«Figuration narrative» - «narrative figuration" - "Narrative Image"

[Тютчев]

Сообщение от K-Maler

It is particularly interesting to compare this with what happened with us in these years. In an environment of Leningrad's young artists interested in the poster was designated as a new form of creativity.

     In this case, appropriate saying: everything new - it is well forgotten old. The fact that the genre of poster Russian artists worked very efficiently throughout the 20 th century. Here are some quotes on this subject:

"In those years, unusual art forms arose spontaneously as a ubiquitous and lively response of the masses into a revolutionary situation. And at the same time they were initiated and directed by the Soviet authorities, since it serves to strengthen it and introduce the ideology of Bolshevism in the national consciousness. Each artist and local cultural center was operating, as they could. This explains the characteristic of the art of those years the sharp quality and stylistic differences and different attitudes to the artistic traditions, which defines a mixed picture of artistic life in the 1920's. And at the same time all its manifestations has undeniable spontaneously emerging community of style and originality arising from the uniqueness of the historical time. It was creative, full of energy utopian dreams, - faith in the imminent attack brighter future for all people on Earth. "

"The colorfully painted with agitation trains and agitparohody agitbarzhami, surrounded by a specific sound atmosphere, carrying with him the agitators and speakers fitted kinoustanovkami and theatrical propaganda team, covering the whole route many posters, newspapers and other printed products, reaching the remotest corners and played in those years considerable educational role in the devastated and divided country, almost devoid of other means of communication and information about what's happening. During movement and frequent stops, these colorful pockets of the "new culture" attracted universal attention, here songs and ditties, he spoke of consultations and on the spot to deal with practical matters. Immediately actors perform satirical and heroic representations on current topics, performed puppet theater with popular among the people resilient and all-conquering Petrushka. "

"In the decoration of the city, painting agitation trains and agitparohodov in bold exhibitions and other manifestations of" art poster-form "in the first years of Soviet power took part in almost all artists, regardless of their artistic direction. Many of them became prominent masters of art of XX century - Kazimir Malevich, VE Tatlin, MZ Chagall, Kuzma Petrov-Vodkin, B. D. Korolev, II Nivinsky, A . Osmerkin, AA Exter, B. Efimov, NM Kochergin, NE. Gerasimov, DS Moore, M. Cheremnykh, A. Labas, AG Tyshler, NA varnishes, IS and NY Efimova and others. Alongside them worked many obscure and forgotten artists do, which also made a considerable contribution to the art agitmassovoe early Soviet years. The names of some of them back from oblivion thanks to archival research compilers of this collection. "


Mterial extensive. Here's the link: http://www.plakaty.ru/

[color="# 666686"]Posted 20 minutes[/color]

Сообщение от K-Maler

Then it is no more so had not considered, it was believed that the order for the poster - it is only to earn about as it is now the order for "tourist landscape." Poster almost falling on the exhibition.

In my opinion, nothing wrong with that, the artist strives to earn there. Artist - a professional and he should earn by their labor. The state was still quite generous customer and that is not unimportant demanding. The quality of Soviet posters was very high even in the most exacting taste, because orders are often carried out by first-class artists.

[color="# 666686"]Posted 27 minutes[/color]

Сообщение от K-Maler

Information that is in Europe, not even infiltrated.

This really happened. Restrictions on free communication with colleagues, and indeed with people from other countries, have been a fatal mistake of Soviet power.

[color="# 666686"]Posted by 39 minutes[/color]

Сообщение от K-Maler

Leningrad new poster artist then barely penetrated and eventually managed to create a poster with the SC section, about 70 year.

     Bureaucracy forever! Nothing helped. Now, perhaps, even more difficult to break.

