Nesterova Natalia - a talented artist

[Евгений]

Heroes tracks Natalia Nesterova make regular scheduled activities: they eat, stroll, play a variety of games, catching butterflies, meet the ships, dance, fall in love. But for some reason butterflies fly away, disappear on the dining table forks and spoons, ships, without stopping, pass along the coast, and lovers can not find a common language.

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Picture of Natalia Nesterova lives as the boat from his childhood, moving in rapid flows of culture, preserving its original light, of endless dreams, where the tragedy of the adult world is always offset by the great game of creativity.

http://www.art4.ru/ru/artists/detail.php?ID=386
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"Works Nesterovoj - are universal. The man in the landscape - it is not Russian or American, is the man as a natural phenomenon, as part of its plan. These are different and the pictures Nesterovoj 80-ies, and those who are written in the early twenty-first century -" the breath of the sea "" Bicycle "and" Autumn Park. "Although critics find in her work and features of surrealism and expressionism, even in her paintings on biblical subjects manifested a natural natural top, next to the name Nesterovoj appears the definition of" academic painter. "
Alexander Gertsman, president of the "IntArt"

"For the style, manner and terms of the topics covered it considered to be among the most famous national masters-seventies. In his work Nesterova often drawn to the traditions of primitives. It makes the viewer reflect on the banality of the world using the unusual combination of parts and grotesque. Her paintings different pure colors and clear contour, expression of colors. Zhiznennye scenes, festive, holiday on the beach, playing cards, all this reflects the complex world of human experience. "
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I personally, pictures Nesterovoj нравяться ..

[Сергеич]

Eugene

About Nesterov already talked http://forum.artinvestment.ru/showthread.php?t=585
You can add the price forecast for it?

[Евгений]

Сообщение от Sergeyitch

You can add the price forecast for it?

It would be interesting, but I'm not an expert on Nesterova.
Just like an artist.

[манна]

Natalya Nesterova: «I think my only teacher of his grandfather, Nikolai Ivanovich Nesterov, who loved Cezanne, and to some extent imitated him. I loved the treat at home kept the album of the Museum of Western Art. I knew almost from the cradle of Derain, Van Gogh, Matisse, Gauguin, Dufy, Marquet, of course - Cezanne. So I brought up from childhood in the first place in French art.
He died when I was 7 years old. That's when I realized that some kind of my life was over. And it's true. He drew for me, watching me draw. The fact that he invested in me, I carry all my life. He released me as if from a sling, and since I'm flying and flying. He gave a motion to my thoughts and feelings. "

                                   The curricula vitae
 
1944 was born on April 23 in a family of architects in Moscow
 
1962 She graduated from the Moscow Art School

1968 graduated from the Moscow Art Institute. Surikov
            
1969 Adopted by the Union of Artists of the USSR
              
1982/86/89, won the All-Union Competition "Best Picture of the Year"

1990 Awarded Silver Medal of Arts
 
1991 became a professor of painting at the Russian Institute are Performing Arts
                           
1994 I received the title of Honored Artist of Russia

1997 Elected a corresponding member of Academy of Arts

1999 State Prize of Russia in the field of fine arts
                                                              
2001 I received the title of academician of Arts

2002 She was awarded the prize "Triumph"

2004 Awarded Gold Medal of Arts

Добавлено через 1 час 20 минут
The works are in collections

The State Tretyakov Gallery, Moscow.
The State Russian Museum, St. Petersburg.
Museum of Modern Art Solomon R. Guggenheim Museum, New York, USA.
The Montreal Museum of Fine Arts, Montreal, Canada.
China National Museum of Art - Museum Ludwig P., Beijing, China.
National Museum of Contemporary Art, Seoul, South Korea.
P. Ludwig Museum, Cologne, Germany.
Gallery of Modern Art, "Palacio Forti", Verona, Italy
University Museum, "Yeshiva", New York, USA
The Jewish Museum, New York, USA
The State Museum of Oriental Art, Moscow.
Moscow Museum of Modern Art, Moscow.
Ludwig Forum, Aachen, Germany.
National Museum of the "Women in Art", Washington, USA.
National Museum of the Jewish B'nai B'rith Kluttsnik, Washington, USA.
Jane Zimmerli Museum Vurhes, New Jersey, USA.
Kolodzei Art Foundation, Highland Park, New Jersey, USA.
Hofstra Museum, Hofstra University, Hempstead, New York, USA.
Slovak National Gallery, Bratislava, Slovakia.
P. Ludwig Museum, Budapest, Hungary.
Museum of Contemporary Art ART4.RU, Moscow.
Marc Chagall Museum, Vitebsk.
Museum of Art. Radishchev, Saratov
Art museums and galleries in Arkhangelsk, Alma-Ata, Bishkek, Bryansk, Vologda and Yekaterinburg, Yerevan, Kiev, Izhevsk, Ivanovo, Irkutsk, Kurgan, Kursk, Krasnoyarsk, Kemerovo, Kiev, Magadan, New Jerusalem, Novosibirsk, Novokuznetsk, Nizhny Tagil, Obninsk, Omsk, Orenburg, Perm, Petrozavodsk, Rostov, Rostov-on-Don, Saratov, Syktyvkar, Tallinn, Tarusa, Tbilisi, Tomsk, Khabarovsk, Yakutsk.

Photographs of museum work that found on the internet (of course some quality leaves much to be desired). Some did not work properly skopirovat.Podpisi files.

[манна]

The works are in collections

The State Tretyakov Gallery, Moscow.
The State Russian Museum, St. Petersburg.
The Museum of Modern Art Solomon R. Guggenheim Museum, New York, USA.
The Montreal Museum of Fine Arts, Montreal, Canada.
China National Art Museum - Museum Ludwig P., Beijing, China.
National Museum of Contemporary Art, Seoul, South Korea.
P. Ludwig Museum, Cologne, Germany.
Gallery of Modern Art, "Palacio Forti", Verona, Italy
Museum of the University "Yeshiva", New York, USA
The Jewish Museum, New York, USA
The State Museum of Oriental Art, Moscow.
Moscow Museum of Modern Art, Moscow.
Ludwig Forum, Aachen, Germany.
National Museum of the "Women in Art", Washington, USA.
National Museum of the Jewish B'nai B'rith Kluttsnik, Washington, USA.
Jane Zimmerli Museum Vurhes, New Jersey, USA.
Kolodzei Art Foundation, Highland Park, New Jersey, USA.
Hofstra Museum, Hofstra University, Hempstead, New York, USA.
Slovak National Gallery, Bratislava, Slovakia.
P. Ludwig Museum, Budapest, Hungary.
Museum of Contemporary Art ART4.RU, Moscow.
Marc Chagall Museum, Vitebsk.
Art Museum. Radishchev, Saratov
Art museums and galleries in Arkhangelsk, Alma-Ata, Bishkek, Bryansk, Vologda, Yekaterinburg, Yerevan, Kiev, Izhevsk, Ivanovo, Irkutsk, Kurgan, Kursk, Krasnoyarsk, Kemerovo, Kiev, Magadan, New Jerusalem, Novosibirsk, Novokuznetsk, Nizhny Tagil, Obninsk, Omsk, Orenburg, Perm, Petrozavodsk, Rostov, Rostov-on-Don, Saratov, Syktyvkar, Tallinn, Tarus, Tbilisi, Tomsk, Khabarovsk, Yakutsk.

