He started as an impressionist and symbolist, passed through passion futurism, primitivism and pointless. His theory. After the 1917 revolution, he worked in the Commissariat of Education (1918 - 1921), taught at the Free Art Workshops (1918 - 1929). He took an active part in the device Museum of Artistic Culture in Moscow and Leningrad. Since 1941, head of the department of painting
the Textile Institute.
His works are in many museums, including the Karakalpak GMI im.I.V.Savitskogo.
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in 1926 in Moscow at the initiative of AV Shevchenko and his disciples.
united, proclaimed itself the task of versatile
pictorial quest. The company did not have a single creative person
its artists (RN Barto, BA Golopolosov, VV Pochitalov,
V. Kapterev etc.) often turned to contemporary themes,
using the methods of the various currents of European art
XIX - XX centuries. 1928, 1930). In 1930, ceased to exist.
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Message from Shevchenko to the genre of still life is not accidental. The first decades of the twentieth century were a time of flourishing of still life in Russian painting. Cubists used still lifes to resolve the narrow, purely formal problem - identify the texture, form, subject, coloristic construction, innovative plastic solutions. Shevchenko, as well as other artists of the early twentieth century, uses still life as a field for the formal and stylistic exploration, as well as heroes of his pictures are simple, ordinary things. But the objects of everyday life in pictures Shevchenko are exquisite images.

On the wooden table is a tray on it crumpled white tissue. The background is a wall of light gray-blue and pink shades, draped with heavy curtains on the left with a vague floral ornament. On the wall hangs a portrait in a simple frame (in the space of the picture got only the lower part). All this is not just some substantive form, taken by the artist for coloristic experiments and plastic, and, above all things to their utilitarian stored on the warmth of human hands to create a warm atmosphere at home, shelter, refuge. Avant-garde artists have left this to the flatness and decorative.

Painting and AV Shevchenko concentrates in itself the diverse trends of Russian Art 1910-1940-ies. Therefore, among his works there flatly decorative, built on formal principles of cubism, futurism and luchizma. But in the still lifes abroad 1910-1920-ies the artist departs from these principles. (VN Shalabaeva) for Shevchenko, the classical tradition is also very important. As opposed to extreme strain and exaggerated expression, common to many contemporary artists, he remains within the likelihood. It is characterized by constructive and generally, conventional images, laconic forms, local color, rhythmically solved plane. Shevchenko was characteristic of Cezanne relation to the painting as a special world, a living organism, all of which must be tightly fused and interdependent in the overall ensemble.

As befits a major, they are at the center, sometimes slightly shifted immediately draw attention to themselves, forced to admire his perfect form. To underscore the importance of these items, give them the solemnity, the artist depicts them against the background of a decorative fabric or a tray, and then they The artist draws free, but at the same time, a coherent game plastic forms, the beauty of rhythm. For works of Shevchenko has always characterized the precise fashioning metaphors. Rectangular table, shown with a promising reduction, responds in a rectangle pattern on the wall. Red glass, decided flatly on the form and local color, touching one corner with a white bottle with the label, is it a reflection of the contrast-contrast and color and spatial arrangement (both vertical angles or checkered in the same suit). Together they define the composition and color center of the picture.

The main objects are static, because keeping track, accentuate its core vertical. All others are on the move: scattered on the table apples, stuck in the folds of cloth, swaying curtain wall, the plane table on the items located on it, change the angle, as if pivoting upward, intersecting with the plane of the wall and ending his turn in a balanced portrait of a rectangle . But the main static objects are relative, as all the vertical in the picture - and a bottle and the decanter and glass, and side of the portrait on the wall, and a single pleat curtains - are parallel to each other, somewhat tilted to the left. Sense of imbalance, unbalanced artist avoids tipping two horizontal - the edge of the table and the top edge of the glass - just right. Towards the main verticals bows and the curtain to its contour, as though stopping just started falling. Plastic game creates a feeling of gentle swaying.

In the color picture of Shevchenko's decision also follows the principles of Cezanne. Using the ratio of flowers, he builds a space and volume. Most items are written flatly, voluminous, only apples and tissues. The depth of the space created by using color and svetlotnogo contrasts. Shining colored red and orange glass apples, contrasting with the rest of the beautiful plane solved in gray scale, though closer to the viewer, come to the fore. Still Life Shevchenko require careful contemplation. Then it becomes clear and plastic metaphors, and the beauty of form, rhythm, color, and expressiveness of the soft delicate, tender touches with a brush.

Comments

The core of this group were artists Konchalovsky PP, Kuprin AV, Lentulov AV Mashkov, I., Falk, RR They solved the problem of constructing forms of color, identify the materiality of nature.

Cubism (French subism from the cube - a cube), avant-garde in art during the first quarter of the twentieth century. Was developing in France (P. Picasso, Braque J. and others) and in other countries. Largely based on synthetically-integrated system of scenic P. Cezanne and the experience of traditional African sculpture, Cubism representatives appealed to the construction of three-dimensional shapes on a plane with simple geometric forms (cube, cone, cylinder). and using the achievements of previous phases, tends to be harmonious decorative and colorful compositions.

Fauvism (from frantsuzsskogo fauve - wild), a trend in French painting (1905 - 1907). Fauves (Matisse, A., Mark A., Vlaminck AM, and others) share a common aspiration to the emotional power of artistic expression, to the spontaneous dynamics of the letter, open the color intensity and urgency of rhythm.

