Продам: Zaven Arshakuni - "month of May"

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Zaven Arshakuni month of May , 2000 , mix.tech . /Paper , 72 x 66 cm


Arshakuni Zaven Petros was born in Leningrad, May 13, 1932 . All his life he lives and works in St. Petersburg. He survived the siege here , having lost their parents. He studied at the Art School at the Russian Academy of Arts (1946-1953 gg. ), And then at the Institute of Painting , Sculpture and Architecture named . Ilya Repin (1954-1961 gg.) . Since 1962 - Member of the Union of Artists of Russia , 1972 - participant of the "Group of Eleven " ; since 1992 - member of Diaghilev Arts Center of St. Petersburg , since 1995 - member of the St. Petersburg Academy of Contemporary Art . One of the leading artists of St. Petersburg. Works in the field of painting in its major manifestations ( landscape , still life , genre , portrait, biblical subjects ) , graphics (drawing, watercolor, etching , lithography , book graphics , linocut ) , set design ( sets, costumes , artwork) , crafts (thread and painting on wood ) . He has designed nine plays in the theaters of St. Petersburg. Illustrated 6 books Petersburg poets. Since 1960 he has been member of more than 200 exhibitions (municipal , national , international ), of which 23 personal . Zaven work Arshakuni are more than 40 museums in Russia , CIS and abroad , including the State Russian Museum (St. Petersburg ), the State Tretyakov Gallery ( Moscow), National Museum of Fine Arts. Pushkin ( Moscow), the State Museum of St. Petersburg (St. Petersburg ), St. Petersburg Museum of Theatre and Music (St. Petersburg) , State Central Theater Museum. Bakhrushin (Moscow) , the Scientific Research Museum of the Russian Academy of Fine Arts (St. Petersburg) , National Gallery (Yerevan, Armenia) , State Art Museum (Tbilisi , Georgia ), the Museum of Modern Art , Dr. Peter Ludwig ( g . Cologne , Germany) , Stedelijk Museum ( Amsterdam, Netherlands ) , Art Museum ( Dresden , Germany) Museum of Art (Leipzig , Germany) and many others, as well as private collections in Russia and the CIS countries , the U.S., France, Germany, Italy, Finland, Portugal, Denmark , China, South Korea.

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" ... Arshakuni unlikely he is a man conflicted , but , of course, irreconcilable with all his affable inexhaustible benevolence throughout preferred and prefers to work alone. His social intransigence now, with the temporal distance it seems so obvious was merely that he wrote as he wanted, he wanted tschas not prove anything and insist on anything. essentially he became " the sixties " and the favorite of the enlightened liberal viewers in part ( for me) and by accident. he was neither apolitical nor " political " , he did not have the software patterns , sharp scenes (and if there were any "plots "? ) .... plot, he strongly favored motifs , in other words, with the development of the story and characters of pure visual event , the dialogue stains and paints, expressive silence things that communicate with each other and the audience at an inaudible language .... He soon became himself. shadow of the Great openly stand behind him , but without hiding hobbies Saryan , Petrov-Vodkin , or Matisse, even open ( so to speak, by the movements of brush and color combination ) " confessing them in love," he was so private , personal affection writes the outside world, so choose camera angles , objects and their interaction that the proper tone is heard in the majestic chorus .... arts, as we know, was originally directed toward joy , the process of reflection and , especially, the transformation of being, awareness of the value of life and the possibility of extending it to all art is inherently optimistic. Arshakuni and the colors from the first years of his independent work were really bright, sometimes it covers the local color ( lessons icons , Matisse, Petrov- Vodkin ? ) extensive , accurately and effectively traced the plane. But bright and pure colors are not always synonymous unconditionally joyful painting ... This is not about the "hidden drama" how much more do not hint at some of the hidden sorrow. This is only the drama of plastic , purely artistic . a " drama ," as it is known , means "action." that action, which is melted in an authentic painting is not in the actions of characters, but in the conflict and harmony of lines, planes , colors , shades, colors .... With early childhood Arshakuni appreciated in the art that in the old days was called " formalism" was once a terrible word for just a heightened sense of professionalism, giving to the plastic and the color scheme basic and fundamental sense. As a teenager, he wrote his own vision of the transfigured