Photographs of museum work that found on the internet (of course some quality leaves much to be desired). Some did not work properly skopirovat.Podpisi files.

[Евгений]

Dear Manna, thank you very much for the interesting information ..

[Grigory]

Сообщение от manna

Some people do not obtain a normal copy

If you remove the numerous points in the title of the picture, then booted without any problems.

What I did ...

[манна]

1 - " The Table ", 1969. , 140x200 cm . Tretyakov Gallery, Moscow.
2 - " become empty park ," 1984. , Oil on canvas , 130h170 see, Ludwig Forum for International Art , Aachen.
3 - " The Palace Alley ", 1984. , Oil on canvas 120x140 cm , Ludwig Forum for International Art , Aachen.
4 - "The Birds" , 1990. , Oil on canvas , 140h150 see, the China National Museum of Fine Arts .
5 - "The Birds" , 1999. , Oil on canvas , 60x50 cm , "The Tree" , 1999. , Oil on canvas , 60x50 cm , Modern Art Gallery " Palace Forti " , Verona.
7 - "Dinner ," 1990. , Oil on canvas , 120x120 cm , Solomon R. Guggenheim Museum , New York .
8 - " Roses ", 1981. , Oil on canvas , 116h92 see , the State Russian Museum, St. Petersburg.
9 - " Peterhof " , 1986. , Oil on canvas , 97h89 see , the Montreal Museum of Fine Arts .
10 - "The Boy ", 2000. , Oil on canvas , 72h55 see , the Jewish Museum , New York .

Добавлено через 9 минут
Nesterov currently: «My life I can not imagine without my work. It absorbs my imagination, feelings, thoughts. I think about her always, no matter where I was, whatever did that to me would not happen at different moments of my existence.
I was born into a family of architects. My grandfather, Nikolay Nesterov, was a fine artist. On the walls of our house hung his work, which I left to wander. He drew me a little, Pictures, taught me to play and feel. I remember that set off to travel in a carriage made from a chair, with a felt boot instead of a horse's head.
Then I started to draw itself, and as long as I can remember, this session I did not disappoint, not tired, and wondering how in his childhood.
I always think that I had not yet reached, I am learning and strive to make that run away and hide from me. So my life is like escaping persecution thread. Maybe at some point me and enjoy what I do, seems that I have achieved something, then I think my work is over. And while I'm running or, or whip, or nesus behind his thoughts, trying to express or embody them on canvas. And how do I do it - to judge you. "



Nesterov participated in more than sixty individual and group exhibitions at home and abroad.


                      SELECTED SOLO EXHIBITIONS
                         

• 2011 - "Reflection of Lost Time", Vologda Regional Art Gallery, Vologda.
• 2005 - "Reflections of the lost time." The State Russian Museum, St. Petersburg, Museum Ludwig Forum for International Art, Aachen, Germany, The State Tretyakov Gallery, Moscow, National Museum of Women's artistic creativity, Washington, USA.
• 2001 .- "Natalia Nesterova. Russian journey ", the National Jewish Museum, Washington, USA.
• 2000. - "Natalia Nesterova. The picture. Lazarus guess. Sculptures. "Museum of Modern Art. Plastov, Ulyanovsk;
                       - "Natalia Nesterova," Historical Museum, Obninsk;
                       - "Natalia Nesterova. Paintings, "Tarusa State Gallery, Tarusa.
• 1997 - "Natalia Nesterova." Central House of Artists, Moscow.
• 1997 - «Natalia Nesterova. Painting ». Gallery of Russian Art, Tallinn.
• 1996 - Hal Bromm Gallery, New York, USA.
• 1995 - Maya Polsky Gallery, Chicago, USA.
• 1994 - Hal Bromm Gallery, New York, USA.
• 1993 - "Natalya Nesterova: 10 paintings." Gallery "Moscow Palette", Berlin, Germany.
• 1993 - Gallery "Art Nouveau" (together with sculptor Lazarus Gadaev), Moscow.
• 1993 - Maya Polsky Gallery, Chicago, USA.
• 1992 - «Natalia Nesterova». The Montreal Museum of Fine Arts, Canada.
• 1992 - In collaboration with T. Nazarenko. Gallery Fernando Duran, Madrid, Spain.
• 1991 - "Natalya Nesterova: new art." Maya Polsky Gallery, Chicago, USA.
• 1991 - "New Art. Natalia Nesterova '(from private collections). Charles Cowles Gallery, New York, USA.
• 1990 - «Natalya Nesterova. Recent works from Moscow ». HAL Bromm Gallery, New York, USA.
• 1989 - "Natalia Nesterova and Lazarus Gadayev." Central House of Artists, Moscow.
• 1988 - "New Works from Moscow." HAL Bromm Gallery, New York, USA.
• 1974 - One-day exhibition. Artist's House at Kuznetsky Most, Moscow.

Добавлено через 18 минут
Vladimir V. Orlov. The Mysterious World of Natalia Nesterova.

           Old photo. Reproduced in the album "Natalia Nesterova,"
published "Aurora." Fifty-ninth year, Dzintari. A pupil of fifteen years
going to write the sea and people on shore. In hand - sketchbook. Malchish pants a little
below the knee. Jacket cheater. Shoes, sandals, long-distance walking on a sinful
the ground. Blond hair tousled by the wind though. And there is no wind. Difficult
a teenager. Tomboy. With such a NAMA. And she Nama herself. In
Looking gloom (or audacity), stubbornness, call someone. Independence.
Autocratic. And discontent (photographer?). "Why did you stop me?
I've got to go. "And that already knows where to go.
     

