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1981 in fine arts of the Soviet Union

From Wikipedia, the free encyclopedia

The year 1981 was marked by many events that left an imprint on the history of Soviet and Russian Fine Arts.

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  • Odd Nerdrum: Meeting the master - in St. Petersburg
  • Stanislav Fomenok_part2
  • The Cold War: Crash Course US History #37


The Museum? This way? Here we have Roman ceramic and vases, Jesus was around these kinds of things. All of it is Roman. Jesus drank from these. Oh God. It is completely destroyed. How horrible. How was it destroyed? It is completely destroyed. It was a man who was going to demonstrate against the Soviet Union. Look at the face, it has lost all its expression. They have just patched it together, it is just terrible. This entire area is destroyed. And they have not found a skilled copyist that could do a proper job, so the result looks hopeless. This area right here is really... It is absolutely terrible... The face too, it once had an expression, now it has lost everything. How did you say it was destroyed? It was a guy who wanted to demonstrate against the Soviet Union... ...And he attacked the painting. But that did not make any impression, because that is not what most people care about. Only I and few others think it is a tragedy. I did not think it was that bad, it is absolutely terrible. What a nightmare. Has this happened since the last time you were here, Odd? Yes. It happened right before Glasnost.  Excuse me. Why couldn't you get a better restoration than that? A better? A Better, yes, its so badly restored. You think so? Are you sure its badly restored? This painting was almost damaged totally. Because one mad man came here in 1985, and splashed out acid twice to this work... I know that. If you can do better, please... Yes, I could do it better. Well, please, you can go to our director, and to say that you can do it better. Because this is very, very bad. It's your greatest mistake to think so, it's something fantastic. But if you can do it better, you can do it. Okay. I will talk with the academy about it. Is this something you could think about doing in reality, Odd? Yes, I would do it, and it wouldn't take me long. One week. She said it took twelve years. Twelve years, is the time they have used on restoring this picture. But we might not know how bad it was? No, but its possible to follow it up, and not just stop there. But there is probably a great pressure on the person restoring it, because one has to paint over it. You just remove it. She didn't like that. No, she got angry. Yes, she got mad. Is it enough to be a good painter to restore a painting or are there other things one must master? No, one must show that one can paint a Rembrandt. And there's almost no one who can do that. There isn't. Not a real one. You can always make a fake one, but not a real one. Odd, where are these frescos from? They're sarcophaguses. Greek ones? Yes. No, they are Roman. Here they are. Hey! Here they are, here they are! There we have them. Oh, gracious how beautiful. You know, this is how the big sculptures were colored. Here you can see proof of how they looked. And everything is in Apelles' colors. Only two colors plus a little black and white. It is old original Greek figures, which they probably sold as souvenirs at the markets for olympian games or something like that. It is also likely they found these statues in Cyprus, as it was a "Las Vegas" at that time. That one is very playful, the one with the two women. This is an inconceivable collection. Look at that figure! And what is that which she is holding? I think it's a fan, for the heat. Look at that rainbow color that she has on top of her head. It's a shame that these have not been photographed and that they don't make a book about them, because they are so beautiful. Look at that one! Look at that one Odd, isn't that one beautiful? Have you seen. How beautiful! And they are completely ignored by art history, no one cares about these. Here, one can see what the big ones might have looked like. Art history hasn't noticed them. No. It is amazing. 300 years before Christ. It's from the time of Socrates. For some peculiar reason, the iconoclasts did not get their hands on these figures. It was perhaps buried? I don't know, but the iconoclasts smashed everything, that is why we have all these broken figures that are glued together. Because the Christians were fanatic about taking them down. This is really valuable material. If I had been a smart guy, I would make a book about these figures. Because it is so exceptional, there are no books about them. Because it's inferior, you know, it is a souvenir. Here we have the figures again! Look at this! Oh God, how beautiful. There is Rembrandt. Breathtaking. Full size. Look at the fingernails, look at them! Look at those fingernails. And in a way this is the moment where the father is allowed to see his son, maybe for the last time before he dies. And there a story is created that is not in the bible. You can see that he has become very old, and this shows that it is right before his end. So you are saying that this painting was found in Rembrandt's home? Yes. And the rumor has it that the it ended up in the hands of a man who dealt with paintings. And then there was the question of the Tsars' deputies, or rather the Tsarinas, because this was later. It was Catherine who bought this painting. Yes, Catherine the great. And her deputies were looking at two Goyen paintings, and the dealer says: "If you buy those two van Goyen paintings you can get this one for free." A Rembrandt for free. Well, I don't think he said it in that way, he probably said: "This massive painting I can't get rid of". And thus it landed here. That must be one of the most beautiful hands ever painted. Yes, it is absolutely crazy. Mostly all the academies in Europe for example, are more what do you call it, study places for self realization. And is innovative, it has nothing to do with the ground of the European culture. And therefore it's a new phenomenon, that doesn't care about masterpiece, but care about to be in this time where they live. So its what you call modernism. In America you have several academies that goes in another direction. For example the academy in Philadelphia, or in Maryland, or the New York academy. They want to learn about anatomy, about the human face, all this things has a Greco-Romanian background. And when I come here, I think this is the major place for this activity. And it has a high, high quality, this academy here in St. Petersburg. You