"Turkestan vanguard»
05 февраля 2010
February 5, 2010 at the State Museum of the East presents "the vanguard of Turkestan", organized by the Museum with the participation of the Fund Mardzhani, Rossiyskogo State Cinema and Photo Archive (Krasnogorsk) and private collectors.
Over 150 exhibits illustrate the distinctive artistic phenomenon in the art of XX century - "the vanguard of Turkestan".
The main part of the exhibition are works by famous masters, who devoted his life and work with Turkestan: A. Volkov, V. Ufimtseva, N. Karahan, E. Loaf, N. Kashino O. Tatevosyan, U. Tansykbaev, P. Shchegoleva, IN . Yeremyan, M. Gaidukevich, M. Kurzina etc.
Artists from various parts of Russia recovering the East in search of vivid impressions and new visual forms. Having experienced the impact of Russian avant-garde early XX, they blazed new paths in art Turkestan, where the force of the traditional pillars of the development of easel painting has not received. Each of them found his inspiration in the traditional culture of Central Asia. Local environment - folk art, customs, and unfamiliar way of life - served as a fertile ground for creative experimentation of artists of European art school.
They do not stand idly by eastern exoticism, but with his head immersed in the seething life: participated in the restoration of architectural monuments, have been organizing art schools. They were the teachers who trained the first generation of national painters, graphic artists, sculptors.
In the 20-30 years of the last century, when the center of Russian avant-garde was already a spent, in Central Asia continue to be created unusually bright and original, innovative products, impregnated local color that can be united under the provisional name "Turkestan avant-garde." These works are full of fresh compositional and color decisions, they have not yet felt the pressure of socialist realism.
In addition to paintings and graphic works on display include gowns from traditional fabrics with geometric pattern. Comparison of paintings with the Uzbek textiles will demonstrate the uniqueness of the Russian avant-garde, was continued on the basis of Turkestan.
The exhibition also shows the unique materials provided by Russia's state archive of photo and video documents (Krasnogorsk).
Exhibition "Turkestan Vanguard will continue until mid-April.
http://www.orientmuseum.ru/news/?item=107
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VOLKOV Aleksandr Nikolaevich
1886, Fergana - 1957, Tashkent Initially, AN Volkov treated his studies in painting as a hobby. Learning from the natural faculty of St. Petersburg University, he also attended the class master of genre Vladimir Makovsky of Arts (1908-10). The decisive influence on the fate of the future artist had Nicholas Roerich, in a private studio where he worked in 1910, then at the Kiev Art School (1912 - 16) have the largest master muralist FG Krichevsky Volkov learned the laws of monumental painting. He saw the unlimited possibilities of figurative synthesis in majestic mosaics of the ancient St. Sophia Cathedral. His paintings captivated symbols MAVrubel in St. Cyril monastery. Under their influence, the artist created his first independent work. However, returning in 1916 to their homeland in Central Asia (Tashkent), Volkov, relying on close to the real experiences of childhood, only to find it peculiar pictorial language. Noisy, piercingly bright world of the East, scorched by a burning sun, comes alive in his series of "mountain villages" (1926-27). His laconic, clear colors, monotonous rhythm of the work Volkova resemble oriental rugs. Seriously consider the national peculiarities of Uzbek music and applied art, the artist sought to move their traditional motifs on their canvases. In the images of the panorama of the old city, he used the laws of conditional prospects eastern miniatures. In the late 1920's. Volkov away from the external decorative features of Art and turned to a more complex image of nature. Art improvisation artist focused on life and life in Uzbekistan. He wrote all that I saw - people, monuments, nature, but these works escalating importance of genre scenes, turning into a fabulously beautiful and poems about Central Asia. The artist has achieved a rare intensity of sound colors, combining in his still lifes of tempera paint and oil. Requirements for Soviet art in the 1930-ies. (among them in the first place - a large concrete images), Volkov took the hard way. He set himself the task: "... without losing the richness of tone and great brilliance inherent in my previous quest to give simple and clear picture associated with modernity." His paintings of this period is inherent in monumental epic beginning. He wrote new buildings, cotton fields, portraits of workers ( "Storm Recce, 1932," The collective farmer, "1933;" Morning in Shahimardine ", 1934, etc.). Volkov was the inspiration for the birth of decorative and monumental painting in Central Asia. Together with a team of artists, he painted the buildings, designed the holidays. His creative and pedagogical work Volkov had a significant influence on the development of modern Uzbek national art. He taught at the Tashkent Art School (1916-19), Turkestan, art workshops (1919-21), in the Tashkent Art School (1922-46). Nazim Hikmet, in 1959, wrote about the artist: "They say he did not know the Uzbek language, but he very well knew how to draw in Uzbek! .." The phenomenon of Russian-Asian artist Alexander Volkov lies in the fact that his creativity and his best works are important to the history of art in Russia and the history of the formation of so-called national Turkestan-Uzbek school of painting.
