Feshin Nikolai Ivanovich - Russian artist

[Sandro]

Eugene, the great artist, live painting just fascinate, not depart. Especially appreciated his things American period, you probably had in mind precisely these pictures, they were really in Russia - counted on the fingers. In Mirjana all things imported. And prices in the U.S. He just tremendous, they did consider it a classic. It's just us, it is undervalued and little known, because little left of his Kazan period.

[Евгений]

Сообщение от IrinaC

Lenin turned a mischievous

He painted from nature.

[color="# 666686"]Added after 5 minutes[/color]

Сообщение от Sandro

live pictures just fascinate, not depart

You are right, at Ildar Galeev on art salon in CHA saw several works great.

[uriart]

From the laity is a work of the Kazan period of creativity is something!
And portraits of what he wrote!
Great artist! The eye does not tear!
Spasm in the throat!
And so close to us in time of life ...

[Кирилл Сызранский]

Сообщение от Eugene

Feshin, as a true hare, to live in a big American city could not, that's arrived here in Taos.

A little correction.
We Feshin any health problems: open tuberculosis has not given the opportunity to live in NY and needed to find a suitable climate.
Taos was chosen not accidentally.
The family had traveled half the country and each Feshin artist Young-Hunter asked the patron of the arts Mabel Dodge Lyuhan invite Feshin with his family in New Mexico, to Taos, where at that time lived a whole galaxy of American artists, including the famous Georgia O'Keeffe and native from Russia Leon Gaspard.
House in Taos Americans love.
The first thing was built studio, where Feshin immediately began to work. Studio amazing - one wall is almost entirely glass, and the other is composed of a great furnace from the shelf. And the studio, and the house Nikolai built with his own hands, using a minimum support workers. He decorated their wood carvings, and no door, no shutters do not repeat each other.

House after the death in 1955 Feshin g.ne idle. He in 1979 was recorded in the National Register of Historic Monuments of America. Some time in this building was Feshin Institute, and now it is world-famous hotel for connoisseurs of fine arts.
Incidentally, in 1976, fulfilling the will of his father, his daughter-Ia Feshin Branham brought the ashes Feshin in Kazan and buried at the cemetery Arskoe.

[color="# 666686"]Added after 2 minutes[/color]

Сообщение от Eugene

You're right, at Ildar Galeev at art salon in CHA seen a few works, great.

It would be truer to say, a compilation of works and one sculpture. Galeev exhibited at that time (April of that year) at the Salon only Feshinym.Nikolay Feshin left behind a huge legacy. However, to say exactly how much they were written, nobody can. According to the staff house-museum, the main problem is that Feshin often gave or exchanged their work, and what collections they are now, nobody knows. It is known that the largest number of works is the homeland of the artist - in Kazan - the State Museum of Fine Arts of the Republic of Tatarstan. They collected about 200 of his works. Large collection assembled in the museum Stark in Texas - 68 works. Fabrics Feshin also stored in the Museum of American Art at the Smithsonian Institution in Washington, National Portrait Gallery in London, Frye Museum in Seattle, the Museum of Harvard University. Much work has been in private collections.

[iosif]

Very he liked me. Whether the sale of his albums? Maybe someone will tell you where to buy?

[Кирилл Сызранский]

iosif, there is very good, great Feshin. Buy better on Wernicke. Et.-The first in a series of Khokhloma Sergei Stolyarov, there is the chief of Salon, it all know it along the wall opposite the closet trades or his running mate as soon as the second climb the central staircase.
Somewhere Szegö card is, look.

[Meister]

Сообщение от Sandro

And the prices in the U.S. He just tremendous, they did consider it a classic. It's just us, it is little known and undervalued

y Ildar I remember it was exposed to 200 thousand and it is 3 years ago ...

[Евгений]

In my opinion, it is impossible to restrict the art of any specific requirements, deciding once and for all, that is the art of good and better than he can not be. Art, like all our life is subject to the same eternal law of motion. And any attempt to stop it at any level, just as futile as trying to stop time itself. What man can live? Last? It does not belong to him.
This so fleeting, that almost does not exist. There remains only the future, which he actually lives, or rather, to him, he constantly prepared, trying to predict here and follow all the new (bad and good) ideas.
Life is impossible without attempting to create and implement anything new.
The parents, holding their children from new and incomprehensible to them ideas that make a big mistake, because this way they disarm them, make them unable to fight in the future, without knowing at the time of the essence for new ideas, they lose the opportunity to properly understand them and make for a proper choice.
The life ahead of them and they will forever remain sitting between two chairs.
True art can not belong to only one time or one flow. Life itself makes you want her selection, discarding all superfluous. And the selection of the desired life remains forever our wise mentor. Accumulated thus a century of experience outlines our path into the unknown future.

