why Obninsk and the museum? You and your family relationship with them any?
At one time friend of my father handed over to the museum work Stozharov, they called us, said, and then came to get acquainted.
As a result, in 1999 we did an exhibition there and became friends.
Now this museum is located 6 works by Vladimir Fedorovich and they make us an offer we can not refuse.
I can show only the quality of the photo is not very.
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Holst.karton.maslo. 63,5 x 49 1948
It can be seen in the CHA in December 2007 at the exhibition "Art of the twentieth century."
A story like that.
When I consulted with my mother that same gift to the museum, she suddenly said:
- Give my opponent!
- ?????
- We met this girl in Germany in 1947 where his sister went to her parents. My father worked there for two years, some military post.
Upon returning to Moscow, we met several times on our maiden Affairs and Volodya acquainted with her. He wrote to me and portraits of my friends. But I wanted to, he only wrote me. It subsequently turned out. But, because the house never have thrown away, this portrait is preserved.
Now I'm ready to leave her with him.
- A portrait of Zoe Claus?
- He was with her, hanging on the wall.
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Recently, the State Russian Museum in St. Petersburg held a youth conference on the scientific activities of the museum staff for 2008.
Below is one of the reports.
Impressionism in the work of VF Stozharov 1960
Russian Impressionism, which was formed at the turn of the twentieth century as a natural phenomenon in the domestic fine arts, in Soviet times, has not lost the creative relevance. Despite a fierce struggle with the art critics and at the same time, silence - it continued to exist, yet getting more and more distinct national circumstances. In 60-ies of XX century Impressionist direction along with the "severe style" has become one of the leading artistic currents.
Among the painters, in whose works again to rethink the tradition of Impressionism, was Stozharau Vladimir Fedorovich (1926-1973) - a talented artist, original, but still poorly studied and assessed at its true worth of art among the artists of his generation, in which creativity, by their own admission, he greatly influenced.
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As noted by artist I. Popov, Stozharau "never himself was not looking, he has a vocabulary of such words was not, he just did what he could not do. He had no doubt. That is why creativity Stozharov produces unusually whole impression. To such perception leads story closeness of his paintings, thematic and stylistic consistency throughout the art that, on the other hand, hinders the realization of its true complexity.
Early demonstrated a talent picturesque Wizard attracted attention in the mid 1950's, as soon Stozharau began to take part in the annual exhibition of young Moscow artists.
By this time he has already received a good education first in the Art School and then at the Moscow Art Institute named after VI Surikov, Stozharov consummated in 1951.
About this time A. Gritsay referred to as the "bloom, the rise of art school" when "flashed the names of many of today's greatest artists ...". Along with studying the future Stozharov known masters: G. Korzhev, V. Gavrilov, I. Popov, I. Sorokin, brothers S. and A. Tkachev.
It marks the opening of a new phase in the development of Russian impressionism. Their own view of this relationship, expressed S. Tkachev: "To impressionism, we are always treated as a fine tradition of our school of painting.
This continuity in direct teacher Stozharov - VV Pochitalov, former student "a magnet". This wizard has trained a whole generation of artists, quite unlike each other. During the years of study, they experienced a period of creative proximity teacher, but eventually came to their own language. Students, like teachers, rather than on themselves grieved Pochitalova. He tried to develop in each student his strengths, and that his work was justified.
Pochitalovu himself as an artist were not foreign impressionistic problem. He admitted that his life "" knowingly "trying to catch the sunlight."
The influence of this wonderful teacher of young artists formed a climate in which "everyone felt himself the heir of the great Russian art, on whose shoulders it will bear responsibility for the thoughts and feelings of people." Hence the spiritual strength and power of art Stozharov, which Pochitalov singled out among the students as one of the few, whose paintings can be called "genuine".
Himself during the country's history, when there was a flowering of creative artists of this generation - the post war period and the period of "thaw" - to direct their creativity toward moral obligations to the audience and to ourselves. And at the same time they opened the road to the picturesque freedom, which in the case of Stozharov manifested in full force thanks to his foreign travels.
The very first trip to Italy and France, committed in 1959 and 1960, helped to more clearly reveal the picturesque talent and talent of the artist's color scheme, accustomed as they said about him, to the semitones of the North.
In overseas trips Stozharau visited several times. They were and tourist travel, and creative business in different countries: France, England and Romania. But only trip to Italy marked a new and distinct phase in the creation Stozharov.
Of foreign works of the master, we know most of sketches, which only a few cases have grown into integral easel works. What makes these works is a matter best able to demonstrate that immediacy, which is marked by impressionism, and that we see, for example, in the sketch "Venice. At the channel "(1959).
Regarding "etyudnosti" as such, for Soviet art, this issue remains controversial. It is believed that only studies in the era of "thaw" spread "a kind of indulgence, obtainable for the Impressionists. Turning from sketches to work on a painting, a Soviet artist usually returned to a more academic style of painting. This greatly hampered the development of imressionisticheskogo direction. However creativity Stozharov goes beyond this reasoning. Looking at reproductions of his works, it is very difficult to determine what it is - even sketch or have a picture. So if he keeps the first direct impression, emotion juicy, pasty manner of writing. Working on sketches, Stozharau already thought whole image, lowered the secondary, thought through the choice of plot and selected parts.
