Nesterova Natalia - a talented artist

[манна]

Sawa Yamschikov
Creates: Natalia Nesterova


     It would seem that my profession is an art-restorer does not involve a deep dive into the modern art life. But first, I'm curious by nature, and secondly, I am confident that in working on old art, stay away from what is happening today with you, it means - to rob you. Fortunately, the artists with whom I talk, too, have never stayed away from work on the discovery and restoration of monuments. They were regular visitors to our exhibitions, thus continuing the fine tradition that has developed in the early last century. Then broke out in Russia as it is now would say, "boom" on the ancient art. And all of these discoveries, all the major exhibitions of Russian icons had a direct bearing not only professionals, academics, or N.P.Kondakov D.V.Aynalov, but also well-known artists, including VASerov, KA Korovin, I.E.Grabar. The latter, as we know, there was also a great art critic.

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I must say that communication with the modern masters has become for me the real need. I can not consult with the artists whose work is close to me, about some of his work, I can not build up his attitude to modern life - not just artistic, cultural, but in general to our existence - no communication with them. This circle is not very wide, but let me be immodest, I suppose that I was lucky enough to communicate it to those artists who, in the second half of XX century defined the movement of our fine arts.

     This is absolutely amazing people. Each of them - the whole world. And the world, built by himself, and not borrowed from the venerable professors or from books on art history. They are able to see such an unexpected approach to solving a particular problem, which I, for example, a meticulous man who tries to gain insight into the phenomena, even could not imagine. Of the older masters, above all, I remember my teacher, an outstanding art-restorer Nikolai Petrovich Sychev - he was a remarkable artist, one of the last pupils of Repin.

     And when I began to publish abroad, had a chance to get acquainted with the most recent student of Ilya Efimovich. We Mikhail Alexandrovich Verbovaya met in New York when he was 95 years old. Amazing people, who before his departure in the twenties from Russia already had a name here. In the Tretyakov Gallery kept a portrait of his brush I.S.Ostrouhova. And as in America, he wrote so much and so many - there were no major representative of the Russian emigration, from Kerensky, no American president or a famous American singer and actor, he would not be captured. For example, he talked about how IABunin wrote: "I knew that the master - a man not very digestible, and flexible, and the last of their financial capabilities set the table, a good fish bought vodka. And at the hour of his enough, he was placid. During this time I had a basis to write, and when he was held and all, I've been working on enhancements. "

     I was lucky that I spoke with Viktor Popkov, with Evsey Moiseenko, whose infinite love and appreciate as a person. I can not take all of his work, but I know very clearly that he was, unlike many of his contemporaries, a man of independent, who could not served. That, in my film about Surikov said Evsey Evseyevich, not a critic does not say. In general, I believe that an artist can talk about art theorist any bigger. Another thing that is not always able to write, but some, by the way, and write fine. Go far beyond the example will not - Michelangelo not only thinking about art, but also the sonnets, such that each poet, God forbid.

     In St. Petersburg, I spoke with Peter Timofeevich Fomin, in which I see an example of pure service to art. As rector of the Academy of Fine Arts, he could have all the regalia, but did not attempt to do so and, unlike their counterparts of other "tsatsek", fortunately, has not received. Unites us and what Peter T. had worked near Pskov. We often met in the studio a wonderful architect-restorer, and a blacksmith Vsevolod Petrovich Smirnov came to literally everything, starting with the famous and neznamenityh poets, ending with dissidents and politicians. Artists - Well done on a purely symbolic value purchased in the vicinity of Pskov and Pechora hutorki, and formed a "Barbizon". Here, in Malach, Fomin worked, ten kilometers away - Nicholas Kormashov who can not stay in Tallinn, in a cozy villa in pyrite. Every spring, in spite of ill health and visas, traveling to the village of Pskov, because he can not without this nature, without the Russian people.

     In Moscow in my studio - first in the basement, then in the wing Polivanovskoy school - was, perhaps, the majority of the Union of Artists. This does not mean that one was interesting to me with their creativity. But there are people with whom I became friends a long time. One of his closest artist was Michael Matveevich Schwartzman. We had twenty years to become friends. He was very interested in the work of restorers, happy to come to us in the Pskov, Novgorod. Honestly, I'm not an apologist for the avant-garde art, but it does not mean that it is not admire the talent of its manifestations. Misha Schwartzman absolutely wonderful work, and they are made in the technique of icon painting - boards, gesso, whose fibers were deposited carefully and thoughtfully. Importantly, Mike was a thinker. No wonder it is, who with respect, some with envy, styled patriarch. In general, it was so. Reluctant to admit to yourself, do not really sell their stuff. I have repeatedly brought to him of foreigners, and they immediately offered to buy the work, but usually refused to Michael: "No, once is my solo exhibition, and all things will be there." Some minor works, of course, to sell, it was necessary to make ends meet. He lived on the outskirts, in a communal, but in the end of his life was, as they say, two-room shelter. Now we, along with the widow of Ira Mishina publish an album of his works.