nature, comparing it side by their own artistic laws and discovering hidden from the viewer has the color intensity . over time, he is more inclined to the creation of a parallel reality , living solely by the laws of art. Ordinary life is recognizable in his paintings as a participant in the dialogue on an equal footing with those what happens on the canvas . and on the canvas is not reality, but recreated on the surface color and Plastic clots memories and ideas about it , no picture items, but their visible messengers in the free world in color, flat and with a bottomless space of the painting ... Perhaps that's the point of significance, modern Arshakuni its natural existence and the departed into the new century . Moreover, he retains the inherent national art from everlasting richness . this, of course, is not a narrative , but the richness of thought patterns , emotions , about its ability to resonate the internal life of the viewer. and not at the level of household details , and at the level of broad generalization , the ability to show the deeper meaning of nature, cityscape , people , still life. Display so that the hidden jewel of being constantly reminds the viewer of the aesthetic and philosophical importance of that without pictures remains unknown . " Michael Herman , Doctor of Arts , Chief Scientific Officer of the State Russian Museum "Unique gift master, always highly prized by collectors , museum staff , under the old and the new regime is not burdened with a loud glory. Among the artists who use the " high demand " favorites of the public and press Zaven Arshakuni as his friends in the group , " Eleven ," was not included . Far from being a political rebelliousness , this group has developed to the point 70 in the bosom of the Artists' Union , was a striking phenomenon of the actual cultural resistance officialdom . exhibition of " Eleven " on " Ohta " (November 1972), although there was nothing seditious , was subjected to " caring " criticism. Arshakuni for more formulas were sought an apology : they say, is too bright , the condition of the attachment to the theater ( he brilliantly designed several productions Youth Theatre ), and in theater and then maybe you will not see in a lifetime. short, recognized mainly subsistence decorative painter . However, where it comes into contact with the sinful reality , the situation was more complicated. Painting "Carnival " (1968 69) was among the procurement Department culture. But seen by the artist and presented it fun Frenzied crowds in the ominous red glow of the fireworks on the radar eared warships, apparently embarrassed officials from the art of good manners . ... The picture was exiled to Sakhalin in a rybsovhoz with nowhere to go and lost whether from rampant natural disaster , whether from the elements of national indifference. This is just one of the strokes biography of the master certificate rejection of his art totalitarian state standards . Seemingly , now must come well-deserved reward. Alas , rejection continues. As once painting Arshakuni opposed totalitarian officialdom so today opposes the " new Russian classicism ." Aesthetics of the artist is hardly compatible with the aesthetics of those who buy bath on gilded lions' paws or TV stand , supported by kneeling (again gilded !) Antaeus . motives of the artist in the context of discouraging prosaic. some backyards , industrial area with shabby trams antediluvian Neva tugs. Or superbudnichnye scene: washing dishes, toilet , performed by a primitive pelvis on a primitive stool. numerous " nude " in terms of painted beauties of modern advertising design well, just ridiculous .. . 's really where nothing classic ! and nothing " respectable " if we consider the artist's Office allegedly already spent modernism. All too uncouth , rude. and no commercial gloss . Somehow , he came to the studio Zaven Arshakuni I met him intently chewing a crust of rye , and without any " layers ." Seeing some confusion obviously reflected in my face, and almost apologetically , he explained: "I can not help it , I love the taste of bread " . This recognition of the artist, which should be refracted difficult experience of the war years , and besieged orphanage childhood , I remembered on his show . guess that Arshakuni in adherence to the taste of " black bread " is made and aesthetic credo. by some unwritten law than the simple-minded and terse motive , the increasingly important to those goods that the artist chooses . Banal pelvis , hung on the front porch towel cease to be simply household goods and begin to embody the ordinariness , the prose of human existence. however , only to magically turn into poetry. magic in the painting itself . It administers its quiet