Exhibition of Igor Pchelnikov Automatic translate

The Russian Academy of Arts presents an exhibition of works by People’s Artist of the Russian Federation and Academician of the Russian Academy of Arts Igor Vladimirovich Pchelnikov (1931-2021), which will showcase more than 200 easel works that are significant for the master’s work.

Soviet monumental art had an unprecedented flowering in the post-war period, when the need to decorate architecture was especially keenly felt by society. Igor Vladimirovich Pchelnikov entered art together with a generation of outstanding artists who, in the wake of the renewal of the plastic language of the late 1950s and early 1960s, created the design of theaters, public buildings, embassies of the Soviet Union in foreign countries. His colleagues and contemporaries were V. B. Elkonin, N. I. Andronov, A. V. Vasnetsov, B. A. Talberg, L. G. Poleshchuk, I. I. Lavrova, E. M. Ablin, B P. Milyukov, A. A. Gubarev, E. A. Zharenova, V. K. Vasiltsov, etc.

This exhibition presents a retrospective of the works of Igor Vladimirovich. The artist himself usually made personal exhibitions as reports for a certain period of time. Today, a year after his departure, the viewer can consistently consider the stages of his work, trace the development of his favorite themes and motifs, the change of stylistic trends. At the beginning of the exposition - sketches of works for decorating architectural ensembles and easel works of the early period, when Igor Pchelnikov worked in collaboration with Irina Lavrova (1962-1984). Monumental artists, they developed a two-dimensional plane into volume, introducing wooden details and working simultaneously with a direct and reverse form. The technique of giving a third dimension and relief expressiveness was repeatedly and ingeniously used by Pchelnikov:

The plots of his easel works are often autobiographical. In the 1980s, heavy experiences fell due to a long-term illness of the mother, and with the birth of her daughter Polina, paintings with a joyful mood appeared. In the exposition, the works of the 1990s-2016 are grouped according to the principle of highlighting the main motive that reveals one of the sides of the Russian soul: images of the family, native nature, religious subjects, portraits of loved ones. In this series, a significant place is occupied by self-portraits, which are marked by a whole range of inner experiences. Art critic Tatyana Nechaeva remarked: “Having learned to draw himself with his eyes closed, he hyperbolically sharpens the characteristic in the silhouette, the relief of the figure, conveying the feelings that overwhelm him, his relationship with the world.” In parallel, the master solves individual spatial and plastic problems. "I try to write I see every or almost every day. If I paint portraits, these are the people I know best - my parents, my wife, myself. My favorite object of the image is a person in an interior. In this plot, the contrast between organic and geometric forms is clearly revealed: the geometric form seeks to turn the image of a person into an architectural structure, into a column with a capital and flutes. The struggle between geometry and living form always worries me, and I do not consider this question to be formal. The desire of the artist to streamline the visible world is a matter of form and content at the same time. the geometric form seeks to turn the image of a person into an architectural structure, into a column with a capital and flutes. The struggle between geometry and living form always worries me, and I do not consider this question to be formal. The desire of the artist to streamline the visible world is a matter of form and content at the same time. the geometric form seeks to turn the image of a person into an architectural structure, into a column with a capital and flutes. The struggle between geometry and living form always worries me, and I do not consider this question to be formal. The desire of the artist to streamline the visible world is a matter of form and content at the same time.

The exhibition also highlights a diametrically opposed stylistic method. These are abstract works that the master became interested in in the 1990s. He assigned them a special “research” place, since he himself determined the fashion for his modernity. In abstraction, it was space that interested him. He wrote: "This is an essential part of my aspirations, but I would not call it abstract, it’s like a groping search for space." Igor Vladimirovich continued to create mysterious compositions, which each of us will read with his own “emphasis”, see his own meaning.

