1. Spring. Church of St. John the Warrior, 2001, 115h88 cm, c /o
Arshakuni Zaven Petros was born in Leningrad, May 13, 1932. All his life he lives and works in St. Petersburg. He survived the siege here, losing parents. He studied at the Art School at the Russian Academy of Arts (1946-1953 gg.), And then at the Institute of Painting, Sculpture and Architecture named. Ilya Repin (1954-1961 gg.). Since 1962 - Member of the Union of Artists of Russia, 1972 - participant of the "Group of Eleven", in 1992 - a member of Diaghilev Art Center of St. Petersburg, in 1995 - a member of the St. Petersburg Academy of Contemporary Art. One of the leading artists of St. Petersburg. Works in the field of painting in its basic forms (landscape, still life, genre, portraits, biblical subjects), graphics (drawing, watercolor, etching, lithography, book graphics, linocut), set design (sets, costumes, layout), crafts (thread and painting on wood.) Designed the nine plays in the theaters of St. Petersburg. Illustrated 6 books Petersburg poets. From 1960 to the present, the more than 200 exhibitions (municipal, national, international), 23 of them personal. Zaven Arshakuni work in more than 40 museums in Russia, CIS and other countries, including the State Russian Museum (St. Petersburg), the State Tretyakov Gallery (Moscow), the Museum of Fine Arts. Pushkin (Moscow), the State Museum of History of St. Petersburg (St. Petersburg), St. Petersburg Museum of Theatrical and Musical Arts (St. Petersburg), State Central Theater Museum. Bakhrushin (Moscow), the Scientific Research Museum of the Russian Academy of Fine Arts (St. Petersburg), National Gallery (Yerevan, Armenia), State Art Museum (Tbilisi, Georgia), the Museum of Modern Art, Dr. Peter Ludwig (r . Cologne, Germany), Stedelijk Museum (Amsterdam, Netherlands), the Art Museum (Dresden, Germany), Art Museum (Leipzig, Germany), and many others, as well as private collections in Russia and the CIS countries, the U.S., France, Germany, Italy, Finland, Portugal, Denmark, China, and South Korea.
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"... it is unlikely he Arshakuni man conflict, but, of course, irreconcilable with all its inexhaustible benevolence welcoming all preferred and prefers to work alone. His public intransigence now, with the temporal distance it seems so obvious was merely he said he wanted what he wanted, not to prove anything tschas and insist on anything. Essentially it became a "sixties" and the favorite of the enlightened liberal audience in part (for me) and randomly. He was neither apolitical nor "political", he did not have the software patterns, sharp scenes (and were there any "stories"?) .... plot, he strongly favored motifs, in other words, with the development of the story and characters of pure visual event, dialogue stains and paints expressive silence of things, communicating with each other and the audience in a silent language .... He soon became himself. Great open shade behind his back, but without hiding hobbies Sarian, Petrov-Vodkin, Matisse or even open (so to speak , by the movements of the hand and the combination of colors) "confessing his love", he was so private, personal affection writes the world, so choose the camera angles, objects and their interactions, that the proper tone is heard in the majestic choir .... Painting, as known, originally directed toward the joy, the process of reflection and, especially, the transfiguration of existence, consciousness value of life and the possibility of extending it to all art is inherently optimistic. Arshakuni And the colors from the first years of his independent work was really bright, sometimes it covers local color (Lessons icons, Matisse, Petrov-Vodkin?) wide, accurately and effectively traced the plane. yet bright and pure colors are not always synonymous with unconditional joy of painting ... This is not about "the hidden drama", especially since not a hint to some secret sorrow. speak only about the drama of plastic, purely artistic. A "drama", as you know, means "action." That action, which in the real painting is not melted into action characters, but in the conflict and harmony of lines, planes, colors , shades, colors .... a daily Arshakuni appreciated in the art that in the old days was called "formalism" once terrible word for just a heightened sense of professionalism, gives the plastic and the main color scheme and the basic meaning. As a teenager, he wrote transfigured own vision of nature, comparing it side by their own artistic laws and opening the viewer is hidden from him the color intensity. Over time, he is more prone to the creation of a parallel reality, living solely by the laws of art. Ordinary life is recognizable in his paintings as a participant in a dialogue on equal to what is on the canvas. And the canvas is not reality, but recreated on the surface color and three-dimensional clusters of memories and ideas about it, the image is not a thing, but their visible messengers in the free world in color, flat and with a bottomless space pictures Probably ... and that's the point of significance, modern Arshakuni its natural existence and departed in the new century. However, he retains the inherent from the beginning of the domestic arts of content. This, of course, not the narrative, but the richness of paintings thought emotions, the ability to resonate with the inner life of its viewers. And not at the level of household details, and at the level of broad generalization, the ability to show the profound meaning of nature, urban landscape, people, still life. Display so that the hidden jewel of being constantly reminds the viewer of the aesthetic and philosophical significance of the fact that without the picture remains unknown. " Michael Herman, Doctor of Arts, Chief Scientific Officer of the Russian Museum "A unique gift wizard, always highly prized by collectors, museum staff, and under the old and the new regime is not burdened with a loud glory. Among the artists who use" high demand "favorites of the public and Zaven Arshakuni press as his friends in the group of "Eleven", was not included. far from political rebelliousness, the team that has developed to the point of the 70's in the lap of the Artists' Union, was a striking phenomenon proper cultural resistance officialdom. exhibition of "eleventh" "Okhta" (November 1972), although there was nothing seditious, was subjected to "caring" criticism. Arshakuni For more apologies were sought formula: say, too bright, the condition of the attachment to the theater (he brilliantly designed several productions Youth Theater), and in theater and then maybe you will not see in a lifetime. short, recognized mainly hypostasis decorative painter. And where he came into contact with the sinful reality, the situation is more complicated. Painting "Carnival" (1968 69) was among