Живопись советского периода полна блистательных имён. К сожалению, время подчас безжалостно по отношению к памяти на искусство некогда известных авторов. Примером этому может служить имя безвременно ушедшего в 1997 году действительного члена РАХ, заслуженного деятеля искусств РСФСР Олега Павловича Филатчева(1937-1997). В 2007 в Академических залах на Пречистенке состоялась выставка его памяти включившая в себя живописные и графические произведения представленные семьёй художника. О.П. Филатчев больше известен, как художник-монументалист. Он много работал не только в СССР, но и заграницей. Его росписями были украшены стены посольства СССР в Вашингтоне. Некоторые радикально настроенные граждане связывали прижизненный успех с "гиперконформизмом" мироворения художника по отношению к власти. Оставим на их совести это суждение. О. П. Филатчев вошёл в историю искусств, как художник переосмысливший пасмурную эстетику сурового стиля, обогатив её новым образно-пластическим языком. Любимыми художниками Филатчева были художники раннего Возрождения. Именно в этой культурно-исторической парадигме находился живительный источник вдохновения и творческий ориентир данного автора. Несомненным интересом являются серии портретов современников художника, выполненные темперой по левкасному грунту, а также великолепная серия графических работ посвящённая рыбакам севера и военным лётчикам.
Большая часть наследия художника включена в собрания крупных государственных музеев. На рынке практически нет работ этого автора. В связи с этим отсутствует и информация о художественном наследии. А ведь жаль. Творчество О.П. Филатчева не столь однозначно трактуется в контексте культурной проблематики художественной жизни СССР 70-х годов. Он сам, не только, как живописец, но и как личность, являл собой тип универсального и гармоничного человека эпохи Большого Стиля.
Большая часть наследия художника включена в собрания крупных государственных музеев. На рынке практически нет работ этого автора. В связи с этим отсутствует и информация о художественном наследии. А ведь жаль. Творчество О.П. Филатчева не столь однозначно трактуется в контексте культурной проблематики художественной жизни СССР 70-х годов. Он сам, не только, как живописец, но и как личность, являл собой тип универсального и гармоничного человека эпохи Большого Стиля.
Russian "image", the Greek "icon" and western "image"
Запись от OTROK NIKODIM размещена 21.02.2010 в 15:04
In every language there are words (not many), which are intended to express the fundamental features of the national perception of the world. First and foremost among these are the words refer to the essence of creativity, artistic exploration of reality. For Russian, for example, is a way for the British - the image (image - «representation, embodiment, the statue, icon, image, reflection"). When word of such dignity penetrates from one language to another and begins to push its "native" match, it means taking people spiritually obeys the giver. If the word while still vary greatly in content, the subjugation of complicated changes, erasing the spiritual and moral characteristics of weak nations [1].
The English word image has penetrated into the Russian language in the mid 1980's, along with the restructuring of our entire society in the rays of the western, sunset education. As usual in Russia, word of another person apprehended with humility, passing some of servility, and others - in a cautious apprehension. The word image is not included in the academic explanatory dictionary of Russian language, but the volatile electronic dictionaries, as well as in electronic and printed articles by him several years to interpret all kinds of ways. The prevailing mood - take the word as inevitable, perhaps temporary, given, accurately determine its value and differences in the shades with a close (as many think), the Russian word image.
Current coming "image", more precisely, its root meaning, established in the West, has become the second in a row. For the first time that the root meaning we got some distribution in the French vowelling (image - «IMAGE") through the activities of the Russian "Imagist" (1919-1927), a community which until 1924 was part Yesenin. This Russian art emerged during the "after" imazhistami "European and American literature" [2].
Modern "image", as in the beginning of XX century "IMAGE", seeks to artistic and creative development of all levels of human existence - from art to life. "Promo" way to see the creativity in the art the very heart of life, as in life - art and manifestations of the unified soil zhiznetvorchestva elevates man-artist, the creator of its own world. The main type of such works on Russian soil at the end of XX century was the creation of shaped tools (albeit in a deliberately simplistic "advertising" manifestations) appearance (image) of any person, product. The creators of the images (image-makers) consider themselves to be holders of rights and the ability to create a new reality, which it operates, even cheating, and allows you to achieve our goals, ultimately transforming the world around to suit yourself.
