Nicholas Barsamov. Artist, teacher, art historian.

[Art Bulvar]

Nicholas Barsamov , which can be called one of the key figures Cimmerian school of painting the middle of last century , became the link between masters abroad nineteenth and twentieth centuries . painters and Crimean Soviet era. The unique nature and historical and cultural traditions of the Crimea had an impact on the fate of many creative people. And Barsamov biography Nikolai Stepanovich (1892-1976) - another confirmation . Arriving in Feodosia in 1923 and became involved in the study of ancient history of the region , he decided to permanently link their lives with Cimmeria , won at the time of Constantine and Bogaevskogo Voloshin .

Despite the fact that Nicholas Barsamov constantly engaged in painting and actively participated in exhibitions, he is known primarily as a public figure and an outstanding teacher . No coincidence that he became the second after IKAivazovsky honorary citizen of Feodosia. In this city Barsamov for 45 years ( from 1923 to 1962 ) led an art gallery , and during World War II saved the priceless collection of paintings by Ivan Aivazovsky, evacuating it in Yerevan . Researcher and popularizer of art great marine painter , author of the first monograph on the master , his followers and disciples , Nikolai Stepanovich saw his task as the multiplication of the gallery's collection, and during the years of his directorship was able to increase it ten times! Like his famous predecessor - Ivan Aivazovsky , once discovered in the Crimea first art school Barsamov continued the tradition , founded in 1925 at a similar institution Feodosia gallery. From his studio went great painters - Peter Stolyarenko Stepan Mamchich , Vladimir Sokolov , Nikolay Shorin , about the work that we have already written on the pages of our magazine.

As a teacher, Nikolai Stepanovich considered it necessary not only to study the art of painting , composition and properties of paints , but also comprehension of the mysteries of skill by copying paintings by Aivazovsky. P. Stolyarenko recalled him as saying that the artist , who can well simulate the painting style of the master , will always be able to provide their own food .

Sam N. Barsamov received his artistic education in Rostov first drawing school (1913) and private school studio I. Mashkov in Moscow, and then at the Moscow School of Painting, Sculpture and Architecture ( 1913-1917 ), where his teachers were Abram Arkhipov Nikolai Kasatkin, Konstantin Korovin .

Читать дальше... 

The influence of the Moscow school quite apparent in his still lifes , while in some seascapes , for example, in the " Sunken Ships Monument " (1939 , x . , 101 m × 74,5 cm , private collection , fig. 1) , running on a large antique salon 2013. markedly perennial fascination with the art Aivazovsky. In this romantic convince the general operation pattern with sunlight spectacularly colored evening sky , swinging Court restless sea , the waves impinging on a granite rock - bottom of one of the most famous monuments of Sevastopol. Note that creative destiny Barsamov at some stage has been associated with the city : in 1923 he became a founding member of the Association of Artists of Sevastopol , a member of which was until 1931

In the postwar period Barsamov creates large canvases program , complementing pictorial chronicle Cimmerian edge . His beloved city he portrayed then plunging into the twilight (" Moonrise in Feodosia ", 1945 ; NCT them . IKAivazovsky ), then covered the impending storm ( "surf off the coast of Feodosia " 1957 SAG them . IKAivazovsky ) , dilapidated and nestled sadness snow ( "The Return" , 1947; NCT them . IKAivazovsky ) or returning to life ( "Restoring the Feodosia port " , 1947).

Through articles and books Barsamov we learn about the artistic life of Feodosia : interesting exhibitions, works of contemporary painters and artists of the past . A supplement to these stories can serve them made ​​in different years graphic and painterly portraits of Ivan Aivazovsky , LF Lagorio , KF Bogaevskogo . Like many fellow artists , undertook Barsamov and custom portraits , however, seem to be the most expressive they do not, and those that are created at the behest of the soul, inspired by the charm of the model. Among them is optimistic, radiating youthful exuberance work " Our change " (1965 ) . If the portrait genre Barsamov Nicholas showed himself a staunch supporter of the realistic method , the still lifes in the forefront decorative top . As an example, a complex still life " Flowers and Fruit " (1947 ), where the heavy draperies and background crumpled tablecloths , glass and porcelain vases with luxury bouquet and a generous pile of fruit evoke Mashkovskaya posing with antiques . Or the song " Fruit " (1965 ) , sounding like an anthem fertility. Artist keen transfer decorative color combinations , comparing the forms of fruits. That interest in the subject - its mass , texture , color - still life made ​​the leading genre in the works Barsamov .

Another piece - " Grapes and quince " (1970 ) is typical for the late period of creativity. Just in 1960-1970 -ies. , When Nikolai Stepanovich , who left the post of director of the gallery 4 , was able to concentrate on painting, was created the bulk of his work. Paintings of those years , usually small in size and quite brief. Most often the objects on the background wall - on the table , where the napkin placed carelessly thrown fruit, pitcher, glass or plate . In such things made ​​by his teacher - follower " bubnovovalettsa " capable of even the most ordinary things to see 'character' . Cézanne , viewed through the prism of art Mashkov , found expression in a particular material objects , sometimes more similar to the dummy , although it is known that Barsamov used for performances exclusively fresh fruit - even if they had to get in the winter. Objects in his still lifes emphasized tangible , but not illusory , and the texture , thanks to the painting - a dense , opaque , sometimes pasty , rafting depicted things with the rest of the canvas into a coherent whole . This is clearly seen in " peony " (1961), where the fabric - fabric background as well tonally " vibrates " like fluttering flower petals . Lifes Barsamov " inviolable ", endowed with classical properties "picture" , masterfully constructed compositionally . Inherent in some of them coloristic brightness is largely due to the influence of the art of M. Saryan , with whom the artist met in the evacuation.

Cloth " Nobody is forgotten, nothing is forgotten" (1967) dedicated to the memory Barsamov son , who died during the war. As in ancient allegorical still lifes , each item carries a special meaning here . About the bitterness of loss resemble photos , forage cap , army binoculars , letters from the front and a statuette of a grieving woman . Roll of paper , paint and palette can be interpreted as an allusion to the unfulfilled dream Barsamov , who hoped that his son will continue his work. The painting is in the collection of the Simferopol Art Museum , which houses almost fifty works of masters .

When life Barsamov not sell his works , much more willingly he gave them . After the death of Nikolai Stepanovich accordance with his wishes about 300 paintings were transferred to the National Gallery them . Ivan Aivazovsky .

The creativity of the artist only to be explored and understood . The only attempt to do so was undertaken in 1968 AN Savinov , who wrote the introduction to the catalog . Most of the paintings Barsamov still remain unknown to a wide audience , so their appearance on the shows and auctions always attract attention .