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before it bends of the road. In the bushes and trees. Roads (alleys, streets,
passages, stairs) are not uncommon in her paintings. Some of them are smooth, straight, other
with rotations in the dark. Or in failure. That's "Nikita
Botanical Garden. "park lane, cherry-cinder, well-groomed, as if
ironed. On it man, a man in a black coat and black hat, he
moving away from us and can not leave. He spent the past nine years, and he was not given
never leave. Who is he, why he is what his fate? We do not know. But he lives,
as live trees, shrubs and cropped around like fish live in the Fountain
pool, he goes and invites us to follow him in secret. In the world of Natalia
Nesterova. Recently, oil on canvas "Nikita Botanical Garden," met the audience
right at the entrance to the exhibition of Nesterovoj and Lazarus Gadayev.
     About Natalia Nesterova know much more than about a man who wandered
in the Botanical Gardens in Nikita. About her writing, has finally come out albums, it
paintings become respected national museums and collectors of many
of her name with reverence commemorated in New York, Paris, Hamburg and Tokyo. And
Yet it is a mysterious person. Artist-sphinx. Of those that do not like
talk about their work ("from what rubbish ...") and even more so something
explain them. The fact that they have, then and there. And let everyone see what
that sees and understands it, that he understands. Accept the terms of the author.
     It seems that the names of his paintings often give reluctantly Nesterov,
as if by necessity, only letting the viewer to a place or plot
picturesque scene. "What clues?" And often no incidents
on her canvases, and not at all. Something (people, houses Prechistenka, the Baltic sea gulls,
cards, broken things) still. Or a dream. Though there rages outside
studio or gallery, the tragic end of the millennium nervous. Boiling, boiling,
Of course, painting and Nesterova, because it is - a true art,
captures the essence of flying days, concerns and expectations of the artist, and even holding a
Memory worries and troubles of everyday life and in your pocket - a string bag, away from her paintings
long you can not. I happened to write about Nesterova, and now I have to
be repeated. Pictures of her have come to life and property draw you into the limits
its energy density. This is ensured by the gift and ability to master.
Blades it was immediately taken prisoner your opinion, and feel them more energy
such tension paints, emotional and dynamic states that life inside
rectangular canvases began to seem to be equivalent and equal life
that is around us and inside us. In this case before us is not a copy of life, and possible
its variants.
     And at first it seemed to work fun game weirdness
caused by the desire to "stand out". Beside her canvases were shaking their heads, and sometimes
speak maliciously. Then he got used to them. A stubborn Nesterov, without changing itself and
his art, will suffer lack of understanding, and really stood out. She anyone
not like. Knowledgeable fan, hitting on a new "dream team" exhibition
slid a glance at the walls, but now think: "Yeah, a Nesterov it."
Declared imitators, but nothing came of them. Emulate a large
the artist can not. Martyshkino work ... But if imitation, therefore, recognized
carried away. Is appreciated.
     And the world Nesterovoj used. How to get used to the new, complex or
unexpected music. After all, what we assume, unpleasant or bad
seemed to works by composers of the Vienna school, but now without them
imagine modern music. With Nesterovoj case seems to be easier. In its
art a lot of old tunes. It does not create any serial dodecaphony,
or Suprematism. Did not translate steam locomotives to electric traction. It
with tenacity and audacity created an artist capable of special
way to convey the magic and drama of life. In this part of self-
and a free element of nature ("I'm Easy Rider" - said Nesterov on
opening), and discipline of the mind, and knowledge about many things, made up
it. In the domestic culture of the twentieth century - and disastrous landslides
the abyss. But in the old Moscow intellectuals Nesterov, for our happiness,
communication times are not decayed. And the artist's appeal to the different methods,
example of primitivism, was in accord with the tradition of high culture. And
thank goodness.
     Yes, strange and sometimes mysterious world of Natalia Nesterova, with its conditional
characters, faces, masks, with a house of cards and creatures with
Park sculpture which vividly people with cold and melancholy of old buildings
with the dead and attacking dogs with nervous flight of birds, cardinals, with
the author's imagination, with its speculations and its hot everyday sense, with its
and the grotesque, with its elegiac admiration, with its mischief and her
good manners. But this is our peace with you. Another thing is that he will see the true
artist, which hitherto was not, and we asked: become co-authors,
invoke the aid of his soul, his life experience, his attitude, and you
guess, for what he lives and works Natalia Nesterova. But you can not
guess, but just one more time to perceive the beauty and sadness of life, the mysteries of the same
shall remain mysteries.
     Promenade at Yalta in the exhibition Natalia Nesterova, and Lazarus Gadaev
("... Finally waited in the wings ...") Nesterov was presented
public only "partial." Many paintings, important for her and for our
painting of the "remote" collection would be difficult to reach Moscow.
It's too bad. But Nesterov last two years with the passion of writing specifically
for the long-awaited Big Show. And we saw the new in it. No new
Nesterov, namely a new Nesterovoj same.
     Anxious, restless, for example, have different stories, some
"Elgrekovskoe" movement arose in clouds. More. And before seemed
sometimes that her people, houses and things, and limitations of canvases closely (in the "people
on the beach ", for example), they are willing to break the space of the picture,
scatter to occupy an entire wall. And then the sky above us. "Chamber" Nesterov -
and suddenly muralist? And why not? She previously always allowed
themselves to be the chamber. Yet most of its point of view was of the earth. But now
if soared and it became apparent in her work space vision. And
her characters were exactly the wall ("Human Mask", "City
Moscow "," Go Cardinals "," Seasons "). And naturally come
appeal to the subjects, people and penetrates the century ("The Last Supper", "Beating
Baby, "" The Flight into Egypt "), Providence, and people. Perfect designs
universe and everyday practice. And who is the executor of these plans, the number of
also twelve ("Human Mask"), whose will, in whose hands and
whose weights souls, our confusion, passion, fun? And what
man in harmony with all life, the sea, with stone, with white birds, with the very
a? Where we sail ("floating"), to which the bank?
     But what am I here fantasize "about" Nesterovoj? Nails mad
miracle of art is not pinned to topic of the day. Yes and no good. It is important that a miracle
it makes you think about the eternal and hope for a good rumble in the human
shocks, and trampling crowds and splits the crust ...
     Romanian Stormy days. I watched the program "Vremya". On the podium rally
suddenly I see Anna Blondianu. A beautiful woman, decorated with such techniques and
balls. Several years ago, surprised her story. Mistress
dialectical materialism in Bucharest, so as not to starve, decides to keep
chickens on the balcony. But the eggs, she bought, hatch angels. Pink cherubs,
of those that surround the Madonna. Scientific understanding of the world does not agree with the ladies
the possibility of their existence, but angelyata - live, they squeal, cry,
require food, warmth and care. And there is a parent of a scientific lady. She do
important report on the basics, but you have to lug a meeting of the department (not to
who leave), pink angel, which should not be, and bring them
instead of the report ... Last year, for the first time in the history of the Literary Institute on the first
rate of women was taken more than men. In the reading public at the hearing
today the names of L. Petrushevskaya and T. Tolstaya. With a bitter triumph took their place
in national culture and the human conscience, Anna Akhmatova and Marina
Tsvetaeva ... One after another passed and became a phenomenon exhibition T. Nazarenko,
N. Nesterova, I. Starzhenetskaya (who is next? Olga Bulgakov? Xenia
Nechitailo? Olga Grechina? Anna Birshtein?). But there is nothing unexpected, and
no unexplained. In the hour of everyday disasters, bitterness and despair,
Patching, expectations of universal catastrophes are necessary to preserve
reasonableness of human existence and goodness of the feminine. Eternal
of femininity. The mother. His wife. Her daughter. Homemakers. Nurse.
Bereginia (under its cover turned out to show the peasants, poets, eccentrics,
philosophers, lovers of Lazarus Gadayev, but they are special and do not talk in these
notes its lead). Part of the witch and ...
     A teenage girl in oilskins with sketchbook in hand, went to write in the sea
Dzintari. What are secretly and openly, it is yet to come?

1990
 http://lib.ru/PROZA/ORLOW_O/nester.txt

Добавлено через 2 часа 4 минуты
Sawa Yamschikov
Creates: Natalia Nesterova


     It would seem that my profession is an art restorer does not require a deep dive into the modern artistic life. But first, I was curious by nature, and secondly, I am confident that in working the old art, stay away from what is going on today with you, it means - to rob you. Fortunately, the artists with whom I associate, too, have never stayed away from work on the discovery and restoration of monuments. They were regular visitors to our exhibitions, thereby continuing the fine tradition that has developed in the early last century. Then broke out in Russia as it is now would say, "boom" over the ancient Russian painting. And all of these discoveries, all the major exhibition of Russian icons had a direct bearing not only professionals, academics, N. Kondakov or DV Aynalov, but also well-known artists, including Vladimir Serov, KA Korovin, I. Grabar. The latter, as we know, was a great art critic.