Speaking on the theme of art as useless as talking on the theme of love.
Always it comes down to personal experience of taste. Fact that cute to me quite clear neighbor.

Читать дальше... 

The parents love to bring their children to the artist, asking him to determine the extent of their talent, and some of them want to know the completion of their abilities.
  My fourteen-year experience as head of the studio gave me the opportunity to observe the development of many of my students. There are two characteristic types of development: slow, requires great effort of will and stubborn work, and quick, brilliant, like a beautiful flower will soon bloom in pleasing the eye during flowering, but also quickly fading and losing its attractiveness.

There is no doubt that the first case is more loyal to achieve anything in life. Slow path develops discipline and love of work. Slowly but surely leads one Mr. goals.
  Failures and hard work left a deep imprint on his memory. Thus it systematically accumulates the necessary baggage to further his work, he knows that he could not now be able to post. This course gives him an advantage in continuing the growth of his life.
  The second case, the rapid-flowering badly educates the mind of the artist. The ease with which he gives his work disaccustoms him from discipline. Relying entirely on his natural gift, he disdainfully refers to the work ceases to control their work wisely and quickly exhausts the supply of creative energy.

Every beginner artist must remember that the deadline for achieving the perfect does not exist. In human life is not perfect, there is only striving for perfection. In my opinion, to achieve something truly valuable in the art of one human life is not enough.
The serious artist is constantly feels like a student, the more he acquires knowledge, the greater the demands it imposes on itself. And this is fortunate for him that makes him always young. Painter dies when losing self-criticism, when it is done begins to meet him.

Most beginning artists look at art as a pastime.
People surrounding the artist, his envy and usually ask the same question-how much fun you should have received, drawing a beautiful picture?
But nobody ever asks what effort it cost him his job.
However, it is not realizing her naive question the artist does a great compliment.
This means that it has kept the picture you want freshness and makes them think that an artist creating a painting, not spent any difficulty. The artist's work should never smell like sweat.

In order to achieve results as soon as possible, usually a beginner trying to get hand on any one plot, likening himself a child, able to recite only one favorite fairy tale.
In fact, he is ignorant, because mathematics can not be called a scientist, if he can solve only one problem. Repeating all the time and the second one is, he naturally begins to work mechanically, without any mental stress, and because his work loses all artistic value.
Before defining himself, a beginner should buy as much diverse knowledge. The higher will be its vehicle, the easier it will be free from any connection with the plot.
  For the artist it does not matter what fill the canvas (it should be able to work on any subject), but always very important to how to fill it.
Art is not to portray conceived (it can be done each), and art to express conceived that not everyone is available.

What is really important in art, design or its performance?

In the first case usually say so: not bad by design, but poorly executed.
This modest tip shows dissatisfaction with the audience. Conversely, good performance makes you forgive the author, even vulgarity. In such cases, they say, stupid, but damn deftly executed.
It is almost a general rule, when the most vulgar farce with a brilliant performance is delighted, and a clever thing, clumsily performed, it seems boring and uninteresting.
  All this indicates that your perception of art is an emotional way, and the mind is in a subordinate to the first, high technology always has and will have a dominant importance in the art.
The plot itself is the property today. Tomorrow he will be replaced by new. Over time, the plot for us to lose all meaning, but its performance remains for us is equally valuable. Needless to say bad, if the artist becomes a slave of the object depicted.
He should be able to dispose of them at its discretion. In other words, the depicted object is to be no more than an excuse to fill only the canvas, without any pity rejecting everything that he does not like, and leaving only what attracted his attention and consistent with its creative idea.
Only then will his work acquires artistic value when it passes through the filter of his creative ideas.
  For example, the most ugly face, causing only disgust in life on the canvas becomes extremely attractive.

Beginner should always be avoided in any conditionality: color, light, lines, and, of course, the plot. Accustomed to use conventional paints, it ceases to distinguish the true color of the object, and therefore all work will look the same.
Can not, for example, painted in the same color of the child's body and decrepit old man.

It is essential that each new canvas the artist saw as a completely separate world of colors, light and lines, that is, each new canvas is a completely new problem that has no relation to previous work.
  In order not planned to write an artist, the task of his work remains the same - to fill an original canvas as one organic whole.
On the canvas should not be a favorite place or favorite object.
Each point on the canvas must have the same value, the work immediately becomes the rhythm when disturbed the harmony of the whole.

