Petrov-Vodkin "Family commander"

[NATA NOVA]

Сообщение от Seriy; 1783703"

why in the period between the wars in all countries have experienced simultaneous attempts to revive the classical canons of art .

Seriy, generally in the Fine Arts ven. I personally think that this is associated with totalitarian tendencies (which are intolerant to search for love and manifestations of individual vision , recall rejection degenerate cosmopolitans rogue ) And the classic " neutral" .. ( not life-threatening as in fascism, as in "socialism" ) ..

[Кирилл Сызранский]

Сообщение от Seriy; 1783703"

Certainly there are books or studies on this subject, if anyone knows , tell me , please.

Yes, the books a lot .
But a better look of Kuzma Petrov -Vodkin.
He felt things in the early influence of the then-fashionable Puvis de Chavannes and Ferdinand Holder , in some of Paris - Bannara and other Nabis , and somewhere - Matisse, yes, "Boys ," for example .

But here is Giotto ?

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Сообщение от Cyril Syzran

somewhere - Matisse, yes, "Boys",

"Boys. (The players are boys.)" 1911, c /m, 123h157, RM.

"The Dance" just to remind you hanging in the house of Sergei Shchukin since December 1910.

[Кирилл Сызранский]

Сообщение от Cyril Syzran

somewhere - Matisse, yes.
"Boys," for example.

"Boys. (Playing boy.)" 1911, c /m, 123h157, RM.

"The Dance" just remember, hangs in the house of Sergei Shchukin since December 1910.

One of the sketches to the "boys" charcoal pencil is dated March 11th: "19 mars 1911".

[Seriy]

I quote the first article on the impact of Old Italian masters Giotto school and, in particular, on the Petrov-Vodkin, and then tell their own words.


"... We can say that Petrov? Vodkin entire life engaged in dialogue with the great
Italian craftsmen. Trace the Italian line in the artistic?
Noah genealogy Petrov? Vodkin is doubly interesting
task, since these observations not only shed light on the creative?
stvo Russian painter, but also allow us to consider art in Italy
under the special point of view.
.... In lapidary eloquence dzhottovskih frescoes Muratov accurately grasp the features that were particularly dear to Petrov? Vodkin and time clearly marked?
were in his painting. If all of their figures, strongly folded and
simply dressed, the Italian master, according to Muratov, embodied the "ka?
something? a human being, "then and Petrova? Vodkin obvious
akin to the tendency to the predominance of expression of the type in?
vidual character. And again, even in the most dynamic scenes
Giotto's behavior heroes ritual observed consistent and sder?
zhannostyu movements - that we feel the presence of many canvases
Petrov? Vodkin.
.... Impressionists, according to Petrov? Vodkin satisfying?
vorilis formal knowledge of the law more (flowers). "Lost their
there was one simple reason: if I'm on the picture plane, IMAGE?
reflects, say, a white wall, I put red insulated smear?
Noah paint, against my will in this environment there Oz smear?
Le Nain. Why then, one wonders, to celebrate it by itself arises
phenomenon, daub of color in vain, the main thing - to deprive the viewer of the work
perception of this illusion, the more that these nuances are not the same color
to everyone? "9 Not surprisingly, in their picturesque pois?
framework of Petrov? Vodkin walked impressionism party. "

Now, in your own words -

In "Lemon and apple" Giotto's not. I'm talking about the typical Petrov-Vodkin, and that person is in one ocher, wear one color, if t e skirt blue, the other colors except blue, will not be used, concise, with no detail and realism, women are often snow-white scarf - a symbol of purity and innocence. Also characteristic pattern of folds of clothing. These techniques come from the early Renaissance fresco painting. It was early, as a simplification, a generalization of the devil faces, hands, feet in the high Renaissance disappeared, replaced by realistic.
That is, what took ST from Giotto, the color scheme in general and some shades, such as pink for the P-B, a typical dzhottovsky shade of pink, simplification, typification details - take a look at the feet of women with ST, a special tranquility characters, we can say the peace of mind.

Giotto's Red commanders and nude did not write, so give a similar picture is impossible. But now met Mantegna, very petrov-vodkinsky approach is the same dark ocher face, clean red, pink.
The fact that the Old Russian, Byzantine icons, and Post-Impressionists, the Fauves and their cult of pure color, too, had an impact on ST you have said.

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NATA NOVA, totalitarianism is still in the mid 30s, and neoclassicism flourished in the 20's, Picasso's Greco-Roman women in tunics, for example.

[Seriy]

NATA NOVA, totalitarianism is still in the mid 30s, and the neoclassical flourished in the 20's, Picasso and Greco-Roman women in tunics, for example.

[Peter]

Petrov -Vodkin was trying to be , and was a prominent muralist , hence his imitation freski.Kstati some researchers of his work speak directly about his borrowing of the " Bathing the Red Horse " by the ancient grekov.I at the same time borrowing from the French and Matisse's paintings in St. Basil Zlatovehnego in Ovruch - all contribute to the development of their own behavior in spite of its eclectic components.

[Кирилл Сызранский]

Сообщение от Peter; 1784163"

More recently, a hundred years ago, and perhaps even and twenty people who love art and has learned to honestly express their opinions, said by.chto we see the vulgarity, bad taste, disgusting manifestations of the basest and instincts in man.

That's exactly a hundred years ago, said Ilya Repin VII after visiting exhibitions of paintings, "the Union of Russian Artists".

Сообщение от Peter; 1784163"

Thank God this nightmare is over dnya.A the exhibition would be better and not vsponminat.

And not only remembered Repin, and publicly expressed by writing, "art critic. Letter to the Editor" in the newspaper "Vedomosti Exchange March 2, 1910.
Repin have seen a picture of Petrov-Vodkin's "Dream" a manifestation of the hated him dekadenstva, a challenge to the art, a call to realism.
The tone of the note, of course, was offensive to the Petrov-Vodkin, Maistre called him "an illiterate slave" and "ignorant."
Fortunately, in a polemic with Repin joined Alexander Benois in the paper "Speech" and L. Bakst in the same "Stock-Exchange Gazette" and stood up for Petrov-Vodkin, obyaseiv Repin and his supporters plan "Dream", its symbolic content .

"Dream" 1910, c /m, 161h187, RM.

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By the way, the influence of Italian Renaissance artists on Petrov-Vodkin: in "The Dream" is clearly (and in my opinion, deliberately) used the composition youthful Raphael "Dream Knight."


Raphael

"Allegory (Knight's Dream)"

c.
1504

Oil on canvas, 17 x 17 cm

National Gallery, London

[Кирилл Сызранский]

By the way, the influence of Italian Renaissance artists on Petrov-Vodkin: in "The Dream" is clearly (and in my opinion, deliberately) used by youthful composition of Raphael "Dream Knight."


Raphael

"Allegory (Knight's Dream)"

c.
1504

Oil on canvas, 17 x 17 cm

National Gallery, London

[DSF]

I agree with all at once . >
Local blue and red , pink complex , soft ocher and umber, "bright gold " phone - it's all color of the early Renaissance. Here you can see clear parallels . But the Renaissance , in turn, is based on Antica. But the plastic and style at it - our " Byzantine ." I would say that he joined the national and European tradition of the plastic of color ( the early Renaissance and antiquity ). It turned out interesting.
But the realists and the Communists it is, of course , zamordovali . He had a hard time , because its picturesque formula too conditional and those for the other .

[Кирилл Сызранский]

Сообщение от Peter

By the way, some researchers of his work speak directly about his borrowing of the "Bathing the Red Horse" by the ancient Greeks.

Which "Greeks"?

This is a strong St George on horseback - "St. George and the Dragon."