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I must say that communication with the modern masters was for me the real need. I can not consult with the artists whose work is close to me, about some of his work, I can not build up his attitude to modern life - not only the artistic, cultural, but in general to our existence - no communication with them. This circle is not very wide, but let me be immodest, I suppose that I was fortunate enough to communicate it to those artists who, in the second half of XX century defined the movement of our fine arts.

     This is absolutely amazing people. Each of them - the whole world. And the world, built by himself, and not borrowed from the venerable professors or from books on art history. They are able to see such unexpected approaches to solving a particular problem, which I, for example, a man meticulous, trying to gain insight into the phenomena, even could not imagine. Masters of the older generation, especially, I remember my teacher, an outstanding art restorer Sychev, Nikolai Petrovich - he was a remarkable artist, one of the last students Repin.

     And when I began to publish abroad, and got to know the most recent student of Ilya Efimovich. We Mikhail Alexandrovich Verbovaya met in New York when he was 95 years old. Amazing person, who before his departure in the twenties from Russia already had a name here. In the Tretyakov Gallery kept his brush portrait Ostroukhov. And as in America, he wrote so much and so many - there were no major representative of the Russian emigration from Kerensky, no American president or a famous American singer or an actor, he would not be captured. For example, he talked about how he wrote Ivan Bunin: "I knew that the master - a man not very digestible and agreeable, and of his last opportunities for financial covered table, fish, a good bought vodka. And at the hour of his enough, he was placid. During this time I had a basis to write, and when he began to carry one and all, I'm already working on enhancements. "

     I was lucky that I've talked with Viktor Popkov, with Evsey Moiseenko, which is infinite love and appreciate as a person. I can not take all of his work, but I know very clearly that he was, unlike many of his contemporaries, a man of independent, not knew how to smarm. That, in my film about Surikov said Evsei Evseyevich not a critic would say. Generally, I think that an artist can talk about the art of voluminous any theorist. Another thing that is not always able to write, but some, by the way, and they write great. Go far beyond the example will not - Michelangelo not only thinking about art, but also the sonnets, such that each poet, God forbid.

     In St. Petersburg, I spoke with Peter Timofeevich Fomin, which saw an example of pure service to art. As rector of the Academy of Fine Arts, he could have all the regalia, but did not attempt to do so and, unlike their counterparts of these other "tsatsek", fortunately, has not received. Unites us and what Peter T. had worked at Pskov. We often met in the studio a wonderful architect-restorer and Vsevolod Petrovich Smirnov blacksmith, came to literally everything from famous poets and neznamenityh, ending with dissidents and politicians. Artists - Well done for purely symbolic price purchased in the vicinity of Pskov and Pechora hutorki and formed a "Barbizon". Here, in Malach, Fomin worked, about ten kilometers away from him - Nicholas Kormashov who can not stay in Tallinn, in a cozy villa in pyrite. Every spring, in spite of ill health and visas, traveling to Pskov village, because he can not without this nature, without the Russian people.

     In Moscow in my studio - first in the basement, then in the wing Polivanovskoy high school - was, perhaps, the majority of the Union of Artists. This does not mean that one was interesting to me with their creativity. But there are people with whom I made friends for a long time. One of his closest artist was Michael Matveevich Schwartzman. We had twenty years of friendship. He was very interested in the work of the restorers, gladly came to us in Pskov, Novgorod. Honestly, I'm not an apologist for the avant-garde art, but it does not mean that it is not admire the talent of its manifestations. Misha Schwartzman absolutely wonderful job, and they are made in the technique of icon painting - boards, gesso, whose fibers are applied carefully and thoughtfully. Importantly, Mike was a thinker. No wonder it is, someone with respect, some with envy, styled patriarch. In general, it was so. Reluctant to admit to yourself, do not really sell their stuff. I once brought to him aliens, and they immediately offered to buy the work, but usually refused to Misha: "No, once is my solo exhibition, and all things will be there." Some minor works, of course, sold, he had to make ends meet. He lived on the outskirts, in a communal, only late in life was, as they say, two-room shelter. Now we are together with the widow of Ira Mishina release an album of his works.

     I am pleased to respond to the invitation to write about a remarkable theater artist Sergei Barkhin. Because of my illness or other circumstances of life in recent years, we do not often meet, but we are bound by our youth and creativity. Serezha has an enviable quality - it is an encyclopedic man. So perfectly prepared, so deeply acquainted with the history of art. Still, it is very important where a person was raised, and Serge from a family of hereditary architects.

     I am grateful to fate and to communicate with the sculptor Oleg Komovi, which I think has done a few things that have enriched the image of the Fatherland - Pushkin in Tver, Venetsianov in Vyshny Volochok. And how astonishing ingratitude of our time. Last year, the 70th anniversary of Oleg's an exhibition at the Art Academy. He was an academician, an acknowledged master, but the opening of the exhibition is not uttered a word, no TV, no print edition. There is not even the principle that we are only able to love the dead. Already dead and did not know how to love. Because only a momentary love hapuzhnichestvo.

     Many could I talk about my relatives in the spirit of the artists. One of these attachments are not afraid of the word, is the creative work, and the man himself - Natalia Nesterova Igorevna. For me, it Natasha, as we know and make friends, how many do not even live. With Natasha's work, I met before her own, and they brought me my unusual mannerisms. Then, I realized that there are feminine, but at first it seemed to me that the author - a man. Even asked, and not nickname it? So powerful and interesting was the painting. I think that Natasha is one of those artists who, having assimilated the legacy of previous eras and generations, so are able to transform it into his art, that borrowings do not notice, but felt a strong classical base.

     When we first met and became friends, I took it as a gift of fate. Something to hide many of the artists and writers with whom I had been drinking and was walking, my business, exhibitions, educational programs have been, as the saying goes, "the drum." It was felt that can not wait when it's over and you can eat and drink. Natasha relation to restoration and discovery that we are doing something quite different. Not to say that it is an avid traveler. We have such people - where we are, there they are. However, joint visits to Russia have convinced me that Natasha was a wonderful companion and friend. And once again affected genes. That hangs in my work donated by Natasha grandfather, the painter Nikolai Ivanovich Nesterov. Her parents were architects. I've always admired how many years taking care of Natasha his mother, without ceasing to operate. We all know what a sick old man. Many people, especially when money is blamed on others. It is always possible to find a nurse to say that he was busy and should work. For Natasha's mother was always the most expensive in life. Now as carefully, from the heart, it acts as the grandmother. I say this because we do not even notice how these seemingly everyday moments are the basis for the artist. Here Vrubel - seemingly impulsive artist, in any case not watercolorist. But as he was concerned about the purity of his palette, as was punctual! It says a lot.

Natalya Nesterova:
"I myself choose its own path"

     SAVVA driver. Natasha, I am very happy that I meet with you in the loop "to create". I've already talked with Volodya Vasilyev, Slava Starshinova with Marlen Hutsieva with Valentin Rasputin, with a wonderful our critic Valentin Kurbatov. And for me, Natasha, two questions for the beginning of our conversation. The first of these. We have already spent quite a lot. Methuselah age not everyone has, but we consider ourselves sredovekami. What do you think lived through in the most important thing for yourself? What is most memorable? Not a single moment, and maybe going through all my life line, which you cherish?

