The land of ancient Cimmeria - the so-called Crimea M. Voloshin - mountains, hills, steppe and coast, the people of Crimea: fishermen, sailors and soldiers - that the world works by the artist, and this world is immensely varied, because not geographical and ethnographic framework defined by its coordinates and characteristics, and air time, such a tragic and controversial, deep grooves of historical events and characters are always strong and in one piece, who portrayed P. Stolyarenko as organic, as linked with the land of the Crimea and time, as the sea and mountains ...
He was born in Kerch, 13 July 1925 in a fisherman's family. His father was an organizer of one of the first fishing collective farms in the Crimea. With the approach of the Germans evacuated with his family to Siberia, but without a son: that in this time was at the opposite end of the peninsula in the sanatorium, who managed to evacuate the North Caucasus, in Tiberdu. But it is in October 1942 was occupied by the Nazis. Communication with family interrupted.
Lived not just a half-starved - starved. But the worst was not it ... Crawled along the sanatorium zloleschy rumor: here, in the North Caucasus, experiencing Nazi gas vans: the last word fascist "technical progress", the material most suitable for the experiments: "orphan", impoverished and sick children-Non-Aryans.
Without waiting for confirmation of the rumors with his friend Peter went into the woods. So he became a messenger of the partisan detachment. Under the guise of a beggar his way in Cherkessk, the safe house, then - back in the woods.
After curing in the hospital, already liberated Cherkessk receiving disability 2-nd group, went to Siberia, to his father. They settled the head hut reading room, concurrently worked as a painter and decorator. The fate of the artist himself chose long ago, even before the war. I drew the ships, the fishing boats, people, the sea. He was an artist in a sanatorium, processing paper, slogans, posters - it was necessary, he did quite ably, but without enthusiasm. Just another artist saw himself in a dream ...
Soon after his father was summoned to the Kerch - had to restore the fishing industry. And Peter again on the cultural and educational work. At this time - the head of the library antiaircraft artillery regiment. And again - the slogans, posters, propaganda sheet ... But it is a native of Kerch, the sea, the land of the Crimea.
It was the autumn of 1945. Former veterans returning to peaceful occupations. In the village Traps near Kerch reborn - in no small part the efforts of the father - rybkolhoz. It began to work and Peter.
But the dream of the Arts - the present, serious, professional - woke up in their native land with renewed vigor. She grew and widened, stood out pencil and watercolor drawings on paper. Must learn! This idea, long recognized burned soul. And so much time lost! And it was finally decided that determined his fate - he went to Feodosia.
No need to tell what Feodosia art gallery, founded and donated to the great city Aivazovsky. Under the leadership of its director Nikolai Stepanovich Barsamov - fine artist, a connoisseur of art and - which was crucial for the young Stolyarenko - a wonderful teacher - she has become one of the artistic and educational centers of Soviet Russia. School Studio Barsamov deserves study - and teaching methods in it, is inextricably connected to education in the pupil of human qualities, and the students themselves - many of them are skilled training - education has identified and limited striking individuality.
Learning in the studio, Peter, as school fees, and to constantly be near masterpieces, performed in the gallery features superintendent, janitor, stoker, floor polishers, night watchman, commandant ...
Great influence on him had a meeting with famous artists, friends Gallery and its director, who brought the practice to Crimea their pets from the Leningrad Academy of Arts from the Moscow Institute. Surikov, or simply come to wander through the Crimea with the painter's case behind him - each of them will attend Theodosia, not to mention the constantly lived there K. Bogayevsky. They came Kuprin, I. Grabar, E. Moiseenko ...
He eagerly watched their work, listened to their instruction to the students. But, nevertheless, Stolyarenko convinced that his teacher was a real Barsamov. "The rest I never studied painting, and watching and possibly assimilate their methods, principles, and so forth.
In a specially dedicated Stolyarenko section of his book "45 years in the gallery Aivazovsky N. Barsamov wrote that advised the young artist did not come after the studio in art school because he thought his well prepared for independent creative work.
On the first steps on its own creative path showed his picture on the studio show in 1948, devoted 30 years of the Soviet Army. Increasingly, more and more boldly, he creates original compositions. Wonder in the questionnaire, which is stored in the Union of Artists, the beginning of his career, he believes in 1949.
In 1951, he acquires a family. Returned to Kerch and, as always, feel responsible head of the family, was adopted for obtaining the means of life: come to the net-making workshop, again becomes a fisherman. Close and seriously take up self.
His creative experience still not commensurate with the life - the contradiction, the general for a generation that has survived a war already in conscious age, completed education and have embarked on independent creation in the postwar years. Experience - heavy, often tragic - waiting for reflection, rushed to the canvas. And he wrote - sketches, landscapes, portraits, still lifes. Pencil sketches for future paintings compositions. In my head already visible in the plot complication, drama characters.
