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.
Aladzhalov Simon (1902-1987)
Запись от OTROK NIKODIM размещена 15.07.2010 в 00:46
In 1924, Simon Aladzhalov gets to their historical homeland. The first painting class he takes a great Saryan, also a native of Ross-tova-on-Don. Semen Aladzhalov remember instruction Saryan: "learn to what they teach, and do, keeping his temperament. Fate favors ktem who knows how to use her gifts. Saryan, and then Yakulov become his senior friends, teachers and mentors. He grows into an artist, indivisible otteatra, learns, but does not become the great imitator, and, showing his temper, finds skill and his way in art. It works in the theater Sundukyan, then, upon arrival in Moscow, in the theater Vakhtangov, Chamber Theater, the circus and on the stage.
Sarian considered him their son, and Yakulov - vospreemni-com. And it happened so that the workshop Yakulov in Moscow has studio and apartment in which Semyon lived for many years.
In the very beginning of the theater artist Semyon Aladzhalov prepares to play 23 performances, and L. A. Burdzhalyana Kalantar. He was the only designer in the 1-m Gosteatre Armenia (Theatre. Sundukian in Yerevan), because "... if not in itself Erevan, or close around Erivan, could not find a single theater artist, and artists showed little interest in the creative décor. These are the words of the artist.
As a result, he became the art director, cleverly combining the director's vision performance with its artistic embodiment. And all work in an atmosphere of synthesis of cultures and especially in the relationship of the Armenian and Russian theatrical traditions. In the years of teaching in Higher Art (1927-1931 Gg.) Semen Aladzhalov closely communicate and cooperate with a famous director in those years Ruben Simonov, Vsevolod Meyerhold and Alexander Tairov.
A passionate, in love with life, he created a gallery, somewhere over seventy - portraits, in oils, watercolor, sanguine, charcoal. Among them - portraits Ruben Simonov, George Yakulov, Vardan Ajami, on whose brilliant performances during the season Sundukyanovskih "zapom-nilaMoskva-60-x; small portrait of Suren Kocharyan, the young, with a sly smile, and refined, though time stood out skvoztolschu reminiscent of a fresco portrait Saryan. It's all those people with whom the artist was closely associated, reviving the ancient culture with a 2000-year history of the Armenian theater.
Costume design for theatrical productions store unique scent of theatrical scenes. Excellent sketch of the image Bugden-sar-ahpara (portrait artist of this role - Hrach Nersisyan - a play Hakob Paronyan),. From 1926 to the present day the play was almost unchanged, but with the same success.
Sketches of dance made for the stage, as if filled with a hidden "kinetic energy", the expression of a dense, luminous color.
Semen Aladzhalov has charm talent, charm, personality. He would passionately, with love and special, passed through the heart of knowledge to speak of Napoleon, the native of Rostov-on-Don, about Bunin. There was always elegant, with a butterfly on the collar. Fiery eyes and smile. Good. Bright.
During his creative life Semen Aladzhalov designed over a hundred exhibitions interiors staged in many cities: Moscow, Yerevan, Vladimir, Leninakan, Dushanbe, Brest, etc., have been raising and overseas - in Sofia (Bulgaria). Now, for obvious reasons, decorations and designs in these formulations are not available.
The phenomenon of these works, as if awakening from a magical warrior sleep. It must be the measure of our love overcomes the longitude time. This is encouraging. These treasures were two keepers: the eldest - Elena, widow Aladjalova, and her goddaughter Maya DJABNIDZE. A low bow to them.
Literature was probably the second vocation S. Aladjalova. The last 20 years the artist has worked hard over the essays, but in the 70 years Simon has written Aladzhalov unique monograph of an outstanding artist Georg Yaku-fishing. For those who read the monograph, it becomes clear that innovative thinking artists of the 20-ies included netolko theory of Suprematism and the Black Square by Malevich, but the theory of light and colorful sun "Yakulov. The author describes in some detail those last two years of life Yakulov (1926-1928 Gg.) Who lived side by side with them in their creative research in discipleship, in friendly relations. The overall composition of the book - it's all the same vertical, so beloved by Yakulov. The ringing of golden coins, stir autumn, ode to joy, and rising requiem solemn and plaintive, like a Russian song.
