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: