Razyskivayu of Mikhail Roginsky

[Кирилл Сызранский]

Glasha, of, you guessed it move, and I rubbed her. : eek:
Nothing now navayaem "netlenku" ...
(always have to remember who the "author" theme. Forswear after writing in topics in this party, but no, in the heat of polemic sometimes forget about the "hygiene ".)

[color="# 666686"]Posted 1 hour 11 minutes[/color]

Сообщение от Pavel

With Roginskii everything easier, here the net spin and swelling. He is an artist of the Moscow school today with all its kolloristicheskimi ailments.

As one wise man: Roginskii refutes the theory of the omnipotence of PR, as part of people's lives without him.

I am in a remote message advised Pavel have to listen to the opinion of colleagues on Roginsky.
After all, ask any Maitre and, as if he personally did not belong to his painting, get an answer, he is an honest painting.
Do you need a painting of some PR?
Even something as ridiculous a question to ask.
Already critics red door * placed next to the black square on the value of Russian art.
Already it is clear that about Moscow 60-90 years. people in 20 years had to be judged by the pictures Roginsky, as the Paris end of the 19 th century. judged by the paintings of Pissarro and beg. 20 th of Marche.
Already and forget about the Soviet Union, about Soviet life, but will simply look at the windows "Khrushchev, on figures of people at bus stops.
What is it PR? Not the scale of personality and creativity.
Creative Roginsky feat comparable to the feat of Van Gogh.
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*" However, when I was erofeevskaya exhibition, I was sitting under this "door", is kind of a simple woman and says: "And how is this horror?" I said: "This horror called "Red Door". And he thought: "Christmas Tree, how many times a day it opens and closes the door?" Why is it terrible? So until now and do not understand. "
Roginskaya. From the interview of Vladimir Levashov.

[Кирилл Сызранский]

Now besides the exhibition "Russian lettrism" in CHA, http://artinvestment.ru/news/exhibit..._lerrtizm.html
paintings Mikhail Roginsky can see in the same building in the State Tretyakov Gallery, The Art of the twentieth century.
There, in the permanent exhibition there are a few of his things.
On the fourth floor in the main hall-5 pictures:
on one wall of the "Communal Kitchen," "pot on white", "small ladle with a handle", "Phone". (Right to Left.)
And in another hall landscape "Pokrovskoe-Steshnevo.
And in the hall of the newest trends on the third floor of the 4 other things: "Red Door" and "Red wall"-on the left wall of the hall and "Green Door" and "gray wall"-on the right wall.
And here are some pictures that I just want to show again.
(The names of pictures in the signatures on the photos.)

[Glasha]

Сообщение от Cyril Syzransky

As one wise man: Roginskii refutes the theory of the omnipotence of PR, as part of people's lives without him.

Cyril, I do not know the name of this clever man, but his words - the clearest confirmation of my previous confessional message:
"himself" is - and even how - even if you are not burdened with any information, nor the significance of his "Red door", or especially, any PR

[Кирилл Сызранский]

Konstantin Sutyagin, artist: I, you know what annoys in art export - that it is precisely the claim to national sounding - this is what the West and perceived as "Russian Art". Given that the local front, for example, such things are not progressing. Its a demanding asking, sharper, see - and for a foreign context, such a simplistic pop quite normal, deeper, and they do not understand.

For example, painter Oscar Rabin - is now in the Tretyakov Gallery is his personal exhibition. The author has thirty years living in Paris at the Place Beaubourg, in the heart of where people are having fun - and paints in her studio barbed wire, a bottle of vodka, the newspaper Pravda and Soviet passport. As the Arbat for foreigners - hats with earflaps, balalaika and busts of Lenin. Very deep.

Given that another artist, his contemporary, who also lived in Paris - beautiful Mikhail Roginsky - was not quite need the European public. Because it is too complicated. Some Khrushchev, people in fur hats, stop, queue ... Well, okay it would have been condemned totalitarianism, humor about socialism - so in fact no, not funny ... It seems that this five-storey Khrushchev drawn even with love and affection ... As if he even is sympathetic to the people going to the factory?! I do not really consider them as hapless losers?! Is this could be? What did he mean by that?!

And the powerful deep artist was quite in demand "sophisticated European intellectuals." On the other hand has long been his paintings began to appear in Russia, and without much pushing, no art-technology - because it is too clear to us, his love is so clear to us that ugliness-moth and the people who have lived here a life and do not ask for it no special privileges and status. It turned out that Roginskii his paintings first managed to create not criticism, and epic. But it is only understandable to her. On the export does not work.