affair , revealing the beauty of " nekrasoty ." Gen. it goes into balanced , frontal compositions spaced emerges being. solemn , like a ritual , and valuable in any manifestation : whether rain , if the sun is shining . Among the revelations of the artist 's own vision of the world, thick , honey- viscous , penetrating green foliage and co-create " aquarium " spatial environment and the garden , and rooms, the windows of which came near the trees . these " tanks " people often like fish floating vertically . They are weightless and somnambulichny , as if deprived of its own initiative. even as it is impersonal . Because just animals or plants anyone or anything not resist . their very participation in life , including in a mighty torrent of being a great gift . and the vocation of man is not so much in action as in contemplation . contemplation in nature and reveal the personality , in particular artist , able to see the world that He gave us an amazing sight . as the theater and the circus, and the pictures that are included in the composition of a painter and is a continuation of art of Nature or God. divinity of the world that he is fine and thunderstorms. and always remember the presence of Doom . Moreover, not Greek ( there was a hero ), and archaic , equalizing all the face of life and death. works from the artist do not feel a sense of peace, as , say, the works of Matisse, the effects of which many compare to the blessedness of adoption bath . Arshakuni have their own, tart , viscous contact with the world . seems have a genetic origin ( an Armenian father , mother Russian ) , in the artist's paintings of the opposing two cyclones south and north . Colors are bright, spicy, joyful and gloomy , harsh , strict. Paints the Sun and the Earth. So the drama of the very thinking of the artist , his coloristic element extremely busy painting. verses that some people feel the effects of titanic forces , an underlying contingency of being with nothingness . Master eloquently convinces us that the resources of painting is far from exhausted. Language color way its communication with the world . flavor and invariably leads to (often paradoxical ) harmony. Arshakuni paintings are not of kind of reconciliation with reality. But the world - with a fatalistic optimism! - he says " yes." for a person comes into the world as a paradise - so it seems to us as a child. And depends on the person - do not turn this paradise into hell. " Leo Mochalov " Once upon a time , now it seems infinitely long ago, was the era of stagnation and was the Union of Artists of the USSR , in the halls and in the Arena which exhibited the work of members of the Union . These were the grand exhibition. Artists glorified what had to celebrate , and struggled with with what you had to fight . paintings were large and very well drawn . Nearly all of the artists graduated from the Academy of Fine Arts. Strolling through these exhibitions , the audience watched boredom victory over all other human feelings . boredom even began to seem majestic . viewer's soul slowly died out in huge paws conquering the official ideology. And suddenly look concerned , not trusting himself , a small picture. it was written by a bridge embankment, a few houses a small piece of Leningrad. indescribable feeling . viewer is almost resigned to the fact that life is immersed in the darkness of that wisdom in humble extinction . and here in this picture, the author of which was Zaven Arshakuni , bursts into the soul of the viewer pure air of freedom. becomes easy and fun. We now know that everything is fine, that the soul is alive and immortal at all , and no ideology (left or right ) we can not decree . satisfaction you start to smack one's lips , something to himself probormatyvat in full admiration of the net , freely borne by the canvas of colors. every line and every color easily penetrate you, arousing the most subtle , seemingly only on your experiences. Light wisdom is shown in the pictures Zaven Arshakuni . Master stared into the world, forcing him to transform . And the world is subject to the master by issuing from the depths of its features is the cleanest , most necessary for healthy human life. When this obvious set of positive emotions pictures Arshakuni completely devoid of sentimentality. because it is a true sense of the true form , each work is a result of intense plastic design of the plane. Any composition is carefully selected. All items are read large . groups of people , buildings or trees freeze on full breath completed their stay in the same space of purified consciousness. Warm and cold paint combined so as to bring the viewer into a full radiant ecstasy , giving almost heavenly possible color ... " (Anatoly Zaslavsky )