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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     N. It's wonderful.

     

     

     

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[Vladimir]

Good "watch"!

[манна]

"Spark" in October 2007.

"The most dangerous creature - a man»

All of our lives - the image, says the artist Natalia Nesterova. As for her life - so sure. In Russia, only that a monograph of her in Paris preparing her exhibition. With Natalia Nesterova, especially for the "Spark" correspondent spoke of "Izvestia" in France, Yuri Kovalenko
You live in Moscow, then in New York, then in Paris. Why is my wanderlust?

I started to go very late, and so much at one time "overlooked." And now, not that I tried to compensate for this, "see through", but change places inspires creativity.

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Do not you think to move to the West for permanent residence?

Not so far. I did not emigrate, but as it chose the second state in which from time to time exist. Is that to old age, I'll go to America, where I have a second home.

In America, you work better?

I run everywhere about the same, but comfortable in the West - in terms of procuring paints, canvases ...

Does something like habitat, the atmosphere of a city on your music? Or do you write like a picture?

Rather recently. But there are some peaks that motivate me to something new. I'm continually in a spiral - that is leaving and going back to some specific topics, visions. But my helix lies on its side. The essence of my work for 10 - 15 years is almost unchanged.

Wherever you write, you remain a Russian artist?

No, I probably do not belong to those who are called "Russian artist". Probably the only painters and composers can exist in all parts of the globe.

But such a "singer of Russian nature," as Levitan, could work in America?

Why not? There he "sang" a different nature. I think, with equal gusto. Nationality of the artist is irrelevant.

As you yourself live in Moscow?

Moscow I did not perceive. The city of my childhood, the city of my youth was gone. It was his appearance. Now, Moscow seems provincial and featureless. Unfortunately, losing their identity and provincial cities. I recently traveled to Saratov, which seemed to me an incredibly beautiful, and saw a replica of Moscow's pedestrian crossing. Then, like Paris, Venice or Florence shall not have lost.

Why did this happen? Who's to blame?

Time ... Russia has never lost the cultural level. This culture was initially lost for 70 years of Soviet power. It is very frayed. Nothing out of the old no longer soshesh, and new matter has not yet invented. Huge funds are used not for what you need.

Russian artists - and artists in general - have always gravitated to the collective farm - whether it be itinerant, non-conformists, the Impressionists and the Cubists. You're essentially a loner ...

I am afraid of the crowd. This is associated with age. When I was younger, I participated in creative groups - as long as I did not have the comfort of your studio. When she appeared, the need for such participation was no longer ... Much depends not on the artists, and from art critics, curators, who combined own ideas or divide artists, sometimes in opposition to them face their foreheads. Of course, I always prefer solitude.

"You are king, live for one"?

You're a mole, live alone. But all this does not exclude interesting companionship.

In the painting of many examples of how a creator denies the other. Art - is a struggle in which survival of the fittest?

Fighting and war - occupation for men. I do not want anyone to fight. Any disruption to no good does not.

Once you notice that your art is between "a masquerade, and tragedy."

For me to live - it's just a tragedy. A masquerade - a way to cover up the tragedy to put on a cheerful face mask on distorted.

What you are seeing this tragedy?

For me - it is leaving loved ones, outgoing my time, loss of power and interests. And with no future for themselves, I hope not bind.

The famous writer Vladimir Orlov, author of the novel "violist Danilov," called his essay "The Mysterious World of Natalia Nesterova." Do you feel yourself to be one of the characters in the world that you think is tragic carnival?

No, I would rather the audience. I'm not artistic nature, within a very constrained. And the carnival is inherently tragic. It ends, and only the trampled masks, shoes, and probably the heart ...

Do not want you all to start from scratch and change their creative manner? Picasso, for example, today was one, and tomorrow - a completely different ...

I do not happen. Picasso has never entered into the circle of my revered and beloved artists. This versatility does not suit me. Important for me in the artist recognition. I want to know what is waiting for him.

Nesterov Nesterov today and 30 years old - it's the same artist?

In my youth I was tougher and more resolute. And my dislike of people are always expressed in the paintings. And now that dislike intensified, but I hide under the mask of politeness. (Laughs.)

