The creative path of the artist was typical graduate of the Samara Art School 70-ies. Youth exhibition, creative associations, vystavkomy - regional, zonal, Russia - like the experience of standing behind many members of the Union of Artists of Russia. Besides Skachkov able to learn: to understand the landscape view Samara luminaries (among which the special relationship formed with VZ Purygin and IE Komisarova), absorb the picturesque traditions of the past.
In his younger years he could not touch the current trends of Soviet easel paintings. Concept hints, convention manners, meditative mood, expressed in a concise form of plastic - a kind of tribute to the young artist sophisticated generation of the 70's. But the stylization and the pessimism of the next decade had passed. By that time, from a wide range of interests separated the main direction in which Yuri Skachkov found himself, - landscape. For some, a conservative, in general, genre. For Skachkova - refuge of the spirit, the picturesque source of artistic impressions.
The real fate of the artist decided when he conquered his life to the global goal - the complete connection with nature. Life outside the city, on Bahilovoy meadow, in one of the most picturesque places in Samara bows, gave important thing to landscape painter, - absolute immersion in the world that he was interested. Hourly observations of nature, a sense of its significance, integrity, constant work outdoors in all weather turned it into a wizard, lovingly glorified our region.
The magnitude of the paintings from a distant horizon, space, instead of himself, it seems, the entire Volga, the whole of Russia - in other of his paintings could not be. Broad artist's soul, which was defined as the friends of "sea" encapsulating the whole epic scope. This is generally skachkovskie concepts - "space", "will". He has repeatedly said that he would work closely within the walls of a city apartment and only Zhiguli he felt good.
The emotional responsiveness of the artist, his rebellious nature of the claim reflected, firstly, in landscapes, the transmission diversity of natural conditions (early spring, sunny winter day, the departing rain, looming thunder).
During the 1990 Skachkov mastered this type of landscape in all its complexity and subtlety. Almost everything that he cared, was translated into a dense mass of paste-like smear, dynamic rhythms of the composition, tangible relief texture. These methods are pearly haze around the "Spring black poplar" (1996) and the impressive effects of rainy days in the Landscape "on the Volga" (1986). But never, even the most harsh expression does not ruin the color and tonal nuances of his paintings. All this diversity of shades and weaves had to increase its full beauty and strength of field paint. In the "old black poplar" (2003) barrel lepitsya high standard strokes in different directions, making impasto in this incrustation. Typically, the very density and subtlety of the paint layer is used by the artist to transfer texture diversity, a certain color and svetosostoyaniya.
Pictures Skachkova, for the most part, combine general monumental decision to separate swab technique, which forms on the canvas numerous «S - shaped". Spontaneously arising on the picture plane, they create a variety of effects. Their confusion, patterned tracery in the painting "Spring bottling" (2003) are analogous to the plastic threads, revealing the hidden dynamics of the renewal of nature. Similarly, formed an impression of unfettered free growth and completeness of the plant forces in the film "Under the old birch tree" (1997), "Birches at the Edge" (1997), "Road to Summer" (2001), "Spring Waters" (2003) .
Each landscape characterized by its own special tone, just found a color solution. The artist prefers a rich, fresh paint. Construction of the same picture is a classic, based on the alternation of the plans.
Living Nature a spent winters in Birch (2002) referred to the complex interplay of bright vivid plans with oscillating verticals trunks. Favorite artist birch glades Bahilovoy immersed in slow motion during the bluish winter's day. Referring to the tops of the heavens, weaving them into whimsical drawings of branches, they become part of the world, its existence. But for the artist Russian birch themselves - a separate world, full of poetry, light waves and a subtle shimmering. Landscape breathes blue, pierced by the rhythmic movement of light and dark contours.
So in the works Skachkova recreates the real life of nature - her breath, whispers and cries, her calm and confusion. It seems that the whole faith and experience of the artist turned to the material world. But the spiritual principle behind the external features of nature, comes through in the images of paintings, making them the metaphorical idea.
Power, control his work, he was more and more of philosophical concepts. This is the greatest power - the power of life. It rings in all his canvases, leaving the enduring admiration.
Like a Tree of Life, opened picturesque tree branch ( "Under the old birch tree"), providing protection from the summer heat charming inhabitants of Russian grasslands. Crohn his cut edges of the picture, and it seems stretched around the world, linking the earth and the heavens. It is huge, stable, generous, it is as the foundation of life. The tree is written by the artist at different times, in different states. Just wander from picture to picture and familiar group of black poplar and birch trees, magically changing their appearance. The territorial limitations, the same landscape motifs made painter stared in changing the atmosphere, light, everyday nuances of the weather. It is at such moments is recognized creative force of nature. The artist is on cocoa for a moment into a humble spectator. However, the most difficult to provide Skachkova passive viewer. Turning to the landscape of grief and joy, he had each of his work enters into a dialogue with the outside world, bringing in now active principle. These dialogical relationship between man and nature - a new twist to the classical natural philosophy, the quality perception of the world of XX century.
Power of the impression produced by painting Skachkova, solved largely temperament manners. The brush is always fast, but touches the surface of the canvas every time differently depending on what plays. Appliances letters as it embodies the essence of a formal way. Paint tends light vibrating strokes in painting water, hair in the trees, glittering mosaic murals in the autumn ground. The richness and variety of techniques makes the picture Skachkova alive in each of their parts. In this sense, is very characteristic landscape "Lbische" (2001), depicting an energetic zigzag line of the Volga River with the picturesque coast. Here, each element of the landscape - the beach, sky, water, distant mountains - has its own invoice money, your innermost color, live their lives. Each "piece" landscape informative: it is the drama of the sky, the legendary greatness of the mountains, the complicated life of the earth; is talkative river carrying the distance cutter. The artist carefully traces the nature of its particulars. Bright and clean outdoor gamma does not destroy the material forms, forming an objective view of nature. This internal rhythms. Opposite direction in the motion picture of the landscape and running water, and clouds cover the panorama of the coast, turning it into a coherent picture of the world. This and several other paintings ( "Two Roads", 1993, "Spring black poplars," 1996; "By spring, 1993) strongly suggest that in the 1990's Yuri Skachkov emerged as a master of landscape painting easel, in the subtleties of mastering it specificity.