can see that it is not far from the "Return of the Prodigal Son". Has the picture been divided in two parts? No, it has been sewn together. Probably the canvas needed was not available at the time, that happens quite often. Look at the landscape in the background of the figure. It's quite Turner-ish. Turner was strongly influenced by Titian. What I think is so important, just like with Philadelphia, which is much smaller, but very, very good. It trains your consciousness, it trains your human behaviour, it trains you as a human existence. Not only to be an artist, but it trains you to be a good human being. Because I don't think art does that, the modern art. Total separation? Culturally, emotionally...? That the modern museum is there. The classical tradition is there. The modern is "to reveal the world", the other is "to make people noble". My father he showed me this picture, you know, what a father shows to the son, a picture. Maybe emblematically he wants to show me that if you get out, you will return, and I am your father. It tells something about your relation to your father ...and your mother. I mean, you can choose to be so called free, but then you will get problems on other levels. So the family is very important here. Its an emblematic picture. One of few emblematic pictures in the art history. Yes. But you have this too, here. This one? Father is commanded to kill his son Isac. And the angel... Stops... Yes, the knife out of his hand, so he doesn't have to do it anymore, but, it was a hard, hard time for the father, Abraham. Thank you. Thank you very much. I am so pleased to see both of you. And there we have the famous painting. I remember that when I saw it in 1981, I thought it was a bit disgusting, painterly. But it's not that bad after all. It is naturalism, but... The letter from the sultan is preserved. Yes, I heard you mention that. And it's full of defamations of another world. Quite vulgar and primitive defamations. You can see that there is an exalted atmosphere here. Oh, they find it so funny. Yes, quite a peculiar atmosphere, look at that hard boiled egg there. And the notary that sits there thinks, "I am glad I am not the one signing this letter." That was indeed amazing. Yes, Incredible... Sit down here. One feels that one is inside the waves. Look how fresh it is. One feels that one is inside the waves and is frightened. Yes, it is so fresh! It is done, so one feels the sea air and... ...and you become so thirsty, speaking of which, do you have any water? It is an absolutely incredible picture, it is so well composed too. It's a precursor for Jackson Pollock... ... and Kiefer too by the way. You're thinking about the stratification? Yes, it is so surprisingly composed. This you have not tried, Odd? No. Marine painting. He was a trained specialist on painting the ocean, so in his last years he could stand in his studio not looking at the sea at all. Yes, he had studied it that much? Yes, right You know, those waves are... Insanely made. it's a much more relentless drama too, that one. Yes, I like it when there is no chance. Yes it is, you can see that this mast is... It is entirely like, "hello? What do we do now? Is there any point to do anything at all?" They are not going to save themselves, the ones in the lifeboat... No, because they still have hope and that is perhaps what makes it weak. See how the workers have amused themselves... They've had so much fun! It looks like a gingerbread house. ... And the workers deserved it, having so much fun. Look at the tiles. See how beautiful the tiles are. It has something in common with Indian culture. Yes. You see the dove at the very top there? Maybe there is a Dan Brown mystery buried somewhere under the church floor here... That is a dramatic communion, have you seen it? Yes. Look at the woman who sits next to Jesus there... It must be Mary Magdalene, do you see it? This was very strange, Brown probably thought that this was a new discovery, but clearly it is not, because there she sits. Mary Magdalene together with Christ. I would perceive it as Peter sitting there, mad because Jesus and Mary are so fond of each other. But if Peter is the one to the right of Jesus, it makes sense that it is Mary Magdalene. They were indeed rivals. Yes. Now he begins again. Listen. Hello. Hello. How are you? Thank you very much. Kitsch, Kitsch. Thats a term that people hate here. Thank you for present. Oh yes, I think that could be a little bit fun, another way out of it... ... Than the old usual... But it's good? It's so wonderful, and... Yes... And I have been very much in love with icons for many years, so... ... Andrei Rublev, Theophanes, yeah you know, all these people. But it's so beautiful, I mean this Christmas. It's good, yeah? Yeah, very good. I can see that. You know, it's very strange because I think that the artist has a sort of a problem. Because they have to be in the right, in their time: this is for this time. But in the same time, they love something that is out of time. So, I can say it in that way that, I should like the highest level i could think about is when you make a picture where you can't say when it was made. You have to make small heads, big hands, long stomach... So the whole figure are, you know moving upwards like this. It's very nice that you use so few colors. I think is, I've always had this interest that, if I get impressed by something I want to do the same. It's natural for the human being to take the light way, because it's rational. Very seldom, it happens that for example you, make the river to go up, not down. When you are at such a high level, everything is the same. So if you see the last pictures of Titian, the last pictures of Rembrandt, the last sculptures of Michelangelo, you would think that it's made of the same person. And.. Michelangelo, the last Pietà. Because they became old, so that's why, when people's old, so it's similar. Maybe it's just because, physical destruction. Why do these get better and better and better, but in our time they get worse and worse after they are 30 years old. They are falling apart. But this becomes better and better. Like in the Prodigal son, there is.. If you want to find faults, you have hundred faults in that picture, but still it is the best in the world. I shall tell them that we have met a wonderful leader of the house, this extremely big academy. And he loves… what do you call it? Representative paintings? So, you will be welcomed if you are very, very clever. It is so beautiful... Oh god, there is no glass on this picture. It's quite amazing, there is no glass on it. It's simply just the picture...




