Modernizm bez manifesta: sobranie Romana Babičeva Tom 4. Aleksandr Vedernikov (1898-1975)
Александр Ведерников (1898-1975)
Gespeichert in:
| Beteiligte Personen: | , |
|---|---|
| Weitere beteiligte Personen: | |
| Format: | Buch |
| Sprache: | Russisch |
| Veröffentlicht: |
Moskva
Moskovskij muzej sovremennogo iskusstva
2017
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030378463&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030378463&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | Izdanie priuročeno k vystavke "Modernizm bez manifesta. Sobranie Romana Babičeva" v Moskovskom muzee sovremennogo iskusstva, sentjabrʹ 2017-janvarʹ 2018 |
| Umfang: | 438 Seiten |
| ISBN: | 9785950066375 |
Internformat
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| 245 | 1 | 0 | |6 880-04 |a Modernizm bez manifesta |b sobranie Romana Babičeva |b = Aleksander Semyonovich Vedernikov (1898-1975) |n Tom 4. |p Aleksandr Vedernikov (1898-1975) |c sostavitelʹ: Roman Babičev |
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| 546 | |a Text russisch. - Zusammenfassung in englischer Sprache | ||
| 546 | |b Kyrillisch | ||
| 600 | 1 | 7 | |a Vedernikov, Aleksandr Semënovič |d 1898-1975 |0 (DE-588)1161486526 |2 gnd |9 rswk-swf |
| 655 | 7 | |0 (DE-588)4135467-9 |a Ausstellungskatalog |y 09.2017-01.2018 |z Moskau |2 gnd-content | |
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| 700 | 1 | |6 880-02 |a Strukova, Aleksandra I. |4 aut |4 edt | |
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Datensatz im Suchindex
| _version_ | 1819269109955690496 |
|---|---|
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AjibSoM 60
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PaSoTbi Ha 6yMare 87
ABTOJiHTorpa i)Hii 243
Pejibec|)bi 375
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Summary 438
Summary
This book is dedicated to the work of
Alexander Semyonovich Vedernikov
(1898-1975). His active career in the
field of fine arts was very long - it
spanned about six decades. His work
was closely tied to such important
phenomena in the artistic life of Len-
ingrad as the Circle of Artists associ-
ation in the 1920s and the Leningrad
school of landscape in the 1930s -
early 1940s. From the late 1930s until
the early 1970s, Vedernikov was one
of the principal figures in the lithog-
raphy workshop of the Leningrad
Union of Soviet Artists.
Vedernikov was born in the
small town of Gorodets on the Volga
River, and the first impressions of
his childhood, connected with ev-
eryday life of the Russian provincial
town as well as Russian folk arts and
crafts such as Gorodets painting and
Dymkovo toys, played an important
role in his creative work.
Vedernikov was a member of the
Collective of Analytical Art Masters,
organized by Pavel Filonov (Ved-
ernikov’s works of that period have
not survived), and later joined The
Circle of Artists, representatives of
which voiced their support for the
preservation of easel painting and
declared their willingness to create
monumental paintings and urban
decorative design. In their declara-
tion, members of this association
pledged their loyalty to the realism
method, arguing that they wanted
to enrich it through searches in the
field of artistic form. In practice they
would always adhere to the prin-
ciples of figurative art. Among the
members of this association were
such significant Leningrad artists
as A. Samokhvalov, T. Kupervasser,
A. Rusakov, D. Zagoskin, V. Kuptsov,
P. Osolodkov. Vedernikov partici-
pated in five of the six exhibitions
organized by the Circle of Artists.
Only landscapes survived from this
period of Vedernikov’s work: at first
they demonstrate the influence of
the artist’s teacher Karev and later
his liberation from this influence.
