Кончаловский про "измы"
Лабас о Кончаловском
" ... Об одном очень известном художнике он сказал: «Талантлив, но живопись плохая. Вероятно, не прошел никаких «измов», когда нужно было, вот и результат.» Я много об этом потом думал и пришел к выводу, что прав был Кончаловский. Люди искусства не могли не реагировать на импрессионизм, Сезанна, Ван-Гога, Матисса, кубизм. Невозможно представить, чтобы любой художник в своем развитии мог прямо идти от передвижников, как бы замечательны они ни были, к современности. ..."
Из статьи "Петр Кончаловский: взгляд из нового века":
" ...Выходом из тупика стало знакомство с новейшим французским искусством. Датой своего рождения как художника Кончаловский считал 1907-1908 годы, когда во время второй поездки в Париж открыл для себя искусство Ван Гога, Сезанна, Матисса. По его словам, «при первом же взгляде Ван Гог захватил внутренним драматизмом своей живописи и тронул, “прямо до слез”». Кончаловский даже совершил поездку в Арль, чтобы ощутить истоки вангоговской красочности. Другого рода влияние оказала на него живопись Сезанна. Это увлечение, не такое мгновенное и пылкое, оказалось одним из самых длительных в жизни Кончаловского. Позднее он говорил: «Метод понимания природы был мне дорог у Сезанна. <…> Я в те годы инстинктивно почуял, что без каких-то новых методов нет спасенья, нельзя найти дорогу к настоящему искусству. Оттого и ухватился за Сезанна, как утопающий за соломинку». Покорил Кончаловского и Матисс - не учитель, а ровесник, искусство которого вызвало совершенно новые, неожиданные эмоции: «Мороз продирает по коже, и становится жутко. <…> Матисс, по мне, не трогает, а рвёт на части <…>, как коршун вырывает сердце Прометея». ..."
Santi Apostoli, Venice, 1924 (Фрагмент)
Под катом другие работы по наводке lilac2012
Портрет А. Э. Генц, 1918, Приморская государственная картинная галерея.
Натюрморт с глоксиниями, 1910-е годы, Самарский областной художественный музей.
Кунцево. Желтая дача. 1919 (Аукцион)
In 1919 Konchalovsky spent a summer in Kuntsevo, executing a series of landscapes en plein air which includes the present lot. ‘When I was studying under Konchalovsky', recalled Alexander Labas, ‘he invited me to his dacha in Kuntsevo. That exciting day remained etched in my memory. He showed me his paintings. […] They left a deep impression on me’
(Когда я учился у П.П. Кончаловского, он меня пригласил к себе на дачу в Кунцево. Этот волнующий день, проведенный у него, остался у меня в памяти до мельчайших деталей. Он мне тогда показал свои работы. Я их запомнил. Они произвели на меня большое впечатление.)
Still Life with Teapot and Tray, 1910-1912 (Аукцион)
Still Life with Teapot and Tray dates to the early period of Konchalovsky’s creative career, characterised by a sophisticated synthesis of Western modernism with distinctly national elements of Russian folk art. Inspired by the Post-Impressionists and Fauves, the artist turns to the still life genre, becoming increasingly preoccupied with the portrayal of the material essence of objects. Fascinated by the diversity and painterly possibilities of everyday items, Konchalovsky introduces examples of Russian folk craft into his compositions. The red decorative backgrounds of Zhostovo trays and Khokhloma tableware dominate the artist’s still lifes from this period. The tray depicted in the present composition also features in his 1910 Still Life, now in the collection of Perm State Art Gallery (fig.1). The artist’s enthusiasm for both Russian folk art and contemporary French art reflected the artistic principals of the Bubnovy valet. As a founding member of the group, Konchalovsky supported its aspiration to 'restore simplicity, naiveté... and clear colour' to art. By combining both influences, Konchalovsky establishes a dialogue between Slavic traditions and Western modernity.
