There is already a lot ... and it's sad, a couple of years and it probably is waiting for the fate of Russian avant-garde.
And it is interesting that the Ukraine is a Ukrainian avant-garde (1920-1930gg), or destroyed during Stalin's time?
Tatiana Yablonskaya - People's Artist of USSR and Ukraine, member of the Academy of Arts of the USSR and Ukraine, Professor, Hero of Ukraine, winner of three State Prizes of the USSR, two medals of the USSR Academy of Arts, the National Prize of Ukraine. Shevchenko.
Personal Exhibition of Tatiana Yablonska held in dozens of cities in the USSR and the world. Her paintings are in the State Tretyakov Gallery (Moscow), State Russian Museum (St. Petersburg), the National Art Museum of Ukraine (Kiev), many other museums and private collections.
June 17 in Kiev on the 89-th year of life legendary artist Tatiana Yablonskaya by famous paintings "Before the start," "Bread", "Spring", "Linen", "Morning" and many others. ZN publishes notes the artist, in which she examines his own work objectively and professionally, than perhaps any art.
Material referred Received daughter T. Yablonska Gaene.
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just left a young iskusstvovedka - diplomnitsa Kiev Art Institute. She writes about my work over the past ten years. And, judging by her questions, little understands. Asked to tell about one another. I got carried away and all she has talked a lot. It is something they have recorded. And basically, all these thoughts vanished and flew away. Maybe they somehow both interesting and needed someone. And it occurred - did not write it better than me most all of what I tell her? The fact, wrote the artist, even a small, much more interesting propositions most intelligent art. Still, this is the original source.
Everyone wondered why it is in the sixties I suddenly turned sharply to the left, to the ethnographic decoration, and now again returned to "traditional" art? Why am I so shook? I also thought about it and try to explain what a hit upon it.
Before the war, while studying at the institute, I have seriously worked on the painting. That is above the painting. Begins to truly understand the importance of tone and integrity of a living painting surface, color and materiality of the transfer of color-air environment. In general, began to acquire a rich array of pictorial language. Strengthened in this war interfered. More than three-year break in sharp setback. All the subtleties of the purely pictorial sensations were lost. There would need to again for a long time and carefully work with nature to restore these forgotten and really not to the sense, but it was not before. At this point not to study. The post-war rise of the spirit, youth, self-confidence, weight designs. Send a picture after picture. Success after success.
However, in some of his works I was beginning to restore a forgotten sense of picturesqueness. But more timid and fumbling. Most of this was in the movie "Before the start". Anxiously-fresh feeling of clean winter day with the radiance of young people I wanted to pass it through painting, through paint, through the surface of the canvas. It was still fragile, the subconscious feelings, not backed by any persuasion, nor the creative experience.
Painting "Before the start, as they say," sounded "on one of the post-war All-Union exhibitions. She even went to the State Prize. To me has come and reporters and photographers. That was about to reach a resolution. Even supposedly everything had been decided. And suddenly turn 180 degrees - a resolution on the journals Zvezda and Leningrad, about the opera Muradeli. Letter (I think it was), Zhdanov. The attack on "formalism". A crushing blow from which the stronger head swayed, not just mine. Sway even hero Deineka, even Sergei Gerasimov, even Favorski. And what about a girl who had just became an independent way? I'm not so lost its way, I still have kept!
Picture of "Before the start" taken off the stretcher, and she lay a long time in the basement of the Museum of Ukrainian Art. Instead of prizes she has received some abusive epithets. I've just forgotten. Some recurrences formalism, impressionism, etc. Funny, but true. And all my other pictures, and sketches - too. "Though talented, but ...". And everywhere these "buts".
Sergei Grigoryev, who had said: "We, the Left ...", also popravel exactly 180 degrees. The institute began "persecution of witches. Our Aleksei Alekseevich Shovkunenko picturesque setting sharply condemned the department also for impressionism. Nightmare. There was no hint of the Impressionists and the students. How old Gelman reprimanded for what he showed the students a wonderful book about Rodin! Not about Bourdelle, or at least Maillol, Rodin and on! Arose, the term "pasture landscape", which means most detailed writing of the details in the landscape in the foreground. I can not believe that all this was. And what a pity that not conducted diaries!
All this, of course, acting. After all the Stalinist era. But I was still not completely scared. I rescued a love for life and enthusiasm. Picture of "Bread" I wrote with full vigor, with a heart full of love for these women, to the grain, to the sun. I then firmly believed in what impressionism is fatal, that he draws the artist to the surface fixation of the impression that it hinders the creative to solve big problems. I even wrote a very sincere relevant article in the Moscow newspaper "Soviet Culture." I have this story, as I now think that before the end of life has not forgiven Sergei Gerasimov, although I later rehabilitated, as it were, with their works and performances. This article has been accepted as a betrayal. I still feel ashamed for her, but then I was absolutely convinced he is right.