Vedernikov played a signifi-
cant part in the formation of the
Leningrad school of landscape. This
phenomenon is represented by the
work of a number of artists who
were active in the 1930-1940S. Rep-
resentatives of this school created
their works in similar stylistics, in-
fluenced one another, and interact-
ed within the circle. They oriented
themselves towards the traditions
of French post-impressionism
and particularly revered the art
of Albert Marquet in combination
with the techniques of primitivism,
impressionism, features of the
Saratov school. The idea of looking
at Leningrad “through the French
glasses” must have occurred to
N. Lapshin, who maintained a close
acquaintance with Vedernikov. In
collaboration with the latter, as well
as with V. Grinberg, A. Uspensky,
A. Rusakov and a number of other
artists, Lapshin formulated specific
artistic principles of the Leningrad
school of landscape. For Leningrad
artists Marquet played the role of
a certain password; he correspond-
ed to the spirit of the time with its
search for the best examples in
world art of the past and present.
The secret of the appeal of Mar-
quet’s art was also in the artist’s
close ties with nature, his realism,
combined with the masterful and
modern command of form. For So-
viet art, the development of which
was directed by the critics in major
art magazines and leading newspa-
pers, “the fight for realism” was one
of the major objectives.
During the First Exhibition of
Leningrad artists at the State Rus-
sian Museum in 1934, the Leningrad
school of landscape stood out as
a unified phenomenon and received
critical acclaim.
Throughout the 1930s Ved-
ernikov worked predominantly in
the genre of landscape. He developed
a very good eye, and the ability to
build the space in his paintings
became perhaps the most important
aspect of his art in the prewar peri-
od. At the base of his compositions
there is often a diagonal or a dynam-
ic curve. He heavily simplifies and
generalizes the image. Vedernikov
avoided depicting the celebrated
vistas of Leningrad, he was more in-
terested in his own theme, connect-
ed, as it seemed, with his childhood
impressions - the river and the
ships, everyday life in a seaport. He
was looking for the simplest “dis-
tilled” forms and found something
that Leningrad artist L. Timoshen-
ko defined as “a certain monotony,
emptiness” of landscapes. Repetition
in his work is deliberate, cultivat-
ed - it’s “the monotony” of the art of
folk artists (and, at the same time,
the diversity inside a well-matured
technique). Building on the unprec-
edented simplicity of his paintings,
the Leningrad school of landscape
got the opportunity to grow and de-
velop. Lapshin admired Vedernikov’s
art and borrowed a lot from him. In
his turn, Vedernikov borrowed the
method connected with printing
techniques. Some of Vedernikov’s
landscapes from the 1930s resem-
ble colored lithographs because of
their precise dismantling into color
patches. Vedernikov also shares with
Lapshin the photographic technique
of sharpening”, but, unlike his
older colleague, Vedernikov used to
provide the sharp image not of just
one part of the painting (usually, the
foreground), but of a separate object
or its detail. His landscape, being ba-
sically an assortment of blurred col-
or patches, would suddenly “gather
itself up” through the introduction
of a few details, drawn with a brush:
it could be the rigging of a ship, the
facade of a building, and a range
of street lamps with sophisticated
silhouettes.
According to the artist himself,
the majority of his works created
by 1941 perished during the war.
Vedernikov lived in Leningrad under
the siege and then was evacuated to
Gorodets. He stopped creating oil
paintings at the beginning of the
1950s. In 1948 Vedernikov trans-
ferred from the painting section of
the Leningrad Artists’ Union to the
graphics one. Thus a new period in
his life - mostly dedicated to lithog-
raphy - began.
Vedernikov concentrated on li
thography as well as on watercolors.
which often served as preparation
materials for his work in this print-
ing technique. During 30 years the
artist created over 400 lithographs.
He mastered the whole range of
genres except portrait - landscape,
still-life, genre scenes, depiction
of models - and actively developed
a hybrid genre, which can be tenta-
tively defined as “windows”.
Vedernikov perfected the image
on the stone from one impression to
another, and then often finalized it
with ink, white, tempera, color pen-
cils, or pastel on the already printed
sheet - the method which adds
a unique quality to a large number of
his autolithographs.
In the 1960s Vedernikov found
himself among the artists, who were
in the first place associated with the
idea of new Leningrad art. Critics
inevitably mentioned his autolitho-
graphs when they were writing
about the city’s fine arts, represented
at the exhibitions. The Khrushchev
Thaw period was characterized
by the priority of graphics and its
impact on the language of painting.