The experience of war and wandering, today's intricacies peaceful life with her first time experiencing difficulties and joys surrounding his human characters, the dialectic which is much harder to pass than the nuances of the states of the sea, sky, earth, seasons - all this was of course closely within the landscaped grounds .
Somewhere towards the end of 50's - early 60-ies the young artist creates his first narrative film.
Pyotr Kuzmich Stolyarenko refers to the type of artists, creative way that does not lend itself to the division into "periods". The reason is probably rooted in the biography and character of the artist. He became a painter in spite of life circumstances - has won a place in the art of not only talent, but dedication. Yes, and he felt himself in the full sense of the word professional artist, at an age when it was already risky to change the old way, which was still so much unresolved problems. Just perfect in every direction we have chosen can be hoped that some important skills will be top of them conquered, some of the major schemes implemented.
The improvement of his talent is obvious: over the years, songs Stolyarenko becoming more inward-free and at the same time - all the better "working" on the idea and the mood in the paintings of deepening and becoming more diverse characters. The peculiar structure appears.
Painting Stolyarenko traditional Wahlern, but if we compare, for example, with seascapes of the last century, the color relationships in his contrast and polychrome, the sea is completely "illusory", but it is the "concentrated", "thick" nature, that is, frankly is the emotional and psychological problem, sensitively responding not only to weather conditions, the pores of days, but on the state of the inner world of the artist. In addition it is also the sea, how you see him sitting with the painter's case is not on the beach, not high-deck yacht or passenger ship, and - with a fishing boat or seiner - and it is not only the distance from which the waves, and respect to the sea - as a very diverse and formidable, beautiful poetry, and even as a medium of human habitation, the breadwinner and courageous friend, though sometimes cruel and treacherous ...
And in general painting Stolyarenko "dense", it is not so pleases, as conquering gaze nepriglazhennoy force of truth, a sincere feeling that nowhere do excessively-fine nuances - a refined sense of drowning ... First of all, artists need emotional precision color, extracting the experience of the immensity of nature itself, and this fascinating spectator.
However, this "thickening" of painting has its limits, dictated by the peculiarities of taste and talent. She never seems to have Stolyarenko deliberate, as if specially injected. In other words, does not turn into too explicit pictorial hyperbole - in principle, having a right to exist in art, but alien creativity Stolyarenko.
The only exception here is the last great painting masters "Atlanta. True, there it is mainly about hyperbole figurative sense, not scenic. But this - later.
Narrative, the development of character and the ideological scale generalized images, pictures Stolyarenko can be thematically divided into three groups: on the mo-ryu and fishermen, and the events of the war - a historical and revolutionary. We deliberately leave aside pure landscape paintings, though they certainly deserve careful analysis. But there is no opportunity to consider the development of "picture" vision of the artist methodically, in chronological order. We outline only some common basic features and characteristics of his story cloths.
However masterovity paintings on military and historical revolutionary themes, the most sincere, heartfelt, unsophisticated paintings on the life of fishermen.
Here is one of them - the fishermen return home after many days of fishing season. Not only fatigue, but also confident of force emanate from the figures, from the broad shoulders, which bear the heavy burden fishing ... Another picture - "The Past and Future". Images of the grandfather and grandson are here - are not abstract symbols, as you might think, based on the name. They are very specific, life-authentic, they invested a lot of warmth and heart-centered meditation - of much suffering and loss of life that went out about the unknown dangers of storms and future life - and this is the substantive content - rather than a straightforward contrast between temporary vectors - paradoxically making them images of characters. We mention here is "Life is the fourth" - now, performed by a multivalued lyricism, as if to remind us that life consists of moments, and captured a moment the artist may conceal the drama and the joy and sorrow ...
"Severe style" in the then Soviet art - in the late 50's - early 60's - has just been born in Moscow, and if someone has already noticed his appearance in the "province" of him and had never heard of. By "severe style" first pictures Stolyarenko not Take it. But - like all talented, honest and serious artist - he despised the stump "socialist realist" paintings, speculating on the "romance of Labor", the "optimism of builders of socialism". Before him was life itself - what he needed scrawny scheme? Therefore, the Black Sea to the heroes believe - they are out of life, and their "optimism" - is just a natural awareness of worker rights, that it is - the world is, and if he stands firm on the ground - and on deck, too - stand and the world. The heroes of his paintings, stern and gruff, but the "severity" is not style, and - of life itself.
The military theme has great power over the master. It is this theme called creative artist. At his first show with his participation, he showed a small battle-marina "Attack of the torpedo boats." With it, actually, and could start the countdown of independent creative way. But, as you know, school and student exhibitions in the set-off not going. The first major work of such a plan was, obviously, diorama dedicated landing in Eltigene (Eastern Crimea), made in collaboration with the sculptor R. Serdyukov. Stolyarenko, however, does not like to remember this is not very udavshuyusya him work.