So you're a misanthrope?

In all human manifestations, so I rarely see the noble features. For me, the most dangerous creature - it's all the same people condemning the suffering of his neighbor.

But Christ teaches us to love our neighbor as ourselves ...

I myself do not like. I do not refute Christianity, but can not follow it. Does not work.

But there have always been holy men who are ready to sacrifice themselves. Are these examples do not prove that man is not so hopeless?

Unfortunately, they are only exceptions. The existence of separate virtuous people I admire, I admire them before. But it does not change my general attitude toward humanity.

"My life is - you wrote - like the prosecution of the elusive thread."

I'm pretty much working, but when something is close, I say to myself, "Oh, did not work!" I guess this thread will remain forever elusive. To do, as you can. Here Van Eyck signed his paintings with the words "As I can."

At a recent self-portraits of Picasso depicted himself with his eyes filled with horror at the impending death ...

Perhaps he then looked into the abyss of hell. Spanish - great artists: Velazquez, Goya, Miro, Dali. But they are absolute devils.

If they are devils, who then Russian artists?

Russian artists have always been unhappy. They had no lightness. Always for their canvas is a severed head, arm or leg. In the works of Natalia Goncharova's always feeling lying in the heart of stone. From our "heavy" artists I love Fedotov. The French, on the contrary, there is always some kind of lightness. You are not burdened by their paintings. When you look at it, your heart flutters. This is not a vaudevillian flutter, and hover.

His only teacher, I believe, think of his grandfather - the artist Nikolai Ivanovich Nesterov, who studied with Falk and exhibited with the "Blue Rose". What do you owe?

All. He died when I was 7 years old. That's when I realized that some kind of my life was over. And it's true. He drew for me, watching me draw. The fact that he invested in me, I carry all my life. He released me as if from a sling, and since I'm flying and flying. He gave a motion to my thoughts and feelings.

One of your trade show in Moscow called "Solitaire."

For solitaire I spend time - sitting in the studio, I look and think. And not to just sit, lay out the map. The word "patience" means patience. I am a very patient person, but at the same time very reckless. The first time I was at the casino in Monte Carlo, then threw a coin into a "one-armed bandit" and won some insane amount of money - Franks 500. Since then, I decided more in the casino does not play ...

"Skills - a remembrance of inspiration", - said Okudzhava. We can not, perhaps, to live only inspired ...

Inspiration comes and goes. A constant work stimulates its appearance. My grandmother said, "Do not go forward, go backward." The fewer people working, the harder he bring himself to move on. And if it is something always does, it becomes easier. And the result is not important, but the process itself.

You'll have a very critical attitude to himself and to his work. Do not overdo it?

And taught me to treat myself very critically, again, my grandmother. It was "your honor."

But there are there moments when you feel - is it?

No. But my admiration is what I see. Just recently in Deauville on the French Atlantic saw the horses harnessed to a cart, running the edge of the sea, and behind them - a little dog. All I trembled from this incredible spectacle.

Your work is close to the literature. How often have one or the other way, or that line give a push to create a picture?

I just started, starting from the literature. For example, the lines were from Lorca's "Children are eating oranges, and see it from the balcony." I have now is that the combination of words gives rise to the plan.

Do you have a work inspired by Brodsky ...

Yes. A bird on a branch: "What are you doing, little bird, with black thread, looking anxiously? Would you like to say that slingshot tags, and life is possible? "

And Akhmadulina?

One of the paintings shown on the hat with its leaf-verse.

At the last Venice Biennale and at other art fairs classical picture is virtually nonexistent. Running the show installation. Does this mean that in addition to the traditional pattern will exist in parallel for some new art?

Apparently, so be it. I do not mind installing that rejection is not in me, but I'm being used by another. Yes, and institutions continue to teach painting, sculpture, architecture. A man from the time of cave paintings in need of an image. Right now we are sitting in a cafe, and paintings on its walls. If in their place was some kind of installation of the collection, we would have moved you to another place. In fact, our whole life - it's image ... Although in the past there were attempts to destroy the picture. For example, Savonarola destroyed by Botticelli. Much has been ruined, and in our vaults in the Soviet era.