The plastic evolution of Pchelnikov was aimed at achieving intense pictorial expression. Great opportunities for this were provided by religious subjects, to which the author turned from the beginning of the 1990s. He shows the undeniable power of feeling and achieves a personal interpretation of the eternal images and plots known to everyone. His gospel theme has been developing over the years, sometimes the paintings are rewritten several times, the artist "finishes" his compositions, supplements them with a new dramatic reading and his own philosophy. Thus, the motif of the stairs to the sky receives a new understanding. Love for his country and the Russian spirit is conveyed through the "portraits" of old trees in winter, their complex and tragic silhouettes, epic moments of the state of nature in the Tula region, where Pchelnikov lived for a long time with his wife Maria Krasilnikova in a village house, which became for him the center of the world. The artist conveys by sparing means the timeless character of a simple Russian village, peering into its fragments and details of life. Foreign travel, which gave a sense of freedom and the desired scope of the classical heritage, set a comparative intonation for even greater awareness of one’s own values ​​and dignity. Thanks to the increased emotionality of the artistic language and personal cultural code, which absorbed the lessons of domestic and world culture, as well as the modernism of the twentieth century, each work of Igor Vladimirovich contains the internal symbolism of the dialogue and unique human energy. The exhibition presents about 100 works that allow you to trace the conceptual and plastic discoveries of the master on his 70-year career. The artist conveys by sparing means the timeless character of a simple Russian village, peering into its fragments and details of life. Foreign travel, which gave a sense of freedom and the desired scope of the classical heritage, set a comparative intonation for even greater awareness of one’s own values ​​and dignity. Thanks to the increased emotionality of the artistic language and personal cultural code, which absorbed the lessons of domestic and world culture, as well as the modernism of the twentieth century, each work of Igor Vladimirovich contains the internal symbolism of the dialogue and unique human energy. The exhibition presents about 100 works that allow you to trace the conceptual and plastic discoveries of the master on his 70-year career. The artist conveys by sparing means the timeless character of a simple Russian village, peering into its fragments and details of life. Foreign travel, which gave a sense of freedom and the desired scope of the classical heritage, set a comparative intonation for even greater awareness of one’s own values ​​and dignity. Thanks to the increased emotionality of the artistic language and personal cultural code, which absorbed the lessons of domestic and world culture, as well as the modernism of the twentieth century, each work of Igor Vladimirovich contains the internal symbolism of the dialogue and unique human energy. The exhibition presents about 100 works that allow you to trace the conceptual and plastic discoveries of the master on his 70-year career. giving a sense of freedom and the desired scope of the classical heritage, set a comparative intonation for even greater awareness of one’s own values ​​and dignity. Thanks to the increased emotionality of the artistic language and personal cultural code, which absorbed the lessons of domestic and world culture, as well as the modernism of the twentieth century, each work of Igor Vladimirovich contains the internal symbolism of the dialogue and unique human energy. The exhibition presents about 100 works that allow you to trace the conceptual and plastic discoveries of the master on his 70-year career. giving a sense of freedom and the desired scope of the classical heritage, set a comparative intonation for even greater awareness of one’s own values ​​and dignity. Thanks to the increased emotionality of the artistic language and personal cultural code, which absorbed the lessons of domestic and world culture, as well as the modernism of the twentieth century, each work of Igor Vladimirovich contains the internal symbolism of the dialogue and unique human energy. The exhibition presents about 100 works that allow you to trace the conceptual and plastic discoveries of the master on his 70-year career. which absorbed the lessons of national and world culture, as well as the modernism of the twentieth century, each work of Igor Vladimirovich contains the internal symbolism of the dialogue and unique human energy. The exhibition presents about 100 works that allow you to trace the conceptual and plastic discoveries of the master on his 70-year career. which absorbed the lessons of national and world culture, as well as the modernism of the twentieth century, each work of Igor Vladimirovich contains the internal symbolism of the dialogue and unique human energy. The exhibition presents about 100 works that allow you to trace the conceptual and plastic discoveries of the master on his 70-year career.

The text was prepared by the curator of the exhibition, art critic Pyotr Baranov.

Read more: https://rah.ru/exhibitions/detail.php?ID=58527