NICHOLAS Belyanin . Lyric Russian landscape.
( the 120th anniversary of the artist)
"Spaces opened without end. Of meadows dotted with groves and water mills , were green chenille and dense forests, as the sea mist , far overflowed .
Of forests , through the misty air, turned yellow sands. For sands lying on a distant ridge of chalk hills sky , dazzling whiteness shone even in rainy time , as if lit their eternal sun ... In short , I could not stand on the balcony indifferently no guests and visitors, and after some two hours of contemplation , he published the same most exclamation, as in the first minute : "The forces of heaven wide expanse ! " ( Gogol . "Dead Souls" , Volume 2 minutes ) .
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The poetic delight in the image of Russian nature , reverence for its unique beauty are present in almost all the works of the great Russian writers. And in landscape painting inspired a generation of Russian artists. Working on the landscape , Polenov, Savrasov , Shishkin , Levitan - they all felt it on itself beneficial , healing effect on the human soul, which has an untouched wilderness . Dostoevsky wrote: " What happiness for our people that such a huge number of nature is our people and how it should affect a healing for the moral health of the people."
Creativity Nikolai Yakovlevich Belyanina selflessly love in their native space , Russian artist , is in the same blood relationship with the origins of the national Russian school, which nursed and nourished so many wonderful , world-renowned artists. Nikolai Yakovlevich Belyanin , Honored Artist of the RSFSR , professor, was born February 12, 1888 in Nizhny Novgorod in the family of a petty clerk River Transport , a native of the peasants. Childhood and youth passed on steamboat landing , where, because of extreme need in the family he had during the summer holidays to earn money , " Grade ", that is to put on the boxes numbers and addresses of outgoing cargo .
In Nizhny Novgorod , as in many large Russian cities , among the local intelligentsia existed strong, which developed over the years , the tradition of common culture. So Rod Koli Belyanina to draw quickly found his mentor . His first teacher was the Nizhny Novgorod artist and photographer enthusiast Andrei Osipovich Karelin . Living in 1866 in Nizhny Novgorod, he contributed greatly to the development of the cultural life of the city. In 1869 founded the photographic establishment and simultaneously an art studio studio (later - the school of drawing ) , where he taught until his last days.
In 1906 , earning a fine job drawing lessons and a little money , Nicholas Belyanin went to Kazan and entered the Kazan Art School " unto vedenii IMPERIAL Akademii Hudozhestv " was then a major center for the training of young artists. Kazan school had excellent teachers , and when in 1908 there still moved and P. Benkov and NI Feshin value Kazan school has grown even more . Belyanin later recalled: " His ( Feshina ) leadership as a teacher and work as an artist made a lot of excitement in the life of the school and gave us a lot - his disciples ."
In 1912, Nicholas received Belyanin school certificate and awarded the title of teacher of drawing , sketching and calligraphy in secondary schools , and (especially important for Belyanina ) with the right income ( without examination ) in the Graduate School of Art at the Imperial Academy of Arts in St. Petersburg. Nicholas Belyanin exercises its right, and in the same year entered the Academy .
In general classes Belyanin studied under PY Myasoedova and VV Belyaev. But the most important was the influence N. Dubovsky , landscape workshop in which Belyanin passed spring 1914. Nikolai Yakovlevich recalled that in the studio he Dubovsky , besides sketchy work, a lot , he studied composition and perspective - mastered space. " He studied in addition to the works of the Barbizon school and our Russian masters such as Shishkin , Vasiliev , and in particular , Levitan ."
The First World War interrupted his art education Belyanina . In June 1916, his call for military service and sent to third Peterhof school warrant , after which in November of the same year sent in Vyatka in the 106th Infantry Regiment reserve junior officer on the platoon commander .
Later in his autobiography two dry lines: " In November 1917, was dismissed from service due to illness . In the autumn of 1918 he entered the school teacher of drawing in Sovetsk Vyatka province . " However, family traditions that dashing revolutionary times to disperse the old way and foundations , almost black large fan touched the very life of the young ensign.
Nikolai Yakovlevich Belyanina , humble in dealing with people , knowing how much a pound Down and Out in the regiment soldiers loved and secretly patronized . So when did not come "revolutionary justice" , and soldiers' committees began to chase the "officer" , one evening Belyanin just written off stock, stole two soldiers from his platoon and is strongly advised to leave the same night of the parts. Nicholas Belyanin certainly felt attitude of ordinary and just because they trusted . And the next morning in parts began shooting ...
But destiny has prepared the young man another terrible " date ." When he had cut shoulder straps , sailed on the ship to Nizhny Novgorod , one of the piers on the deck rose company dryzg drunken soldiers , who began to " sift " passengers for belonging to the "enemies of the revolution." Officers and civilians suspected bayonets drove ashore and immediately , even too lazy to walk to the nearest ravine , shot in his eyes, petrified with terror of women and children .