  • November 28 — Alexander Debler (Russian: Деблер Александр Адольфович), Russian soviet painter, graphic artist, and art educator (born 1908).

Gallery of 1981

See also


  1. ^ Всероссийская художественная выставка «По родной стране». Каталог. М., Советский художник, 1981.
  2. ^ Егошин Герман Павлович. Выставка произведений. Каталог.. — Л: Художник РСФСР, 1981.
  3. ^ Крум Стефанович Джаков. Выставка произведений. Каталог.. — Л: Художник РСФСР, 1981.
  4. ^ Аршакуни Завен Петросович. Выставка произведений. Каталог.. — Л: Художник РСФСР, 1981.
  5. ^ Вернер Глеб Владимирович. Выставка произведений. Каталог.. — Л: Художник РСФСР, 1981.


  • Всероссийская художественная выставка «По родной стране». Каталог. М., Советский художник, 1981.
  • Егошин Герман Павлович. Выставка произведений. Каталог. Л., Художник РСФСР, 1981.
  • Крум Стефанович Джаков. Выставка произведений. Каталог. Л., Художник РСФСР, 1981.
  • Вернер Глеб Владимирович. Выставка произведений. Каталог. Л., Художник РСФСР, 1981.
  • Аршакуни Завен Петросович. Выставка произведений. Каталог. Л., Художник РСФСР, 1981.
  • Серов Владимир Александрович. Каталог выставки произведений. Живопись, графика. М., Советский художник, 1981.
  • Artists of Peoples of the USSR. Biography Dictionary. Vol. 1. Moscow, Iskusstvo, 1970.
  • Artists of Peoples of the USSR. Biography Dictionary. Vol. 2. Moscow, Iskusstvo, 1972.
  • Directory of Members of Union of Artists of USSR. Volume 1,2. Moscow, Soviet Artist Edition, 1979.
  • Directory of Members of the Leningrad branch of the Union of Artists of Russian Federation. Leningrad, Khudozhnik RSFSR, 1980.
  • Artists of Peoples of the USSR. Biography Dictionary. Vol. 4 Book 1. Moscow, Iskusstvo, 1983.
  • Directory of Members of the Leningrad branch of the Union of Artists of Russian Federation. - Leningrad: Khudozhnik RSFSR, 1987.
  • Artists of peoples of the USSR. Biography Dictionary. Vol. 4 Book 2. - Saint Petersburg: Academic project humanitarian agency, 1995.
  • Link of Times: 1932 - 1997. Artists - Members of Saint Petersburg Union of Artists of Russia. Exhibition catalogue. - Saint Petersburg: Manezh Central Exhibition Hall, 1997.
  • Matthew C. Bown. Dictionary of 20th Century Russian and Soviet Painters 1900-1980s. - London: Izomar, 1998.
  • Vern G. Swanson. Soviet Impressionism. - Woodbridge, England: Antique Collectors' Club, 2001.
  • Петр Фомин. Живопись. Воспоминания современников. СПб., 2002. С.107.
  • Время перемен. Искусство 1960—1985 в Советском Союзе. СПб., Государственный Русский музей, 2006.
  • Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School. - Saint-Petersburg: NP-Print Edition, 2007. - ISBN 5-901724-21-6, ISBN 978-5-901724-21-7.
  • Anniversary Directory graduates of Saint Petersburg State Academic Institute of Painting, Sculpture, and Architecture named after Ilya Repin, Russian Academy of Arts. 1915 - 2005. - Saint Petersburg: Pervotsvet Publishing House, 2007.
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