It is always experiencing discomfort, not knowing where to start, and usually focuses on one subject only, completely ignoring everything else that surrounds this subject, as well as the size and shape of the canvas, not caring about the construction of all work.
Build a building without a definite plan, not knowing in advance what will come of his work. The artist's work has already begun from the moment when he picks up the finished canvas.
Canvas has a size and a geometric shape.
Eta ready to form the canvas and is the starting point to further constructive work.
If he would hold through the center of the square canvas vertical and horizontal lines, it thus linking canvas in a single unit, and spending two diagonal lines they will receive the original composition of lines, fills the canvas with no remainder.
Movement of lines varies depending on changes in the shape of the canvas. The principle of the ability to look at the canvas as a single unit and is the main guiding idea of work.
  Not for one minute, the artist must not forget that he is dealing with a wide canvas, rather than a separate part of it.
Color it will be understood only when it can be compared with other colors: warm with a cold, light with dark, etc.
For example, if you write on a clean white canvas of a strongly illuminated object is the brightest light color will appear darker and can be seen only when it is surrounded by a darker color, that is, when you can see the relationship of one color to another.
  The most absurd in art, when, for example, portrait painter finishes the main subject separately from the background, but most gloss over the background colors used-dirty after.
Thereby get on a canvas of colorful two chords that do not have any family relationship, and the picture looks as if glued to another canvas.
Even worse, when the artist changes the background, at its discretion after work. Dark replaces light. cold, warm, etc. Then work eventually loses all meaning.
Beginner must accustom ourselves to see and work the entire canvas at once, and not some particular part of it. Only thus can control their work pack one. Otherwise, it is like a blind man, will move from one point to another, with no understanding of how it goes and where he goes.
For beginner always tempting path of least resistance, but because it usually takes for a sample reproduction of the artist or trendy and copies of it. thinking that he thus acquires knowledge. Such a beginning is not true at least one that takes only the beginning of the end of the original, the first is the finished result of his long and arduous work.
Assimilating surface-only the end of the most similar process to achieve the result he will forever remain totally incomprehensible. Especially dangerous if it starts by accident or merit with the approval of critics. Or even worse, if he receives from this material benefit.
This will make him think that he has matured artist and he should do just that. that has been recognized. Since virtually no stock of knowledge he has not, he naturally begins to spin at the same place, repeating all the same. As a result, only a waste of time without any benefit for themselves and the arts.
Beginner painter is a traveler, the destination is in an unknown country. He should take care of it needed in the way luggage. The more he pripaset in advance, the further he can go. Otherwise he would have to return half way back for the necessary, losing precious time in vain.

The artist is better to be an amateur than a professional.

I mean not an amateur who enjoys the arts from idleness, and the person who sincerely loves the art of filling them most of their spiritual life. Talented amateur useful in art, than a talented professional, since he has no ambition at all.

It only works for his art. Then, as a professional for the most part thinks of the glory and tend to expedite the path to glory, specializes in a best-selling items and on this ridge jumps nearly his entire life.
Dilettante interest mainly process advances, and any art for it has the same value, if he sees him as a tall task.
  Narrow professional, inventing a trick, which earned him recognition, he is afraid of him falling behind and thereby narrowing its task, stopping their growth. Instead of continuing to work on himself, he achieved his fame rests on her like a dead end, and goes back.
  In his haste to use the happy circumstances, he throws on the market an incredible number of paintings on the same subject, and his work, how often to repeat poster, are no longer art. And if his work and continue to live, it is not because of their merits, but because of the special strategies of businessmen who invested in their own capital.

Criticism and the very art of our days are like a horse, which rein fell under the tail. Artists and their critics vied with each other trying to destroy the old traditions based on caring for the technical execution of work.
  In a mad pursuit of novelty they have no time for the faithful execution of all possessed by their ideas, and they therefore have to legitimize ignorance. This easy relationship to the execution of the work infects young its availability. Why not become an artist, if it does not require any effort.
One has only to buy paint and canvas and start writing.
  A week exhibition ready. And the illiterate will work, the more they will turn the attention of critics, who see a new temptation in her only in ignorance of its execution.
Accumulate a lot of unnecessary gov .. in art, but such a balance no one ever pays attention.
But illiteracy in the art of our day is harmful or that it exists and is harmful because it used the people and the words through the press operate on unprepared mind. Any appearance of new ideas in art is valuable, but only when it leads to excellence, forward rather than back to destruction.
New art is that originally, that is something. has been created by the artist directly.
  Not a new art of the artist, when he takes a sample, for example, fine work performed by the old masters and makes her a copy of the illiterate, passing it off as something new, a figment of the critics with a serious attempt to mine the general parallels between them.
  There will be no new art and an attempt to imitate contemporary artist sculpture African savage, splendid, perhaps, in its primitive art, but ugly in the hands of civilized man.
  Or imitation of a drawing by a child, his remarkable artistic naivete and completely ridiculous in the adult.
Always something new-that is the primary source, and the primary source in this case is the original drawing of the child, the old masters and sculptures of African savages, and in any case, do not imitate them.

Nobody can teach you to write and draw, except yourself. You can not learn to write, just watching, writes an experienced master, while you yourself will not work. Only through a personal exercise may achieve the result.

