NEMUKHIN VLADIMIR NIKOLAEVICH

Born in Moscow on February 12, 1925 in the family of a native of the countryside who became a worker. He spent his childhood in the village of Priluki (Kaluga region), on the banks of the Oka. In 1943-1946 he studied at the Moscow art studio of the All-Union Central Council of Trade Unions. He followed the advice of the artist P.E. Sokolov, thanks to whom he discovered the art of post-impressionism and cubism. For some time (1952-1959) he made a living as a designer and poster artist. He took an active part in private-apartment and public exhibitions of avant-garde art, including the scandalous "bulldozer exhibition" at the Moscow vacant lot in Belyaevo. Since the late 1960s, his painting has found more and more recognition in the West. Lived in Moscow.

After the early Prioksky landscapes in a traditional manner, as well as experiments in the spirit of cubism and pictorial abstraction, he found his style in the random motif of maps on the beach sand.

By the mid-1960s, this spontaneous motif took shape in semi-abstract "still lifes with maps", which became an extremely distinctive manifestation of "informal" - a special abstractionist movement based on combinations of pure pictorial expression with a dramatic and symbolic element. Then Nemukhin varied his find for many years, sometimes turning the surface of the canvas into an objective "counter-relief" plane, reminiscent of an old wall or the surface of a gambling table, wasted by time. He often wrote - in a mixed, as it were, pictorial and graphic technique - and on paper (Jack of Diamonds series, late 1960s - early 1970s).
The assimilation of the painting to the subject brought his works of the 1980s closer to pop art. During this period, he repeatedly turned to sculptural-three-dimensional abstractions, biomorphic or geometric, then more and more often, exhibiting his works, he accompanied paintings and graphic sheets with large installations.
"Dedication to Bach"

At the turn of the 20th and 21st centuries. lived mostly in Germany (Dusseldorf), constantly visiting Russia, where in 2000 his works took a prominent place in the Tretyakov Gallery and the Moscow Museum of Modern Art. In 1999 the book Nemukhinsky monologues was published.
https://slovari.yandex.ru/dict/krugosvet/article/3/37/1008877.htm

Fri, 20/11/2009 - 16:58
Zebra

participant

SITNIKOV, VASILY YAKOVLEVICH

Born in the village of Novo-Rakitino (Lebedyansky district of the Tambov province) on August 19 (September 1) 1915 in a peasant family that moved to Moscow in 1921. In 1933 he studied at the Moscow ship-mechanical technical school, becoming addicted to the manufacture of models of sailing ships. An attempt to enter Vkhutemas (1935) was unsuccessful. He worked on the construction of the metro, as an animator and model designer for the director A.L. Ptushko, showed slides at lectures by professors of the V.I.Surikov Art Institute (hence the nickname "Vasya the Lamplighter"). Having become a victim of libel, in 1941 he was arrested, declared insane and sent for compulsory treatment in Kazan. Returning to the capital (1944), he was interrupted by odd jobs. During the "thaw" he joined the "unofficial" art movement.
The formal source of his work was the traditional system of academic teaching, based on nude work and meticulous graphic shading.

For Sitnikov, however, the academic nature turned into surreal eroticism, and the shading turned into a shaky air element, enveloping forms in the form of snowy haze, swamp fog or light haze.

To this were added the characteristic features of the "Russian style" in the spirit of Symbolism and Art Nouveau. This is how his pictorial and graphic series of the 1960s-1970s were born - nude, sexy grotesque, genres with a "monastery with snowflakes"
,
steppe landscapes (often also with the central motif of the monastery).
His very way of life was a kind of happening, a continuous artistic foolishness, beginning with the famous inscription "I will come right now" on the door of the apartment, where a valuable collection of church antiquities and oriental carpets was kept.
Since 1951, the artist has been actively teaching, fulfilling his dream of a "home academy".

His pedagogical system included many shocking paradoxes (advice on how to learn to tone, "shading" newspaper photos, or how to paint a landscape with a floor brush from a trough with a colorful solution). A number of prominent masters (V.G. Weisberg, Yu.A. Vedernikov, M.D. Sterligova, A.V. Kharitonov, etc.) were associated with the "school of Sitnikov" - both by direct apprenticeship and by creative contacts. However, in general, with some exceptions (such as those listed above), this school over the years has degenerated into the production of "underground souvenir" picturesque kitsch.

In 1975, the master emigrated through Austria to the United States. He donated the most valuable part of his collection of icons to the Andrei Rublev Museum of Old Russian Art. His own things "scattered" almost without a trace - not counting reproductions and individual works in museums. He had no success abroad.
Sitnikov died in New York on November 28, 1987.
From early works in the spirit of academism, he moved in the 1950s (first of all, in the cycle of the "wounded", expressing the painful memory of the war) to a distinctive style that combines the features of symbolism and cubism with violent expression.

His works are usually cast in bronze, in the largest compositions the sculptor prefers concrete.
The works of the Unknown, embodying the process of eternal becoming, a kind of "flow form", are composed in large cycles, both sculptural and graphic (and later pictorial): Gigantomachy (since 1958), Dostoevsky's Images (since 1963; in 1970 in the series "Literary Monuments" published the novel Crime and Punishment with his illustrations).