     Natalia Nesterova. Sawa, you started with artists named Korovin, Serov, and yet they have learned to my grandfather. We have a family and painters. I know that I have driven. Of course, this is love. An incredible love and gratitude to his grandfather, grandmother, your mother. Generally, I think my teacher in life all the same grandfather, although he died when I was not a lot of years, seven. But it was already 53 years old, and every day I think of him. He gave that promise, the impetus that brought me to the road, which I do not want to turn off in another direction.

     

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I'll tell you said about my debt to her mother, and that I was not with less work. On the contrary, when my mother was quite ill, I tried to work as much as possible, because in my studio it up and could not. But I did pictures, sometimes just drawing on paper, or bring the photo. And seeing as my mother looked at them, I knew it was all in my life. Sometimes she said some incredible compliment, and more I did not need. Not yet two years old, my mother died, and I feel certain their traffic idling. You're talking about Barkhin. We are now working together in the RATA, the former GITIS. And learned a long time - our mother and my father attended one year at the Institute of Architecture. I can not say that they have an encyclopedic knowledge, as Sergei. Not at all, I have them very confused, but the family, succession, really, really mean a lot. This greatly simplifies the life and work.

     SJ You just entered the Surikov?

     N. No, first lost the habit of art school, MSHSH.

     SJ Tell us a little about MSHSH. After all, there came so many wonderful people.

     N. Of course, because it is very early, with children 11 years dipped into a real, serious work. By the way, less capable, perhaps, are in school than gifted. Because these are originally gifted, as if tired after seven years of continuous teaching. From our class, someone went into the books, someone in the architecture, but had some very talented people who were held as artists. I studied with Igor Makarevich, Tanya Nazarenko, Volodya Lyubavovym.

     SJ After all, what was then MSHSH next door to the Tretyakov Gallery, a lot of mean.

     N. Another would be. We just ran out and found themselves in the Tretyakov Gallery.

     SJ Who was your teacher at the Surikov Institute?

     N. I they were different. In my opinion, in the third year we moved into the shops. On the third or fourth, unfortunately, it's been so long that I do not remember exactly. In the studio doing a Gritsai Zhilinskis and Shilnikov. They let us out of the institute.

     SJ Surikov Institute is, in general, the traditional academic school. And Gritsay and Žilina - people with good classic basics. How much would Dima Žilina no different as a contemporary artist, he is still based on Old Russian art, in Italian.

    N. Again, all initially. My grandfather in the School of Painting, Sculpture and Architecture, studied with Falk, Sergei Gerasimov. I have his diploma, signed Malyavin ... He loved icon, appreciated some Russian artists, but really practiced yet the French, above all, Cezanne - it was his love. And the grandfather of a little similar to Cezanne. So when I opened my eyes I saw the work of this particular plan, and it goes on in my life so far. I am drawn to Cezanne, like a magnet, although I love so many artists, and very different.

     SJ Natasha, I know your work well, and I understand that the role of Cezanne in your resignation and development, indeed, great. But this is the case. "Cezanne" and "Picasso," as was once one of the teachers college named in 1905, like many artists, but if there is no basis related to our life, our heritage and modernity, the "Cezanne" and "Picasso's" bogus. The authors may be, and capable people, but only their art is secondary. You've got, Natasha, only professionals can turn up some influence of Cezanne. But I would never say that you at least to a small extent "by Cezanne."

     N. The fact that I never let him in myself. I bow before Antropov, Soroko Venetsianov, Vrubel.

     SJ We tend to ignore historical facts and are now particularly. I'm an internationalist and I know that Russian icons are not born here. For the ancient painters, despite the very limited movement, and went to Italy, and in Byzantine lands, and even in Egypt. But Western artists have learned from our own. At the beginning of the XX century, when they began to open the icon, this interpenetration of cultures was studied in detail art history. And the academic and more popular. Suffice it to recall the work of my favorite Paul Pavlovich Muratov and my teacher Nikolai Petrovich Sychev or not my favorite person Punin. Not a favorite, because he wrote in the newspaper Lunacharsky that Gumilev to the wall should be put. But his article about Rublev very accurately shows the relationship of Russian icons from the Italian Renaissance. And this is probably the best answer to those who claim today: "No, I do not have any contacts with the West." Let the Pope and Patriarch to decide whether to meet them, but I'm leaven of patriotism advocates always say: "If you are against the contacts, break to the beginning of the Assumption Cathedral in the Kremlin." Because it really a Catholic building, a "Fryazin," as they said - Aristotle Fioravanti. The Kremlin's customers began to send it to Vladimir, to Yuryev-Polsky, in Suzdal. As a result, the Italian architect built a truly Russian Cathedral. And with what joy I find in Italian churches, icons painted by our artists. Carmelite convent in Venice, my friend ordered iconographer Archimandrite Zinon icons, and the one he already posted there. That level of relations, which can be pursued. Russian portrait painters of the XVIII century - the same Antropov, Roars, Levitsky, provincial artists usually received his early education in the icon-painting workshops. But, talking to had come to Russia to catch happiness and ranks Caravaque, Roslin managed to borrow a lot and they have - not stealing, and combining it with our tradition. I love and Caravaque, and Rotary, and Roslin, but Levitsky, Roars, the whole stratum of provincial portraits - a phenomenon where a larger scale. I think Natasha power of your art is just that, being able to see the world differently, you can not refuse from the classic basics. Without this base, probably nothing would have happened.

     N. It's by far. Now I read your article, which contains the remarkable statement Richter. He said that a person has two homelands. The first - the one where he was born, and second - Italy. I thought it was pretty cool.

     SJ Yes, it's origins. But then begins its own way. I would like to ask you about how you came to him after Surikovki? That you lead? What provided the impetus?

     N. The fact that I am able to restrain his feelings. This is my grandmother taught me, and it was a great teacher. Now I can not remember, but I guess I wanted to try, and so, and that, I tried to go the right way. Maybe someone he seems not quite right, but I have chosen for themselves. At the Institute we have worked very hard, and learn from each other - in our workshop were Ira Starzhenetskaya, wonderful, early, unfortunately, gone Toll Okorokov, Tanya Nazarenko. Teachers have guarded, because that's how we started in the 65th, just five or ten years before it was simply impossible. Our institute and the spirit would not be. And I defended Alexis Gritsai of pasture from the Institute for one of the works. We are guarded, and it is very important. But some time after the diploma, I saw that throw down the burden of learning. Now, perhaps, I'm closer to that obtained at the Institute, than then. But now operates inertia. Inertia in the sense of movement. And service to the cause without which the self can not imagine. I even dream does not terminate, nor in thought nor in action. Sometimes I see some of his paintings, it is not similar to what it actually is. Or somewhere to run, something I look. Was recently on a trip, and my son asks, "Mom, why do not you paint? You always draw." Maybe I was completely captured by some new impressions, and may be tired.