Spanish landscape, 1910 (Аукцион)
Petr Konchalovsky's Spanish landscape, a bold vista combining the intensity of the Mediterranean sun with the dynamism of the natural terrain, is testimony to the artist's indisputable burgeoning talent following his career-defining visit to Spain. Painted in 1910, this work is one of a small number of seminal canvasses painted during the same year, including the acknowledged masterpieces Bullfight in Seville (Private collection), Spanish room (State Tretyakov Gallery), Matador Manuel Garcia (State Russian Museum) and Portrait of the artist G. Yakulov (State Tretyakov Gallery). The significance of this year in Konchalovsky's career cannot be overstated; in December he participated in the first landmark Bubnovyi Valet [Jack of Diamonds] exhibit that opened in Moscow. Spanish landscape was exhibited alongside the jaw-dropping work of thirty-seven of the most important Russian artists of the 20th century, including Goncharova, Falk, Larionov, Kandinsky, Malevich, Burliuk and Jawlensky. Crucially, it was this year that the vital and energetic young artist, immortalised in Mashkov's controversial double-portrait of 1910, achieved new artistic heights. Last exhibited in 1964, Spanish landscape appears at auction for the first time and is a key work from what is arguably the most important and sought-after period of the artist's career. <...> Konchalovsky was already an accomplished artist when in 1910 he accompanied Surikov on a visit to Spain, touring Madrid, Toledo, Granada, Seville, Valencia and Barcelona. For Konchalovsky, the beauty of the native landscape was as much an inspiration as the strong school of national art. Particularly drawn to Diego Velázquez, whose work also inspired Pablo Picasso and Salvador Dali, Konchalovsky became fascinated by purity of form, intensity of colour and the strength of contrasts. His palette grew markedly richer, more vibrant: 'For me, Spain is a long poem in black and white. It is how I felt and how I had to paint it. During my stay there I was obsessed with an idea to master the art of simple, synthetic colours' (Ibid. p. 22).
Овраг, 1927 (Аукцион)
Standing Nude by a Stream, 1932 (Аукцион)
Фрагмент предыдущей работы.
Ивы, пейзаж с лошадью, 1923 (Аукцион)
Santi Apostoli, Venice, 1924 (Аукцион)
In 1924, Konchalovsky was granted permission to leave the USSR for Italy in order to participate in the 14th Venice Biennale. The Italian organisers of the exhibition were particularly eager to show recent works by artists from the Soviet Union as a decade (and Revolution) had passed since Russia had last participated. With 13 works in the exhibition catalogue, Konchalovsky had more works on display than any of the other Russian artists. The early 1920s marks an important period in Konchalovsky’s stylistic development as he turns away from the influences of cubism and Cézannism to develop a more realistic and explicitly Russian style of painting, focusing on real people and everyday life. In Venice, Konchalovsky was shown around by an old friend from his Paris days, artist Emile Bernard, an in-depth connoisseur of La Serenissima. Captivated by the city and its unique architecture, Konchalovsky painted a total of eight cityscapes during his trip, of which the present lot is one. Santi Apostoli captures Venice’s contrasting colours with the melancholic tones of its ancient stones, the opaque green of the water’s surface, and the warm, sun-kissed colours of its centuries-old lime-painted walls. What could be a more typical scene from Venetian life than the narrow Rio dei Santi Apostoli suspended over its canal with strolling figures contemplating a passing Gondola? ‘I was sad to leave Venice’, the artist later recalled, ‘... Although we didn’t stay in Venice for long, I must still have absorbed at least a tiny part of its soul... Yes, it was a happy, joyful trip. All the works I brought back were appreciated and successful...They would have made an even stronger impact had I not been captivated, to the point of complete enslavement, by the ideal beauty of what I had seen. Admittedly, this ‘captivation’ made my painting warmer and more emotional; however, while I was working, I wasn’t fully in control of myself, and that, as I see it, is not good for an artist’. (V.A. Nikolsky, Pyotr Petrovich Konchalovsky, Moscow, 1936, p.95)
Ещё подборка работ: https://www.flickr.com/photos/gostya/albums/72157693494986622
https://lilac2012.livejournal.com/tag/%D0%9A%D0%BE%D0%BD%D1%87%D0%B0%D0%BB%D0%BE%D0%B2%D1%81%D0%BA%D0%B8%D0%B9%20%D0%9F.%20%D0%9F.