Dmitry RESINS, art columnist for "The News": In my opinion, the fact is that the aforementioned "sophisticated European intellectualism" (and not only in Europe) too openly put to the service of business interests - in this case, the art business. The question is not whether someone from the art that it is able to understand, but in fact it suited their concept as a trend. If you fall into excessive depth, you begin to perceive certain phenomena of art in all their complexity - then quickly fall out of the format. Actually, for this reason, in general prohibitively have a stable system of views, so you will not keep pace with the twists conditions.

The true manifestation of the national mentality are classified as "inflexible" artistic qualities that are difficult adapted to the needs of the average consumer. In my opinion, the example of Rabin and Roginskii says just this: the first is easy to build in the existing international cliche, the second should bother explaining to the public that she heard not really ready. Still, the intellectual power of the lobby is not infinite, you should not exaggerate it. Work Roginsky can stand up for themselves, contact with them in some of spectators is directly - and not only in Russian. Suffice it to several precedents, several high-profile purchases, and market conditions in relation to the heritage Roginsky can change for the better. Then, and intelligent services of the plot will become an avalanche character.

Fortunately, some internal resources of artistic works are able to overcome the limits prescribed trend. (c)
http://www.polit.ru/analytics/2008/1...nalnost_2.html

[Glasha]

Today is the day the memory of Mikhail Roginsky.

What newspapers 5 years ago:

BBC News - Culture - 06.07.2004
July 5 in Paris at 73 th year of life died Mikhail Roginsky - one of the most important Russian artists of the second half of the twentieth century. For nearly half a century, he enjoyed great respect in the artistic environment - not officious, and freedom-loving.

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It is called the founder of the national pop-art, but it seems that the scale of creativity Roginsky much broader scope of any direction. This became especially clear after the recent solo exhibitions of the artist in the Tretyakov Gallery and the Russian Museum. In exile, he created canvases that with ruthless certainty and dragging lyricism testified about recent Soviet reality. Not surprisingly, Roginskii in recent years sought to return to Russia - not personally, but his work. To some extent succeeded, even though our society is not immediately recognized in it a classic. Not all recognize now: most recently on State Prize committee did not consider it necessary to erect the artist laurels. However, for the history of this episode does not solve anything.

Time Roginsky still come.
Velimir Moyst


The newspaper "Kommersant» № 121 (2960) on 07.07.2004
July 5 in Paris hospice at the age of seventy-three years, died painter Mikhail Roginsky.

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It has long remained the most misunderstood of the Russian non-conformists.
Emigration (artist went to France in 1978) has not brought him international fame stars, but for how long removed from the local context. In Russia, Mikhail Roginsky was recognized only in recent years, his personalki went to the Tretyakov Gallery and the Russian Museum. Mikhail Roginsky even nominated for State Award, which he, however, not received, and the artist himself never sought to enter the establishment. But he became the winner of this year established the award "Master", which from this year's awards are an independent jury of art historians and art critics.
        For Michael Roginskii stuck honor, but an inaccurate definition of father of the Russian pop-art, thanks to the work beginning 1960. Then he created perhaps the first time in the history of national art objects - sawn from plywood and painted with bright red paint "door" with this pen and the same red "wall" with this switch. But in fact, Mikhail Roginsky was not a Soviet pop artist or a precursor of conceptualism, but perhaps that the last great Russian painter. And even his "door" and "walls" were in fact monochrome abstractions - life colors in them was far more important than anecdotal recognizability of the object. Roginsky questioned the very notion of the picture, as did conceptualist, but was not a conservative, believe that we need to observe fidelity to traditional crafts. He simply believed in the need to recreate the world of paint as a way to find an explanation and justification.
        In the Moscow studio of Mikhail Roginsky I got a child, my parents priyatelstvovali with the artist. The cellar was blocked up with not so much paintings as paint itself in a sort of primitive magmatic state: on the numerous palettes, easels, and even just on the floor of this towering stalagmites poluzasohshego pigment. The same landscape is constantly reproduced in the Parisian workshop of the artist, in which I ever visit again later. But Mikhail Roginsky was not at all a sort of natural, instinctive painter. On the contrary, he thought and spoke passionately about art, whether it be impressions from the regular trips to the Louvre or published in Russian Philosophy of Andy Warhol. In the history of art for him there was no overriding authority. By Joseph Beuys, Andy Warhol, Jackson Pollock and other living or deceased masters it applies to our colleagues, with whom he is in a constant internal dialogue, often verging even before the "quarrel": Mikhail Alexandrovich could suddenly get angry at this or that textbook artist, call him a scoundrel and a rogue to a few years later, "forgive" a fellow of art. Debate, which the artist had with his colleagues, never touched the painful fact of recognition and fame. Mikhail Roginsky and the West remained fervent nonconformist and bessrebrenikom and never considered "career" artistic category.
        Even having lived a quarter-century France, Mikhail Roginsky continued to draw the Soviet Moscow 1960-1970-ies: modular homes hruschoby, suburban wasteland, slushy streets, trams and red telephone booths long-obsolete models, the crowd at bus stops and submissive queue. But Roginskii remained faithful to "moth" is not because they believed that the so-laid by the Russian emigres in Paris: his paintings were not suitable for exotic souvenirs to foreigners. Just the world that in 1960 Mikhail Roginsky rescued from the Soviet escheat, expanding it into secure in its simplicity, the elementary unit of life - bread, a glass door, cooking, square tiles, - gradually began to gather together to take on the completeness of time and space, turning from painful personal experience in an objective aesthetic integrity.
        Thanks to Michael Roginsky Soviet Moscow has become the same fact of art that Paris or America Impressionist Edward Hopper, and turn took the firm of evangelical scenes Giotto. Other artists were subjected to the Soviet world deconstruction or mythologizing