     SJ With respect to you, to Shvartsman, the middle and other masters of the older generation often pronounce the word "non-conformism." In my opinion, this phenomenon is very ambiguous, because the huge flow of underground artists, in general, part of the cohort itself and coined. Because I'm a piece of all this array for me are artists such as Dima Krasnopevtsev, Vladimir Nemukhin, Alexander Kharitonov, Anatoly Zverev, Sveshnikov, Schwartzman. A lot of it was superficial, invented, which can not withstand the test of time. In those years, conformism lure foreign travel, trade shows, "tchotchke", because of which many of his creative life is impoverished. How did you get in those years, and now does not mimic, but to preserve his line, to develop it, to find new solutions, new forms? What do you support?

     N. First of all, an incredible love for his work. And a certain restraint. In general, strength of character, which I inherited. We've a very long line of women, and strong, real women. Great-grandmother, great-grandmother - one of the first women doctors, my grandmother, my mother. I have a son, and for me this female line has ended. And it was very long.

     SJ That is, the roots is important to you.

     N. It is very important. And the longer I live, the stronger realize how much this means.

     SJ Fundamentals of the roots, of course, to help you and those traveling to Russia, where we got on the different stages of life. How about all it was, what adaptation, but you know how amazing to be herself. And I never felt the hardships of his companion. I think that just such an attitude towards life helps you to do so, and creativity helps you to live like that.

     N. You know, I first went abroad when I was 40 years old. Now I understand that it was cruel, unjust, because many of what I saw, I was forced to admire himself. Admired, of course, but not as much as if it happened fifteen years earlier. Although I got some experience, because, working, toured the entire Union from Sakhalin to the Baltic states, from southern Turkmenistan to Murmansk, Solovki. And now I'd like once again to visit Italy. Visit to Spain, although there was not time. Visit again in France. That's it, maybe I had not enough in my youth.

     SJ In this sense, your predecessors - VI Surikov, K. Korovin, Mikhail Nesterov was more fortunate. Educated at the Moscow School of painting, architecture and Sculpture, or the academy in St. Petersburg, they are sure went to Italy. Good degree of protection - you send the Emperor to his Costa. No - you will find the money somewhere and you go anyway. In this sense, really, we were robbed. I know that you travel is not just wanderlust. They bring so much of your work. It would seem that you do not make rubbings landscapes from nature, but you go to Georgia, and here they are - "Georgian" color and fragrance. You go somewhere to Sakhalin - he too manifest. Without this, in my opinion, creativity, and can not be.

     N. Can not. There are probably self-sufficient artists, in which so much vitality that it lacks only the internal content, but all the same makeup experience is necessary. Before, when I asked what helps me, I always say, literature and music. In them I drew their strength. It instilled in me a grandmother. I have not stopped reading and did not stop listening to music, but something in me changed. For example, I used to love to visit more in the nature, some gave rise to the smell of memories, associations, and now, as it were, more and more reminiscent of his genes and I want to see the architecture. Once I was in Siena during the anniversary of its liberation from Florence. I am not an enthusiastic person, but this city is so amazing and beautiful that I cried just a really loud and could not stop. However, I always remember how to put Russian church. You are going, going among the plains and fields, and suddenly some mountain, and it is visible from everywhere. But we often see some crooked head without crosses.

     S. Ya Like bowed head of the Virgin.

     N. Yes, so it was in Tarusa and Kalyazin, which completely shocked me. We then sailed from Novgorod to Moscow on a small, paddle-steamer yet. I'm talking about, and I have goose bumps on the type of Kalyazinsky belfry.

     SJ Without those Russian landscapes and I can not live. Now put yourself every Victory Day in Suzdal ride. Thank God he was not trampled on the tourism industry. The same quiet, charming town. But the most shocking Opole around Suzdal. Chapel on the horizon, of which you speak, the fields themselves absolutely fantastic. As to the sufficiency of artists ... I've been thinking about it, now reading the second edition of a wonderful book about Constantine Shilov Borisov-Musatov. So, this was a creative person inside, even before the disease has not receded. Just as Kustodiev. He is the past 15 years was confined to bed. Even had a brush tied to a sore finger.

     N. First, the Borisov-Musatov was born in the beautiful city of Saratov, the Volga. It means a lot. The first time I was there at seventy-some year, and now I was amazed at how quickly it turned into an ordinary town with shops and supermarkets. Disappeared unique aroma.

     SJ After all, you're in the heart of Paris you will not see such huge advertisements, as somewhere on the outskirts of Athens or Milan. In the historical center of Rome in general there are no neon signs. And we fall greedily. This is called "Dunka allowed into Europe."

     N. Here is New York all in advertising, and it harmonizes perfectly with modern architecture. But after September 11, the ad once put out, she ceased to be so blatant. They seem to hang a towel on the mirror, how do when someone has died. That is demonstrated sensitivities. Although it probably was not profitable economically.

     SJ Now terrible things are happening in Pskov. You know the church of the Epiphany with Zapskovya, which is included in the list of "Treasure" by UNESCO along with the Colosseum, the Parthenon. So about twenty meters from him over the fence, built a hotel. Moreover, advertising can be removed to extinguish, and these buildings will then have to break. And I'm sure they will break if there is a Church of the Epiphany in Zapskove.

     Natasha will return to your mother. You say you could not work, when she died. I like it so clearly. When shooting a film about Surikov, I did not know that detail, but then they told me that Vasily after the death of his wife, whom he loved madly and two years did not take brush in hand, when a temperament Krasnoyarsk. And the first picture, which he wrote, - "Christ Healing the Blind", although in the past to religious subjects not treated. We have the same one whose name we shall not name, artist, two days after the tragic death of his wife in the Arena opens its exhibition. How monstrous this spiritual vacuum! And I am very glad that you're holding your line, but the temptations are many. You just might work in America, and in Italy, and go several times a day to party with lobster. But you can save your work in a clean and some even inaccessibility. My friends, the Italians, which I quoted to you, delighted. Wonder: how can one man, a woman to work that way? Why the independence of our vanity?

     N. Sawa, I have enough puritanical upbringing. And then I'm curious just to see, I do not want to be a kind of retrograde and deny everything. It would be unwise. I just have a parallel path. I think that in more developed countries do not kill one in order to exalt the other. Paths can be perfectly parallel. Now I'm back from New York and just before the aircraft ran off to watch the exhibition "Byzantium" at the Metropolitan Museum. The exhibition is huge, wonderful - Rublev, Dionysius, unnamed Russian icon painters. A huge number of visitors, because all this is interesting. Although it seems to me that things are taken out of context, a little uncomfortable feeling. Still, when you look at the icons in the church, it's a bit different. Their aura begins to manifest itself. And when the icons are transferred somewhere unfamiliar place, they become exhibits. But it is my impression.

     SJ No, not just yours. You know, again, going back to the beginning of our conversation, to the era of the late XIX - early XX century, when the open icon. After all, we had a great system of church and archeological museums. That is, the museum was and scientific institution, and part of the church. One of the finest museums, Novgorod, was created historian Anisimov, my teacher Nikolai Petrovich Sychev, but the main thing was the then Archbishop, then Metropolitan Arseny (Stadnitsky). He went to this monastery, where we were with you, - St. George's, St. Anthony - Abbot negligent and caused the museum to give the icons XII-XIV centuries. I know about the Byzantine exhibition. But here in Novgorod on May 18, the day of museums have opened the exhibition of icons XI-XIX centuries. About three hundred of icons, and they are not taken out of context, because the next Sophia Novgorod.

