Some critics of "Kommersant":
The legacy of Peter Konchalovsky in Russia and abroad engaged in fund in his name - an interesting organization with links to the top. Sponsored exhibitions in the Russian Museum and Tretyakov advocate parastatals - Gazprom and VTB. By the opening of the exhibition in St. Petersburg Foundation held an international conference with participation of specialists really big on the art of Modernism and Paul Cezanne, whose name it was decided to link the evolution of Konchalovsky. The conference was held in none other, and in the Presidential library. Generally, the fund - is a family history: the founders of it are Nikita Mikhalkov and Andron Konchalovsky, and the director, Alexander Konov, married to the niece of the latter. This cohesive team is keen to name one of the pioneers of Russian avant-garde has received wide distribution. For advanced Muscovites are invited to use the most recent fruits of modernization. Anyone can download an application case for iphone, but for those who have not yet mastered the wisdom of the functional products of Apple, the exhibition has interactive displays, aypady. From a technical point of view and the exposure that way should look like each and every exhibition in the Tretyakov Gallery.
In principle, Konchalovsky - a good candidate for the title of number one avant-garde. He started as a convinced European, corresponded with Picasso, Cezanne studied. Together with colleagues, organized the most important for Russian art association "Jack of Diamonds.
The problem is that even in his generation Konchalovsky does not look like the figure of the first plan. is the subtitle of his retrospective cheerful phrase "to the evolution of Russian avant-garde." Although in the case of Peter the Great should speak, on the contrary, the degeneration and progressive process of rejection of avant-garde ideas in favor of the more sluggish the letters form a loose and joyful colors of socialist realism.
Konchalovsky - a figure especially tragic, his path from masterpieces to the vagaries can not be called enviable. The deeper Konchalovsky takes root in Soviet life, the worse it became his art. In 1947 he was made an academician of Stalin. Konchalovsky died in 1956, not having lived a few weeks before exposing the cult of personality. And well, perhaps: in the same year because of Khrushchev's report put a bullet in the forehead, Alexander Fadeev, another talent samozaryvshiysya in the routine of the Soviet bureaucracy.
Fund Konchalovsky be grateful to the Tretyakov Gallery. Curator Irina Vakar did everything to save the reputation of a classic. The exhibition at the Russian Museum late Konchalovsky took much more space. In the halls of the Corps of Engineers is hanging only the best. Central part of the exhibition were three family portraits, 1911, 1912 and 1917. Even on them can be seen as yielding hand. From the stern portrait of the first primitive we are transported into protorenessansnuyu statics second. And the third is already written Cezanne flakes, no depth, but still with the idea. Portraits and still lifes of the first half of 1910 all completely gorgeous. The angularity of silhouettes gives them almost sculptural power, though they were molded out of clay. A more traditional portrait of his daughter Natasha in 1915 is ideal for color and the ratio of acute angles and the interior of the human figure. Since the beginning of the revolution Konchalovsky runs Cezanne, with varying success. And then, at the time of intensified struggle between the various art groups for attention of the young government makes its choice. In 1926, Konchalovsky is a member of the Association of Artists of Revolutionary Russia, the famous artists of Revolutionary Russia, association, which formed the aesthetics of socialist realism. Go to the side of servility realists exposed the shortcomings Konchalovsky, painter. Humane Tretyakov this period, almost dropped her. Was responsible for it "girl under the umbrella of" 1929, all articles and articles is inferior accumulated in those years "nu" closest friend - Mashkov. From an equally unsuccessful attempts to try on the role of modern Rubens Moscow audiences too relieved. Is modest in color "Golden Age" in 1949 may hint at how difficult to give an anatomy of avant-garde.
Portrait of a writer Alexei Tolstoy's "Red Count", the specialist for comfort in any political atmosphere, made in the country Konchalovsky. It seems that the artist wrote in disgust that arrogant person this petty gesture of his right hand - which would have to grab off the table? A little grotesque, and we face a caricature Kukryniksy to global capital. But no, it seemed certain: the normal portrait of Stalin's elite high-origin in an era of profound cultural peak.
Valentin Dyakonov
(Kommersant »№ 172 (4472) of 17.09.2010)
This link you can see photos of Kommersant with this exhibition. And all of them present a lady in red! Apparently it was the most interesting exhibit!
http://www.kommersant.ru/dark-galler...5&l=1&stpid=21)