Above the military subjects, he works a lot, persistently and almost continuously. It seems that the majority made - this is far and near approaches, options for the future well easel, but the execution of internal dignified and true tragedy of monumental triptych "Ivan da Marya". It is written in the best traditions of Russian realistic school - including Vereshchaginskaya tradition. The plot, based on authentic, could become the backbone of folk legends about how the fisherman had gone to war, became a fighter Marines in a single day trail of the war led him to his home, the long-suffering wife and little daughter, and again stole -- forever - the last battle to the death ... And how, after death, is a peaceful land of the Crimea, they are ever reunited with his wife in the flower, which people called "Ivan da Marya" ... No, the last plot-metamorphosis is not captured by the artist. But it is very natural "intoned" epic-song sound of painting, in which - as it should be in art - life itself, passed through the heart of the wizard, pursuing unique, but it conveys the language.
We have already mentioned the picture "Atlanta." It shows the growth of beautiful craftsmanship, it invested a great sincere feeling - all that differentiates it from the poster-painting-craft in the spirit of "cult" grandiose paintings of recent times. However, seduced by a spectacular architectural and mythological metaphor, the author is so "monumentaliziroval" his characters are so "theatricalize" effect that the expressiveness of the language sounded beautiful bombast, Picture Arrangement, too pathetic theatrical staging, the romantic images of elation fighters "Atlantis" and keep the Herculean shoulders crumbling stone arches of the explosions - stilted which derives greatness heroism beyond the bounds of truth.
A few words about the beautiful language of the artist. He is a native of East Crimea - the climate, and thus the color of which sharply differs from its southern part. Because of the proximity of the Azov Sea krutosolenogo places are poor vegetation and red-hot in the summer heat to blednozolotistoy sandy yellow. This is best stated by Voloshin - in many verses. We give only one line: "The surrounding hills vyzoreny spiny sun.
And although the flavor of East Crimea - is not only the hot yellow sand - it faded green hills, and turbulent spots fading shrub, and pink-gray-brown tone for fast drying Coastal pebbles - determines the color summer "note" of the Kerch Peninsula - some almost frenzied hot, vyzh-Receivables, golden whitish.
Yes, the summer sun here nelaskovo, it is not as warm as burns. The melt of the sun burning gold ever entered into painting Stolyarenko. They painted calcined earth, grass, air works - and early, made back when he lived in after Feodosiya Kerch, and recent. Unforgettable - "stolyarenkovskoe" East-Crimean sun, losing its "thorniness, but flare-ups kept hidden, permeates most of his yuzhnokrymskih landscapes and still lifes - it is poured on them, thick shining, barely otsvechivaya as it is not gold, but the old bronze, sometimes took a pinkish warm, and sometimes chilly silver-tone.
And it is quite amazing - it glitters even in its historical and revolutionary canvases, which takes place far from the Crimea in Petrograd, Moscow. The history of these paintings ( "For Soviet Power", "Ordinary Revolution," "Eve," Lenin went to Peter, "Lenin in Kremlin", "1941 Year", "The Young Communists 42-second") is not simple, and sometimes has a bitter taste ... Despite all the difficulties of collecting and mastering the material, far from his familiar reality, despite the complexity of composition, and psychological problems would cause him no less, and perhaps even a greater pleasure (because the hard-fought victory joyful light) than the usual subjects. But ... joy thoroughly overshadowed by endless cautious as amended, and nagging artistic council - both real and expected (as if programmed internal censor).
Yet the artist has every reason not to be ashamed of these works. They are marked by a surprising variety and richness of people's character and emotional states, a sense of common organizing rhythm, coming not only from the most linear figural compositions, but also on the color and tonal organization of the canvas, by properly chosen angle of view - the artist is always close to the characters, sometimes quite close - almost like an actor ...
In life as in art, Stolyarenko is difficult to compromise. When really just no other way, his assignment is minimal. His likes and dislikes do not want to hide and does not know how. The latest does not depend on rank and position of the person. All this is in no small degree of complexity exist, are sometimes relegated to the margins of public life, and sometimes creates financial difficulties. So the high title of Honored Artist of the Republic - is just a tribute to the talent and integrity of the artist - and nothing more.
... Peter Kuzmich working in his large studio on the 2 nd floor of the Yalta home. Often there and spend the night - in a small room to relax behind the shop. But the day comes - and it often comes - the artist opens the garage door - right there in the courtyard, opposite the shop - and out of neuspevshego stagnant "zhigulenka. Loads the trunk and back seat canvases, albums, paints, easel, painter's case and others, seated next to his grandson - also with mandatory painter's case - and begins to wind to the speedometer serpentine mountain road - either higher into the mountains to the Ai-Petri, whether to Sevastopol , whether to Feodosia and Kerch native ...
(Author of the article: 3. Vogel, an art historian)
Source:
http://artru.info/ar/13547/
13.12.2008, 21:51
Stolyarenko Pyotr Kuzmich
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