Do Belyanina load instinct - he curled up on the deck roll, pretending to be drunk . Then , always with excitement , he peresskazyval family as loudly booze , approaching , boots, kicked as demanding to get up and report who is one . What Belyanin without opening his eyes , only swore obscenities . Taken aback patrol silence for some time staggered , then one of them said it , not hiccup " Friendly ! " Death again and passed .
Several months Belyanin taught drawing at school in Sovetsk Vyatka province , and in March 1919, was drafted into the Red Army on the non-combatant service in the reserve regiment in Volga Vyatka . But in September, again dismissed for health reasons, and continues Belyanin teaching work in the Soviet .
Only in 1921 he managed to return to the Academy of Arts.
Instead deceased N. Dubovsky landscape class manages AA Rylov . In November 1922 Belyanin rents thesis and finishes the Academy , and in December he moved to Moscow .
" In art , - says Belyanin - then dominated by the so-called " left " formalist direction. In contrast to the formalist - cosmopolitans , deny the value of the heritage of great Russian artists, a group of young artists-realists then united in the Association of Artists of Revolutionary Russia (AHRR ) . Sharing their ideas and fully owned by the school to the realists , without hesitation , I went into this union . "
N. Belyanin exhibit actively began in 1923 ( the fifth anniversary exhibition of the Red Army ) , followed by
AHRR exhibition "Revolution , life and work" ( 1924, 1925 years), "Life and life of the peoples of the USSR" ( 1926, 1927 years) .
Since that time ( 1923) Belyanin already working as an artist for the contracts and participates in all exhibitions AHRR until the liquidation of the Association in 1932 in connection with the formation , uniting all of the Moscow Union of Soviet Artists ( MOSSH ) where Belyanin and enters .
The main theme of creativity N. Belyanina becomes landscape . In 1925 Belyanin taking a trip to the Urals village Turgoyak located at the mountain lake of the same name . For four months he wrote many sketches and paintings : " In the back (the Urals ) ," " Hamlet Turgoyak ", " Old Yard ", " Evening at the lake Turgoyak ", which became the first " reporting " of young artists to the 8th AHRR exhibition in 1926.
Beauty Wildlife , the extent of " pristine land " to produce Belyanina so impressed that later, in 1929 , he again comes to Turgoyak wrote several works , one of which ( "Lake Turgoyak ") acquires State Tretyakov Gallery .
In 1927-1928 gg followed by a trip on the river Vyatka, Oka , Volga. Among the works of this period can be distinguished film " Volga , stormy day " in 1928 , as shown in the 9th exhibition AHRR in 1929 Volga landscape in stormy storm symbolically combines two elements - a dark , swirling the dregs of sand and silt , and a black Volga thunderstorm storm came down from heaven . It still felt experiments with color , but the transfer of spatial depth is flawless . Nikolai Yakovlevich Belyanin subsequently become one of the most respected specialists in the teaching of " aerial perspective " to him for advice will appeal even from abroad .
1930s - 1940s wholly given to creativity and participation in exhibitions. Belyanin finally defined his genre and landscape painting from seeking the highest expression of feelings . He is committed to the classical school : Every sketch begins with drawing , drawing general , without going into detail . The object itself does not lie at his feet , and is seen directly ( without turning or lowering the head). Initially Belyanin writes a thin layer , not much loading canvas . Then, with the detailing , " weld " the paint begins to bright , bright spot , moving gradually to the midtones and shadows. First , usually writes the ground, and then, when the study is registered , binds all the tone from the sky. In papers Belyanina sometimes noticeable roll with Byalynitsky-Birulya , sometimes with Levitan , but always it is very personal , very poetic sense of nature .
Along the Volga , a huge place in the artist took the suburbs. Abramtseva scenic surroundings , Svistukha Bykovo - like pearls on a necklace interspersed these works captivating subtle poetry central Russia .
Summer and autumn landscapes are very diverse : it is sunny and cheerful ( "Rye" in 1948 , "The Bright May " 1961) , the piercing thoughtful , then anxious, as happens mystical light and anxious feelings before the storm (" Before the Rain ," 1960 ) .
One of his frequent subjects - sunlit snow downwind distance track and footprints on the road. But with a special love Belyanin wrote early spring with thawed and babbling brooks first (" Spring has come ," 1949 ; " Windswept vernal rays " , 1955 , etc.).
Characteristic of his diary entry made March 3, 1961 " : " Spring. The snow melts in the yards , the revival of sparrows ... The day before yesterday went out of town with Lida . There's a lot of snow , the river is not frozen and flowing, darkening of pristine white snow. I want to write on location. Should go the other day ! ".
Nikolai Yakovlevich loved nature studies of small size - 25x30 cm 14h20 and see even less. In 1936 , 1937, 1938 , 1939 , he writes a lot of stories in that format. Recently, it was not accepted compare creativity with the works of Soviet artists ' famous immigrants , "but a huge legacy of small sketches Belyanina ( cardboard , plywood , thin board ) certainly in tune with the work of Ivan Pavlovich Pohitonova - original Russian artist, master of miniature paintings . In these " small forms " Belyanin creates a cohesive sense of the nature of such completeness composition conveys a sincere state of mind that these studies, by themselves, are certain works of art. " Path in the field ", " Fog ", " Spring Forest " - it's all little gems of painting.