Фонд Кончаловского: http://pkonchalovsky.com/w1/index.php
" ... Об одном очень известном художнике он сказал: «Талантлив, но живопись плохая. Вероятно, не прошел никаких «измов», когда нужно было, вот и результат.» Я много об этом потом думал и пришел к выводу, что прав был Кончаловский. Люди искусства не могли не реагировать на импрессионизм, Сезанна, Ван-Гога, Матисса, кубизм. Невозможно представить, чтобы любой художник в своем развитии мог прямо идти от передвижников, как бы замечательны они ни были, к современности. ..."
Из статьи "Петр Кончаловский: взгляд из нового века":
" ...Выходом из тупика стало знакомство с новейшим французским искусством. Датой своего рождения как художника Кончаловский считал 1907-1908 годы, когда во время второй поездки в Париж открыл для себя искусство Ван Гога, Сезанна, Матисса. По его словам, «при первом же взгляде Ван Гог захватил внутренним драматизмом своей живописи и тронул, “прямо до слез”». Кончаловский даже совершил поездку в Арль, чтобы ощутить истоки вангоговской красочности. Другого рода влияние оказала на него живопись Сезанна. Это увлечение, не такое мгновенное и пылкое, оказалось одним из самых длительных в жизни Кончаловского. Позднее он говорил: «Метод понимания природы был мне дорог у Сезанна. <…> Я в те годы инстинктивно почуял, что без каких-то новых методов нет спасенья, нельзя найти дорогу к настоящему искусству. Оттого и ухватился за Сезанна, как утопающий за соломинку». Покорил Кончаловского и Матисс - не учитель, а ровесник, искусство которого вызвало совершенно новые, неожиданные эмоции: «Мороз продирает по коже, и становится жутко. <…> Матисс, по мне, не трогает, а рвёт на части <…>, как коршун вырывает сердце Прометея». ..."
Santi Apostoli, Venice, 1924 (Фрагмент)
Под катом другие работы по наводке lilac2012
Портрет А. Э. Генц, 1918, Приморская государственная картинная галерея.
Натюрморт с глоксиниями, 1910-е годы, Самарский областной художественный музей.
Кунцево. Желтая дача. 1919 (Аукцион)
In 1919 Konchalovsky spent a summer in Kuntsevo, executing a series of landscapes en plein air which includes the present lot. ‘When I was studying under Konchalovsky', recalled Alexander Labas, ‘he invited me to his dacha in Kuntsevo. That exciting day remained etched in my memory. He showed me his paintings. […] They left a deep impression on me’
(Когда я учился у П.П. Кончаловского, он меня пригласил к себе на дачу в Кунцево. Этот волнующий день, проведенный у него, остался у меня в памяти до мельчайших деталей. Он мне тогда показал свои работы. Я их запомнил. Они произвели на меня большое впечатление.)
Still Life with Teapot and Tray, 1910-1912 (Аукцион)
Still Life with Teapot and Tray dates to the early period of Konchalovsky’s creative career, characterised by a sophisticated synthesis of Western modernism with distinctly national elements of Russian folk art. Inspired by the Post-Impressionists and Fauves, the artist turns to the still life genre, becoming increasingly preoccupied with the portrayal of the material essence of objects. Fascinated by the diversity and painterly possibilities of everyday items, Konchalovsky introduces examples of Russian folk craft into his compositions. The red decorative backgrounds of Zhostovo trays and Khokhloma tableware dominate the artist’s still lifes from this period. The tray depicted in the present composition also features in his 1910 Still Life, now in the collection of Perm State Art Gallery (fig.1). The artist’s enthusiasm for both Russian folk art and contemporary French art reflected the artistic principals of the Bubnovy valet. As a founding member of the group, Konchalovsky supported its aspiration to 'restore simplicity, naiveté... and clear colour' to art. By combining both influences, Konchalovsky establishes a dialogue between Slavic traditions and Western modernity.
