If the majority of Soviet artists 1920-1930-ies have sought to create large canvases, designed to meet the "greatness of the revolution" or "build a new life", the canvas left over from Andrei's - mostly small landscape sketches - a kind of "pictorial shorthand.
Lobanov was not only a serious art critic (in 1925 he published a booklet on Polenova and Levitan, and in 1935 was awarded the degree of candidate of sciences), but inveterate teatromanom. In 1924-1925, using acquaintances among theater artists, it becomes a "citizen of the scenes of the Bolshoi Theater, performing the" three hundred drawings on the themes of the ballet. This is an outline of ballerinas preparing to exit, with the stagehands or grimiruyuschihsya actors. Note that even under a cursory sketches, almost hints at the figure, where the barely discernible figures of dancers, Lobanov, and left next to the monogram "SL" very extensive record - "La Sylphide. 6/IV 925" or "Tikhomirov. Bayadere. 31 /V 925 .
But does the Augmented privacy artistic occupations Lobanova its loss from the evolution of art 1920-1930-ies? Of course not.
You can compare the creative development Lobanova during training at the School of painting with its evolution in the Soviet era. In late 1900-ies from the gray-ocher, almost "Serov" tones ( "Portrait", 1908) Lobanov passes to fovistski intense color ( "Cold Sun", 1909, "Portrait of a Woman", 1910). At the Jack of Diamonds "in 1912, he gave a group of close to each other fovistskih landscapes (" Water in the evening, "1911," the White House in the Garden ", 1911). Early Lobanov gravitated toward the German participants "Jack of Diamonds" (A. and G. Munter Jawlensky) with their commitment to violet, purple, cold-green, an intense "Naked color" to compare pure "color emanations.
(In the text Gleb Pospelov)
|