Since 1956, the artist has been working on his main, most ambitious idea - the Tree of Life
,
the project of a giant sculpture-environment, where the motives of the tree crown, the human heart and the "Mobius leaf" are bizarrely combined, symbolizing the creative union of art and science.

An unknown person received large official orders (a monument in honor of the friendship of peoples, the so-called Lotus Flower at the Aswan Dam in Egypt, 1971; decorative reliefs for the Institute of Electronics in Zelenograd, 1974, and the former building of the Central Committee of the CPSU in Ashgabat (now the House of the Government of Turkmenistan, 1975 ); and etc.). Acquainted with N.S. Khrushchev - however, during a scandal at an exhibition in the Moscow Manege - he subsequently performed his tombstone (1974), emphasizing the contradictory nature of Khrushchev's rule with symbolic contrasts of forms. In 1976 he emigrated, and from 1977 he settled in the United States, in the vicinity of New York.
TEFI

Since 1989, the master often came to Russia; here, according to his designs, a memorial to the victims of the GULAG in Magadan (1996) - with a giant concrete Face of Sorrow, - as well as the Renaissance composition in Moscow (2000) were erected. In 1996 he received the State Prize.

Beginning in 1962 (article Opening New in the magazine "Art"), and especially in the decades of emigration, he presented theoretical articles and lectures on the symbiosis of Faith and Knowledge in art, designed to combine the artistic experience of the archaic and the avant-garde. Published white poems figuratively commenting on his art. In Uttersberg (Sweden) there is a Museum "The Tree of Life" dedicated to the work of the Unknown.

https://slovari.yandex.ru/dict/krugosvet/article/0/0c/1007903.htm
Wow, how talented, and I've only heard nasty things about him before !!!

Since February 1974, the authorities began to hold action after action aimed at suppressing the movement of non-conformist artists, that is, those painters, sculptors and graphic artists who did not accept the dogmas of the stillborn art of socialist realism and defended the right to freedom of creativity.

And before, for almost twenty years, the attempts of these artists to exhibit were in vain. Their expositions were immediately closed, and the press called the nonconformists either “guides of bourgeois ideology”, sometimes “mediocre muffs”, or almost traitors to the Motherland. So one can only marvel at the courage and resilience of these masters, who, in spite of everything, remained true to themselves and their art.

And in 1974, the KGB forces were thrown against them. Artists were detained on the streets, threatened, taken away, respectively, to the Lubyanka in Moscow and to the Big House in Leningrad, blackmailed, tried to bribe.

Realizing that if they kept silent, they would be strangled, a group of unofficial painters organized an open-air exposition on September 15, 1974 in a vacant lot in the Belyaevo-Bogorodskoye area. Bulldozers, sprinklers and police were thrown against this exhibition. Three paintings perished under the caterpillars, two were burned at the same fire, many were mutilated. The initiator of this exhibition, the leader of Moscow non-conformist artists, Oscar Rabin, and four other painters were arrested.

This bulldozer pogrom, which went down in the history of Russian art, caused an explosion of indignation in the West. The artists announced the next day that in two weeks they would again come out with paintings to the same place. And in this situation, those in power retreated. On September 29, the first officially permitted exhibition of unofficial Russian art took place in Izmailovsky Park, in which not twelve, but more than seventy painters took part.

But of course, those who decided to crack down on free Russian art by no means laid down their arms. Immediately after the Izmaylovo exposition, slanderous articles about unofficial artists reappeared in magazines and newspapers, and punitive authorities attacked especially active artists and those collectors who took part in organizing two September outdoor exhibitions. And by the way, it was in the period from 1974 to 1980 that most of the masters now living in the West left the country. There were over fifty of them, including Ernst Neizvestny, Oleg Tselkov, Lidia Masterkova, Mikhail Roginsky, Vitaly Komar and Alexander Melamid, Alexander Leonov, Yuri Zharkikh and many others. Oscar Rabin was stripped of his Soviet citizenship in 1978. (Soviet citizenship was returned to him in 1990 by presidential decree). Earlier, in the early seventies, Mikhail Shemyakin and Yuri Cooper settled in Europe.

Of course, a large group of our excellent unofficial painters remained in Russia (Vladimir Nemukhin, Ilya Kabakov, Dmitry Krasnopevtsev, Eduard Steinberg, Boris Sveshnikov, Vladimir Yankilevsky, Vyacheslav Kalinin, Dmitry Plavinsky, Alexander Kharitonov and others), but there are more truly free exhibitions. was not carried out, and about those who left, persistent rumors were spread (even letters were sent from the West), they say, no one needs them in Europe and the United States, no one is interested in their work, they are almost dying of hunger. The remaining officials from the arts warned: "If you start to rebel, we will expel you, you will be in poverty there."

Meanwhile, in fact, in the West just at that time (the second half - the end of the 70s) interest in unofficial Russian art was especially great. One after another, huge exhibitions of Russian artists were held in museums and exhibition halls in Paris, London, West Berlin, Tokyo, Washington, New York. In 1978, the Venice Biennale of Russian Unofficial Art was held with great success. During the month, this exhibition was attended by 160,000 people. “It has been a long time since we had so many spectators,” said Biennale President Carlo Rippe di Meanno.

