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T. M. Stepanskaya
214 collages Cherry (fig. 10), Family and The Four Seasons. S. V. Matyazh’s animalistic drawings enriched the exposition. Characteristics of the nature of Zmeinogorsk were expressed in L. V. Shokorova’s pastel drawing, while the works of D. V. Demkina demonstrated her grasp of the European Picturesque tradition. The same could be said of the philosophical composition Dream by M. G. Churilov. There was a special decorative accent in the bead weaving composition of L. V. Ivoylova, 20 while L. N. Turlyun’s dynamic composition proved that computer graphics can produce a special type of art. 21
multi-layered event in the cultural life of Barnaul. It highlighted one of the main tendencies in Altai modern art, to favour lyricism over demonstrations of theatrical optimism and pathos. New creative generations tend to find ways out to other spaces of picturesque vision. Works by painters of the late 20 th
st century present a complex, mosaic image of native art, ranging from classical realism to the newest modern tendencies (fig. 9-10) - it is in such contradictions that art develops. At the beginning of the 21 st
century, a new phenomenon in the artistic life of Altai emerged: exhibitions of private collections. There are good reasons for considering the exhibition of private art collections in Altai to represent a valuable aspect of cultural life. The Russian philosopher and historian G. P. Fedotov wrote that “the first prerequisite of culture is man himself.” The collector’s personality makes a collection unique. The exhibition of pieces from the collection of Father Superior M. S. Kapranov (1944-2008) of Holy-Nikolsky Church in Barnaul, which took place April-May 2008 at the “Universum” gallery, represented a historical event in the artistic life of Altai and attracted widespread public attention. Mikhail Sergeevich Kapranov’s aesthetic devotions and views on art were formed with reference to the works of Russian philosophers I. A. Ilyin (1883-1954) and K. N. Leontiev (1831-1891). Ilyin related the values of the Russian nation to living faith, conscience, family, Motherland, the spiritual power of the nation, organic unity with nature, personal liberty, social creativity, and a Russian brotherhood, able to hold to the idea of Orthodox Christianity with its “hearts and freedom.” K. N. Leontiev was a dedicated believer in a strong state, a protector of the Byzantine Orthodoxy and of hierarchic and aristocratic forms of social life. Leontiev tried to protect Russia from the “corrosive impact of West,” stating in his article About Worldwide Love “I cannot understand for what we might love a modern European man…. New European humanity
20 Sodruzestvo sozvezdiy 2011, p. 3. 21 Chernyaeva, Stepanskaya 2013, p. 795. www.cclbsebes.ro/muzeul-municipal-ioan-raica.html / www.cimec.ro
Conceptual Art Exhibitions as a Dialogue between Art and Its Contemporaries
215 and Christian humanity are, undoubtedly, the antithesis [of each other], difficult to reconcile.” 22
of Kapranov’s personality both as an enlightener in the sphere of Orthodox culture, and as an intellectual, serving the idea of the spiritual renewal of Russia and its nations. The nature of Kapranov’s worldview was reflected in the methods by which his collection was created, in its themes and content. In terms of its origin, the collection is unique. It was not formed on the basis of academic principles, it does not attempt to present precise historical-cultural information on a specific period of the 20 th century. Rather, the collection was based on reciprocal mental currents, spiritual religiosity and emotional attachments. Numerous sincere inscriptions on the canvas-stretchers on the back of works preserve and diffuse the light of hopes and hearty unions, the light of memory. The exposition involved over 100 pieces by more than 20 authors. Altai painters were widely represented. The works of Krasnoyarsk painters were distinguished by the distinctiveness of their creative manner. Images of churches, flowers, lakes, forests, mountain ranges, the four seasons, morning and evening, the sun, old Barnaul, and ancient symbols of welfare and life were all found in the exposition. Nature was presented in harmony with humans, a union expressed in works by F. Filonov, V. Konkov, G. Borunov, M. Koveshnikova, E. Yugatkin, V. Barinov, Yu. Kabanov, V. Kudrinsky, S. Dykov and others. Contemplating art expositions is connected with spiritual relief and aesthetic pleasure. Amongst the 100-plus works exhibited from Kapranov’s collection, eight emerged from the brush of Maya Dmitrievna Koveshnikova, an honoured Russian painter (1926). Born in Novosila, Oryol Region, Koveshnikova attended the Orlovsky School of Art; in 1951 she came to Altai, participating in regional exhibitions from 1954; in 1968 she was admitted to the Union of Russian Painters. In Altai, Koveshnikova established herself as a master of still-life using particular themes and motifs; images of nature and encounters with people of Altai Region imbue her works. Kapranov liked her flower and landscape sketches. He was convinced that “the Peace of God is imprinted” in the creative work of painters. Kapranov particularly valued images of lilies of the valley, daisy wheels, forget-me-nots and cornflowers. These flowers symbolise welfare, beauty and the harmony of man with nature. The surrounding world is endlessly rich, and Koveshnikova apprehended this, soaking up its richness. For her, a still-life was not only a way to communicate with nature, but also a dialogue with the viewer.
22 Russkaya ideya 1997, p. 149. www.cclbsebes.ro/muzeul-municipal-ioan-raica.html / www.cimec.ro Yüklə 12,44 Mb. Dostları ilə paylaş:
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