Any work individually and belongs only to yourself. The teacher should not touch this. Its purpose only. the work the student had been constructive, meaningful organized.

To learn how to write, we must learn to see the basic colors and be able to distinguish them in their original purity. In fact, you are dealing with only three colors: red, blue and yellow. All other colors are variations of the first three. To preserve the purity of color, must abut yourself to choose the colors for the possibility of two or three basic colors.

My journey in the drawing and painting can be understood only through direct visual perception, which is almost impossible to describe in words.
My attitude to painting and some of the technical principles can be debated, but one needs to bear in mind that they can not be regarded as a set of rules.
The technique should be considered only as a means and not as an end in itself.

Currently, the art, fully based on the individuality of the artist, his way of designing forms, forms of any type, natural or imagined (realistic or pointless).

First comes the initial idea of work - what the artist wants to portray, and how should this idea to give concrete expression, and then he begins to build, organize. Method to study the "shape" is in the process of designing this form.
In my opinion, to design the form, not only to distribute chiaroscuro.
It is these properties of photographic film sensitive to the degree of illumination. Some do so without thinking about language form, but only trying to copy a glimpse of the form, which is transmitted shaded and sunlit areas .......
 
When we begin to draw, we become aware of-line.
The line is nothing more, as the boundary between space and form. In itself it means nothing for the artist to tech as long as it does not lead to construction of the required forms. Once the form is created, the lines that shook its gradual construction, cease to exist or have value-line ", they simply absorbed the reality form.

In talking about the color, I noticed that with rare exceptions, when a student asked what color he sees in some subjects, he always responds. "This is a brown" or "looks like a gray, etc.
In fact, the artist actually operates only three primary colors: red, blue and yellow (all other combinations of primary colors only).
This everyone knows, but few give this meaning.
So the first step for an artist - is to learn to see the primary colors and to distinguish them in isolation from one another.
Should not forget that pure colors, just extruded from the tube, beautiful, intense and clear, and only when they begin to mix, they lose their diverse qualities. For the artist the problem of preserving the true strength of pure color depends on knowledge of specific properties of separate individual pigments. Mixing paints has some limitations, and only a combination of three key continue to provide clear and vibrant color.
  Beginner usually tries diligently and meticulously to fight for something that he was exactly the color of what he sees (or imagines), and he endlessly mixing paints on the palette, and the result is muddy and dead, lifeless. All that vividly reflects the color, but every reflex is a vibration.
  So he who wants to play this lively vibrant tone, must resort to the use of pure fundamental tone and "build" them in such a way as to give this vibrant color and vibration.

To avoid gryaznoty in the finished work, you need to learn how to use the three primary colors, and so treat them by placing a layer of sing, to lay down the color could be seen through the next layer.
  For example, put red paint on top so that the blue and red colors were visible at once, and it will create the impression of violet vibration.
  If the same care someone put on their first combination of yellow, complete harmony will be achieved - the colors do not mingle, and the position of each other remain in full intensity of its vibration.

  As for me, I do not like to use a solvent, it is too dilute paint. Pigments are mixed together, do not retain their individual characteristics and lose much of their fresh intensity.
Also poorly applied too much zinc oxide. This makes the color of chalk, anemic, transparent color is lost and it becomes difficult to achieve nuances.

Such, in a nutshell the basic principles used my technique, but in any case not a detailed set of rules. In writing inevitably arise simplification and trend book instructions for painting technique is often inadequate and so dangerous. It must always be borne in mind when we are guided by books on the techniques of painting.

Nobody can teach you how to write or draw, but you samoyu.
You can not learn painting, just observing the work Mactepa until do not begin to understand how to write, the results may appear only through great practice and experience ...
I asked some of the areas of art, I think the most important.
For me, no one over there can be significant others, I can only say: if you see that in front of your creativity ... remove hat!

Channel-blog artist Andrei Lysenko: http://www.liveinternet.ru/users/drewfoxy/post97508617/
------------------------------------------------
Text shown on copies of the manuscript NI Feshin in Russian from the archive IN Feshin-Branham. Taos. USA. Copy is stored in a personal archive GA Mogilnikova.

N. Fechin. Notes on Art. Balcomb. M.N.N. Fechin. Flagstaff Notherland Press, 1975, cc. 158-160
Taken from the book "Nicholas Feshin. 1881/1955. Painting /drawing. From the State Museum of Fine Arts of the Republic of Tatarstan and private collections. Moscow." Art-Divazh "June 3-July 26, 2004"
Published Scorpion. Moscow 2004.

[Sandro]

Eugene, thank you very much, as now written!

[Евгений]

Sandro, is a blog of the artist Andrei Lysenko (members of our forum Art_Lyss), but the translation of the article is very bad.
It will be interesting information on the artist N. Feshin write .. read.