Soviet, Russian art 1930-1980 years

[Евгений]

Leonid Shishkin Gallery, painting 40-50 years.
http://www.shishkin-gallery.ru/collection_6.html
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1.Malyutina OS (1894-1979) Lilacs (1949). Canvas, maslo.140 x 100 cm
2.Bogorodsky FS (1895-1959) Flowers on the window. (1944) Oil on maslo84h68 see
3.Solodkov AM (1880-1953) Kolomna. (1951) Oil on maslo80 x 100 cm
4.Haimov JM (1914-1991) in Samarkand. (1950-e). Canvas, maslo.39 x 49 cm
5.Lebedev DV (1905-1987) By the fall. (1939) Cardboard, maslo.73 x 85 cm

[Евгений]

Leonid Shishkin Gallery invites you to the auction, which will be held on Saturday, February 28, at 15.00 in the gallery on Neglinnaia, d. 29/14.
The collection includes works by N. Gedenidze, N. Gorlova, Yuri Pimenov, V. Trofimov, F. Shurpina, D. Nalbandian and other famous authors.
You can buy the catalog and visit the pre-auction exhibition in the gallery from February 14.
Gallery is open daily from 12.00 to 20.00 on weekends - from 12.00 to 17.00.
Electronic version of the catalog is available on the website.

http://www.shishkin-gallery.ru/auction_20090228.html

[Евгений]

From 25 February to 24 May at the Museum Tsaritsino will open the largest retrospective of Arcadia Plastova. The project was named "Images of Russian life." It includes 250 paintings and graphic works created in the 1920 - 1970. The exhibition is created with the participation of the artist's grandson - Nicholas Plastova.
Plastov Arkady Alexandrovich (1893 -1972). Soviet painter. Honored Artist of the RSFSR, member of the Academy of Arts of the USSR (from 1947).

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was born (1893) in a peasant family in the village Prisloniha Simbirsk province, in 1914 he studied at the Moscow School of Painting, Sculpture and Architecture in the sculpture department.
In 1917 he returned to his native village, where he began to paint, constantly working with nature.
Since 1935 delivers a genre paintings, highlighted by the knowledge of life in the Soviet countryside, love of its people, way of living, beautiful craftsmanship ( "collective farm holiday", 1937, "kolkhoz herd, 1938).
In the works Plastova reflected test of the Soviet people during the Great Patriotic War (Fascist flying ", 1942), a patriotic work of women, the elderly and children on the collective farms during the war years (" The Reaping "," haymaking ", 1945, both paintings were awarded in 1946 Stalin Prize), the feast of elections to the Supreme Council ( "They're coming to the elections", 1947), the postwar rise of labor ( "The collective farm talk", 1949, "Dinner tractor", 1951), the Russian village life ( "Spring", 1952, "In the summer , 1954). It is also widely known wide public painting "Spring". Main heroine picture was nicknamed "the Northern Venus."
Brightness and emotional design distinguish Plastova work in the field of illustration ( "Frost, Red Nose" by Nikolai Nekrasov, 1948, "The Captain's Daughter, Pushkin, 1948-1949; works of Leo Tolstoy, 1953; A story . Chekhov, 1954, etc.).
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Proceedings of the artist's work:
AA recovery. By the 115-th anniversary
Arkady Plastov born at the end of XIX century - the Golden Age of Russian culture, on the eve of the silver age, its sunset, nostalgic, farewell gleam of the inevitability of future change and disasters ... He came into the world during the life of Tolstoy, Chekhov, Levitan, Surikov, Serov, Vrubel - future teachers of life and idols in the art. Maybe that's why that invisible thread of life-giving, called tradition, despite all the stretches in his work until the last quarter of the twentieth century. Simbirskaya his native land, which gave Russia a lot of brilliant names, including Karamzin, Goncharov, Languages, was rich in countless shrines, temples, mansions ...
Plastova grandfather and great grandfather were painters. According to the project of Gregory Plastova grandfather, artist, built a temple in Prislonihe, in the village, where the future was destined to be born an artist. It was in the temple, looking at the work of icon painters, renovate grandfathers painting, he chose his life path. "Fascinated, I stared wide-eyed as among the rosy clouds sprang some winged handsome giant in chlamys color of fire, and my heart sank shaken by spasms of inexplicable enthusiasm, sweet horror. Immediately I was taken with his father's word that he would buy here the same powder, soda, and I imagine these red, blue, gold, fiery colors, and then going to a painter, and no one more ...

Images of the motherland and the people organically entered his mind in childhood and merged with the legacy of the great artistic traditions of Russian art, becoming the unshakable foundation of his work.

