Anna Davydchenko. Brush - calling on the road
Artist Anna Davydchenko was born in Volgograd, but for more than twenty years she has been living and working in the Crimea. Landscapist, a member of the Union of Artists of Ukraine and Russia. Her works are kept in private collections in Germany, France, Greece, Canada, USA, Israel, CIS countries. In the literary-memorial museum of A. Green, in the Art Museum of Vinnitsa, in the Feodosia Art Gallery named after IK Aivazovsky.
- Anna, do you remember the moment when the first acquaintance with painting happened?
The very first acquaintance occurred in early childhood. I had a bad appetite and, to somehow make me eat, before me lay out albums with reproductions of paintings. I was fascinated by the images and, while I opened my mouth and examined them, I was able to feed them))). How many I remember myself, I always painted with felt-tip pens. Favorite characters in my drawings are horses and people.
My mother and I often visited Crimea in the Crimea with our great-aunt and grandfather - the honored artist of the USSR Nikolay Bortnikov and his wife, the honored artist of the Ukrainian SSR Tatyana Kuznetsova. They saw my passion and ability to paint gave me a broad brush, paint cans and a large paper format. The pleasure of drawing on such a large sheet was boundless! Seeing the result - they advised my mother to pay attention to my art education
- How did your parents see you?
The propensity of my character and love of drawing led my mother to the idea that creativity should be the basis of my life’s path.
- Do you?
Yes, it is quite! My mother gave me first to the art studio, then to the art school. Later I received a special secondary and higher art education. My mother helped me a lot and supported me, taking care of my little son and giving me the opportunity to fully study. In the Bortnikov family I met artists such as V. Bernadsky, V. Apanovich and others.
I well remember the funny case when I was a teenager (12-13 years old), in the absence of Tatyana Nikolaevna decided to make dinner for Nikolai Fedorovich and Valentin Danilovich Bernadsky. I very nice fried chicken, cooked a side dish and gave them to the table. They were delighted, with pleasure pierced their teeth into the chicken, and then with difficulty tore it from their teeth and put it back in the plate. I did not say anything, just took the plates with the chicken to the kitchen. And then I saw my culinary «failure». The chicken was bleeding - it was appetizingly fried, but inside it remained damp. And the artists were too tactful to make a comment. This tactfulness I remembered and very useful in life. This is manifested in the fact that every time when novice artists ask me to evaluate their work - I carefully select words, because any rash word, who is considered to be an authority for them, can permanently, if not for ever, repulse the desire to paint.
Studying at the Art College. NS Samokisha in Simferopol, I often went home and even lived with my great-uncles and grandmothers, who themselves taught in this school in the 50s. Their pedagogical advice was extremely useful for me - a beginner artist. The works of Bortnikov, Kuznetsova and their friends, well-known artists of the Crimea of that time, V. Bernadsky, V. Apanovich and others made my heart tremble, and their pictures inspired.
- What places were remembered? Did you immediately start your creative activity?
It was a very long journey. After graduating from the art school, I got a job as a restorer in the gallery named after him. IK Aivazovsky in the city of Feodosia. At that time, the head of the funds IMPogrebetskaya taught me to look at the world of pictures with other eyes, and the constant contact with the works of the famous seascapeist and his followers had an extremely beneficial effect on my artistic perception of the world. However, the need to earn a living affected creative searches, and therefore they limited themselves mainly to drawing portraits and selling small paintings during the holiday season on the waterfront of Feodosia. In addition, time and effort took away the upbringing of the child and teaching in a children’s art school.
In 2001, I got married again and we moved to live in Kiev. There was more time for creativity and in 2005 I first brought my work to the exhibition. And not somewhere, at the city, district or regional, but immediately at the All-Ukrainian exhibition in the National Union of Artists of Ukraine. Of course, my work did not receive a single vote of the members of the exhibition and the selection did not pass. I was very surprised, because my seascapes were selling very well. Why did no one vote for them?
After completing the selection of paintings, I managed to ask one of the members of the exhibition to approach my work and explain the reasons for the refusal. He pondered for a long time and finally said - «your paintings are too beautiful for our exhibition»)))). This time I thought for a long time. If the pictures are beautiful, then why they are not taken to the exhibition? The answer came not immediately, but through a succession of exhibition halls, plein airs and painful creative searches for «your face». I began to travel a lot and work from life.
- What places were remembered?