[Ухтомский]

Bernard Ransiyak (Bernard Rancillac)

Genus. 1931, Paris. French painter and graphic artist. Trained as a teacher of drawing, a few years engaged in teaching activities. Since 1957, with the acquisition of financial independence, gave himself up to independent creativity. In 1959-1961 he studied engraving skills under the guidance of Stanley William Hayter, creating a lot of graphic works.
In 1961 he became the winner of the Paris Biennale.
In the painting at first limited himself black, then created a series of "white" paintings on Fantomas (1962). In 1964, became one of the organizers of the exhibition "Modern Mythology", held in Gore. Museum of Modern Art and marked the birth of a new direction - "narrative figuration. In this association includes young artists who refuse for the sake of abstract reflection of contemporary reality in the forms generated by "mass art".
In the large-format paintings 1964-1965 reigns merry mess of numerous characters, outlined in the style of comics and cartoons of Walt Disney (Intimate Diary feet, 1965, Portugal, Shintra, Museum of Contemporary Art). Later Ransiyyak turned to current topics of social reality. A series of 18 paintings titled Year 1966 became a kind of chronicle of the political events of the year. In the treatment of such topics as the war in Vietnam, "Cultural Revolution" in China, a revolt of black Americans in California, the artist often resorted to project onto the canvas with color photographs, published in journals. Exaggerating the contrasts of black and white, until the loss of important details, artificial rigidity and flatness of the printed images, it represented not so much the event itself, how many ways it is processed in the media. The effect of double vision was amplified ironic inclusions promotional pictures and labels in a scene of violence, war and poverty (holy mother cow, 1966, private collection; Finally silhouette with a slender waist, 1966, Grenoble, Museum, Supplement to the dossier on the case, Ben Barka, 1966 , private collection; Blood comic, 1977, Dole, Museum), what is manifested Ransiyaka critical attitude towards a consumer society with its inherent standard image manipulation.

Lit.: Rancillac B. Voir et comprendre la peinture. Paris, 1991; Rancillac B. Le regard idéologique. Paris, 2000; Fauchereau S. Bernard Rancillac. Paris, 1991; Ferrier J.-L. Rancillac. Paris, 1997.
V. Kryuchkov

[Ухтомский]

Bernard Ransiyak (Bernard Rancillac)

[Ухтомский]

Bernard Ransiyak (Bernard Rancillac)

[K-Maler]

Сообщение от Ukhtomsky

In 1959-1961 he studied engraving skills under the guidance of Stanley William Hayter, creating a lot of graphic works.
In 1961 he became the winner of the Paris Biennale.
In painting first on a black

Thank you! Very interesting collection. Remark on "black" is also interesting, we have a very long attached particular importance to black. Mastery engraving valued. Is not the case, one dealer told me "schedule is difficult, something has changed ... You may be interested to know that will soon be a directory or something like review the history of these "new poster artist of Leningrad", then they and the industry attempted to chart something new to move ... Here, by the way, it is appropriate to say with regret that when "all gone", new relationships and got a computer, almost all of these artists were out of work. Stopped receiving orders, it was difficult to buy new equipment and to master it and the entire field of industrial graphics in the hands of those who sat at the computer, all the same with any art education ... SC in this respect have not done anything, but it seems that he could ...

[Ухтомский]

Telemachus Hervé (Hervé Télémaque)

Genus. 1937, Port-au-Prince, Haiti. French painter. Born into a wealthy family in the former French colony of Haiti, Telemachus, in 1957 he moved to New York, where he began to paint. In 1961, arrived in Paris, contacted a group of surrealists and some time participated in their exhibitions, presenting paintings, along the lines of abstract expressionism. In 1964, became one of the organizers of the landmark exhibition "Modern Mythology", which initiated the direction "of narrative figuration. Since then turned to the visual forms, stylized as a mass printed materials - posters, comics, illustrations in popular magazines (Sakvoyazh, 1965, private collection; Olympia, 1964, Paris, Gallery Louis Carré). In combinations of disparate images borrowed from advertising, sound reasons to protest against the police and military violence (Banana country number 3, 1964, private collection, one of the 36 000 marines in our Antilles, 1965, Brunswick Museum; capital income, 1975 , private collection). In 1973, visited Haiti. Upon his return to France, he settled on a secluded farm.