When working on the painting "Bread" I mostly tried to convey the delight of life itself, to convey the truth of life. None of what self-sufficient "picturesque" I do not think. I remember at that time come to me Group Lviv artists led by Grigoriychukom. First there was talk about "inveterate" the main character, that I myself in spirit very like her, and so on, and then began to talk about "Colors and Valera. I remember what I then thought it ridiculous, naive and provincial! What do you mean "Colors and Valerie? What you need more than a truthful picture of life? I did not realize that all the same in the movie "Bread" picturesque problem turned out - a combination of warm grains, blue skirts, white scarves and shirts created a picturesque game. Also, I just before the "bread" painted "Before the start, while writing" In the Park "and is not yet completely forgotten paintings explicitly reject me Impressionists.
Painting had unprecedented success at the exhibition, as a result - the Stalin Prize. Beautiful by the power of truthful feeling beautiful painting painting Plastova "Harvest", which was displayed along with "Bread", was recognized worse than mine! And in the picture Plastova one bucket of cold water and greedily drinking her sweaty riding in Kumachevo shirt worth more than all of my creativity. When you look at the picture Plastova throat burns from flying with molotarki chaff, but I still - poster.
After the "bread" I had completely forgotten all the beautiful task. Life, life, life! Then there were all sorts of collective creation, headed by Efanova and Johanson, nalbandyanovskie opus! And I was doing "real art". Innocent subjects such as "Spring" (incidentally, the critic Portnow, recently left his old age in America, strongly advised me to call her "We want peace!", Otherwise, they say, does not sound). "Spring" - is already falling all over. This is the purest fotografizm, naturalism and the total passivity. And - the same prize! Well do not believe it when you spoke so highly? Well, why not forget about the "Colors and Valera"? Voronin praised dizzy with success. While much has been written various children's lisp pictures. And all seemed well, "artistically". Adversary, antizhivopisnaya painting "Morning". But on a good idea. Inspired me to her E. Volobuev. But the painting is absolute zero. All my old feelings tightly healed. And Volobuyev, then my neighbor on the workshop, saying that I absolutely can not understand what the painting.
And then began the thaw. Debunk the cult of personality. Began to revive in the art. I felt dead end in his pictures "on children's themes. I felt the need for active work. Helped Transcarpathia, his unusually interesting school of painting. How fresh were seen in our work Erdelyi, Kotzk, Manaylo, Soltes, Gluck, Bocsa! What living stream poured it in our art! How to become an active advocate for our exhibitions! But very soon, and on their heads walked baton Zhdanov decrees. But now is not about that. I was very influenced their art, especially when I clearly felt the need to get out of the impasse. Manaylo Exhibition in Kiev and its resounding success is deeply, deeply sunken in the soul. And I do that? Somehow we Armenia, Vadim Odaynikom and his wife went to the car Vadim in Transcarpathia, to write. We stopped in the village Apsha Solotvino area. Border zone. Romanian village. Amazing architecture, colorful folk costumes. All unusually expressive. We worked a lot, very active. That spring and started my new creative upsurge.
Before that I went to Armenia, closer acquaintance with its artists. It all seemed to be geniuses when compared with our Ukrainian seryatinoy (except Transcarpathia).
Began a national passion in the form of art. The collapse. Swam splints, all kinds of popular pictures, folk art of all kinds, paper flowers, etc. I enthusiastically believe in the fact that they had found, finally, a real foothold.
While there was much talk about self-expression, the search for his "I", and I thought and I finally say "my word".
At the same time and started the craze of monumental art. Seriously suggested that easel painting itself become obsolete. Only generalizing images, only the synthesis of feelings and thoughts, which generalize the form, stylization. There was a picture Zadorozhnogo "In place of past battles," etc. And I'm in his quest to try to express general ideas, to find a large, capacious images. All this would be good, as a matter of fact, it's good and there, but I came to this vulgar tasteless styling.
Not all my stuff in this series so bad. Some are dear to me now. These are those in which it was based on a vivid feeling, - "Widow", "small window", "Tea", "Summer". Some of them were created artificially by the program and completely devoid of the warm living feeling. They are disgusting tasteless zastilizovany. I then thought: the brighter - the better. Brightness ordinary oil paints I missed. How glad I took out of printer ink pink incredible intensity - rodomin!
Perhaps, in this hobby, and it was something good. After all, it was sincere. Perhaps the best work of this period is something worth it. But basically, I now appears that this trend was false. It was a revolution in the side, looking out of the impasse, which brought me 50-ies. I forgot about the possibilities of painting and has taken the path of external decoration. This path is more straightforward.
In the late 60-ies I pulled a few "deep". Such things as "nameless hill", "Holiday", are already on the way out of the decorative features of Art. These include the "the blue sea." I felt the need to live sensations.