the procurement of the Ministry of culture. But seen by the artist and presented in her demoniac fun crowds in ominous red glow radar eared salute to warships, apparently embarrassed officials chastity of art. ... The picture was exiled to Sakhalin, a rybsovhoz with nowhere to go and died whether from rampant natural disaster, whether from the elements of national indifference. This is just one of the strokes of the creative biography of the master certificate of rejection of his art GOSTs totalitarianism. It would seem now to come deserved reward. Alas, rejection continues. As once painting Arshakuni opposed totalitarian officialdom , as opposed to today, "New Russian Classicism." Aesthetics of the artist is hardly compatible with the aesthetics of those who buy bath on gilded lion legs or TV stand, supported kneeling (again gilded!) ante. Motives artist in this context disappointingly prosaic. Some backyards, industrial area with poor trams antediluvian neva tugs. Or superbudnichnye scene: washing dishes, toilet, by the use of a primitive pelvis on primitive stool. Numerous "nude" in terms of painted beauties of modern advertising design well, just ridiculous .. . Here where nothing classic, Yes and no, "respectable", considering the artist's agency has allegedly already spent modernism. All too uncouth, rude. And no commercial gloss. somehow came to the studio Zaven Arshakuni I met him intently chewing a crust of rye, and without any "layers." Seeing some confusion obviously reflect on my face, and almost apologetically, he explained: "I can not help it, I love the taste of bread". This recognition of the artist, which should be, and brake hard experience of the war years, the blockade and orphanages childhood, I remembered on his show. I think that for Arshakuni in adherence to the taste of the "black bread" is made and aesthetic credo. By some unwritten law than ingenuous and terse motive, the increasingly important items that the artist chooses. Banal basin, towel hanging from a porch no longer just a household goods and begin to embody commonplace, the prose of human existence. however, only to magically turn into poetry. Magic in the painting itself. It administer its quiet affair, revealing the beauty of "nekrasoty." Genesis it goes in balanced, front comes through being spaced compositions. solemn as ritual, and precious in any display: whether rain, the sun shines there. Among the revelations of the artist's own vision of the world, a dense , honey-sticky, penetrating green foliage and creates "aquarium" spatial environment and the garden, and rooms, the windows of which came near the trees. These "tanks", people often like to fish floating vertically. somnambulichny They are weightless and, as if deprived of its own initiative. Even as it impersonal. Because animals or plants just anyone or anything not in opposition. Their very life involvement, involvement in a mighty stream of being a great gift. vocation of man and not so much in action as in contemplation. contemplation in nature and manifests the individual, in particular artist, able to see that the world is granted to us an amazing sight. Like theater, the circus, and the pictures that are included in the composition of a painter and is a continuation of Art of Nature or God. Divine world that he is fine and thunderstorms. And always remember the presence of Doom. Moreover, not Greek (there was a hero), and the archaic, equalizing all in the face of life and death. works from the artist does not feel a sense of peace, as, say, the works of Matisse, the effects of which many compare to the blissful acceptance bath. Arshakuni have the, tart, viscous contact with the world. seems have a genetic origin (father Armenian, Russian mother), in the artist's paintings of the opposing two cyclones south and north. paints bright, spicy, joyful and gloomy, severe, strict. Paints Sun and the Earth. So dramatism thinking itself artist hues element of his very busy painting. verse in which there is any effect of titanic forces, an underlying contingency of existence with non-existence. Master eloquently shows us that art resources are not exhausted. language of color way its communication with the world. flavor and invariably leads to (often paradoxical) harmony. Arshakuni paintings do not bear the blessed reconciliation with reality. But the world - with a fatalistic optimism - he says "yes." For a man comes into the world, as in heaven, - so it seems to us as children. And depends on the person - not to turn this paradise into hell. " Leo Mochalov "At one time, it now seems infinitely long ago, was the era of stagnation and was the Union of Artists of the USSR, in the halls of which were exhibited in the Arena of the Union. This was a grand exhibition. Artists glorified what had glory, and fought with the with what had to be fought. paintings were large and very well drawn. Almost all of the artists graduated from the Academy of Fine Arts. Strolling through these exhibitions, the audience watched boredom victory over all other human feelings. Boredom even begin to seem grand. viewer soul slowly died out in huge paws conquering the official ideology. Suddenly look concerned, not trusting himself, a small picture. It was written by a bridge, embankment, a few houses a small piece of Leningrad. indescribable feeling. Observer almost resigned to the fact that life is immersed in the darkness of that wisdom in humble extinction. And in this picture, the author of which was Zaven Arshakuni breaks into soul of the viewer fresh air of freedom. becomes easy and fun. We now know that everything is fine, that the soul is alive and immortal at all, and no ideology (left or right) We do not take orders. You start smack one's lips in satisfaction, something to himself probormatyvat in full admiration of the net, freely borne by the canvas of colors. Every line and every color easily penetrate you, arousing the most subtle, it would seem, only you on experience. Light Wisdom appears in paintings Zaven Arshakuni. Master stared into the world, forcing him to transform. And the world is subject to the master by issuing from the depths of its features is the cleanest, most necessary for healthy human life. With this obvious set of positive emotions pictures Arshakuni quite devoid of sentimentality. because the true feelings are true form, each work is a result of the stress of the plastic design of the plane. Any composition is carefully selected. All items are read large. groups of people, buildings or trees freeze on full breath complete stay in the space of a purified mind. Warm cold colors are combined so as to bring the viewer into a full radiant ecstasy, giving almost heavenly possibilities of color ... " Anatoly Zaslavsky
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03-09-2012, 14:38
Zaven picture Arshakuni
Linear Mode