In general, "image" a creative setting powerfully characterized the development of artistic direction, departing into the thousands and in various ways manifested in different epochs. At present, it is expressed, for example, post-modernism in the arts [3], a little earlier - at the beginning of XX century - has resulted not only in the Imagist, but not least the Futurists, acmeists, Symbolists, and at the turn of XVIII-XIX centuries - in number of romantic tendencies (especially in the near Masonic). More diverse early manifestations of this creative art installation in the Baroque, Renaissance, at the grassroots and a secret (associated with the Gnostic and Kabbalistic teachings) art of the Middle Ages, the art of Hellenism and many ancient pagan cultures.
A common feature of "fashion" artistic currents is the belief in the divine essence of the artist-creator, the divine omnipotence of his creative ideas, dreams, faith in the true and the highest authenticity and validity of the fruits of such paintings. This attitude to the world and ourselves from the European nations since the pre-Christian times referred to as magic. "Image" may be called the art of magic art, because the English word image formed from the same Indo-European root * mag (* mag), as well as Greek (rising to Median) word magic ... (continued at http://www.pravoslavie.ru/put/34145.htm)
The English word image has penetrated into the Russian language in the mid 1980's, along with the restructuring of our entire society in the rays of the western, sunset education. As usual in Russia, word of another person apprehended with humility, passing some of servility, and others - in a cautious apprehension. The word image is not included in the academic explanatory dictionary of Russian language, but the volatile electronic dictionaries, as well as in electronic and printed articles by him several years to interpret all kinds of ways. The prevailing mood - take the word as inevitable, perhaps temporary, given, accurately determine its value and differences in the shades with a close (as many think), the Russian word image.
Current coming "image", more precisely, its root meaning, established in the West, has become the second in a row. For the first time that the root meaning we got some distribution in the French vowelling (image - «IMAGE") through the activities of the Russian "Imagist" (1919-1927), a community which until 1924 was part Yesenin. This Russian art emerged during the "after" imazhistami "European and American literature" [2].
Modern "image", as in the beginning of XX century "IMAGE", seeks to artistic and creative development of all levels of human existence - from art to life. "Promo" way to see the creativity in the art the very heart of life, as in life - art and manifestations of the unified soil zhiznetvorchestva elevates man-artist, the creator of its own world. The main type of such works on Russian soil at the end of XX century was the creation of shaped tools (albeit in a deliberately simplistic "advertising" manifestations) appearance (image) of any person, product. The creators of the images (image-makers) consider themselves to be holders of rights and the ability to create a new reality, which it operates, even cheating, and allows you to achieve our goals, ultimately transforming the world around to suit yourself.
In general, "image" a creative setting powerfully characterized the development of artistic direction, departing into the thousands and in various ways manifested in different epochs. At present, it is expressed, for example, post-modernism in the arts [3], a little earlier - at the beginning of XX century - has resulted not only in the Imagist, but not least the Futurists, acmeists, Symbolists, and at the turn of XVIII-XIX centuries - in number of romantic tendencies (especially in the near Masonic). More diverse early manifestations of this creative art installation in the Baroque, Renaissance, at the grassroots and a secret (associated with the Gnostic and Kabbalistic teachings) art of the Middle Ages, the art of Hellenism and many ancient pagan cultures.
A common feature of "fashion" artistic currents is the belief in the divine essence of the artist-creator, the divine omnipotence of his creative ideas, dreams, faith in the true and the highest authenticity and validity of the fruits of such paintings. This attitude to the world and ourselves from the European nations since the pre-Christian times referred to as magic. "Image" may be called the art of magic art, because the English word image formed from the same Indo-European root * mag (* mag), as well as Greek (rising to Median) word magic ... (continued at http://www.pravoslavie.ru/put/34145.htm)