A trip to Italy in 1972 again changed my mind. The art of the early Italian Renaissance impressed me with their highest spirituality and sincerity. No imitation anything whatsoever, and pure desire to express their ideas as best as possible, in the best of their ability and talent. After a trip to Italy, I was firmly convinced that in his works the artist never has to worry about its originality on self-expression, etc., than were full, mostly, the aspirations of "seeking" artists 60-ies. Compared with the high, sincere and pure art of Piero della Francesca, Masaccio, Gozzoli, Ghirlandaio, Mantegna our search seemed narcissistic affectation. All of Western art, with whom I then met in Venice at the Biennale, it seemed kind of nonsense. Just be original, just to stand out, to prove that you are talented, resourceful others. Shocking, shocking. Why? In the whirlwind of changing "isms" a fleeting show off his "I"? In pursuit of originality has long been no art. Denied everything. Is art really do not need? All the ashes, all the expansion? Emptiness and even anything - on the other side of emptiness? All - nonsense. Absurd. Is that so? Still want to believe, as he believed Saint-Exupery, in the necessity for people something spiritual high. Other people, he said, will become a civilized savage. I would like to believe that the arts need people. Otherwise it is senseless to work. And it need not only to relax from the cares in the struggle for existence, from vanity, and, most importantly, in order to enrich the human spirit, support and awaken in him the human feelings, feelings of harmony, unity with nature, kindness. Yes, it's easier - "love, goodness and beauty," as Lermontov. Exactly so. Only for this, and there must be art. And poetry and music, and painting. So that man was and remained a man. Make their own, even a tiny contribution to this, the most important thing for mankind, the case. Everything Else - antihuman, antimoralno, sinful. Maybe this is too naive and simplistic? But perhaps the most important thing. I now believe in it.
Under the impression of a trip to Italy, I wrote her "Evening. Old Florence. This pattern - a tribute to my feelings and thoughts. But there are no more freedom, there is the influence of art by old masters. New prisoner. That's the trouble - wherever you go, everywhere captivity. In "flax" - Venetsianov. Where, finally, I? Again, self-expression? No, I just want the most sincere, her words, it is pure. Perhaps it is not. No talent. Still, somewhere in any way, even minimally, this must manifest sincerity. Maybe in the sketches?
Now to return to basics. On the picturesque. The fact that seemed lost forever.
Already in the early 70-ies had to teach Gayushu for admission to the Art Institute. Give it to art school I did not want to - decided to teach myself. Olga said that I have no right to teach her art. Since it did not understand. I was, of course, very disturbed. How so? What kind of arrogance on her part! On all sides I hear quite the opposite. It is not cooled down and praise my decorative works from the "best artists". And praise is always pleasant, even if you yourself in these works disappointed - weak people. It turns out that in the eyes of the majority, I - "one of the most talented painters, but according to his own daughter -" Nothing in the painting is not sense. The scandals and squabbles.
But as the summer I was close with Olya wrote in Sednief sketches and saw the tremendous difference in the approach to them. I have all turned out very easily, quickly and empty. Once illusory-decorative. Olga, on the contrary, worked on each sketch with a very high voltage. Color it was always very material, at the same time remaining color paint. The surface of the canvas was filled with intense vibration. In addition, the color feature in-depth manner, density. I felt a huge difference between her strong, tangible and at the same time, color, considerable work and mine - lightweight, empty, filled. Began suffering, tears, disbelief in its strength. Olga explained scolded. And I was of seeing. Began to arise long forgotten feeling of living, tangible, beautiful paintings, when he suddenly begins to turn color in the precious flesh, while at the same time actively playing on the canvas with paint. This feeling arose not every time, but more and more frequently. I was waiting for him, sought. And waited.
There is nothing more beautiful than this feeling. It's hard to describe. But this is - now. This is a precious painting. And what a pity that I had long ago it lost, 20-30 years ago. At best, the most active years of his life. I now think: how much better would have been full all my pictures, if they were really written. Only this can give painting paintings intrinsic value.
If I did not forget, do not lose this feeling, perhaps, and my decorative and ethnographic things would have been more valid and real. And most likely, I would have them and did not come, and all work would have developed otherwise.
Эти 8 пользователя(ей) сказали Спасибо Tana за это полезное сообщение:
And what of the Academy is that?
Formerly a All-Russia Academy of Arts (until 1949, if not mistaken), then it was renamed in USSR Academy of Arts, now she Russia Academy of Arts.
[color="# 666686"]Posted 1 hour 2 minutes[/color] Tana, Thank you for the article on Yablonska.
I suspect that many artists of her generation might have said about me the same thing.
... did not write it better than me most all of what I tell her? The fact, wrote the artist, even a small, much more interesting propositions most intelligent art. Still, this is the original source.
Golden words ...
Этот пользователь сказал Спасибо dedulya37 за это полезное сообщение:
dedulya37
Yes, with of the USSR Academy of Arts I think this mistake journalists really of the USSR Academy of Arts.
I also liked the interview there, that the artist herself says about himself.
Tana Thanks for the article. Very interesting story. That just voprosm I wonder why not one word about C Otroshchenko, what is it? For bread-Yablonska, return-Kostetskii, and partisans Otroshchenko is most important at the time of post-war works of Ukrainian art. Then they studied together, lived, wrote, Well, my ostyutsya questions. And I'm on them I can only guess.
18.11.2008, 18:06
Линейный вид
