«Moscow Morandi» Vladimir Weisberg is one of the main and most expensive artists of unofficial post-war art. He was a loner. Weisberg used to say that “the only thing I have in common with my contemporaries is a wall”.
Andrey Grositsky was an artist in the orbit of unofficial art. He was called the “poet of things”. For Grositsky, not only aesthetics was important, but also the spirit of the object. The metaphysics of the object world remained his field of research throughout his life. He transformed shovels, meat grinders, rusty latches into semi-abstract portraits of things of stunning beauty and depth. Grositsky was lucky to live to be recognized. Nowadays, he can certainly be called a favorite of collectors.
Weisberg formulated his credo simply: “I study the palette”. And when asked about his place in contemporary art, he answered that “all I have in common with my contemporaries is a wall”. The main thing for him was his own world. Color was his religion. And his temple was a room in a communal apartment on the Arbat, painted all white and turned into a studio. Where only the closest associates were admitted.
Together with Zverev, he became a symbol of unofficial art. These are still two names that first come to mind: the rebellious Zverev and the quiet, soulful Yakovlev. An artist of a difficult fate. He spent many months in psychiatric institutions. Poorly saw, at the end of his life he almost completely lost his sight. But the sixties and seventies are the peak of the creative form of Vladimir Yakovlev.
1996 — the golden period of the famous duo Vinogradov-Dubosarsky, when they split the community of connoisseurs. Some considered them deliberately kitsch artists, almost opportunists to please the tastes of merchants. And they were definitely considered art hooligans. Knowledgeable people, on the contrary, noted the thoughtful conceptual irony of Vinogradov and Dubosarsky and predicted the role of the duo as spokesmen for the spirit of all the 1990s. Now, at a distance, it is clear that they were right.
One of the favorite subjects of the Freudian, the ideologist of psychophysiology in painting, is nude in space. And, of course, the signature technique of the “Russian Morandi” is the immersion of a character or object in an atmosphere cleansed of everything superfluous. This watercolor has it all. The secret of whiteness. “Invisible” colors. Cold silence. And even the model's face in his system should not distract from immersion in this infinity. Weisberg is a phenomenally subtle colorist who works painstakingly and precisely.
Weisberg is an artist who needs to be able to watch correctly. He created his works in a special, very painstaking way. “White on white” is not just white paint on a white background. His paintings use a very complicated technology, based on a complex philosophy of metaphysical-color cognition of the world and a special system of color perception. On some viewers, Weisberg's paintings even have a psychic effect. The solution to the white had mystical significance for Weisberg — it was a symbol of the main secret, a great infinity and great silence.