As a rule, to create a finished product in the canvas by the artist to bring a small Etudes genre scene that we can see in the picture "Venice. Gondoliers "(1959). Stozharau said he was "not a supporter of images" uninhabitable "nature". It may well be attributed to the urban landscape. Who began their careers just to genre paintings, Stozharau during trips abroad comes to the impressionistic understanding of mixing genres. He wrote scenes from the life of citizens, thereby staining the canvas and emotional personal incentive spectator naturalness, authenticity of situations, neglecting the fable narrative. A friend of the artist, G. Dar'in, noticed that Stozharov was highly developed powers of observation. "He could ... just" copy "rights, artistically, with humor to depict any of its characteristic features in the pictures ... And his people alive, interesting, are, however, he met them in life."
In this paper, "Morning in Venice" (1959) Stozharau wrote a modest corner of the city, the Venetians going about their daily work, but if this viewer does not leave a feeling of harmony since the transience of life.
Following the Impressionists Stozharau refuses to academic conventions of light and shade conditional. With its bizarre combination, they communicate the work of the artist special rhythm and spatiality. In the Russian impressionism, unlike the French model, the creation of spatial images in the fragmented composition plays a major role.
Impressionists to the image fixed on its core architecture approached selectively. Their attention focused on cathedrals, bridges over the river, the boulevards, buildings of glass spire that is, all that easily changes its shape when exposed to light and creates the illusion of movement.
Stazharau, and this in the spirit of national artistic mentality, not only emphasizes the variability of the state as "concerned and burdened with finding meaning." Images of architecture, primarily buildings, attracted Stozharov as the embodiment of people's lives. Even in a series of works by Venetian artist does not write recognizable types palazzo, squares and cathedrals. It attracted the usual quarters, living their everyday, not the carnival life. Later, he just put it the property of their worldview, saying that he "wants to convey the beauty of the soul ... the people (...) appearance of the house in which they live, a way of land on which they walk." This thoughtful approach to the image considerably complicated stozharovsky impressionism.
Upon returning home, the first Italian impressions Stozharov was destined to be reflected in the landscapes of Russian town - Galich. By this, first and foremost, an artist led direct plot lines: a boat on the shore, bridges, scenes from the life of fishermen and picturesque water attraction. In the painting "Galich. Fishing Sloboda (1962), the artist depicted a panorama of the city, seen through placed for drying nets poles with crows sitting on them. This image is more similar to the Venetian master's works, which often comes to the fore the stakes for the berth gondolas. The Italian experience of steel for Stozharov momentum, which influenced the formation of compositional principles of the wizard.
At the same time, compared with the foreign cycle, Galichsky works with the apparent proximity of the plot, essentially growing sense of understatement, contemplation, in which the artist manages to emphasize the particular expression is of Russian nature.
During this period the artist's pictorial language derives its recognizable identity. Poetry and imagery of landscapes Stozharov are otherwise content. Appears in the perception of the wisdom of life. New impression was "drawn to the soul than to the eye."
Although in the first trip abroad palette Stozharov opened with new colors, on returning, the artist did not immediately applied it to the Russian landscape. A color system works Galichsky certainly picturesque, but fairly restrained. The artist needed a strong impression, something both innocent and will surprise no less Italian, southern nature.
And only the first trip to the Russian North in 1962 opened the artist and new themes, and new opportunities for the development of pictorial language, and for self-expression. It was a completely new stage not only for creativity Stozharov, which was for the generation of the sixties "pioneer" of the Russian North, but also for Soviet art in general. Hatched in the exhibitions of the artist on the villages of Arkhangelsk Region and the Komi Republic, contemporaries perceived as an unusually bright and even harsh. In these works we find the features, though not typical of Impressionism in his exemplary, French version, but to follow the line of Russian impressionism, which is clearly delineated in our museum's exhibition "Impressionism in Russia."
Landscapes Stozharov since that time suddenly lit up with "Italian" paints. Blue sky, yellow-green grass, burning in the sun beams houses, women in colorful skirts - in the "Karpogory. Well "(1962) - clearly express the" principle of multicolor, in which I. Grabar saw the main essence of Russian impressionism. Not a light task, not in etyudnosti, not instantaneous impressions, but in the decoration, which researchers later time will feature with the opposite meaning - it will refute impressionism on Russian soil. But for Grabar criterion of modern painting was life, which I saw in color.
Nevertheless, Stozharov have repeatedly pointed to his color, was reproached that he was too dark, that it "present blackness. By Remark E. Zverkov, "it can say only those who have not seen the northern houses, felled larch. They are actually the color of burnt Siena ... who so ably conveyed Stozharau. " Looking at the northern landscapes of the artist, remembered words about the works of L. S. Turzhansky critic of a verb: "In his black on landscapes of the sun more than the vivid colors of Zhukovsky.
