landscapes," Odessa Port 1946g.Tematicheskie mounted arrangement Otroshchenko less frequently appearing on the show. The terms of the interests of the artist's changing and all his work suddenly gets a completely different orientation. Since the late 40-ies he was with a group of Ukrainian artists working on paintings in the pavilion of the Ukrainian SSR on VSHV in Moskve.Tak begins his journey muralist. Among the few painters Easel, he possessed a rare sense of " great shape, inherited from his principal teacher F. Krichevsky. The artist was able to solve complex spatial problems plastics, organizing large plane was highly picturesque culture. All this was necessary, and particularly expensive in monumental art. Balanovsky However, Yu, B. Boldyrev, S. Kirichenko, G. Titov, A. Chernov, and LA Chichkan Otroshchenko performs painting Antechamber of the pavilion Soviet Ukrainy.Po end had to do stained glass painting "reunification of Ukraine and Russia." When you create it as a basis was taken sketch Otroshchenko. Then C and C Otroshchenko Kirichenko wrote two songs in the hall of the Constitution of the USSR. Otroshchenko brush painting belongs here "Recreation workers in the USSR" All these studies show how exactly was understood and transferred to the artists zeitgeist, as always, shaping the style of monumental art. Starting mon.iskusstve work and sharing with fellow first success, Otroshchenko soon completely immersed in the interests and concerns of his new profession, its changing from year to year perspective. Now that he took the search for plane-making that lead Monumental 60-h.Proizvedeniya those years in fully reflect the tastes of the time, just as it did a decade ago. But the general aspirations of the refracted Otroshchenko of his: before anyone else he wanted to harmonize modern hud.praktiku and inspected, tested thousands of years to install and patterns of folk art. And then, in the artist's studio on Kreshchatik in Kiev gathered a collection of painted wooden utensils, toys, ceramics. Otroshchenko examining these items carefully and thoughtfully, trying to understand the laws that govern people's creativity. blindly following the models "citations" he otvergaet.Otroschenko too serious and for professionals to participate in the fashion in those years the game of "simplification." And when he had one after another, wrote their festive still lifes with Kosovo yellow-brown-green ceramic with wooden utensils, decorated with colorful murals, it is his songs, built in compliance with all laws architectonics, its plastic, its zhivopis.slozhnaya, sophisticated and harmonious with all its outward naive mottled. For most artists, the obsession with folk art was short-lived and not very fruitful. Otroshchenko We all came together on the other. this svid.naprimer, decorative composition in the restaurant "Dnepr in Kiev produced to his designs. For this work should be a mosaic for the pavilion "Flowers" at the Square. Lenin Komsomol in Kiev. Otroshchenko long time, walking on the path set out in the 60 years, working on a monumental work for the Museum of Historical Treasures of USSR. Here based on sketches by the artist and his drawings of life-size set of six stained glass windows on the ancient craft. started to collect and study the works of folk art, S. Otroshchenko later drawn back to its origins, sovrshaya one after another trip to the places that have formed over centuries kept the people's way of life , the whole obihod.On happens in the Carpathians, and since he lives in Moscow, always goes to the Russian Sever.govorit about these trips: "It seems you are in a fairy tale ..." Breath of a fairy tale feel to it etyudah.napisannyh in 1963 in villages Mezen: they are dark hut with skates on roofs and wooden krnskie bezzakatnom head in the bright sky, like the idols of the unknown times. However, the opening of the decorative and ornamental manner of the artist does not consider the outcome of the way, the completion of their creative aspirations. On the contrary, further their travel \\ in different years Otroshchenko happens in Rostov Veliky, Kargopol, Kizhi, in villages in the Onega, in Kondopoga, Ken-Lake \\ it increasingly favor solutions prblizhennym to the style of his early works. Their simplicity and fairness are due, according to Otroshchenko, the very nature of the motives of the simplest and at the time for him most attractive. "I liked the waters, sky, hut also the most mundane" - he said. And if nebylo all of the previous period, with its intricately-planar ornamental decisions, and there was only his painting of the forties. with increasing pleasure Otroshchenko make long trips, and wrote under Kargopol temples, dark shadows protruding from a strip of fog, in Karelia, the silhouettes of monumental buildings, and peaked hipped roof, like a miracle born of the huge mnogokupolnyh wooden churches. It takes time, and Painting Otroshchenko becomes myagche.Predmety, postroyki.elementy landscape transferred plastichnymy large masses. all become simpler motives etudes: beach, the sky is the lightest in the clouds female figurines in a meadow \\ Ken-Lake 1981 \\. His paintings became much more refined in color and assembly , drawing, precise and expressive, and compositional solutions, almost faultless in its true perfect simplicity, and his whole way of gaining consistency and integrity. V. Tseltner.
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