Artists of freedom. Anatoly Zverev, Vladimir Yakovlev, in the House Nashchokina "

[alexvadim]

In 1985 in London, opposite Hyde Park, the exhibition "Three Russian expressionist: Zverev. Yakovlev. Vorobiev, opened the Victoria Miro Gallery. Today, the mistress of one of the main galleries of the world about his Russian past, prefers not to remember, but Moscow colleague Natalia Ryurikov consistently exhibited in the House Nashchokina "sixties, decided to repeat the London venture, throwing somehow alive and no less talented Valentin Vorobiev. The idea of the exhibition "Artists of freedom" on the surface: Anatoly Zverev, Vladimir Yakovlev linked passion for free creativity, common destiny and well-established bohemian mythology.
Exhibitions both geniuses over the past quarter century there were many, from the basement to the museum, the problem of selection: expressionist painted spontaneously and much enjoyed enormous fame during his lifetime (Zverev died in 86-m, Yakovlev - to 98-meters) are often tampered with colleagues , and themselves, drunk or in a frenzy, podmahivali other people's work. There is also a problem of expertise: the amount made by both the tens of thousands, to distinguish the fake from the original is extremely difficult, but people found artists at a better time and having an accurate eye becomes less and less.
To break the stalemate, Natalia Ryurikov made a brilliant and simple thing: one hundred works selected only the most famous in the last assembly, the doctor Alexander Myasnikov to poetess Aida Sychev, now referred to the new, Rublevsky hands. Among the self-portraits, portraits of friends and almost abstract landscapes Zvereva allocated its best, program things that are written in the summer of 1968 at his dacha poetess Oksana Aseev in Nikolina Gora "Forest Landscape" and "Portrait of Aseev" and a series of illustrations for the poem Tushev beloved Lermontov "Mtsyri. Y Yakovlev, first show "House Nashchokina" (together with the removed philologist Nikolai Kotrelevym film, which to us appears not a madman, and erudite, and passionate people in the painting) - wonderful, the best series of early puanteley "Portrait of the Wind" of the late 50's, gathered Aigi, Vasilyev, Grobmanom.
The London show had much success, as well as other shows of our art before the advent of the West, and Bulatov, Kabakov. Zverev, Yakovlev, Vorobiev too reminiscent of lyrical expressionism thirties, like the development of Russian art was resumed from the very moment when it was artificially interrupted. Zverev was not a pioneer tashizma (believed to be his patron George Kostaki), first saw the tricks tashistov the famous festival in 1957, Yakovlev - pure intuitionalists, and his art - "art of memory" that can feed metaphysics, primitivism and expressionism.
However, if we compare the figures of Pollock and de Kooning, with Zverev drawings and Yakovlev that time, it would seem that this is the same school. And given the similarity of American and Soviet artistic officialdom, with vast differences in the possibilities of art (in our no big canvases and paints good, showrooms and workshops), work Zvereva and Yakovlev was perhaps more important, much ickrenney - exactly. In addition, the world simply does not need the new legends of the brilliant people from Russia, ranging numerous and familiar myths about the classics of Western art.