"At first I was particularly struck GVARDIYSKE Berendei, warriors, archers and Surikov Ermak. My sisters were married to the peasants, and so all these matchmakers and Shabrov, power guys on our streets, lingering mossy old and hard, dense, as Gatepost, undistinctive looked at me with these paintings, as if alive, is long familiar. And since then more than anything want to write as soon as this is infinitely dear to me as I can remember the village world. Since that time I became endlessly depict all kinds of heroes, goblins in the stables, horses, bogomolok Repin's "Religious Procession", the corners, which taught to see Serov and Levitan ... The more I became acquainted with the things the Wanderers and then Serov, Wrubel, so more and more strengthened in their love of rural nature and its inhabitants, for their work, joys and sorrows, all their life, manners, habits.

According to her parents' Plastov received education in Simbirsk Orthodox theological school, and then in the seminary. But he did not become a priest. Early demonstrated artistic talent, lessons from the remarkable Simbirsk aquarellist DI Archangel, artistic atmosphere of the provincial Simbirsk, to which dokatyvalis wave turbulent artistic life of Moscow and St. Petersburg, finally determined his further journey through life. Having received the blessing of their spiritual mentors to serve the fatherland as an artist, and the money of patrons from among the provincial nobility, he went to Moscow to take the examination at the School of Painting, Sculpture and Architecture.

He had excellent teachers: S. Volnukhin, Pasternak, AF Fedorov, A. Korin, A. Vasnetsov, A. Arkhipov, Stepanov. Communicate with these masters, personifying the living tradition of Russian art, of course, was very important for the young artist. But the main school for him was the Tretyakov, Shukinskaya Gallery, the exhibition "World of Art", a brilliant constellation of artists: Serov, Repin, Wrubel, Surikov, Borisov-Musatov, Korovin ... "Here I am face to face with bogami and miracle-workers. Can you describe these supernatural experiences, it is bliss, from which I, strong as she was, a guy in 19 years, choked and barely standing on his feet. Whether or swear words, which were given to these mysterious and powerful creations of genius. "
Religious education, from childhood perceived Orthodox culture and liberal education shaped his personality helped to keep themselves and carry out their mission in the most dramatic moments of life. Christian worldview, delight and reverence before the majesty of God created and defined his creative method of the artist - to portray the world in the forms in which the Creator has revealed it to us. This will be with him all his life.

"I am today, when I got up after work on the latest sketches and looked around at the precious velvets and brocades of the land on the glowing gold ringing sky, the violet silhouette of the huts, and all that shroud the universe, embroidered like fingers of angels and seraphim, so again, in which all times with more conviction thought that our Iconographers only in this feast of nature drew all the incorruptible and truly heavenly music of their buildings, and we do nothing, if not to follow only those paths to beauty. "
Biblical motifs, knowledge about the church service and love for the Orthodox holiday will be for the artist a natural source of many stories and songs.
A born painter Plastov studied at the School of Painting, Sculpture and Architecture in the sculpture department, wanting to explore the sculpture "along with painting, so in the future is to have a clear idea of the form. Years later he wrote in a memorandum to one of his sculpture projects: "Just like music or literature is without words and the sculpture before a verbal explanation, and their shapes, architectonics of the masses and the rhythm of the lines should arouse in the spectator corresponding ideological intent mood . Otherwise, what the hell to kill a lot of money when such a powerful means of influencing the spectator per capita as an art form, will be in contempt, and remains one of literature the recognition of a monument, not enough impact without thundering voice of sculptural art. "

In the fifties, in a letter to the sculptor M. Manuilova he wrote: "The monument - it is not sculpture and architecture, mechanical joints and very often are a most absurd of the monsters of the human imagination. This monument - this kind of product architecture and plastic art, music pure forms, where the architecture is cleared of utilitarianism, combining with the sculpture, reaching here in this union the limits of their expressiveness, give way limit the power and vpechatlyaemosti. In paintings Plastov pas throughout his life conceived as a sculptor. Accuracy of drawing and sculptural paintings of his portraits, particularly voluminous picturesque masonry paintings indicate this fact.

Work on the perfection of form will be the main creative principle of the master. More than ten years of focused, solitary work in the country, coinciding with the post-revolutionary years, when, as he thought, for he had no place in the capital's artistic life, have polished his talent and helped to understand that he had received from their teachers. The first pictures Plastova appeared at exhibitions in the mid 30-ies, immediately put his name in a number of the first painters of the country. This incredible soaring nothing could prevent - or at Prislonihe fire, which destroyed almost all the writing until 1931, nor the lack of work, home and workshop.

