The revival of living a creative interest in traditional folk embroidery is due not only to program avant-garde aspiration to authenticity of archaic art, but also highly specific to the 19 th century European culture phenomenon, which can be designated as the "return things". The man surrounds himself strenuously different things and objects, which are designed to beautify everyday life, art begins to address not only the purely artistic ones, but refers most active in the domestic sphere, turning into the totality of the action in a clean design. For embroidery and other sophisticated forms of decoration can recall morrisovskie workshops in England, but no less interesting experience of Russian (eg, workshops, led by M. Yakunchikovoy and A. Koltsov, Bychkova) and the mainly Ukrainian center for the revival and study of folk embroidery and the use of its in fashion design and interior design. Legendary workshops in villages Olenovka under V. Krichevsky, eunuchs, led by E. Pribylsky and, of course, recruitment, transformed into a creative laboratory for Malevich's group, united artists, among them - presented in the exposition of the work themselves Pribylsky E., V. Krichevsky , students Pribylsky - G. Doggie, V. Dovgoshey that a new master the art of embroidery, expanding its range, eliminating the purely decorative. Using the then popular Art Nouveau motifs, all kinds of floral designs, etc. artists by embroidery boost expressiveness, seeking special purity of color. Plastic opportunities embroidery delicately felt and Russian artists of the early twentieth century, for example, Pavel Kuznetsov, Nikolai Kulbin and student Kuprina M. Levashov. Sewn applique (a kind of embroidery, often with raised seam) Kulbin and Levashova offer a new interpretation of the collage technique with enhanced expression of color and texture of silk sutures acting intentionally.
The history of embroidery in the 20 th century art in general, reveals a clear trend: the gradual elimination of decorative and applied properties and becoming completely independent media, which changes the aesthetic context, it introduces additional meanings. Artists Ukrainian and Russian shops end of 19 beg. 20 centuries. began this process, experimenting with different kinds of embroidery, varying themes and the main reasons for creating decorative objects on the brink; Malevich's early disciples continued his spell out the possibility of ideal geometry in real space, and contemporary artists work with embroidery, forget about its applied nature, and addressing mainly to the especially intimate, homely, man-made condition, which reported embroidered work.
Embroidery for the Russian avant-garde, and especially for Malevich's group - not a secondary business activity distant from doing a great art, but the natural continuation of, kind of a test of strength "shaping a new, confirmed the viability of the ideal geometry. In the early 1910's. Russian avant-garde artists, participants malevichevskogo "Supremus", actively engaged in the process of the gang of art work "Recruitment", organized by N. Davydova, in his own manor in the village of recruitment, where the avant-garde designs by Olga Rozanova, Lyubov Popova, Nadezhda Udaltsova, Alexandra Exter ( represented in the exhibition), decorated with all kinds of textiles, cushions, ribbons, sashes, details of clothing, etc. SO Khan-Magomedov said that "all these years of Suprematism evolved as if in two directions - both easel paintings and as Decorative supergrafika ... Apparently, to 1919 Malevich is considered suprematic supergrafiku as an integral part of his concept of forming" [1].
Embroidery, as a traditionally female occupation, is associated with an extremely intimate, home-state. It is no accident, that women artists (Rozanov Udaltsova Exter, Delaunay, etc.) were the most sensitive to the plastic embroidery resource, able to fully master, creating not only sketches, which then embroiders embroidery done, but are themselves actively embroidered . Presented in the exposition of his own hand-embroidered Sonia Delaunay, Alexandra Exter, and handbags - visual proof of this. In the art of the middle and second half of 20 century women artists whose work has focused around issues of gender, search for sexual identity, often turned to embroidery - you can recall a textbook example like Judy Chicago, Louise Bourgeois, the recent works of British artist Tracey Emin and the work of the St. Petersburg duo Gluklya and herons, are participating in the project "Needlework" working with memory problems and things of man. However, the embroidery in contemporary art goes far beyond the feminist discourse - the artists is very deliberate attempt to withdraw from the area of women's needlework crafts creativity telling their works and other properties meanings. For Leonid Tishkov embroidery associated with a family history or, more precisely - the mythology: the artist's mother embroidered or his own image in the old tissues (pillowcase, handkerchief) as if the state of canned incredible confidence, family closeness, preserve the natural and enduring link between generations. The young artist Eugene Antufiev, born in Tuva, is actively working with embroidery, returning to her self-clean technology, devoid of the notorious decoration, decorations. Appealing to a kind of natural and human prasostoyaniyam, Antufiev with incredible tenderness homunculi embroiders, makes the pieces of fabric (old sheets, tights, etc) strange-pupal cocoons, which seemed to live in nepretvorennom, doformennom a happily dying in anticipation embodiment.
As at the time Eugene Pribylsky discovered embroidery, painting with a needle "to be making subtle color palette, so Lukashevker Alexander (1925-1992), a talented artist, has worked hard her whole life in a chamber genre (small pen drawings, paintings and sketches t . etc) from the 1970's. created a number of unique embroidery, on the elegance of color organization comparable to the Impressionist paintings. On her embroidery stitch as if lost, she seemed not to notice nicety texture thread, focusing on the subtle colors on the miniature landscapes. Zatulovskaya, by contrast, takes this same intractability of the material, it is not trying to create a painting or some other illusion - on the contrary: continuing to develop the resource of folk art, Zatulovskaya for deliberate rudeness, conscious "untidiness" of performance opens the real freedom of gesture.
Embroidery often appears in paintings on cloth Timur Novikov: Art Timur restores broken during the Soviet time, the relationship between high art and culture of everyday life, the cheapest and conventional-edged fabrics, combining them with a single suture, Novikov creates amazing space, placing them in embroidered applique ( house, sun, etc.). Designed Novikov "sign perspective" makes textile pictures into objects of true art, moreover, open the viewer, aimed at him - we gain the opportunity to see the "top", identifying the overall structure of space, no matter where the place is a revelation in the museum or at home.
Sergey Bugaev-Africa, a disciple of Timur, who works with a variety of media, in a series of 2003, "Aphasia" pennants Soviet times turned into kitsch comics and putting the "front" burgundy velvet embroidered with figures of monsters, strange freaks, once again raising the topic of the absurd state ideology, and ideology in general, as such, not least ironically on himself and his creative past. Young artist Alice Joffe in the installation of "Red Corner 'gracefully plays with several" ideology ": the location in the space of three blank canvases on the edge of each of which was put embroidered with red thread around the ornament as a photograph in the passport, refers not only to the traditional red corner with icons but also to the exposition of the legendary "Last Futurist Exhibition 0.10", where for the first time the public were presented Suprematist works
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20.06.2009, 16:06
Needlework
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