True, skeptics argued that this interest was of a purely political nature: they say, you need to see what kind of paintings they are banned in the USSR. But when they were reminded of Western collectors, who more and more willingly began to acquire paintings and graphics by Russian artists, the skeptics fell silent. They understood that no collector would spend money on paintings because of some political considerations. And even more so, for such reasons, Western galleries will not cooperate with artists. And of course, because of politics, serious art critics will not write monographs and articles about any artists. But there are many such articles published. Monographs about the work of Ernst Neizvestny, Oleg Tselkov, Vitaly Komar and Alexander Melamid, Mikhail Shemyakin have been published in different countries. Dozens of solid catalogs of personal and group expositions have been published.

Somewhere in the late 70s in one of the French art magazines there was an article entitled "The Russian Front is Coming." Its publication was connected with the fact that at that time three exhibitions of contemporary Russian art were simultaneously held in Paris. Does that sound like a lack of interest?

They say that about one hundred thousand artists live and work in Paris. There are even more of them in New York. Everyone wants to collaborate with galleries. The competition is fierce. And at the same time, many Russian emigrant artists either have permanent contracts with Paris and New York galleries, or are regularly exhibited in various galleries in Europe and the United States.

For many years, Yuri Cooper, Boris Zaborov, Yuri Zharkikh, Mikhail Shemyakin worked and are working with famous Parisian galleries (before moving to the USA). In New York, Vitaly Komar and Alexander Melamid, Ernst Neizvestny, the same Shemyakin are bound by contracts with galleries. For many years, Parisian Oleg Tselkov has been working with the New York gallery of Eduard Nakhamkin. Another Russian "Frenchman" Oscar Rabin signed a contract with one of the Parisian galleries.

Vladimir Titov, Mikhail Roginsky, Alexander Rabin are constantly and often successfully exhibited in European galleries. In the USA, Lev Mezhberg, Leonid Sokov and other painters and graphic artists are successfully working with galleries.

In many French and American private collections, I have repeatedly met the works of all of the above masters, as well as Vladimir Grigorovich, Valentina Kropivnitskaya, Vitaly Dluga, Valentina Shapiro ... collectors of free Russian art appear.

"How do these artists live and where do they work?" - the reader may ask.

My answer is that in terms of housing and workplace, everything is decently arranged. In the worst case, one of the rooms in the apartment serves as a workshop for the artist. Many have separate ateliers - for example, Komar, Melamid, Shemyakin, Zaborov, Sokov. And someone even prefers to have an apartment and a workshop in one place, so to speak, without wasting time on the road (Unknown, Cooper, O. Rabin, Mezhberg).

“Is it possible,” some incredulous reader will ask, “everything is so good with emigrant artists, continuous successes and achievements?”

Of course not. Some of our talented masters could not find themselves in the West, could not stand the competition, broke down. I don’t want to give names here - it’s psychologically difficult for people.

Naturally, there are also artists who are unable to live off the sale of their works. They are forced to earn a living in some other kind of work. But there are a great many of them among Western painters and graphic artists. It remains only to be surprised how many, in comparison with Western painters (in percentage terms), Russian masters have already lived in the West for a long time only at the expense of their creativity.

But it is interesting that even those of our artists who found themselves in the West not in a better situation in terms of financial and are forced to earn a living either by industrial design, or by decorating newspapers or books, or in some other way, are all the same about their fate. do not regret it. Why?

When I was writing a book about our artists living in the West, published abroad in 1986, I had the opportunity to take quite a few interviews. One of the painters, whose fate by that time (mid-80s) was not very good, told me: “No, I don't regret anything. Hard? Of course it's difficult. It’s unpleasant that I have to break away from the easel in order to earn my living, sometimes it’s a shame that collectors don’t reach me yet. But did we go here for the money? We left so that we could freely, without fear of anyone or anything, write what and how we wanted and freely, where we wanted, to exhibit. However, I also wrote freely in Russia. But one might say that it was not possible to take part in exhibitions. And here in four years I have already exhibited eleven times. And even sold something at these exhibitions. This is not the main thing, but from the point of view of maintaining the spirit it is still important. "

With different variations, however, I have heard about the same from other emigrant artists who did not achieve such success in the West, such as, say, Komar and Melamid or Yuri Cooper.

And I don’t think that any of them are doing, as they say, a good face on a bad game. After all, the opportunity to exhibit widely for most artists is a necessity. And for Russian painters, deprived of this in their homeland, this factor is especially significant. From 1979 to 1986, I kept a statistical record of Russian exhibitions in the West. Each time there were over seventy of them a year. This is a lot. And the geography of these expositions was wide. Shemyakin's personal exhibitions, for example, were held in Paris, and in New York, and in Tokyo, and in London; O. Rabin - in New York, Oslo and Paris; Cooper - in France, USA and Switzerland; Zaborova - in West Germany, the USA and Paris; Komar and Melamida - in Europe and the USA ...

And how many group exhibitions of contemporary Russian art have taken place over the years, in which these and other Russian émigré artists took part. And their geography is also wide: France, Italy, England, Colombia, USA, Belgium, Japan, Switzerland, Canada ...