Pictures at an Exhibition:
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Nikolai G. Karahan
In his childhood with his parents moved to Turkistan from Nagorno-Karabakh. While studying in school a lot of drawing. This interest led him to Tashkent Art College (1918-1921). In 1921, he was drafted into the Red Army, where almost all the time worked as an artist. Demobilized, Karahan taught drawing at the Turkmen Teachers' Training College (1925-1934), then leads the painting in the Tashkent Art College (1934-1941). A huge number of the artist paintings, sketches are a singular record of building young Uzbekistan. Bright stylized figure, rhythmic composition, decorative - features early works Karahan.
Short Biography:
November 5, 1900 (s Nihichevanik, Nagorno-Karabakh) - 1970 (Tashkent)
Studied in Turkestan edge art school in Tashkent (1919-1921) by AV Isupova and SP Yudin. In 1921, drafted for military service, but continued to work as an artist.
He lived in Tashkent. He worked as a landscape painter, portraitist, he painted on the themes of life, labor, industrialization in Uzbekistan. Been influenced by R. Falk and A. Volkov, was close to U. Tansykbaev, MI Kurzin.
From 1928 - participant of exhibitions. Member and exhibitor of the Tashkent branch of AHRR (since 1928). Held solo exhibitions in Tashkent (1960, 1965).
He taught drawing in the Turkmen Teachers College (1925-1934), painting in the Tashkent Art College (1934-1941). For his efforts he was awarded the title People's Artist of the Uzbek SSR.
In 1981 in Tashkent held a retrospective exhibition of the artist.
His works are held in many museum collections, including the State Tretyakov Gallery, State Museum of Arts of Uzbekistan in Tashkent, one of the most significant collections of works has Karahan State Museum of Arts. Savitskiy in Nukus (862 paintings and graphics).
Pictures at an Exhibition:
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Tansykbaev Ural Tansykbaevich
TansykbaevUral [1 (14) .1.1904, Tashkent, - 18/4/1974, Nukus], a Soviet painter, people's artist of USSR (1963), full member AH the USSR (1958). He graduated from the Penza Art College (1929). Even for the early works of T. characteristic monumental epic tracks ( "nomadic", 1931, the Museum of Oriental Art, Moscow). From the 1940's. in the color system of composition TG amplified tonal beginning, increases the credibility of the realist art making. Celebrating the nature of Soviet Uzbekistan, TI created a landscape-painting, marked by production release of mood and lively sense of modernity ( "Native land", 1951, Art Museum of the Uzbek SSR, Tashkent, "Morning Kairak-Kuma HES, 1957, the Museum of Oriental Art, Moscow , "On Charvak construction", 1970, the Union of Artists of the USSR, Moscow). Leading role in the structure of the shaped pieces are usually played T. motifs associated with the transforming activity of people. TA has also advocated as a theatrical artist [design of the first Kazakh, ballet and Kalkaman Mamyr "VV Velikanova the Kazakh Opera and Ballet Theater (Alma-Ata), 1938] and as a monumental painter (panels in the pavilion of the Uzbek SSR in VDNH in Moscow, 1952-54). State Prize of the Uzbek SSR. Hamza (1973). Awarded the Order of Lenin, 4 dr orders and medals.
REFERENCES
Weimar BV, Ural Tansykbaev, M., 1958.
Option biography:
Tansykbaev, URAL (1904-1974), Uzbek painter, one of the founders of modern art in Uzbekistan.
By Kazakh nationality. Born in Tashkent, 1 (14) January 1904 in a working class family. In his youth he worked at the winery, and then, fascinated by painting, worked in the studio NV Rozanova at the Museum of Art in Tashkent (1924-1928) and the Penza art-college Teachers (1928-1929) at I.S.Goryushkina-Sorokopudova. After visiting the Museum of New Western Art in Moscow, has had a strong impression of the French post-impressionism. From 1930 he lived mainly in Tashkent.
In the early period up to mid-1930's, acted as a sort of "Uzbek Gauguin, singer patriarchal pristine environment, creating a resonant for local color pictures and rhythmically-flowing designs, poeticises traditional way of local life: a series of monochrome drawings sepia 1929 (Forge, Musicians and others, Museum of Arts of Uzbekistan, Tashkent), nomadic, 1931, the Museum of Oriental Art (GMINV), Moscow. His belongings of those years close to Symbolism, on the other hand - Fauve (Afternoon in the Garden, 1934; Uzbek. Samarkand, 1934, and other pictures and lists of Karakalpakstan Art Museum named after IV Savitsky in Nukus, which holds the most "informal" things wizard). In Self-Portrait (1935, ibid) appears as a self-contained, cautious, nervous "decadent".
Later built into the program of socialist realism, free of expressing themselves in the landscape, more tonal restrained, but powerful enough to color and colorful modeling, a far-reaching-dalevogo of compositions, epic, national-romantic in mood (Valley Chirchik, 1940, GMINV; Evening Issyk-Kul, 1951, Museum of Arts of Uzbekistan; Morning Kayrakkum HPS, 1957, GMINV; March in Uzbekistan, 1958; New Angren, 1962; Altyntau 1972; My song, 1972, all the work - Museum of Arts of Uzbekistan).
Died Tansykbaev in Nukus, April 18, 1974.
REFERENCES
U. Tansykbaev. Memories, documents. Tashkent, 1988
U. Tansykbaev Selected Works (album). M., 1989