Natalia Nesterova created her very recognizable, distinctive contemplative neo-primitivism almost 50 years ago. And her language remains contemporary even today. Her paintings are a conversation about life here and now. She tries more often to remind of modest pleasures and moments of happiness. Nesterova does not reproach or educate. Her paintings are about rejoicing in good weather, pleasant company, delicious food and the opportunity to travel to interesting places.

Thirty years ago, Valery Koshlyakov, together with Avdey Ter-Oganyan, were associates in the “Art or Death” partnership. The artists lived, worked and organized exhibitions in the legendary squat on Trekhprudny Lane. Today, Valery Koshlyakov is already a classic of contemporary Russian art. He lives and works in Paris. And auction prices for some of his works are approaching $ 150,000.

The artists of the duo Komar and Melamid are known primarily as the inventors of Sots Art, which they coined in 1972. The term itself is a combination of “pop-art” and “socialist realism”. But unlike American pop-art, which drove advertising to the point of absurdity, Vitaly Komar and Alexander Melamid came up with the idea of bringing symbols of ideological propaganda to the point of absurdity.

Kalinin is a man of the 1960s, an artist of unofficial art, close to the Lianozovo group. The artist was expelled from the Abramtsevo School for outrageous paintings presented at one of his first exhibitions. Later he was forced to work semi-underground. Kalinin was a participant of a resonant exhibition in the Beekeeping Pavilion at the VDNKh in 1975. And a year later, after the opening of the “city committee of graphics” on Malaya Gruzinskaya, he began to exhibit there as part of the “seven” with Krasnopevtsev, Nemukhin, Kharitonov and others.

Why did Nikolina Gora become such a place of power in Zverev's work? Oksana Aseeva had a dacha in this picturesque village near Moscow. She was a widow of the poet Nikolay Aseev, a friend of Mayakovsky. A woman of progressive views, she was the “muse of Russian futurism”. But today we often think of her as the muse of Anatoly Zverev. Zverev loved to visit Nikolina Gora, lived in pleasant company and worked with pleasure.

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.

Before us is a profound philosophical reflection on human destiny. What does man live for? What is his purpose? To preserve himself and savor the joys of life? Or to bear a burden? Or is all life a preparation for a feat? Ernst Neizvestny's favorite personages and protagonists of his works are people of the mission, restless, seeking, ready for self-sacrifice. Those who live not for joy, but for conscience. His heroes are icaruses and prometheuses. Devotees, flying into the sun and bringing light to people.

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.

A masterpiece by the acknowledged master of Kafkaesque romance. The most valuable period. 1975. Large size. The highest degree of elaboration. Absolutely museum level. Looking at this soft, sublime painting, it is difficult to suggest that painting for Sveshnikov in the late 1940s — early 1950s was a way of preserving sanity in the harsh conditions of the camp. The young artist, tormented by hunger and illness, imagined and painted imaginary worlds. In the evenings in the barracks, after hard work, ladies and gentlemen would begin to twirl on sheets of paper. And their gallant pas was watched by the death-girlfriend.