     I am pleased to respond to the invitation to write about a remarkable theater artist Sergei Barkhin. Because of my illness or other circumstances of life the last few years we do not often meet, but we are bound by our youth and creativity. Serezha has an enviable quality - it is an encyclopedic man. It is so beautifully produced, as deeply knows the history of art. Still, it is very important where a person was raised, and Serge from a family of architects.

     I am grateful to fate and to communicate with the sculptor Oleg Komovi, which I think has done a few things that have enriched the image of the Fatherland, - Pushkin in Tver, Venetsianov in Vyshny Volochok. And how astonishing ingratitude of our time. Last year, the 70th anniversary of Oleg staged an exhibition at the Art Academy. He was an academician, an acknowledged master, but the opening of the exhibition is not uttered a word, no TV, no print edition. There is not even the principle that we only know how to love the dead. Already dead, and do not know how to love. Because only a momentary love hapuzhnichestvo.

     Much could I tell about my relatives in the spirit of artists. One of these attachments are not afraid of the word, is a creative work, and the man himself - Natalia I. Nesterov. For me it is Natasha, we are so familiar with and make friends, how many do not even live. With Natasha's work, I met earlier than with itself, and they brought me to his unusual demeanor. Then, I realized that there are feminine, but at first it seemed to me that the author - a man. Even asked, not whether it is a nickname? It is so powerful and interesting was the painting. I think that Natasha was one of those artists who, having learned the legacy of previous eras and generations, so are able to transform it in his work that borrowings do not notice, but felt a strong classical base.

     When we met and became friends, I took it as a gift of fate. Something to hide, many of the artists and writers with whom I drank and walked, my business, exhibitions, educational programs were, as they say, "on the drum." It was felt that not wait when it's over and you can eat and drink. Natasha relation to restoration and discovery that we are doing something quite different. Not to say that it is an avid traveler. We have such people - where we are, there they are. However, joint visits to Russia convinced me that Natasha was a wonderful companion and friend. Again, the genes affected. That's hanging in my grandfather's work is presented to Natasha, Nikolai Ivanovich artist Nesterov. Her parents were architects. I've always admired how many years Natasha cared for their mother, without ceasing to operate. We all know what a sick old man. Many people, especially when money is blamed on others. You can always find a nurse, said that he was busy, we have to work. For Natasha's mother was always the most precious in life. Now as carefully, from the heart, it acts as the grandmother. I say this because we do not even notice how these seemingly everyday moments are the basis for the artist. Here Vrubel - seemingly impulsive artist, in any case not watercolorist. But as he was concerned about the purity of his palette, as was punctual! It says a lot.

Natalya Nesterova:
"I choose my own path"

     SAVVA driver. Natasha, I am very happy that I meet with you in the loop "to create". I've already talked with Volodya Vasilyev, Slava Starshinova with Marlen Khutsiev, Valentin Rasputin, with our great critic Valentin Kurbatov. And for me, Natasha, two questions for the beginning of our conversation. The first of these. We have already spent quite a lot. Methuselah age is not given to everyone, but we consider ourselves sredovekami. What do you think lived through in the most important thing for you? What is remembered most? Not a single moment, or maybe going through all my life line, which you value?

     Natalia Nesterova. Sawa, you started out with artists, named Korovin, Serov, and yet they have learned to my grandfather. Our family were painters. I know that I have driven. Of course, this is love. An incredible love and gratitude to his grandfather, grandmother to my mother. Actually, I think my teacher in my life did my grandfather, although he died when I was not many years to seven. But it took almost 53 years, and every day I think of him. He gave the promise, the impetus that led me to the road, which I do not want to turn off in another direction.

     [SPOILER] You said this about my duty to the mother, and that I was with less work. On the contrary, when my mother was quite ill, I tried to work as much as possible, because my studio is up and could not. But I was doing pictures, sometimes drawing on paper, or bring pictures. And seeing as how my mother looked at them, I knew it was all in my life. Sometimes she would say something incredible compliment, and more I did not need. Not yet two years old, my mother died, and I feel some movement of his idling. You're talking about Barkhin. We are now working together in the RATA, the former GITIS. And learned a long time - our mother and my father attended one year at the Institute of Architecture. I can not say that they have an encyclopedic knowledge of how to Sergei. Not at all, I have, they are very chaotic, but the family, succession, really, really mean a lot. This greatly simplifies the life and work.

     SJ You just entered the Surikov?