Nikolai Yakovlevich was an excellent teacher , an expert aerial perspective . Until 1941, he taught painting at the Moscow Art School. After the war, in 1905 - at the Moscow Institute of Applied and Decorative Arts, where the recommendations and George Alexander Gerasimov Ryazhsky him in 1949 was awarded the title of professor of painting. In the last years of his life (1952-1962 gg.) Nikolai Yakovlevich worked at the Moscow Higher School of Industrial Art (former Stroganov) .
Belyanin and colleagues reputed unquestioned authority . Artist VN Perelman recalled: " All our lives we have lived together for Scissors . I remember how often we artists went to him. He has been a great connoisseur of prospects. And when it tangled , we walked over to him, and he willingly reduce a patient our brains . It was a master in the truest sense of the word , armed not only tradition , but also the ability . He is one of the few possessed the secret Valerno painting. "
Works NY Belyanina extremely highly valued as professionals , art historians, and art lovers . His work - in major collections: the State Tretyakov Gallery, the Russian Museum, the museums of Kaluga, Perm , Kirov, Yakutsk, ¬ Chelyab binska , Astrakhan, Saratov ... Generally , Russian classical landscape among connoisseurs of art has always been considered absolute value. Therefore, with regret studying lists , lost during the war of 1941-45 . , Paintings from the State Russian Museum. There are mainly landscapes , and even such masters as A. Bogolyubov, Dubovsky , J. Clover , I. Krachkovskii, Kuindji Levitan . More works of the early 20th century : Vereshchagin , Vasnetsov , I. Drozdov, Korovin, B. Kustodiev . Made the list and " Summer afternoon " Belyanina N. ( 1933 ) (inventory number 7 SB ) . Probably the paintings Belyanina distributed KHUDFOND the galleries of the western regions of the USSR , could be in Germany. Otherwise, how could they , at times, to appear in European auctions?
Another , very important , you need to say about this artist. Nicholas Belyanin was not only a remarkable artist and teacher who left the clearest imprint on the heritage of classical Russian landscape, he throughout his life remained impeccably honest and humble man .
On the evening in memory of N. Ya Belyanina in 1962 , gathered his colleagues and students . Were E. Katzman , P. Bogachev, Perelman , A. Wolter , GE Lvov . Almost all noted one important feature Belyanina creativity : in landscapes he first seeks to convey the mood , the experience of the person, his work is characteristic of lyric that was inherent Savrasov and Levitan . A critic and scholar Belyanina Alexander Tikhomirov Nilovich remembered the remarkable story : " In 1929 there was an exhibition in Cologne AHRR - and where they were working and N. Ya Belyanina . Appeared on a show American businessman , very much wanted to buy belyaninsky landscape with Volga. He bought the work . A few months later , he sent a letter to Nikolai Yakovlevich , "I am a business man , sitting in his office , I hung in there your picture, and when I look at nature , I no longer feel like a man ."
Well, the best way you can thank artist ?
Эти 9 пользователя(ей) сказали Спасибо izofond за это полезное сообщение:
2. AHRR, left to right: 1-st row sitting - n /a, EA Katzman, PA Radimov, NY Belyanin 2-nd row sitting - n /a, n /a, n /a, 3rd series are - n /a, NM Nikonov, BV Johanson, n /y, AN Tikhomirov, SM Luppi, n /y, PD Pokarzhevsky. 1928
3. NY Belyanin in the studio, 1932
4. PI Kotov, F. Nevezhin, AM Gerasimov, FA Modorov, VK Byalynitsky-Birula, NY Belyanin, EA Lvov. 1948
5. Left to right: 1 st row - N /lips., VV Krainov, SV Ryangina, n /y, AM Gerasimov, VN Baksheev, n /a, BN Yakovlev, EA Katsman, FK Lehto, FS Bogorodsky;
2-nd row - AM Nuremberg, SV Gerasimov, AN Tikhomirov, ID Chashnikov, NY Belyanin, EA Lvov, SM Luppi, GM Shegal, n /y, PP Sokolov-Skalya, n /a, n /a, n /a,;
3rd row - n /a, Kozlov, VN Perelman, SD Tavasiev, n /a, NM Nikonov. 1954
Эти 5 пользователя(ей) сказали Спасибо izofond за это полезное сообщение:
no words, what works ... Just breathing stops , when you look the winter , Bay , Meadow , Mountains . Amazing artist . Thanks for the introduction to his work.
p.s.
A little envious of those who can receive the same strong aesthetic pleasure of seeing images of rusty cans , gnarled phantasmagorical monsters , creepy and monochrome glybolyudey and other avant-garde.
Cherish the hope that my grandchildren will still learn ( in school) painting on a true classic patterns and not on this muddy foam 20th century.
04.09.2008, 12:16
Nicholas Belyanin.
Lyric Russian landscape.
Линейный вид
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