It should be noted that Stozharov often compared to Tourjansky. This led them openly and love for the countryside, land, animals, their similar style of writing. But poetizatsiya Stozharov villages have had another in the spirit of the time, nature.
A number of paintings the artist has devoted village and provincial weekdays. For example, "Kargopol. Warehouses general store "(1964). This is not the farm holiday is not fair. But the canvases Stozharov even humdrum life becomes significant. It is both modern and traditional, though from the depths of centuries flowing under the walls of Old ensembles. Life is deep, blossoming, and in kustodievski bright.
Stozharov, like most Russian Impressionists, alien machines separate smear, although we can see its elements in the work of many artists from Grabar to Zverkov. The style of painting is Stozharov at first glance, the viewer returns to the long-familiar realism. But it is already based on a vision system.
Even without turning to Impressionist painting techniques, Stozharau skillfully used the coloristic possibilities for the treatment of the effects of light and air. The most impressive of its northern sunsets. One of the first, which opened in full force this issue, was painting "Village Mountain Shots" (1964). Sunsets Stozharau, of course, loved. According to Popova, "always prepared for him. For a long time choosing a point from which to write. It was in advance began to sketch in an hour and a half before sunset, but when it came to this fantastic colors ... quickly intervened complex mixtures in the already prepared sketch. Terminates in the dark, almost to the touch. And only the next morning watched what happened. "
During sunset, wooden houses, charming its silvery color, painted rays of the setting sun, they burn and glow. Knowingly Stozharau at such moments he loved to depict the sky, covered with opaque bluish-gray clouds. Thus, he solved the problem of representing for plein air painting of particular difficulty. Bright light does not add colors, it lightens them. Brilliance is inversely proportional to the light. And when the sky forms a dense background, objects, without losing a color saturation, become a source of luminescence.
Particularly evident mastery of the artist is in landscapes, on the northern night, the plot, which received its special development in the later work Stozharov 1970 with his growing romantic tendencies. In 1960 one of the best works on this subject is "Village Vazhgort. White Night "(1967). Here it becomes apparent how subtle color vision was an artist. In one tone he saw a lot of shades, from textured sought to smear the paint on the canvas the complex gradations of color.
During the White Nights, the artist worked for twenty hours a day. Not a single day of bad weather, when he did not. Yuri Semeniuk remembered that Stozharau "hid under the awning for the bathhouse was hiding on the porch or under an umbrella, but it worked without fail. This, he said: "In lousy weather etudes are good".
Rainy, gray days are held in a lot of scenic opportunities. Moist, as if the thick air, the glare of wooden planes, reflections and reflexes - the very nature of such moments sent to the Impressionist painter's vision in its domestic form.
With extraordinary subtlety written Stozharov etude "Serdla. Wet Day "(1969). The artist masterfully conveys intangible air, while avoiding approximateness, smear him as always verified and accurate.
Revealing in their work "iconic" approach to the landscape, Stozharau never renounced the study of individual houses, church or barn, they remain unchallenged for the artist semantic center. In the mature period of creativity, it becomes a major problem Stozharov painting - namely, the desire to join the artist's emotional painting, the freshness of experience with deep, thrilling his theme. Thus, gradually moving away from the following formulas Impressionism, Stozharau close to him.
"For centuries, people have written to Madonna, but for me these homes, as Madonna. I love them for their beauty, "- says the artist. Works where Stozharau scale writes a house, can hardly be called scenery. So individual and specific characteristics. This is the "Fisherman's House" (1965). It is obvious that the artist had no desire to capture photographically house. Both he and the talented portraitist, I wanted to find the image, one that would have passed his impression of this kind of model.
In these houses lived large indivisible family for several generations. Stability, regularity of village life allowed for a long time to keep the traditional way. And the traditional, patriarchal national consciousness which brings the epic tendencies in the Russian landscapes of the Impressionists, who preferred village contemplation noisy urban rhythm. We Stozharov these traits were expressed in some conventions, bringing the entire plot to the timeless, epic image, however, in the interpretation of which the artist remains a clear memory of impressionism.
Thus, considering the work Stozharov 1960, you can talk about the obvious features of both the problem of his work. In their quest for the object in its material concreteness and materiality Stozharau leaves "instrumental use" of impressionism. Artist sorry to part with it, because such features as the fragmentary composition, pure colors, lively, invoices smear - helped him in the house built on the canvas to breathe a sense of life.
Vladimir Stozharau, even that of his contemporaries, was among the first who managed to, quite honestly working through the method of socialist realism, to create a work not composed, for the implementation of the natural and true to his feelings. Impressionism, he had inherited as a living tradition of the Moscow School of Painting, was a way of contact with life. In his canvases at the same time sounds and the voice of nature, and the voice of the artist.
EV Kozlova, Researcher at the Department of Painting of the second half XIX - beginning of XXI century. State Russian Museum.
May 25, 2009
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Admire the works of Vladimir Fedorovich
wanted to know more about him as a book of art magazines without much research. I want to get a little work for yourself but scary.
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28.05.2009, 22:35
Линейный вид
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