     N. No, it has finished first in art school, MSKHSH.

     SJ Tell us a little about MSKHSH. After all, there came so many wonderful people.

     N. Of course, because it is very early, with children 11 years dipped into a real, serious work. By the way, less capable, perhaps, get to school more than gifted. Because this was originally gifted, as if tired after seven years of continuous teaching. Someone from our class went to the literature, some of the architecture, but had some very talented people who were held as artists. I studied with Igor Makarevich, Tanya Nazarenko, Volodya Lyubavovym.

     SJ After all, what was then MSKHSH was next door to the Tretyakov Gallery, meant a lot.

     N. Another would be. We just ran out and found themselves in the Tretyakov Gallery.

     SJ Who was your teacher at the Surikov Institute?

     N. I they were different. In my opinion, in the third year we have moved into the shops. On the third or fourth, unfortunately, it was so long that I do not remember exactly. In the studio doing a Gritsai Zhilinsky and Shil'nikov. They let us out of the institute.

     SJ Surikov Institute is, in general, the traditional academic school. And Gritsai and Žilina - people with good classic basics. How much would Dima Žilina no different as a contemporary artist, he still is based in ancient art, in Italian.

    N. Again, all original. My grandfather in the School of Painting, Sculpture and Architecture, studied with Falk, with Sergei Gerasimov. I have his diploma, signed by Malyavin ... He loved icon, admired some Russian artists, but really still professed the French, above all, Cezanne - it was his love. And the grandfather of a little similar to Cezanne. So when I opened my eyes, I saw the work of this particular plan, and it goes on in my life so far. I am drawn to Cezanne, like a magnet, even though I love so many artists, and very different.

     SJ Natasha, I know your work well and I understand that the role of Cezanne in your resignation and development, indeed, great. But that's what matter. "Cezanne" and "Picasso," as was once one of the teachers of the School of the name in 1905, like many artists, but if there is no basis related to our life, our heritage and modernity, the "Cezanne" and "Picasso" far-fetched. The authors may be, and capable people, but only their art is secondary. You have the same Natasha, only professionals can turn up some influence of Cezanne. But I would never say that you at least to a small extent "by Cezanne."

     N. The fact that I never let her into itself. I bow before Antropov, Soroka, Venetsianov, Vrubel.

     SJ We tend to ignore the historical facts, and now especially. I am an international person and I know that Russian icons are not born here. After all, the ancient painters, despite the very limited movement, and went to Italy, and in the Byzantine lands, and even in Egypt. But Western artists have learned from our own. At the beginning of the XX century, when they began to open the icon, it is the interpenetration of cultures studied art history in detail. And the academic and more popular. Suffice it to recall the work of my favorite Pavel Pavlovich Muratov and my teacher Nikolai Petrovich Sychev or not my favorite person Punin. Not a favorite, because he wrote in the newspaper Lunacharsky that Gumilev to the wall should be put. But the article about his Rublev very accurately shows the relationship of Russian icon painting with the Italian Renaissance. And this is probably the best answer to those who say now: "No, I do not have any contact with the West." Let the Pope and Patriarch to decide whether to meet them, but I leaven of patriotism advocates always say: "If you are against the contacts, break for the start of the Assumption Cathedral in the Kremlin." Because he already had built a Catholic, a "Fryazin," as it was then called, -, Aristotle Fioravanti. The Kremlin sent customers to start him in Vladimir, the Yuryev-Polsky, in Suzdal. As a result, the Italian architect built a truly Russian Cathedral. And with what joy I see in Italian churches, icons, written by our craftsmen. Carmelite convent in Venice ordered my friend iconographer Archimandrite Zinon icons, and one he had sent there. That level of relations, which can be pursued. Russian portrait painters of the XVIII century - the same Antropov, Roars, Levitsky, provincial artists usually received his early education in the icon-painting workshops. But, talking to had come to Russia to catch happiness and ranks Caravaque, Roslin, many were able to take over and they have - no stealing, and combining with our tradition. I love and Caravaque, and Rotary, and Roslin, but Levitsky, Roars, the entire layer of provincial portraits - much larger-scale phenomena. It seems to me, Natasha, the power of your art is just that, being able to see the world differently, you can not refuse from the classic basics. Without this base, probably nothing would have happened.

     N. It's by far. Now I read your article, which is a remarkable statement by Richter. He said that a person has two homelands. The first - the one where he was born, and the second - Italy. I thought it was pretty cool.

     SJ Yes, it's origins. But then begins its own way. I would like to ask you about how you came to him after Surikovki? What guided you? That provided the impetus?

     N. The fact that I am able to restrain his feelings. This taught me a grandmother, and she was a great teacher. Now I do not remember, but I guess I wanted to try, and so, and that, I tried to go the right way.

     

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