After visiting the exhibition in Paris of a Russian conceptualist you feel you're in the Stone Age. It's ironic you say?

No, not without irony. At that moment I felt myself and. Lord, I thought, what kind of a ramshackle old lady! (Laughs.)

Director of the Museum of Fine Arts Pushkin, Irina Antonova, I congratulate you with a premium "Triumph", observed that women artists in the early twentieth century, defined the movement of time in art. She believes that the Nesterov from amongst the Amazons ...

In the role of the Amazons, I do not see themselves. I can not imagine how you can sit on the body of a beautiful animal. Sorry for him. There are people who do not like to touch - I just like hitting shock. Maybe it is because of my inner strength, self-consciousness. I have never even sat on someone's lap. In addition, the Amazons were a warrior, and I'm a pacifist.

You obviously love animals more than people ...

More. I have all the animals - beloved, even spiders. (Laughs.)

Ilya Kabakov once warned their Russian counterparts that "the future will take is not all." Who do you think, after all take?

I do not know. I'm not Nostradamus. But the very attitude of reverence, Kabakov. I remember, for her little boy collecting books that he illustrated.

They say that you can unwind and propiarit any artist of the mid ...

Those that PR does not take a bad or average artists. They still were not born yesterday, and choose the best. Well, if someone does not spin up, then throw it.

There is a game. I call the writer, and you - the artist who, from your point of view, the most consistent writer in the visual field. So: Tolstoy.

Kramskoy.

Dostoyevsky.

Fedotov.

Turgenev.

Renoir.

Czechs.

Daumier or Chagall.

Shakespeare.

Goya.

http://www.ogoniok.com/5017/29/

[манна]

Photos of Natalia Igorevna different years with exhibition Yuri Rost "Live Classics" in the House Nashchekina.

LIVE CLASSICS

From 20 December to 14 February
Gallery "House Nashokin" is a photo exhibition by Yuri Rost - photographer, journalist, writer, actor

LIVE CLASSICS

Yuri Norstein
Otar Iosseliani
Danelia
Ilya Kabakov
Natalia Nesterova
Andrew Bits

From 20 December to 14 February

Gallery "House Nashokin" is proud to present a unique project Yuri Rost - Story and lives of six of our contemporaries have already become classics.

"This is a dangerous thing - 50 portraits of one person! Individual photos are very heavy, and with ...". Yuri Rost first time that the unique material, which will help us to penetrate vnutrennyuyususchnost real heroes of our time. There will be no glamor, "snot", and only hard, documentary photos of different years: happy, drink life Ioseliani elegiac satire Danelia, kzistentsialny Bitov darkness, loneliness Nesterova, travel Kabakov and fantastic world Norstein ... Slice of time, the interior and the street, friends and acquaintances of the classics - all this tell us about the person, their difficult path, sealed chamber fifth living classic.

[манна]

.....................................

[Евгений]

Сообщение от manna ; 1952141"

"The most dangerous creature - a man »

Сообщение от manna ; 1930941"

Sawa Yamshchikov
They build up : Natalia Nesterova

Сообщение от manna ; 2436661 "

Pictures of Natalia Igorevna different years with exhibition Yuri Rost "Live Classics " in the House Nashchekina .

Dear Mann, a big thank you for the interesting information .

[манна]

Today (ie yesterday , April 23) at Natalya I. anniversary - she was 70 years old.
She is a person who had friends with her people always arouses feelings of sympathy and respect. We wish her ​​all the best of life , health and good mood ! <! - ~ 1 ~ ->

Photo reports from exhibitions :

http://forum.artinvestment.ru/showth...BE%D0%B2%D0%B0

http://forum.artinvestment.ru/showth...BE%D0%B2%D0%B0

http://forum.artinvestment.ru/showth...BE%D0%B2%D0%B0


Some graphics from my collection ...........

[lusyvoronova]

TV CULTURE

http://tvkultura.ru/video/show/brand...ideo_id/994033

[lusyvoronova]

On the pages of the November issue of VOGUE about Natalia Nesterova and exhibition in the Art gallery UVS

[lusyvoronova]

Article review in the magazine "Panorama