And as I already said, Western art critics and journalists wrote a lot about these exhibitions (both personal and group). Almost every serious exposition was accompanied by the release of catalogs. Here they are on my bookshelf: Ernst Neizvestny, Yuri Cooper, Oscar Rabin, Mikhail Shemyakin, Boris Zaborov, Leonid Sokov, Vladimir Grigorovich, Harry Fife, Vitaly Komar, Alexander Melamid, Valentina Kropivnitskaya ... And here are the catalogs of group exhibitions ; "Contemporary Russian Art" (Paris), "New Russian Art" (Washington), "Unofficial Russian Art" (Tokyo), "Biennale of Russian Art" (Turin) ... And here is the book "Unofficial Russian Art from the USSR", released in 1977 in London, and reprinted the following year in New York.

So, as you can see, Russian emigrant artists, albeit not all, but most, life in the West, in general, has developed successfully. None of them are starving. They have a place to live. Many have workshops. Everyone has the opportunity to purchase canvases and paints. Some of them work with prestigious galleries. All are exhibited.

And how nice it is to know that your paintings are acquired by collectors, especially museums or the Ministry of Culture of, say, France. And it is no less pleasant to see how Western art lovers stand idle at your canvases. By the way, unlike art critics, a significant part of whom did not immediately accept the unexpectedly fallen Russian artists, Western viewers were able to appreciate free Russian art very quickly. More than once I have heard from them in Paris, Braunschweig, and New York that in this Russian art they find what they cannot find in their contemporary. What exactly? Lively human feelings (pain, longing, love, suffering ...), and not cold form creation, which, unfortunately, is so common in many exhibitions in galleries in Europe and the United States.

In other words, in free Russian art they find a spiritual principle, which has always been characteristic of genuine Russian art, even the most avant-garde art. It is not for nothing that the book of the great Wassily Kandinsky is called “On the Spiritual in Art”.

In the articles presented to your attention, 13 artists are represented. The essays on them are not in alphabetical order. They are divided into three groups, corresponding to three generations of masters of the unofficial (as it was called in pre-perestroika times) Russian art.

I hope that thanks to the initiative of the Znanie publishing house, lovers of contemporary art will learn about the fate of those of our painters who were forced to leave their homeland for the sake of freedom of creativity.

NONCONFORMISM

50-60s "thaw". Stalin dies on March 1, 1953. Many intellectuals of that time were very happy and decided that everything would finally be different. The country began to return to normal life after the cultural failure that occurred during the time of Stalin. Art was distinguished by monstrous conservatism. Socialist realism (based on late Peredvizhnicheskoy painting, sculpture of neoclassicism and the 20th century as interpreted by Maillol and Bourdelle) received support. This was an effective anti-modern strategy. For a living artistic process, this is a monstrous failure. Suppression of dissent. The heirs of all the most backward ones came to the helm of national rule. Closed period. Artists abandoned their ideas and developments. Socialist realism is completely heterogeneous, but still there was a unification for the whole country. Picasso sarcastically that Soviet artists must have special paint for uniforms and boots. The individuality of the artists is not visible. In Soviet times, there was no figure of a free artist (freelancer) at all. Everything was strictly organized. Picturesque Combine (like a factory). Applications for compositions were received there. A monumental combine, a sculptural combine ... The order could be carried out by an artist alone, or a group could work. The artist was provided with work and the salary was good. There was a complex mechanism for giving and receiving work: the outstanding workers of the plant and some invited people were also evaluated. There was no proper inspiration and passion. There were many tasks, so there was no time to take all the work responsibly. There was a bank of blanks for various body parts and other things (it was possible to assemble Lenin piece by piece). In Russia, something great was always expected from the artist, but the Soviet artist was most often a conscientious hack. The art of the last years of Stalin's rule and the first works of the thaw period do not coincide with the pathos of previous years. (fatigue from Stalin's art: the painting "Deuce Again" by Fyodor Reshetnikov is an anecdotal work). The right to privacy is being restored.

Thaw: the older generation with accumulated fatigue (the conservative art of Reshetnikov) and the younger generation, which realized the intolerance of oppression (coincides with the beginning of a more open policy).

In the 50s, a number of exhibitions were held (Festival of Youth and Students). Abstract expressionism is striking. The museums did not even have Vrubel and Serov. A specific picture of world art was created. And so the last art of the West falls on such an unprepared Soviet. There is nothing to compare such revelations with. The collapse of the ideological paradigm.

Creative initiative of our artists to overcome this stagnation:

SEVERE STYLE

It was divided into the right (adherence to the 19th century, the Itinerants) and the left (Andronov, Nikonov, refer to the heritage of the pre-avant-garde and avant-garde, OST "a) direction.

Nikolay Andronov "Rafters", 1960-1961

Represents a declaration of a new time, a new person. Addiction to Russian impressionism. Refusal of the completeness of the picture for the artist of the Stalinist period was unthinkable. People of difficult fate are depicted. Emphatically monumentalized. The form is simpler, tougher, more monumental. Emphasizes the silhouettes of the characters. NeooOST pictorial strategy. This is a sermon. Moral landmark. (“You should be such simple builders of our future”). The atypical positioning of the figure with the back is a bold pictorial declaration.