"I think now - the artist wrote in 1935 that close to an hour in my life, what happens in the springtime at the dam. In a tight and powerful Ridge springtime water distributed to the sides are faded tatters of ice. No longer the dirty feet do not dare desecrate the swelling power and liberty of living fairy element. Mute and severely it comes to obstacles. Quickly and helpfully raise closures, and now and the roar and roar and roar and foam flashing crazy gigantic forces, which gained sudden access to the space ... I now feel with special force in a ferment so this wild elemental forces, such as the need to physically express it. Not violent technique, plot, where human flesh would be shown with all its fervor, in the limit of tension and truth. I see caricatures, forms and colors, rich with passion and rage, to close with all the sugary decency, they roared and howled to heart-rending voice. "

This picturesque full power of the thirties, where the plot as an excuse to use up the picturesque content. By the jubilee exhibition «XX years, Russia Red Army Plastov paints a picture" Bathing of the horses, filled with intoxicating power of life: the naked male figure, sparkling grits horses are arranged in a sparkling element of water and sun, reflections, shadows and highlights.

Painting "The collective farm holiday" (author's name "Harvest Festival") was conceived as a group portrait of the Russian peasantry in the abundance of types, camera angles, the local compositional and color decisions. "I did not try to separate components of the composition to sacrifice any particular moment. I, on the contrary, like all mixed up together to confusion, and it's funny, even after prolonged consideration ", - wrote the seams. Still life of plenty, no corresponding half-starved life then the village - is an abundance of earthly gifts, what could and could give his native land, life-affirming triumph of truth over the picturesque destroys it a reality. And as a symbol of this reality - hoisted above a portrait of the leader. Artist instructed to put the portraits of the Politburo, which, of course, would ruin the picture in artistic terms. And then Plastov said: "There will be one, and let them try to say that it is not enough!"

Plastov always lived a life of its people. And then, when the rights of the most literate person in the village was for many years for their fellow villagers counsel, intercessor, counselor and comforter to the relentless force of a new order in post-revolutionary years, and then, when I wrote the last portrait of the Russian peasantry, this is down from the historical scene becomes Ridge State of Russia.

Great Patriotic War he perceived as the perceived Russian people since ancient times the invasion of the enemy - as the greatest people's misfortune, and how heavy a common cause. "... Went by something excessively savage, unspeakable cruelty, that it was hard to even really comprehend and understand, even with great effort of thought and heart, and that inevitably approaching, all of this quiet, beautiful, sinless life, nor the innocent that all of this forever from the face of the earth to sweep away without a trace of mercy live their lives forever. We had to resist, not thinking about anything else, I had to scream out loud ... He had to face this monster show in all its stark ruthless revenge appearance "...
Painting "The German flying" shakes and will brandish surprising, almost paradoxical views of the artist on the essence of war - the death of the boy in the middle of the quiet beauty of peaceful nature. In 1943, this painting hung in the halls of the Soviet embassy in Tehran during a meeting of the heads of the three great powers, where it was a question of opening a second front.
Hymn of the people-picture winner was in 1945 "haymaking" and "Harvest".
"Before me there was the one stubborn inflexible Russia, - he would write about the" Harvest "- which in any position and always finds a way to fulfill the established history of any problem.

In "haymaking" the artist creates an allegory of the endless summer, joy, happiness, throwing all the flowers of their homeland at the feet of the winners. "Rejoice ... everyone leaves Rejoice - ended in death, life began ... "

Like the masters of the Renaissance, Plastov was an artist-wagon. There was, perhaps, in an art industry, in which he had not proved himself. In the hungry twenties he made a living farming posters, and reached this perfection. Throughout his life, he illustrated the works of Russian classics, finding, perhaps, the only opportunity to express themselves freely. "I'm trying to build a Chekhov on paper without any voluntary and involuntary of accommodation, open heart to heart, as they say, honestly, not lying, all that I have seen, known and loved since childhood, and I can see, know and love so far. For me, Chekhov charm and inexhaustible, like life itself, and I can not resist the need personally to show their power that the absolute truth of life, that extraordinary gospel truth sincerity with which Chekhov was searching for that truth to life, and what he is so similar Pushkin and Tolstoy, and that fascinates invincible.