Mariam Chailakhyan, art
(Submitted to the reductions on materials: http://noev-kovcheg.1gb.ru/article.asp?n=56&a=28)
Sarian considered him their son, and Yakulov - vospreemni-com. And it happened so that the workshop Yakulov in Moscow has studio and apartment in which Semyon lived for many years.
In the very beginning of the theater artist Semyon Aladzhalov prepares to play 23 performances, and L. A. Burdzhalyana Kalantar. He was the only designer in the 1-m Gosteatre Armenia (Theatre. Sundukian in Yerevan), because "... if not in itself Erevan, or close around Erivan, could not find a single theater artist, and artists showed little interest in the creative décor. These are the words of the artist.
As a result, he became the art director, cleverly combining the director's vision performance with its artistic embodiment. And all work in an atmosphere of synthesis of cultures and especially in the relationship of the Armenian and Russian theatrical traditions. In the years of teaching in Higher Art (1927-1931 Gg.) Semen Aladzhalov closely communicate and cooperate with a famous director in those years Ruben Simonov, Vsevolod Meyerhold and Alexander Tairov.
A passionate, in love with life, he created a gallery, somewhere over seventy - portraits, in oils, watercolor, sanguine, charcoal. Among them - portraits Ruben Simonov, George Yakulov, Vardan Ajami, on whose brilliant performances during the season Sundukyanovskih "zapom-nilaMoskva-60-x; small portrait of Suren Kocharyan, the young, with a sly smile, and refined, though time stood out skvoztolschu reminiscent of a fresco portrait Saryan. It's all those people with whom the artist was closely associated, reviving the ancient culture with a 2000-year history of the Armenian theater.
Costume design for theatrical productions store unique scent of theatrical scenes. Excellent sketch of the image Bugden-sar-ahpara (portrait artist of this role - Hrach Nersisyan - a play Hakob Paronyan),. From 1926 to the present day the play was almost unchanged, but with the same success.
Sketches of dance made for the stage, as if filled with a hidden "kinetic energy", the expression of a dense, luminous color.
Semen Aladzhalov has charm talent, charm, personality. He would passionately, with love and special, passed through the heart of knowledge to speak of Napoleon, the native of Rostov-on-Don, about Bunin. There was always elegant, with a butterfly on the collar. Fiery eyes and smile. Good. Bright.
During his creative life Semen Aladzhalov designed over a hundred exhibitions interiors staged in many cities: Moscow, Yerevan, Vladimir, Leninakan, Dushanbe, Brest, etc., have been raising and overseas - in Sofia (Bulgaria). Now, for obvious reasons, decorations and designs in these formulations are not available.
The phenomenon of these works, as if awakening from a magical warrior sleep. It must be the measure of our love overcomes the longitude time. This is encouraging. These treasures were two keepers: the eldest - Elena, widow Aladjalova, and her goddaughter Maya DJABNIDZE. A low bow to them.
Literature was probably the second vocation S. Aladjalova. The last 20 years the artist has worked hard over the essays, but in the 70 years Simon has written Aladzhalov unique monograph of an outstanding artist Georg Yaku-fishing. For those who read the monograph, it becomes clear that innovative thinking artists of the 20-ies included netolko theory of Suprematism and the Black Square by Malevich, but the theory of light and colorful sun "Yakulov. The author describes in some detail those last two years of life Yakulov (1926-1928 Gg.) Who lived side by side with them in their creative research in discipleship, in friendly relations. The overall composition of the book - it's all the same vertical, so beloved by Yakulov. The ringing of golden coins, stir autumn, ode to joy, and rising requiem solemn and plaintive, like a Russian song.
Mariam Chailakhyan, art
(Submitted to the reductions on materials: http://noev-kovcheg.1gb.ru/article.asp?n=56&a=28)