Lit.: Exposition Télémaque a l'ARC. Paris, Musée d'Art moderne de la Ville de Paris, 1976; Exposition Télémaque. Valencia, Centre Julio Gonzalez, 1998.
V. Kryuchkov

[Ухтомский]

In the works 1980-1990-X abandoned social criticism, focusing on the analysis of visual language (in the market, Clare, 1992, Paris, Gallery Louis Carré; Ang number 5, 1997, private collection).
After several trips to Africa, in 2001, Telemachus, presented a series of paintings entitled «Trottoirs d'Afrique».

[Тютчев]

Сообщение от K-Maler

Mastery engraving valued. Is not the case, one dealer told me "schedule is difficult, something has changed ...

    
This is a consequence of reduction of culture in general, and collecting, and visual culture, etc., in particular. Collecting and understanding of graphics, no doubt, with a truly educated and therefore capable of high differentiation of people. This is due to the peculiarities of perception, razvityx in the formation of psychophysiological predispositions of the individual. Simply put, not every person understands the schedule requires some effort, dictated by the intrinsic motivation and predisposition, supported from outside.
      Speaking even shorter, the graphics - it is an elitist art. Images, meanings and impressions are taken through the line and the point that for some poses certain difficulties. Graphics - is the foundation skill of the artist. To me an artist who does not work in graphics technology, suspiciously one-sided or not implemented completely.

[Ухтомский]

Сообщение от K-Maler

You may be interested to know that will soon be a directory or something like review the history of these "new poster artist of the Leningrad"

Interesting. In the late 80's - early 90's overseas exhibition catalogs published in Leningrad poster, but I am afraid that the selection of posters for publication carried an ideological nature and this could affect the objectivity in determining the best. And those it poster artist, of which you speak? Information is not enough. If you know more about them and have a desire to tell, tell us about them in my theme or topic "Russian Posters" http://forum.artinvestment.ru/showth...965&page=7
or in a separate.

[Ухтомский]

Ayo Gilles (Gilles Aillaud) 1928-2005

Gilles Ayo was born in Paris in 1928, where he also received art education. The artist's works difficult to determine within a style in art. His work belongs to the period-sided revival of figuration in the 60 years of the last century, the heyday of pop art and hyper-realism. Gilles Ayo worked in collaboration with the artists movement "narrative figuration" the Spaniard Eduardo Arroyo and Antonio Italian Rekalkati. He is equally well served as a draftsman, painter, theater artist, wrote poetry, full of bright lyricism. Ayo - virtuoso portraitist, but true, native of his poems, favorite characters - quadrupeds, birds, waterfowl inhabitants of sea and land. Their Ayo embodied with certain skills, followed by long years of live-work. Nobody draws so many avidly and persistently as animal artist, emphasized in the polemic fervor VA Vatagin in the notes about his favorite cause.
"Country Ayo" is divided into two unequal parts. First, a minority - is warmed by the sun expanse of Greek landscapes, all of whom once lived and worked as an artist. In another part of the "country Ayo" The sun gives way to a deathly electric lighting, warm stones covered with moss - the gray concrete, freedom - nilly. It is sad, even tragic "Zoos" artist, amounting to a huge series, work on which was stretched for many years.
Oppressive sense of "captivity of nature" is embodied in the lattices, iron fences, barbed thorns that restrict the space in a government indifference warning placards: "Please do not throw anything into the water!", "Do not feed the animals!". Especially here seem pathetic imitation of the natural landscape - the stumps trunks, shabby and dirty concrete "rocks". The only living part is the water flashing silver which are perceived as flimsy memories about losing their freedom.
It is noteworthy that very often exotic animals - elephants, monkeys, crocodiles, hippos - which further reinforces the idea of their disconnection from the mother nature.
But this cycle Ayo is not a caricature of the real European zoos. Modern zoos, including the place of honor is famed Vincennes Zoo in Paris with his masterly landscapes, reconstructions of various parts of the globe - this is important research centers, ever-widening circle of human knowledge about nature.
Images Ayo - a philosophical synthesis, a warning of how sad fate awaits natural environment, if the technology world, a world created by human hands, will not find it a common language.
... So live side by side in the works Ayo images freestyle nature of the Mediterranean and the images of "nature in captivity", the characters of ruthless attack world technology on the natural environment.
Sokolov