Vedernikov cultivated the taste of
his viewers and buyers of printed
graphics.
In his lithographs he turned
to the icons of his youth, creating
stylizations in the spirit of Henry
Matisse, Pablo Picasso, and Joan
Miró. He also worked on the subject
of folklore, creating autolithographs
of still lifes and works from The
Gorodets Series. Working on the latter,
Vedernikov recalled the images and
techniques of Gorodets painting, and
they were especially in demand at
the international art fairs.
Alexander Vedernikov’s heritage
is most fully represented in the col-
lection of Moscow collector Roman
Babichev, who publishes in this
book all of Vedernikov’s works he
owns. This impressive gathering en-
compasses all the aspects of the art-
ist’s work: oil paintings (25 pieces),
watercolors, drawings, lithographs,
painted carvings, and includes 823
objects. It is the first time when the
bulk of Alexander Vedernikov’s oeu-
vre is published so fully. The book
provides the scholars of the 20th
century Soviet art with the materials
which are unique in their fullness
and diversity.
438
AJIEKCAHflP BEflEPHHKOB (l898-1975)
|
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| genre | (DE-588)4135467-9 Ausstellungskatalog 09.2017-01.2018 Moskau gnd-content |
| genre_facet | Ausstellungskatalog 09.2017-01.2018 Moskau |
| id | DE-604.BV044986174 |
| illustrated | Not Illustrated |
| indexdate | 2024-12-20T18:15:53Z |
| institution | BVB |
| institution_GND | (DE-588)10030715-2 |
| isbn | 9785950066375 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-030378463 |
| oclc_num | 1039499887 |
| open_access_boolean | |
| owner | DE-12 DE-255 DE-19 DE-BY-UBM |
| owner_facet | DE-12 DE-255 DE-19 DE-BY-UBM |
| physical | 438 Seiten |
| psigel | BSB_NED_20190904 |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | Moskovskij muzej sovremennogo iskusstva |
| record_format | marc |
| spellingShingle | Babičev, Roman 1957- Babičev, Roman 1957- Strukova, Aleksandra I. Modernizm bez manifesta sobranie Romana Babičeva = Aleksander Semyonovich Vedernikov (1898-1975) Vedernikov, Aleksandr Semënovič 1898-1975 (DE-588)1161486526 gnd |
| subject_GND | (DE-588)1161486526 (DE-588)4135467-9 |
| title | Modernizm bez manifesta sobranie Romana Babičeva = Aleksander Semyonovich Vedernikov (1898-1975) |
| title_auth | Modernizm bez manifesta sobranie Romana Babičeva = Aleksander Semyonovich Vedernikov (1898-1975) |
| title_exact_search | Modernizm bez manifesta sobranie Romana Babičeva = Aleksander Semyonovich Vedernikov (1898-1975) |
| title_full | Modernizm bez manifesta sobranie Romana Babičeva = Aleksander Semyonovich Vedernikov (1898-1975) Tom 4. Aleksandr Vedernikov (1898-1975) sostavitelʹ: Roman Babičev |
| title_fullStr | Modernizm bez manifesta sobranie Romana Babičeva = Aleksander Semyonovich Vedernikov (1898-1975) Tom 4. Aleksandr Vedernikov (1898-1975) sostavitelʹ: Roman Babičev |
| title_full_unstemmed | Modernizm bez manifesta sobranie Romana Babičeva = Aleksander Semyonovich Vedernikov (1898-1975) Tom 4. Aleksandr Vedernikov (1898-1975) sostavitelʹ: Roman Babičev |
| title_short | Modernizm bez manifesta |
| title_sort | modernizm bez manifesta sobranie romana babiceva aleksander semyonovich vedernikov 1898 1975 aleksandr vedernikov 1898 1975 |
| title_sub | sobranie Romana Babičeva |
| topic | Vedernikov, Aleksandr Semënovič 1898-1975 (DE-588)1161486526 gnd |
| topic_facet | Vedernikov, Aleksandr Semënovič 1898-1975 Ausstellungskatalog 09.2017-01.2018 Moskau |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030378463&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030378463&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV044885037 |
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