Art accessible to the masses. Austere artists will go mainstream. The weakening of ideological oppression and general cultural openness gave rise to many artists who were not connected with the general art scene and art education. Artists emerged from the newly formed bohemia (Oscar Rabin, Ilya Kabakov).

Art is divided into unrelated layers.

Vladimir Yakovlev "Cat with a Bird", 1981

Reminiscent of Picasso. Secondary complex. Constant of the Soviet artist. You can see how the artists are trying to overcome the abyss that has arisen. Lots of quotes. Many artists have remained in history as interpreters without their own individuality. And many nonconformists are wounded by this secondary nature.

The figure of the sixties of a messianic family, a prophetic role.

A powerful cultural upsurge, but not everything is so good. At first, the authorities were not taken seriously, as curiosities. But by the 60s. they can no longer be ignored. 1962 - exhibition "New Reality" (Yankilevsky, Unknown, etc.). This exhibition was accidentally visited by a Western European correspondent, who wrote a short note, which was a shock for Khrushchev (in Europe, everyone knows about this, but we don't ?!). This is the wrong art to be displayed in the right environment. An exhibition dedicated to the thirtieth anniversary of MOSKHA is organized in the Manege, where Deinek, Falk and others are shown. The New Reality is also thrust there. Our management has never attended such an exhibition in such numbers. "Hemorrhage in the Moscow Union of Artists". Khrushchev is confronted with Cezanneism and other newer experiments. They were nicknamed "the factory of freaks."

The next day this exhibition was written on the front page of the Pravda newspaper.

Ernst Unknown

Sculpture "Centaur with a raised hand" 1962.

I had a long correspondence with Henry Moore. The protagonist of the creative world of the Unknown is a centaur. Part animal, part human and part machine. There are similarities with machine tools. Particular expressiveness. There are no calm, static poses. His sculpture is influenced by Rodin, Moore and others. The idea of ​​an artist's civic duty.

"Hand of Hell" 1971

The abundance of holes in the composition.

Like a wounded human body.

forced form he brought out of the war.

"Tree of life"

Initially, I wanted a structure of many sculptures, inside which the building would be located. The sculptures were supposed to show the history of mankind from the beginning of time. It was mounted in a chamber version.

"Tombstone of Khrushchev" The most significant tombstone. I used color as a means of expression.

A number of monuments to the victims of repression.

"Mask of Sorrow" near Magadan.

Vadim Sidur

Stroganovka graduate. He went through the war and was badly wounded.

"Self-replicating machine" late 50s. The sculptural equivalent of a movement. The excitement in front of the cars is replaced rather by horror.

"Disabled" The central part looks like a meat grinder.

GrobArt is an ironic variation on pop art.

"The Man from the Coffin" ("Dead Man") Collected from the things found at the dump.

"Prophets" Plumbing fittings and inflated gloves.

Works a lot as a sculptor-monumentalist.

"Monument to the victims of the bombs", 1965

A sculptor of tragic proportions.

"Monument to those who died from love"

"Sorrow" 1972

"Monument to those killed by violence", 1965

“Calling” Accuracy of a formal solution. The head is replaced with a powerful gesture of open palms.

Eliy Belyutin

He wrote a book about the history of furniture and was generally a successful interior designer. He arranged communal creative dormitories, arranged exhibitions in the forest.

"The funeral of Lenin", 1962

Subject canvas with the achievements of abstract painting. The breadth of the pictorial gesture, the fantastic scope. The length of the canvas is 4 meters. Portrait recognition of Lenin. A fantastic paradox, something that cannot be. It was easily realized on the wave of creative enthusiasm. One of the most daring and innovative opuses of the 60s in painting.

"Woman and Child" Reminiscent of the late Picasso. Large format. Bold overprinting.

Art is dependent on art from the west. Domestic art is always catching up. Surrealism was completely absent. Later, interest arose in him as a missed phenomenon. Although at that time it was not new at all, but in general it was already history.

Hulot Sooster

The closest thing to his art is Max Ernst. Fixed on the motif of the egg.

The Red Egg, 1964. rough texture and smudges.

Vladimir Yankilevsky

"Space of Experiences" 1961. "Someone caught up with Miro!"

Lianozovo art commune. Around the Kropyvnitsky family (Evgeny Rukhin, Oscar Rabin, Nemukhin, a galaxy of poets ...).

Oscar Rabin

Previous artists were within the framework of the system, but he does not correspond with reality in any way. In the position of an outcast.

It carries the culture of the Russian avant-garde of the Jack of Diamonds group. Failed to complete art education. В картинах «чернуха, мрачнуха, бытовуха».

"Passport" is the most famous and scandalous work. Reminiscent of Jasper Johns ("Flag"). Gravitates towards the equation of the passport and the plane. It was for this work that he was expelled from the country.

All the unofficial artistic component of Moscow gathered in his apartment in Lianozovo. Organized the unofficial artistic life of Moscow. All artists combined legal life with subversive artistic activities.