As a serious professional, he was concerned about the physical condition of his paintings. Thoughtful study of the history of painting techniques led him to the use of technology in the soil recipes of the old European masters. Mixed on iichnom yolk with honey, this primer provides a strong bond paints the canvas, I guarantee a long life of the product and its good preservation.
For all this technical and scenic quality, integrity artistic impressions is a good knowledge of the classics in general and landscape in particular. And the poetic content, and the whole system of images in the works Skachkova traditionally Russian, coming from Levitan, Ostroukhova, Dubovsky. But the possibility of picturesque embodiment explored more deeply, to comprehend and processed artistic techniques of the Impressionists, Van Gogh, from the Russian masters of special interest N. Krymov.
Russian idea, combined with the broad artistic interests, perhaps more than anything in common with the works of art Skachkova landscape beginning of XX century (the Union of Russian Artists). After all, this is their first in the history of Russian paintings combined a realistic approach to landscape with impressionist techniques to transmit light and color. Skachkov also sought to achieve a total audience effect. But the dynamics of his own inner world, the expression of strong feelings made it absolutely modern paintings. For today's viewers Yuri Horse Racing - a modern Russian artist, without any provincial landed and leaf, but with a strong interaction with European culture.
Continuing the line of Russian national landscape, his paintings and poetry of perception associated with the best poetic tradition in Russia.
Before the canvases of the artist in the soul break out the famous line Pasternak, emotions engulf, distillation in a hurry with his impressions. Poetry Drifting Yuri Skachkova almost Pasternak:
More on the young shoots
Spring soil does not dare to dream.
Snow rolling his Adam's apple,
He blackens river bank <....>
Capell half day
Then, frost the ground crumpling,
Roars ice floes Massacre
And ponazhovshina debris.
Ice - a favorite theme of 2002-2003. Hidden dramatic perception of the last year of life spilled out into the cycle of "ice coast": "Spring in the Solar", "On the Volga", "ice", "Coastal ice", "Spring ring", "Purple Mountain" (all 2003).
Pictures glitter paint at the same time winter and spring. In these cold shades contrasted with the warm, expression of large forms - with a scattering of small strokes, tight rhythms of the first plan - with a soft well developed long-range plans. Plastic metaphors embody a complex internal state of the author: the soul on a break between heat and cold, between two worlds, breaks every time a new plastic vein. This confirms once more the idea that the simplicity of motive, but not poverty feelings - this is as true Russian spirit.
And like a true Russian artist. Yuri jumps in time of its maturity came right up to the creation of software epic canvases. Usolie "and" Rus "- recent paintings Skachkova, a work in progress in 2002-2003. Both paintings are the breadth of the picturesque generalizations recreate the collective image of the beloved land, but they are absolutely polar opposites of sound. Major sense caused Usolie "goes out to the stately calm" Rus ".
For all the vastness of the landscape type and complexity of design "Rus" is devoid of pathos. Evening grief softens the landscape, making it an intimate intonation. The image of eternal nature as it were correlated with the man. Majestic harmony of the world is fragile during close scrutinizing. The eye distinguishes color gradation in bright colors autumn nature. And in some incomprehensible way intuitive guess the second theme of this picture - extinction. Before our eyes, landscape, transmitting the state of nature, becomes saturated experiences copyright landscape mood.
Last Paintings Skachkova filled with thoughts about the eternity of the world. They are in charge to us that life is global, complex, interesting. These humanistic ideas that have made his landscapes common human sense, especially heard in the unfinished painting Usolie ".
Usolie "conquers purity and luminous colors, exultant, full of freshness space. The whole landscape is immersed in the glow of summer sun, breathe play of light and reflection. About sunlight here forget how on the air that you breathe. Another feature of the painting became her "articulated": it seems to hear voices of summer beach and joy in them splashing over the edge. This stunning effect is purely figurative. Color several conditions, elevated, strong, free, beautifully laid each examination. Sharp color strokes in painting water directed at an angle to the contour bank. The world is moving, he suddenly fell over - we literally feel the dizzying flight.
From the height of the flight we see the edge of the water and sparkling emerald forests. Landscape transmits unusually accurate impression of Usolye, at the same time, it is the universality. Inner courage mature master put it in a bold building perspective top down. Below - the world of the Volga to the shores of zigzags and fast-flying bird. Above all this vastness (above the birds!) Soars liberated soul spirit blows where it wishes.
Powerful energy, vitality, landscape designs, Yuri Skachkova seems inexhaustible. It is difficult to accept the fact that large-scale canvases Usolie "and" Rus "and will" work "that they never touched a brush masters. And why not leave some feeling uneasy heart injustice fatal unfavorably stars.
Only in the workshop, prepared for the exhibition before the canvases, the bitterness of loss is replaced by an inescapable sense of the human soul. This soul happy flowers summer garden, crying in the night, dissolve in the rain, wandering off-road. Reflection of her - in the beautiful paintings of this exhibition.
And Yuri Skachkov was and remains a great artist Samara.
14.01.2010, 10:32
Yu jumps "Under the old birch"
Линейный вид
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