“Find me a classic Rabin with a vodka-herring”, is exactly the kind of request we have heard more than once from collectors of the “Lianozovo school”. It would seem, what is so difficult? After all, this is the most famous system of images in the works of Rabin. A still life with vodka and herring is the first thing that comes to mind when the artist's name is mentioned. There should be as many of them as Nemukhin's cards. But just approach the question practically — and oops — no way.
This painting of rare beauty comes from the collection of Piero Savoretti, an Italian entrepreneur and collector. The painting belongs to a particularly valuable inspired period. At the end of the 1970s Sveshnikov's palette becomes more dense and saturated. Connoisseurs note that in some works fantastic phosphorescent effect begins to appear, which will later disappear from his painting.
“The Moon with Letters” is an uncommon, conceptual subject in the work of the sixties artist Vladimir Nemukhin. We are used to card tables and jacks. And here the moon, and also strange syllables. We can assume that this is a dialogue with Velimir Khlebnikov, a reference to the poetry of the Russian avant-garde.
While living in the Soviet Union, Ernst Neizvestny did not consider himself a dissident. He saw the harassment and insults from the political leadership as “local excesses” and a manifestation of the “uncultured” nomenklatura. But Neizvestny had had enough of the totalitarian system. And he knew the price of freedom in every sense. And that, in fact, was why he left.
David Burliuk is known as the father of Russian futurism. As a young man, he and his friend Vladimir Mayakovsky gave out a lot of slaps to public taste. The futurists painted their faces, wore bright clothes, decorated the buttonhole of their jackets with spoons — in general, they terrified the average man. Then the revolution — emigration — quiet fruitful work in America. It is no coincidence that the majority of works we see today on the market are items from the American period.
A new way of filling in the backgrounds and techniques for the embedding of objects in assemblages and abstractions was shown to his friend from Leningrad, Yevgeny Rukhin, by Vladimir Nemukhin in the 1960s. A geologist by training, Rukhin became one of the most brilliant artists of unofficial art. And one of the most daring. Rukhin's intransigence and courage, his open confrontation with the authorities gave rise to the version of his murder for political reasons.
In his essay on the artist's work, Valery Silaev very aptly compares Bukh to a volcano, and his painting method to the boiling lava. Bukh was tuning himself for some time, he was getting psyched up. And then he rushed into action — quickly and expressively. He mixed paints on canvas, spread them with fingers and brush, rubbed with newspapers and rags. His work was a physiological necessity. From morning till night. If finished paintings were not picked up in time, sometimes the artist painted them anew.
Pacifying, contemplative, sybaritic, philosophical Nesterova. The sun is setting. The evening descends. A couple looks out from the veranda at a cozy Mediterranean town, whose houses are scattered along the mountainside. Grapes and chopped walnuts are on the table. Much has been accomplished, and how much good is yet to come.
David Burliuk is the father of Russian futurism, the artist of the Russian avant-garde. At the beginning of the century, they, together with their friend Mayakovsky, slapped the public taste: they walked around with painted faces, with a spoon in their buttonhole, and they shocked the public. There is evidence that it was Burliuk who persuaded the shy Mayakovsky not to hide his poems and concentrate on poetry. Then fate dispersed them. Burliuk emigrated from Russia and settled in America.
Artist of the Lianozovo group. Participant of the historical exhibition in the “Beekeeping” pavilion in 1975. A distinctive master, whom colleagues called “a preacher of the good”. The famous collector and enthusiastTalochkin pointed out that Kharitonov's paintings are “a small gem, iridescent in hundreds of colorful and semantic shades”. And his technique resembles “a shimmering mosaic of fine smalt”.