     N. Savvushka can interrupt you? I have the same great-grandfather a priest. How many of them at all was ruined, killed, exiled. And gentlemen, of course, and the peasants, but the shattered souls of priests was without end. You know, I'm awfully happy that restored the church, start the service. It's wonderful. But when I see priests and gentlemen drove up to the "Mercedes" when near the church in Spasopeskovskom where I live, there's some incredible fence - there does not pass, do not go here ... The Day After Tomorrow birthday a wonderful father, Gennady. By the way, he is an architect, and served in the Church of the Ascension of the Small. This remarkable man was my confessor, and after I did, perhaps, did not find any. And I have a sin before him. He kept saying: "Natasha, draw something for the church." I did not dare, I felt unworthy. And so now I regret it. Because it is not, and nothing can not be changed.

     SJ Totally agree with you. How can you simultaneously worship and God and mammon? I somehow think that faith rests on the "invisible people", which belonged to his father, Gennady.

     I, too, are lucky. I have such priest, to whom every hour of need I go. I'm used to be proud. Old Believer time, the temple does not go away, something you can pray at home. No, only home - a little. You can not without the church, where there is a priest who can popechalovatsya. It would seem that I know everything, and he told me not to open any secrets, but his role is that you come out of the church purified and enlightened.

     Natasha finish on our love of Italy, and this part of the love for Russia. Going back to last year's one impression. Not for the first time I was in the Vatican, St. Peter's. But as the story of the Dormition - where the hero saw the Venus de Milo, and "straightened." I kind of power immediately led to "drink" by Michelangelo. It would seem that many times seen, and then walked in and realized that more of the cathedral and see nothing.

     N. There is nothing. Because they can fly a plane, such a space.

     SJ I spent about an hour, "Pieta." So much has changed his mind and realized that the art - it's all the same divine inspiration. And so, Natasha, ending our very dear to me talk, I want to wish you that you remain happy with their art. It gives me great pleasure, that we're like-minded people. May God give you more power to the memory of your ancestors, of your grandfather, your mother helped you to work for the joy of us all.

     N. Thank you, Savva, thank you.
July 14, 2004.
  http://www.zavtra.ru/cgi//veil//data...04/556/81.html

[манна]

N.Nesterova currently: «My life I can not imagine without my work. It consumes my imagination, feelings, thoughts. I think of her always, wherever I was, no matter what did, what would happen to me or at different moments of my existence.
I was born in a family of architects. My grandfather, Nikolay Nesterov, was a fine artist. On the walls of our house hung his work, which I left to wander. He drew me a little, Pictures, and taught me how to play and feel. I remember being set off to travel in a carriage made from a chair, with a felt boot instead of a horse's head.
Then I started to draw itself, and as long as I can remember, this session I was not disappointed, not tired, and wondering how in his childhood.
I always feel as if I had not yet reached, and I'm learning, and strive to make that runs away and hides from me. So my life is like escaping persecution thread. Maybe at some point, and I like what I do, seems that I have achieved something, then I think my work is over. And while I'm running, or, or whip, or nesus behind his thoughts, trying to express or put them on canvas. And how do I do it - to judge you. "



N.Nesterova participated in more than sixty individual and group exhibitions at home and abroad.


                      SELECTED SOLO EXHIBITIONS
                         

• 2011 - "Reflection of Lost Time", Vologda Picture Gallery, Vologda.
• 2005 - "Reflections of the lost time." The State Russian Museum, St. Petersburg, the Museum Ludwig Forum for International Art, Aachen, Germany, The State Tretyakov Gallery, Moscow, the National Museum of Women's artistic creativity, Washington, USA.
• 2001. - "Natalia Nesterova. Russian journey ", the National Jewish Museum, Washington, USA.
• 2000. - "Natalia Nesterova. Pictures. Lazarus is anyone's guess. Sculptures. "The Museum of Modern Art. Plastov, Ulyanovsk;
                       - "Natalia Nesterova," Historical Museum, Obninsk;
                       - "Natalia Nesterova. Paintings, "Tarusskaya State Gallery, Tarusa.
• 1997 - "Natalia Nesterova." Central House of Artists, Moscow.
• 1997 - «Natalia Nesterova. Painting ». Gallery of Russian Art, Tallinn.
• 1996 - Hal Bromm Gallery, New York, USA.
• 1995 - Maya Polsky Gallery, Chicago, USA.
• 1994 - Hal Bromm Gallery, New York, USA.
• 1993 - "Natalya Nesterova: 10 paintings." Gallery "Moscow Palette", Berlin, Germany.
• 1993 - Gallery "Art Nouveau" (together with sculptor Lazarus Gadaev), Moscow.
• 1993 - Maya Polsky Gallery, Chicago, USA.
• 1992 - «Natalia Nesterova». The Montreal Museum of Fine Arts, Canada.
• 1992 - In collaboration with T. Nazarenko. Fernando Duran Gallery, Madrid, Spain.
• 1991 - "Natalya Nesterova: new art." Maya Polsky Gallery, Chicago, USA.
• 1991 - "New Art. Natalia Nesterova '(from private collections). Charles Cowles Gallery, New York, USA.
• 1990 - «Natalya Nesterova. Recent works from Moscow ». HAL Bromm Gallery, New York, USA.
• 1989 - "Natalia Nesterova Gadayev and Lazarus." Central House of Artists, Moscow.
• 1988 - "New Works from Moscow." HAL Bromm Gallery, New York, USA.
• 1974 - One-day exhibition. Artist's House at Kuznetsky Most, Moscow.

[манна]

Vladimir Orlov. The Mysterious World of Natalia Nesterova.

           Old photo. Reproduced in the album "Natalia Nesterova,"
published by the "Aurora." Fifty-ninth year, Dzintari. A pupil of fifteen years
going to write the sea and people on shore. In his hand - sketchbook. Malchish pants a little
below the knee. Jacket-cheater. Slip-on shoes for long walking on the sinful
the ground. Blonde hair disheveled like the wind. And there is no wind. Difficult
teenager. Tomboy. With such a NAMA. And she herself Nama. In
view gloom (or rage), stubbornness, call someone. Independence.
Autocratic. And discontent (photographer?). "Why did you stop me?
I have to go. "And we see that already knows where to go.
     