Anatoly Zverev

Studied for one year in a penny. Received the main prize at exhibitions of youth and students. A brilliant improviser. In fact, he was a bum. He did not create his own artistic system. He was famous for his creative exhibitionism.

Vladimir Nemukhin

"Still life with maps" 1989.

In general, cards are a constant motive of his work. The picture is indicative as a post-avant-garde phenomenon, an attempt to overcome the avant-garde. The borderline state between the painting and the object. The card is one of the plastic modules. Conditionally suprematist, the borderline state of a real object and geometric composition. The picture is an object, at the same time a cardboard table and a plane. Further moves are outlined in chalk.

"Unfinished Solitaire" 1966.

Hommage to tashism (gesture painting).

"Poker on the Beach" 1974. At first glance, abstract illusory articulations are emphasized.

Edward Steinberg

artist creative unknown belyutin

Does not complex with his dependence on the art of the 20s. He feels like an innovator, although he only reacts to what has already been invented. But he is not trying to literally resurrect Suprematism. There is no sharp red, black, white, rich color nuances.

Composition from 1972. The square is taken as the starting point, but it becomes small, so it introduces a sharp shadow. Refined development of Suprematism. Distorted vision of Malevich's work.

"Composition with circular sections" The planes rotate, intersect the option of thinking out geometric abstraction.

"Composition of 1983" Rotations, circles. The metaphysical supernatural reality is active at this time.

Dmitry Plavinsky

A type of soil artist. Fixes on the problems of Russian life. Appeals to the forgotten world of the Russian countryside. Fragments of huts, logs (a metaphor for the destruction of indigenous Russian life).

"Big butt" 1978.

The artist is a philosopher. Solid metaphors in the images of rotting huts.

Nikolay Kharitonov

Primitive idyllic images. Conservative soil in Moscow metaphysical painting. Most of the canvases are dedicated to old Russian churches. Something similar to the art of Kustodiev. Consonance with neo-impressionism. It looks very provincial against the background of world art. The image of a romantic outcast.

"Holiday"

There were different ways of coming to terms with reality. Some artists plunged deeper into the unsightly Soviet reality. Soviet communal cohabitation is becoming one of the key themes of Moscow unofficial art.

Mikhail Roginsky

He depicted various kinds of teapots, stoves, matches ... Parallel to pop art, but we have a completely different way of life. However, Rabin's gloominess is alien to him, he does not denigrate reality.

"Teapot" 1963.

Emphasized fatty, dense painting. Displays the plastic quality of nature. Peering into the environment, he selected the appropriate pictorial embodiment for her. Demonstrative anti-aestheticism.

"In the meat department" 1981-1982

A pictorial technique, a psychological situation is important.

"Sniper Pavlyuchenko" 1966 The image of an everyday object is enlarged. The box outgrows the size of the picture. The closest parallel to pop art.

Oleg Tselkov

He worked actively in the 60-70s. The artist is an individualist, avoids general movements. The theme of anthropomorphic creatures (muzzles, scars). Strange anthropomorphic creatures painted in bright colors. A strange mask. A typical person of a totalitarian regime, a faceless hero of the system. Ties everyone together.

"Acrobats and a dragonfly" 1974. A pile of colored flesh.

"Obituary" 1971. A terrifying scenic requiem. Looming red face.

"Sixties-geniuses" - a special individualism. Striving to create your own style. Then it began to annoy them themselves. The generation after the second avant-garde is radically different from them.

Moscow romantic conceptualism

(the term was introduced by Boris Groys)

Representatives: Ilya Kabakov, Eric Bulatov, Viktor Pivovarov, Oleg Vasiliev, Andrey Monastyrsky.

Fitted well into the system. Illustrated children's books (profitable segment of the state order). In children's literature, there are many opportunities for self-expression, the search for new forms. The ethics of the Kabakov circle is to do conscientious hack-work.

60-70s - conceptualism.

MOSCOW CONCEPTUALISM

Joseph Kossuth raises the question of the idea as the main thing in art. The presence of an idea determines the value of works.

Fauvism, Cubism - a new interpretation of the subject.

The Russian artist longs for something outside the artistic world. Kandinsky and Malevich expel the subject from the artist's area of ​​interest. For a Russian artist, the subject is not so important (with the exception of the works of Monastyrsky). The conflict of languages, and not a clarification of relations with the subject. All fiction and fantasy.

In Soviet art, conflicts between the languages ​​of description (the language of household announcements). Obscene language is very important in conceptualism. The sixties expressed themselves in one language - each in its own.

"Conceptualism - they smear not on the picture, but on the viewer" (I. Kabakov)

For the conceptualist, the viewer is an accomplice. The conceptualist is a conscientious Soviet citizen. Successful people, not marginalized. Other types of behavior in Russian art, which even those who are "in the subject" cannot understand.

The expressiveness of the content (Russian art is always about something, the artist is trying to tell something). They resort to the speaking person. This is not an artist's speech, but a fictional character.

Ilya Kabakov

"Whose fly is this?" 1960s.

It looks like a Soviet bulletin board. In the center is a fly, at the top is a kind of dialogue about a fly. A sad tale about communal life. The text is fully involved. The font is like a wall newspaper.