Spanish landscape, 1910 (Аукцион)
Petr Konchalovsky's Spanish landscape, a bold vista combining the intensity of the Mediterranean sun with the dynamism of the natural terrain, is testimony to the artist's indisputable burgeoning talent following his career-defining visit to Spain. Painted in 1910, this work is one of a small number of seminal canvasses painted during the same year, including the acknowledged masterpieces Bullfight in Seville (Private collection), Spanish room (State Tretyakov Gallery), Matador Manuel Garcia (State Russian Museum) and Portrait of the artist G. Yakulov (State Tretyakov Gallery). The significance of this year in Konchalovsky's career cannot be overstated; in December he participated in the first landmark Bubnovyi Valet [Jack of Diamonds] exhibit that opened in Moscow. Spanish landscape was exhibited alongside the jaw-dropping work of thirty-seven of the most important Russian artists of the 20th century, including Goncharova, Falk, Larionov, Kandinsky, Malevich, Burliuk and Jawlensky. Crucially, it was this year that the vital and energetic young artist, immortalised in Mashkov's controversial double-portrait of 1910, achieved new artistic heights. Last exhibited in 1964, Spanish landscape appears at auction for the first time and is a key work from what is arguably the most important and sought-after period of the artist's career. <...> Konchalovsky was already an accomplished artist when in 1910 he accompanied Surikov on a visit to Spain, touring Madrid, Toledo, Granada, Seville, Valencia and Barcelona. For Konchalovsky, the beauty of the native landscape was as much an inspiration as the strong school of national art. Particularly drawn to Diego Velázquez, whose work also inspired Pablo Picasso and Salvador Dali, Konchalovsky became fascinated by purity of form, intensity of colour and the strength of contrasts. His palette grew markedly richer, more vibrant: 'For me, Spain is a long poem in black and white. It is how I felt and how I had to paint it. During my stay there I was obsessed with an idea to master the art of simple, synthetic colours' (Ibid. p. 22).
Овраг, 1927 (Аукцион)
Standing Nude by a Stream, 1932 (Аукцион)
Фрагмент предыдущей работы.
Ивы, пейзаж с лошадью, 1923 (Аукцион)
Santi Apostoli, Venice, 1924 (Аукцион)
In 1924, Konchalovsky was granted permission to leave the USSR for Italy in order to participate in the 14th Venice Biennale. The Italian organisers of the exhibition were particularly eager to show recent works by artists from the Soviet Union as a decade (and Revolution) had passed since Russia had last participated. With 13 works in the exhibition catalogue, Konchalovsky had more works on display than any of the other Russian artists. The early 1920s marks an important period in Konchalovsky’s stylistic development as he turns away from the influences of cubism and Cézannism to develop a more realistic and explicitly Russian style of painting, focusing on real people and everyday life. In Venice, Konchalovsky was shown around by an old friend from his Paris days, artist Emile Bernard, an in-depth connoisseur of La Serenissima. Captivated by the city and its unique architecture, Konchalovsky painted a total of eight cityscapes during his trip, of which the present lot is one. Santi Apostoli captures Venice’s contrasting colours with the melancholic tones of its ancient stones, the opaque green of the water’s surface, and the warm, sun-kissed colours of its centuries-old lime-painted walls. What could be a more typical scene from Venetian life than the narrow Rio dei Santi Apostoli suspended over its canal with strolling figures contemplating a passing Gondola? ‘I was sad to leave Venice’, the artist later recalled, ‘... Although we didn’t stay in Venice for long, I must still have absorbed at least a tiny part of its soul... Yes, it was a happy, joyful trip. All the works I brought back were appreciated and successful...They would have made an even stronger impact had I not been captivated, to the point of complete enslavement, by the ideal beauty of what I had seen. Admittedly, this ‘captivation’ made my painting warmer and more emotional; however, while I was working, I wasn’t fully in control of myself, and that, as I see it, is not good for an artist’. (V.A. Nikolsky, Pyotr Petrovich Konchalovsky, Moscow, 1936, p.95)
Ещё подборка работ: https://www.flickr.com/photos/gostya/albums/72157693494986622
https://lilac2012.livejournal.com/tag/%D0%9A%D0%BE%D0%BD%D1%87%D0%B0%D0%BB%D0%BE%D0%B2%D1%81%D0%BA%D0%B8%D0%B9%20%D0%9F.%20%D0%9F.
Фонд Кончаловского: http://pkonchalovsky.com/w1/index.php