After Pushkin Plastov is in grasping the historical truth and artistic landmarks of national life. Back in the twenties, having gone through the confusion and horror of civil war, riots oppressed peasantry and their brutal repression - this relentless dialectic of fratricide and devastation of the country - he conceives a picture of the Pugachev uprising. Pictures "Russian revolt, senseless and merciless" translated into sketches and songs throughout his life. It is for this painting were created well-known portraits of men today. "All the innumerable details about the Pugachev rebellion are sharp and deep interest for me, even a cursory and rapid viewing. I still think that, going through all that the genius of Pushkin found it necessary to review before starting the history of the Pugachev rebellion, I perceived more and more clearly what I want hard to find in this awesome epic and vague. " (From a letter).
Artistic tradition, perceived and reflected in the work Plastova varied. His teachers were Titian, Veronese, Franz Hals, Goya, Millet, the Impressionists. No longer a young man first arrived in Italy, shocked her immortal, countless treasures, he wrote: "This riotous bloom, a gurgle strength and purity of the Renaissance, we find it hard even now to admit existed - so far we've come to the rational activity. And all this time, it was embarrassing and painful to look in the eyes of these righteous brilliant, tireless workers, not stirred his dazzling art of a single drop of banality or tedious irrelevance.
Aware of his high destiny of the artist, Plastov remained loyal to him all his life: "Maybe I would feel to be old and deeply worrying, as in the days of their youth fragrant breath of art, in whatever form and who is not apparent. Hardly a soul, I feel this is a subtle, fragrant breath of the beautiful, by God, I do not myself turning into a fitful, as though I was seventeen years old, and though my whole life ahead, and I will soon, soon will see the Tretyakov Gallery, Moscow, St. Basil Cathedral, Tsar Bell, Iver ... - All of Russia, native, great, invincible ... "
T. Plastova Cand.Phil.Sci

[Евгений]

March 25, 2009, Gallery SOVCOM, at 19:00 at Moscow, st. Shchepkina, 28
http://sovcom.host.ru/index.php?cate...t=1&page=5
Many interesting works (including members of our forum Andrei Lysenko lots 84,85. Art_Lyss)
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1.Katalog auction.
2.Nazarenko TG (Lot 66) in the teahouses.
1966. Tempera on paper. 40h57 50000 rub
3.Nazarenko TG (lot67) Bride.
Tempera on paper. 58h40 50000 rub.
4.Romadin NM (Lot 57) At home Esenina.
1960. Cardboard, oil. 24h68 200000 rub.
5.Golikov VV (Lot 17) in Shanghai.
1957. Cardboard, oil. 23h35 10000 rub
6.Golikov VV (Lot 15) Chand Zhou.
1957. Oil on canvas, oil. 25h34 12000 rub.
7.Lysenko AS (Lot 84) Rose and fruit on the veranda.
2007. Oil on canvas. 30h28 15000 rub
8.Lysenko AS (Lot 85) Still life with red tulips.
2009. Oil on canvas. 80x70 100000 rub.
9.Uspensky BA (Lot 102) Ballerina.
Paper, mixed technique. 80x60 25000 rub.
10.Ossovsky PP Dawn over the River.
1973. Cardboard, oil. 75h53 300000 rub.

[SergeiSK]

Eugene,
Zhenya! Maybe a separate topic about the auction Sovkoma do? It is easier to ...
Ossovsky the same size and year, but in my opinion better, ready to sell twice as below

[Евгений]

1.Krylov PN (Lot 131) Zamoskvorechye.
1960. Watercolor on paper. 13000 rub.
2.Nechitaylo VK (lot176) Rostov Kremlin.
1950-60-ies. Cardboard, oil. 23,6 x 70, 2 120000 rub.
3.Popov IA (lot195) Horses on the stubble.
1957 Paper, oil. 46h64 110000 USD
4.Infante-Arana F. (lot240) From the "Suprematism game"
1968. Photography. 28h29 40000 USD
5.Vechtomov NE (Lot 244) Moon over the Oka.
Gouache on paper. 35h55 6000 rub.
6.Vechtomov NE (Lot 245) Composition.
1964. Paper, ink. 29h40 15000 rub
7.Vechtomov NE (Lot 246) Oak Grove.
1950-60-ies. Paper, mixed technique. 36h48 5000 rub.
8.Povzner LA (lot241) cigarettes.
Paper, mixed technique. 60h76 20000 rub.
9.Vasilev UV (lot243) Light at the end of the tunnel.
1970's. Oil on canvas, oil. 90h54 10000 rub.
10.Zaklikovskaya SL (lot238) Song number 112.
1930. Paper, ink. 37h35 25000 rub.

[Евгений]

Sergei topic: "Soviet art as a collectible object" .. here ...

Сообщение от SergeiSK

Ossovsky the same size and year, but in my opinion better, ready to sell at two times lower

Show me, compare ....

[SergeiSK]

Сообщение от Eugene

Here we show comparable ....

Photos of course terrible, I'd perefotografirovat ... Price today $ 4500.
http://forum.artinvestment.ru/showthread.php?t=9325

[Евгений]

Сообщение от SergeiSK

photo of course terrible,

Live, of course, looks better ..
Sergei, Ossowski good and the "SOVKOME" and you, I still have two jobs Nazarenko, TG like, cool things and inexpensively.

[danvik]

Maybe off topic but I show graphic Zaklikovskaya which is sold on Sovkome and not one of her daughter has not confirmed that and said that on such topics, she did not draw.