- Mikhail Roginsky was the only one who managed to capture the world as a kind of timeless, enduring and free from ideological speculation authenticity.
b-Irina Kulik



7.07.2004 GiF.Ru
DIED Misha
It is another sad news. After Edward Gorokhovsky Michael died Roginsky. He was not only great, but the ideal artist.

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It so happened that I began to call him Dyadmishey. The point is that special reasons of contracting disease from stellar this great man was not, unfortunately. In the stellar list of missed, at the time of ones embassy foreign cars are not crowded at the door of his studio in Paris, he was in some kind of isolation. Most solo exhibition in the Tretyakov Gallery and the Russian was only towards the end of life, but the State Prize, he had not given. But critics and art historians unanimously awarded him the prize "Master".

By art, this amazing man had only one passion for the art itself. This lesson he never tired. Once I met Misha in the subway, he rushed off somewhere with a string bag. Gesturing in a Leninist, and the magnificent bald head gleaming, he started right off the bat - "I read your book. I really liked it. But I totally disagree!". He really was the perfect artist.

Such as Roginskii will be gone.
Andrei Kovalev

[Jasmin]

Edward Hopper paints America as a bystander, he is not present in his works, it's not there ... There is a skill, cold detachment and Crafts, from which emanates the emptiness inside, and goodness knows what else, loneliness can ... It is art not like it, I realized for myself.
   In the works of Roginsky there is something terribly aching and painful to me personally familiar to the pain of the memories of childhood in Moscow, metro lines and God knows what ... Roginsky within his works, he lives in them ... His art is all sorts of emotions sometimes very difficult, in any case, I have ...

[Кирилл Сызранский]

Сообщение от Jasmin

In the works of Roginsky there is something terribly aching and painful to me personally familiar to the pain of the memories of childhood in Moscow, metro lines and God knows what ... Roginsky within his works, he lives in them ... His art is all sorts of emotions, sometimes very complex, in any case, I do ...

Precisely describe, in my opinion.
When I first saw the painting Roginsky even confused somehow. And a little frightened, as though I had suddenly accidentally saw myself in the mirror or in-store audio /video in the hall selling TVs. Similar effect.

[fross]

Сообщение от Jasmin

In the works of Roginsky there is something terribly aching and painful to me personally familiar to the pain of the memories of childhood in Moscow, metro lines and God knows what ... Roginsky within his works, he lives in them. .. His art is all sorts of emotions, sometimes very complex, in any case, I do ...

Exactly the same memories there, even those who are in that Moscow had not lived.
Actually, I noticed that not taking an active painting Roginsky occur in people who are terrified of a return to poverty after reaching a certain level of material prosperity, those who considered the ideal beauty of the picture of life from glossy magazines, since Photoshop and plastics. Fans of this artificial, feigned, garish beauty.

[Jasmin]

Сообщение от fross

Actually, I noticed that not taking an active painting Roginsky occur in people who are terrified of a return to poverty after reaching a certain level of material prosperity, those who considered the ideal beauty of the picture of life from glossy magazines, and after Photoshop plasty. Fans of this artificial, feigned, garish beauty.

Yes, fans of "glamor" and sugary smooth painting hardly going to work ...

[voloviks]

Сообщение от fross

Actually, I noticed that not taking an active painting Roginsky occur in people who are terrified of a return to poverty after reaching a certain level of material prosperity, those who considered the ideal beauty of the picture of life from glossy magazines, and after Photoshop plasty. Fans of this artificial, feigned, garish beauty.

Those that forget natures nprodukt, in all its charm and flavors ... Roginsky permeated "scoop" - bottom, hollow, hopeless, Mazo-Socialist Realism.