A total installation is a kind of total space for the use of several types of art.

A total installation is an installation based on the inclusion of the viewer inside himself, calculated for his reaction inside a closed, without "windows" space, often consisting of several rooms. The main, decisive importance in this is its atmosphere, the aura arising from the painting of the walls, lighting, configuration of rooms, etc., while numerous, "ordinary" participants in the installation - objects, drawings, paintings, texts - become ordinary components of the whole. I. Kabakov. About total installation. Kants, 1994.

"Communal kitchen"

He readily addresses the theme of the museum.

"Board-explanation for 3 explanations of 6 pictures" The text of the instruction occupied a very important place. There are instructions, but no paintings, paintings are not important, and instructions are immortal. The artistic quality is leveled.

He is interested in the average person, not geniuses.

Illustration for the children's book "The Tale of Terro-Ferro"

All contemporary Russian art is a conclusion from creativity.

One of the first installation masters.

"The Man Who Fled from His Own Room" 1986

The idea of ​​escape, overcoming borders is a frequent topic. Brings the situation to the point of absurdity. A certain Soviet resident carefully planned his escape. There is a huge hole in the ceiling. The boots on the floor are all that remain of this man. The room is small, there is a folding bed, a chair, a kind of table, all the walls are covered with posters. Micromuseum of Soviet mass culture. Installation about the escape of man from the socialist present. Avoids text, the lost narrative must be restored in detail. The most detached attitude of the author.

"The man who flew into his own picture" A hint of some absurd situation. Overcoming the border of reality and illusion. The chair is the absence and presence of a person.

Active appeal to painting from the cycle

"Vacations" or "Holidays", 1987.

Accidentally collage-generated images. Scenes of happy Soviet life. Cut flowers on top.

A difficult cycle to understand.

"Russian painting - a constant change of simulacra, a collection of fakes"

In painting, he is interested in the average painting manner, the average, no pictorial language.

Demonstrative disregard for the integrity of the image. The dominant part of the composition is filled with a domestic plot. Comparison of plots of tea drinking and bathing, happy everyday life of Soviet citizens.

The average painting style is often used by Kabakov.

Charles Rosenthal is a fictional character, average forgotten artist. Lost pupil of Malevich. A grotesque character combining different directions. Valuable as an average failed artist. The history of art is the history of geniuses, but he is not interested in them, he is interested in the norm. He has his own "alternative art history". He invents "normal" artists who also had their own creative path, their own development. Not an established artistic destiny, but an indicative type.

"Red carriage" Reference installation

Soviet history is compressed together. Soviet reality. The sketch is more intelligible than the installation itself. Divides the work into three parts. Conditional construction: super complex scaffolding with stepladders. The viewer can enter there. Expression of an idea is an upward movement. A metaphor of unbridled optimism. The construction is aimless - they have built just a red carriage. Inconsistency of ambition and outcome. The carriage is like a closed frightening space. The last part of the installation is a landfill. The result of all efforts. This is what Soviet history is leading to. An attempt at a figurative embodiment of Soviet history.

In a short time he became the most famous Russian artist abroad. Formed the image of a typical Russian artist. Precisely falls into the cliché of perception of Russian art abroad.

Eric Bulatov Painting-text.

They met with various artists, in Russian fine arts they were used in the avant-garde, constructivism.

"Glory to the KPSS" Internal conflict with the traditional image, the reality of the text, projected onto reality. Extremely cold-done work.

Shishkin manner. Close to Bulatov's circle, for example, Oleg Vasiliev.

Images of leaders, slogans, types of VDNKh - there is no accusatory information behind all this. He simply sees and finds an accurate way of representing what he sees.

"Russian XX century"

Oleg Vasiliev

"Rotation"

The motive of light is often given, as in this work. Executed grisaille. Draws inspiration from 19th century artists.

"Road"

Only road markings indicate modern character. Traditional landscape.

Victor Pivovarov

Includes ready-made forms.

"Notice board", a repository of compositions for the operation of fire extinguishers, fire prevention, etc. A strange inconsistency between language and content.

“Maria Maksimovna your kettle is boiling” Mocks Russian empathy for literaryism. Reveals to the viewer what he wants to see there. Loves paradoxes.

"No, you don't remember me" 1975

Close to Dada and surreal landscapes.

There are moments of surrealism in conceptualists.

Works with absurd forms.

He works a lot with the comprehension of the most artistic problems.

Konstantin Zvezdochetov

"Two heroes" 2005

The language is more placard. Simplified silhouettes. The image is interpreted in the Pivovarov style.

"Viola on the table"

Refusal from the image of the great master, from the museum quality of the picture.

Konstantin Zvezdochetov, Sven Gundlakh, brothers Mironenko.

Pronounced playful character. Free hooligan treatment, not any specific outstanding works of art. Eversion of conceptual practices. Daring, shocking young energy. The actions were funny, bold and dangerous. Once they buried one of the group members in the forest and searched for him for two hours until they realized that they really did not know where he was. Aggressive hard contact with the audience. Parodies of collective action shares. Used a provocation; pointedly rejected the seriousness of the conceptualists. A clear reduction in plastic requirements. Demonstrative use of children's drawing. Pop art in handicraft.