Futurism (from the Latin futurum - future), avant-garde European art direction in 1910 - 1920, mainly in Italy and Russia. For the painting are characteristic changes, nodules form, multiple repeat motifs, as if summing up the impressions obtained during rapid motion. The most important artists and futurists have been - U. Boccioni Dzh.Balla, K. Carr, L. Russolo, Dzh.Severeni. In Russia, Futurism at first manifested itself in the painting (the brothers J. and H. Burliuks, M. Larionov, N. Goncharova, Alexandra Exter, N. Kulbin, etc.), and only then - in the literature (V. Khlebnikov, B . Mayakovsky, Kruchenykh, I. Severyanin). (L. Polikovskaya) The world Futurists influenced the ideas of Nietzsche, Bergson's philosophy, rebellious slogans anarchists.

form and content of works.

Kazakova EA

www.radmuseumart.ru

AV Shevchenko received his artistic education at the Stroganov Art School (1898-1907, with a break), Paris (1905-1906) at the Academy R. Julien, and then in the studio E. Carriera. In 1907-1909 he studied at the Moscow School of Painting, Sculpture and Architecture, along with AV Kuprin, R. Falk, D. Burliuk, was particularly close with Larionov.
After the revolution, actively worked in the Commissariat of Fine Arts, taught in 1-X State Free Art Workshops (GSHM), Higher Art, organized the Museum of Artistic Culture. In the first half of 1920, solving the problem of easel paintings, where everything is subordinated to strict compositional system, he was guided by the legacy of Paul Cézanne.

In the late 1920's - early 1930's the artist again appealed to the primitive, for art Pirosmani, was influenced by the neo-classical European trends, Picasso, Derain, de Chirico, and his work has developed a variant of Art Deco, has been very organic for his talents.

 
They. 1933
 
In the late 1930's - 1940's he began to interest the problem of lighting - day and night, reflections of sunlight on trees and people's faces. Instead of conventional pictorial plane in the pictures appeared spatial environment, this softened crisp contours and volumes, the figures in his paintings are not conventionally composed environment, but in particular - surrounded by nature.

An extremely important component of creativity AV Shevchenko was the schedule. He got better in terms of development of graphic techniques of education at the Stroganov Art School, and not by chance from all the many schools, where he studied, the artist most admired precisely Art Institute. At some stages of the schedule becoming a leading example of an early, impressionistic and symbolist period (1906-1910).

Significant phenomenon in the work of AV Shevchenko 1930 became his monotyping - a kind of graphic works, when the matrix of glass or metal applied to the image with oil paint, and then made a print on paper.
The proposed exhibition shows the evolution and the highest creative achievements of the wizard. The present exhibition includes more than one hundred and fifty paintings and drawings from the State Tretyakov Gallery, State Russian Museum, State Museum of Fine Arts. Pushkin and several private collections.
http://www.tretyakovgallery.ru/ru/ca...hibitions2148/

Since 1945 a member of a picturesque section of Mossich. Participates in the All-Union and regional exhibitions, as well as all spring and autumn exhibitions of Moscow Union of Artists in Moscow. Constantly riding the creative cottages in Gurzuf and Tarusa. He takes an active part in the Moscow Union of Artists, for many years a member of its Audit Committee. Since the late 1940's, carries out orders for the beautiful plant of the Art Fund at the Union of Artists. Since 1979 he has conducted many solo exhibitions in various Russian cities. In 1993 was awarded the title of Honored Artist of Russia. Died Nov. 8, 1997 in Moscow. She was buried in the cemetery Vagankovsky. Major exhibitions: 1950 - Women's Art Exhibition. Moscow 1975 - Women's Art Exhibition. Moscow 1975 - personal exhibition. Moscow, Moscow Union of Artists Exhibition Hall on the street. Vavilov 1976 - Spring exhibition of Moscow artists. Moscow 1977 - Self-Portrait in Russian and Soviet art. Moscow, State Tretyakov Gallery 1979 - Solo exhibition. Moscow, Moscow Union of Artists Exhibition Hall on the street. Vavilov 1981 - All-Union Exhibition in Moscow Manege dedicated XXVI Congress of the CPSU. Moscow, 1979-1984 - Personal exhibition in Podolsk, Nukus, Omsk, Yaroslavl, Tomsk, Novosibirsk, Chelyabinsk, 1984 - Personal exhibition. Moscow, an exhibition hall on the street. Remizov 1987 - Group Exhibition. Moscow, Moscow Union of Artists Exhibition Hall on the street. Vavilov 1990 - a family show (Shevchenko A., Shevchenko, TA, Yelets'ka EA). Moscow, Central House of Art Workers, 1993 - Personal exhibition. Moscow, Central House of Artists, Tretyakov Gallery (st. Krimsky val, 10) 1998 - posthumous solo exhibition. Moscow, State Tretyakov Gallery (in the permanent exhibition on display are two works), Central House of Artists (st. Krimsky val, 10) Works TA Shevchenko is stored in the State Tretyakov Gallery, State Russian Museum, art museums and art galleries Ivanova, New Jerusalem, Novosibirsk Nukus Omsk, Podolsk, Sverdlovsk, Tbilisi, Tomsk, Tula, Chelyabinsk, Yaroslavl, and also in numerous domestic and foreign private collections in Germany, Italy, Latvia, Lithuania, New Zealand, Ukraine, France and Switzerland.
Information from the site gallery G.O.S.T.
http://www.gostgallery.com/artist/ar...ml?id=53#works