Vladimir School of Painting and Association ART-Navis

Articles December 18, 2019

Author: art critic Marina Zershchikova

Vladimir School of Painting and ART-Navis Association. This topic is very important for us, artists of the Art-Navis association. Not a single program or interview can do without the question of whether we attribute ourselves to the Vladimir School of Painting. In this regard, we conducted some studies and made a number of conclusions. An analysis of this issue showed that the artists of the Art-Navis association are the successors of the traditions of the masters of the Vladimir School of Painting. The question may arise, how is this possible if we have never been their direct students? There were no close contacts between us, although Vladimir Yakovlevich Yukin supported the pedagogical activities of Vyacheslav Gennadievich Konotopov, and Kim Nikolaevich Britov attended the opening of our exhibitions. Young artists of the association could be inspired by their works both in the Vladimir-Suzdal Museum-Reserve and in personal or regional exhibitions.

The answer to the question of how in this case we can be the successors of the traditions of the Vladimir school of painting can be obtained by concretizing the terms “art school” and “art tradition”.

The first of them implies, first of all, the continuity of traditions, that is, the consistent transfer of knowledge, abilities and skills between generations. Art schools existed in antiquity. Ancient Greek art was divided into “Samos school”, “Athenian school”, etc. Ancient Russian icon painting included Novgorod, Pskov, Moscow and other schools. We can talk about the school of Russian realistic art or the school of French and Italian painting. Their difference was that artists in different eras gave priority to the implementation of various artistic tasks, and they unite their common traditions. What are these traditions? They mean the work of artists with their impressions of the world, their analysis, their experience, deepening, as a result of which works were born that convey ideas, subtle spiritual states. They did not need to use schemes, techniques, effects, to look for their face. This also applies to the works of artists of the Vladimir School of Painting. They survived the difficult years of the war, they appreciated life in all its manifestations, appreciated their homeland, they were impressed by the flowering folk art, combined with the open frescoes of the Assumption Cathedral, which impressed the artists with its soft color and lively interpretation of form. They were inspired by the preserved architectural, not yet restored architectural monuments that claimed the significance of their homeland. They wrote what impressed them, based on work from nature, and therefore a bright national character was manifested in their sketches and paintings.

We, the artists of the Art-Navis association, are developing the same traditions of working from nature, with our impressions, developing knowledge of color and tone painting, of academic and creative tasks. We have the same artistic roots as the founders of the Vladimir School of Painting, through them we are the successors of traditions. We are connected by the pedagogical activity of P.P. Chistyakov, who put on his feet a generation of masters of the second half of the 19th century, whose paintings now occupy central places in all expositions, Surikov, Polenov, Serov, Repin, Vrubel. They, in turn, brought up artists who influenced the formation of painters of the second half of the XX century.

Among the meters teachers at the Vladimir School of Painting were: Nikolai Petrovich Sychev, a professor and artist who absorbed the lessons of Repin, Chistyakov, Kuindzhi. He was for some time the director of the Russian Museum in St. Petersburg, contributed to the emergence of modern exhibitions, stood at the base of the Vladimir Union of Artists, at the restoration of the Assumption Cathedral. Mikhail Semenovich Pyrin, a teacher at the Ivanovo Art College. He got his knowledge from S. Korovin, V. Makovsky, I. Pryanishnikov and V. Serov, a member of the Union of Russian Artists, whose representatives developed impressionistic tendencies in their work. Sergei Mikhailovich Chesnokov (1890-1965), a student of Nikolai Ivanovich Feshin (1881-1955) and Pavel Petrovich Benkov (1879-1949), who were in turn students of Ilya Efimovich Repin (1844-1930). He was an artist and teacher. Konstantin Ivanovich Mazin (1874-1947), who graduated from the St. Petersburg Academy of Arts in the landscape workshop of Professor Alexander Alexandrovich Kiselev (1838-1911). Thus, we see a consistent chain – a teacher-student, we see works similar in execution, testifying to the realistic roots of painting at the Vladimir School of Painting, which K.N.Britov repeatedly repeated. Our roots go back to the pedagogical system of P.P. Chistyakov in the interpretation of our teacher Vyacheslav Gennadievich Konotopov and his teacher Mikhail Nikolaevich Grebenkov, a Soviet restorer, painter and teacher. The paintings of artists of the Art-Navis association differ from the works of the founders of the Vladimir School of Painting, as they conveyed their impressions of the reality surrounding them, and we convey ours. However, setting ourselves the same tasks, transferring the expressiveness of the surrounding reality, our feelings from it, we become the successors of the traditions that they preserved in their work.

We do not strive to copy the techniques and technical means of the meters of the Vladimir School of Painting, but are inspired by their works, which testify to the strength of the character of the authors, their own outlook on life, energy and hard work. They root in us the desire to also look with our own eyes, to write what is impressive, striving to write large-sized paintings that convey the diversity of the world around us.

Original article: http://artnavis.ru/info/avtorskie-stati/vladimirskaya-shkola-zhivopisi-i-obedinenie-art-navis.html

Leave a Reply

Your email address will not be published.