"Long Ruble" Ineptitude and exaggerated gaiety.

Precursors of Moscow auctionism.

They recorded the "Golden Album", a collage of humorous poems, parodies of the stage. Made like a joke for friends. But there is an unexpected success.

Free admission days at the museum

Every Wednesday admission to the permanent exhibition "Art of the XX century" and temporary exhibitions in (Krymsky Val, 10) is free for visitors without a guided tour (except for the exhibition "Ilya Repin" and the project "Vanguard in three dimensions: Goncharova and Malevich").

The right to free access to exhibitions in the main building in Lavrushinsky lane, the Engineering building, the New Tretyakov Gallery, the house-museum of V.M. Vasnetsov, A.M. Vasnetsov is provided on the following days for certain categories of citizens:

First and second Sunday of every month:

for students of higher educational institutions of the Russian Federation, regardless of the form of study (including foreign citizens-students of Russian universities, graduate students, adjuncts, residents, assistants-trainees) upon presentation of a student card (does not apply to persons presenting student cards "student-trainee" );

for students of secondary and secondary specialized educational institutions (from 18 years old) (citizens of Russia and the CIS countries). Students-holders of ISIC cards on the first and second Sunday of each month have the right to visit the exhibition "Art of the XX century" of the New Tretyakov Gallery free of charge.

every Saturday - for members of large families (citizens of Russia and CIS countries).

Please note that conditions for free admission to temporary exhibitions may vary. Check the information on the pages of the exhibitions.

Attention! At the box office of the Gallery, entrance tickets are provided with a face value "free" (upon presentation of the relevant documents - for the above visitors). Moreover, all services of the Gallery, including excursions, are paid in accordance with the established procedure.

Visiting the museum on holidays

Dear visitors!

Please pay attention to the opening hours of the Tretyakov Gallery on holidays. The visit is paid.

Please note that e-tickets are admitted on a first-come, first-served basis. You can familiarize yourself with the rules for returning electronic tickets at.

Congratulations on the upcoming holiday and are waiting in the halls of the Tretyakov Gallery!

The right to preferential visits The Gallery, except for the cases provided for by a separate order of the Gallery's management, is provided upon presentation of documents confirming the right to preferential visits:

• pensioners (citizens of Russia and CIS countries),
• full holders of the "Order of Glory",
• students of secondary and secondary specialized educational institutions (from 18 years old),
• students of higher educational institutions of Russia, as well as foreign students studying at Russian universities (except for student trainees),
• members of large families (citizens of Russia and the CIS countries).

Free admission right The main and temporary exhibitions of the Gallery, except for the cases provided for by a separate order of the Gallery's management, are provided for the following categories of citizens upon presentation of documents confirming the right to free admission:

• persons under the age of 18;
• students of faculties specializing in the field of fine arts of secondary specialized and higher educational institutions of Russia, regardless of the form of study (as well as foreign students studying at Russian universities). The clause does not apply to persons presenting student cards for "student trainees" (if there is no information about the faculty in the student card, a certificate from the educational institution is presented with the obligatory indication of the faculty);
• veterans and invalids of the Great Patriotic War, combatants, former underage prisoners of concentration camps, ghettos and other places of detention created by the Nazis and their allies during the Second World War, illegally repressed and rehabilitated citizens (citizens of Russia and the CIS countries);
• military conscripts of the Russian Federation;
• Heroes of the Soviet Union, Heroes of the Russian Federation, Full Cavaliers of the Order of Glory (citizens of Russia and the CIS countries);
• disabled people of groups I and II, participants in the liquidation of the consequences of the disaster at the Chernobyl nuclear power plant (citizens of Russia and the CIS countries);
• one accompanying person with a disabled person of group I (citizens of Russia and the CIS countries);
• one accompanying child with a disability (citizens of Russia and the CIS countries);
• artists, architects, designers - members of the corresponding creative Unions of Russia and its subjects, art critics - members of the Association of Art Critics of Russia and its subjects, members and employees of the Russian Academy of Arts;
• members of the International Council of Museums (ICOM);
• employees of museums of the system of the Ministry of Culture of the Russian Federation and the corresponding Departments of Culture, employees of the Ministry of Culture of the Russian Federation and the ministries of culture of the constituent entities of the Russian Federation;
• Museum volunteers - entrance to the exhibition "Art of the XX century" (Krymsky Val, 10) and to the A.M. Vasnetsova (citizens of Russia);
• guides-translators who have an accreditation card of the Association of Guides-Translators and Tour Managers of Russia, including those accompanying a group of foreign tourists;
• one teacher of an educational institution and one accompanying group of students of secondary and secondary specialized educational institutions (in the presence of an excursion voucher, subscription); one teacher of an educational institution that has state accreditation for educational activities during an agreed training session and has a special badge (citizens of Russia and the CIS countries);
• one accompanying group of students or a group of conscripts (if you have an excursion voucher, a subscription and during a training session) (citizens of Russia).

Visitors to the above categories of citizens receive a free entrance ticket.

Please note that conditions for preferential admission to temporary exhibitions may vary. Check the information on the pages of the exhibitions.