In the open-air I was in Ukraine, Montenegro, in Russia - and of course, - most of all in the beloved Crimea. Each place was stored in memory in its own way. The organizers of the plein airs try to show the most picturesque places of their region.
Pleners in Ukraine were remembered by the cupolas of the Lavra and Sofia, the magical landscapes of the Carpathians. Impressive are the September landscapes of Slavsk, Lviv region. These are mountains, overgrown with forests, «poloniny». Painted and whitewashed huts. Even the smallest house looks neat and well-groomed. People are curious and hospitable. You stand behind the sketchbook, you write, and the owners of the nearby house can go out and talk. Necessarily strive to treat something. They were surprised by the children who, instead of the usual «Zdrazhye», greeted us with the words «Glory to Jesus Christ»))).
Montenegro was fascinated by the riot of color, white houses with orange tiled roofs, cleanliness and silence. There was a feeling that I was in a fantasy world lost in time. You find yourself in the country of the architectural Middle Ages, but with modern «stuffing». The nature of this country is very similar to Yalta, but more saturated with bright colors. A huge number of very different colors, they are looked after, watered, all fragrant.
Russia impressed with the classical architectural beauties and canals of Peter, the enchanting beauty of the monasteries and churches of the Golden Ring, ingrown into the ground by wooden houses with carved shutters, wide fields and dense forests full of mushrooms, calm and good-natured people who are passing you by.
- In some of your paintings, landscapes of the East, you’ve been there?
Yes, I was lucky enough to live in Burma for six months. Thanks to the husband who worked there, I found myself in an eastern fairy tale. The most exotic impressions! The 21st century coexists there next to the eighteenth. Villa with all the benefits of civilization can coexist with bamboo huts. The team of oxen rolls along the street next to the new car. Such a contrast in everything! Even men there wear long skirts!
A country of thousands of Buddhist pagodas and temples, many exotic fruits and dishes, a Buddhist religion that educates people to calmly perceive the difficulties of life. All this is mixed in a magic cocktail that does not get bored. At that time, there were very few Europeans in Burma. For local residents to see a white woman, and even a blonde, it was a big event. As if we were driving along an elephant’s street))). When I was drawing on the street, the Burmese were gesturing or in English asking permission and sitting down to watch. Some remained until the end of the work. In general, the attitude of people was positive.
- Well, of course you are ready to talk about the Crimea for hours?
Oh yeah! Crimea - just a Mecca for the artist. It inspires in summer and winter, in autumn and in spring. Nature is so diverse and fascinating everywhere. Steppe, mountains, waterfalls, the sea, small rivers, forests - everyone is free to choose the landscape he likes. Although I live in Feodosia, in the southeast of the peninsula, most of all I like to write the southern coast of Crimea - Big Yalta, Gurzuf, Simeiz, etc. The city landscape is most well-written there. Many picturesque streets, beautiful balconies, roofs.
If there is an inspiration to write a combination of mountains and the sea, then I prefer to go to Sudak, Koktebel, Ordzhonikidze - where the bizarre mountains are gathered in one place and there is no need to go anywhere, just turn around, watch the sun. And of course it is impossible not to mention the ancient Theodosius - the fortress, the sea, the houses - the eternal source of inspiration!
Landscape scenes are important, but more importantly, with whom you work on the collective plein air. Working together, communicating, sharing experiences is an extremely important part of creative growth. I was very lucky to work with such a talented Moscow master as Bato Dugarzhapov. He is for me an example of a bright personality in painting!
- What do you think about the work?
- On how to apply a smear on the canvas, how the light falls, what is closer, and what next, how to convey the perspective. The thought process is very stressful. And, even if someone distracts me with conversations, I can answer questions mechanically, mechanically. The thought continues to work, I plunge completely into the picture.
- Do you have any favorite and not so much work?
I do not have any favorite works. Each is how to live life and exhale at the end: «Everything! It was done! «, But only in order to start again a new» life «on the next canvas. And you learn all the time. Sometimes, looking at the work of the past year, you think: «How many shortcomings! Really I wrote it!? « And at that moment they seemed perfect!)))
- What is the world around you?
Artists look at the world in a special way, they see what other people do not notice and vice versa. Images constantly appear in my head. I see the composition, the point or angle of view, color, light, or kontrazhur. For example, when I walk down the street, I do not pay attention to the woman’s bag (hat, dress, shoes), I see with what color spot it looks against the background of the surrounding landscape. For example, when I talk and look at you, I see part of the picture, how the line of the hand bends, how the light falls on your face, in other words, I see a ready rub, image, that is, how I would depict you in a picture and not a pretty journalist, Sitting opposite me at the table.