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before it bends of the road. In the bushes and trees. Roads (alleys, streets,
passages, stairs) are not uncommon in her paintings. Some of them are smooth, straight, other
with rotations in the dark. Or in failure. That's "Nikita
Botanical Garden. "Park lane, cherry-cinder, well-groomed, as if
pressed. On it a man, a man in a black coat and black hat, he
away from us and can not leave. He spent nine years, and he was not given
never leave. Who is he, why he is what his fate? We do not know. But he lives,
both live trees and shrubs around the cropped, as the fish live in the Fountain
pool, he goes and invites us to follow him into the mystery. In the world of Natalia
Nesterova. Recently, oil on canvas "Nikita Botanical Garden" viewers met
right at the entrance to the exhibition of works Gadaev Nesterova and Lazarus.
     About Natalia Nesterova know much more than about a man who wandered
in the Botanical Gardens in Nikita. About her writing, has finally come out albums, it
paintings become respected national museums and collectors of many
countries, its name with reverence commemorated in New York, Paris, Hamburg and Tokyo. And
Yet it is the identity of the mysterious. Artist-sphinx. Of those that do not like
to talk about his work ("from what rubbish ...") and even more so something
to explain them. The fact that they have, that is. And let everyone see what
he sees and understands it, that he understands. Assume the conditions of the author.
     It seems that the names of his paintings often give reluctant Nesterov,
as if by necessity, only denoting a place for the viewer or the subject
picturesque scene. "What clues?" And often no accidents
on her canvases, and not at all. Something (people, houses Prechistenka, the Baltic sea gulls,
maps, broken things) still. Or dreaming. Though there rages outside
studio or gallery, a nervous tragic end of the millennium. Rages, rages,
Of course, Nesterova and painting, because it is - a true art,
captures the essence of flying days of anxiety and hope of the artist, and even holding
memory concerns and worries of everyday life and in your pocket - a string bag, away from her paintings
long you can. I happened to write about Nesterova, and now I have to
repeated. Pictures of her have a tendency to revive and draw you into the limits
its energy density. This is ensured by the gift and ability to master.
Canvases it was immediately taken prisoner by your opinion, and feel them more energy
the strain of colors, emotional and dynamic states that the life within
rectangular canvases began to seem to be equivalent and equal life
that is around us and inside us. In this case we are not copies of life, and the possible
variants of it.
     And at first it seemed to work fun game of strangeness
caused by the desire to "stand out". Beside her canvases shook their heads, and sometimes
speak maliciously. Then he got used to them. A stubborn Nesterov, without changing itself and
his art, enduring a misunderstanding, really stood out. She anyone
not like. Familiar lover, being a regular "team" exhibition
gaze slid along the walls, but now will think: "Aha, a Nesterov is."
Declared to be imitators, but nothing came of them. Emulate a large
the artist can not be. Fool's errand ... But if imitation, therefore, recognized
carried away. Rated.
     And the world Nesterovoj used. How to get used to the new complex or
unexpected music. After all, what, say, unpleasant or bad
seemed to works by composers of the Vienna school, but now without them
imagine modern music. In the case of Nesterovoj seemingly simpler. In her
art, many of the old tunes. It does not create any serial dodecaphony,
or Suprematism. Do not translated steam locomotives to electric traction. It
with persistence and audacity of the artist created a capable special
way to convey the magic and drama of life. In this self-creation involved
and the free element of nature ("I'm Easy Rider" - said on the Nesterov
opening), and discipline of the mind, and knowledge about many things, made up
it. In our culture of the twentieth century - and the disastrous collapses
abyss. But in the old Moscow intellectuals Nesterov, luckily for us,
communication times are not decayed. And the artist's appeal to the different methods,
primitivism say, was in accord with the tradition of high culture. And
thank God.
     Yes, strange and sometimes mysterious world of Natalia Nesterova, with its conditional
characters, faces, masks, with a house of cards and creatures, with
sculpture park, which lively people with cold and melancholy of old buildings
with the dead and attacking dogs with nervous flight of birds, cardinals, with the
fantasies of the author, with its speculations and its hot everyday sense, with its
grotesque, with its elegiac and admiration, with its mischief and its
good manners. But this is our peace with you. Another thing is that he will see the true
artist, which hitherto was not, and we asked: become co-authors,
invoke the aid of his soul, his life experience, his attitude, and you
guess, for what he lives and works Natalia Nesterova. But you can not
guess, but just one more time to perceive the beauty and sadness of life, the mysteries of the same
let them remain mysteries.
     In the Crimean embankment at the exhibition Natalia Nesterova, and Lazarus Gadaev
("... Finally waited in the wings ...") was represented by Nesterov
public only "partial." Many paintings, important for her and for our
painting of the "remote" collection would be difficult to get to Moscow.
It is a pity, of course. But Nesterov last two years with the passion of writing specifically
for its long-awaited Big Show. And we saw a new in it. No new
Nesterov, namely, new to old Nesterova.
     Anxious, restless, for example, have different stories, some
"Elgrekovskoe" movement arose in the clouds. More. And once seemed
Sometimes, her people, houses and things, and the limitations of canvases closely (in the "Humans
on the beach, "for example), they are willing to break the space of the picture,
scatter, all of the wall. And then the sky above us. "Chamber" Nesterov -
and suddenly the muralist? And why not? She and the first is not always possible to
themselves to be the chamber. Yet most of its point of view was of the earth. But now
if soared and it became apparent in her work space vision. And
Characters received it is the wall ("Human Mask", "City
Moscow "," Fly Away cardinals, "" The Seasons "). And naturally come
appeal to the subjects, people and piercing century ("The Last Supper", "Beating
Baby, "" The Flight into Egypt "), Providence, and people. Perfect designs
universe and everyday practice. And who are the implementers of ideas, the number of
also twelve ("Human Mask"), whose will, in whose hands and
whose weights souls, our delusions of passion, fun? And what
man in harmony with all life, the sea, with a stone, with white birds, with the very
a? Where we sail ("floating"), to which the bank?
     However, I immediately fantasize "about" Nesterovoj? Nails of reason
a miracle of art is not to pin the topic of the day. Yes and no good. It is important that a miracle
it makes you think about the eternal and hope for a good rumble in the human
shocks, the tramp of crowds and splits the crust ...
     Stormy days, the Rumanian. I watched the program "Time". At the rally podium
suddenly I see Anna Blondianu. A beautiful woman, decorated with such techniques and
balls. Several years ago, surprised her story. Mistress
dialectical materialism in Bucharest, so as not to starve, decides to keep the
chickens on the balcony. But the eggs, she bought, hatch angels. Pink cherubs,
of those that surround the Madonna. Scientific understanding of the world does not agree with the ladies
the possibility of their existence, but angelyata - live, they squeak, cry,
require food, warmth and care. And the mother appears in a scientific lady. She is doing
important report on the basics, but you have to haul to the meeting chair (not
Who left), pink angels, which should not be, and present them
instead of the report ... Last year, for the first time in the history of Literary Institute on the first
rate of women was made more than men. In the reading public at the hearing
now the names and L. Petrushevskaya T.Tolstoy. With a bitter triumph took their place
in our culture and the human conscience, Anna Akhmatova and Marina
Tsvetaeva ... One after another passed, and became a phenomenon exhibition T.Nazarenko,
N.Nesterovoy, I.Starzhenetskoy (who is next? Olga Bulgakov? Xenia
Nechitailo? Olga Grechina? Anna Birshtein?). But there is nothing unexpected, and
No unexplained. In the hour of life's disasters, bitterness and despair,
ozone holes, the expectations of universal catastrophes are necessary to preserve
human life wisdom and kindness of the feminine. Eternal
femininity. Mother. Wife. Daughter. Homemakers. Nurse.
Bereginya (under the cover of the exhibition were the peasants, poets, eccentrics,
philosophers, lovers of Lazarus Gadaev, but they are not a special subject in these
Notes to lead). In part, the witch and the ...
     A teenage girl in jackets with sketchbook in hand, went to write in the Sea
Dzintari. What are the mysteries and discoveries, it is yet to come?

1990
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