- What inspires you?
Light, colors, sunrays and ornate shadows. An unusual story, an expressive face, but just good weather or just fallen snow. Nature and people are the main inspirer! The picture is not born spontaneously. The plot is turned over, reworked in the head and only then something happens. I want to consolidate some point, which turned out and when it succeeds, a new wave of inspiration comes.
- Through art you express your light feelings or vice versa, pain, sadness?
Happiness or unhappiness is a passing state. In painting I express not so much my emotions as my view of the world and the attitude towards it.
«Does belonging to the genus of the Morkovs count somehow affect your life?»
I regard this as an interesting fact of history, nothing more. In life, it is not important who your ancestors were, but what you personally achieved. Although most of my life I knew about this very fragmented.
France. The descendants of the Earl of Morkovs living at Villa La Serpolette in Nica, now owned by one of the heirs of this family, Count Nikolai Dmitrievich Morkov. From left to right: Elizabeth Mayor, Pierre Cristofari, Dmitry Morkov - Anna’s son, Anna Davydchenko and Marina Bumagina - Anna’s mother.
You understand that in the early Soviet Union, belonging to the nobility, and even to a highly titled one, was dangerous to life, and in the late USSR it was simply not recommended to mention it. Therefore, of those who knew about this, let’s say the children of my great-grandfather, the last person who carried the title of Count, Irakly Dmitrievich Morkov, preferred not to spread it. My grandmother - his daughter told my mother very, very poorly. This was far from the subject of daily conversation. Surprisingly, the house preserved the photographs of the great-grandfather.
France. The great-grandfather of Anna Davydchenko, Count Irakly Dmitrievich Morkov with the children. Photo taken in Nice in 1916 year. The second from the right is the grandmother of Anna Davydchenko, Yevgenia Iraklyevna Morkova.
We also knew about Vasily Tropinin, but, in general, not very much. What I know now is more, I owe more to my second husband. In the early 2000s, he heard that there was a Russian Noble Assembly and decided that I should become a member, for this it was necessary to collect metrics, marriage certificates and other documents about ancestors, proving a direct relationship. We began to correspond with the archives, went on them ourselves, painstakingly collecting documents. As a result of the house, a whole own archive has accumulated, consisting of decisions of noble assemblies, metric extracts, records, etc. The husband even created and for a time administered a website dedicated to my ancestors.
- Did your ancestors take a great interest in painting?
My relatives were trained to draw and did good drawings. In the family archive are stored the work of mother, grandmother, great-grandmother... Before me, professional artists were only cousins grandparents, which I mentioned earlier. And although the ability to draw was instilled in all noble children, and my distant ancestors were taught by the well-known novelist of the early 19th century VA Tropinin.
- How do you manage to combine family life, work and creativity?
A woman is more difficult to be an artist. I had less sleep, less rest. While his son was under 12 years old, there was simply no creativity. And when he grew up and the time appeared, the abyss, in the artistic development that had arisen during this time, had to be overcome at an accelerated pace and often at the expense of the family. My mother, son and husband have been and give me great support and show understanding.
- Does the husband turn a blind eye to some domestic problems for the sake of writing?
He does not open them (laughs).
- What are you dreaming about?
Like any woman, I dream of happiness, health and well-being for myself and my family. As an artist I would like, that my work would be liked by a wide range of people from art lovers to gallery owners. The above is quite feasible, I hope. And there is an unrealizable dream. Since it so happened that I belong to the family to which Tropinin was related, I dream of holding an exhibition of my works in the museum of Tropinin and Moscow artists of his time. I think it would be symbolic, a descendant of those whose serf artist he once was, exhibits his works in his museum. Of course, the museum is not an art gallery, and not a gallery, because such an exhibition is impossible, but as they say, it’s not harmful to dream... (laughs).
- Where can I see your work?
In the salons of Feodosia, Koktebel, Yalta, Simferopol, Kiev, Moscow, St. Petersburg, but most of all on the Internet, in social networks, on my page of the best in my opinion, the profile site of RuNet Https://countessart.in.gallerix.ru . In the search engine, you can find all the links to my work on the hashtag #CountessArt