Biography
Pavel Filonov is one of the central figures of Russian avant-garde, artist, poet and teacher. The School of Analytical Art, who wrote a number of theoretical works devoted to the conceptual painting, left a rich heritage, which included such a canvas as the "Formula of Spring", "Persons", "Narva Gate" and other masterpieces that have become the national heritage after the author's death.Childhood and youth
Pavel Nikolaevich Filonov was born in Moscow on January 8, 1883. Parents - Messengers were natives of the Ryazan region. Father Nikolai served as an excrement, and Mother Lyudmila wasged underwear of wealthy people. Despite the simple origin and non-reinforced professions, the boy received secondary education in the Moscow school and graduated from it as one of the best class students.
In 1897, the family moved to St. Petersburg, where Paul began to master the artistic craft in the picturesque painter workshops, and a year later he entered the drawing courses who were preparing workers and teachers of fine art. Apparently, during this period, the young man decided that he wanted to be a professional, and began to prepare for admission to the Academy, visiting private drawing lessons.
Acquired skills were not enough for successful admission to the Higher Educational Institution. Three times having failed exams, Filonov achieved the place of free listener and 2 years visited the courses of painting and schedules, the adopted experience of talented teachers of the St. Petersburg Art Academy.
Classic etudes were little interested in Filonov, he sought to make a self-expression and an outdate, creating first work in style, not suitable for traditional art. The teachers were unbelievable by a young rushing, drawing face and figure in the manner, corrupted the diligent students. As a result, Paul forced to leave classes, putting a cross on a dream about getting a diploma.
Creation
During his studies at the Academy of Filonov, I met representatives of the Russian avant-garde school, called the "Union of Youth", and joined this union. Paul's work was organically fit into the concept of an experimental society, and in 1910 he presented at the exhibition the first picture of the head. From this work began the regular participation of a beginner painter in the shows suitable by members of the Union.
He wrote and filed a picture of the "peasant family" and "feast of kings", which made an unpleasant and depressing impression due to asymmetric unnatural-elongated figures and a contrasting, cutting eye color palette.
Feeling that the works require explanations, in 1912, Philon wrote an essay called "Canon and Law", where the creative principles of his own method called "analytical art", whose keys were unity with nature and the study of its components, changeable and constantly growing . This article, created under the influence of the poet Velimira Khlebnikov, who became a friend of Paul, laid the beginning of a number of literary works.
After the collapse of the "Union of Youth" Filonov united with former members of the mug and released a creative manifesto called "Intimate workshop of painters and drawers" made pictures ", which became the continuation of the" canon and the law ". Each smear brush authors were called an atom or a "unit of action", consisting of a fusion of form and color, and the fundamental principle of drawing was offered to consider natural actions of the mother nature.
Paul's canvases themselves suggested calling "formulas", meaning the capacity of the content and diversity of visual information. Following these theses, Philon wrote a series of paintings "input to world flourishing", which has become a bright illustration of the manifesta. On 22 canvases, dark paints that fill bizarre geometric shapes were combined into abstractions and created a feeling of living organisms that stretch from the depths of the universe and reflected on the trembling surface of the water stroit.
The First World War and the October Revolution that followed it for some time, Philon from the creative process took off. The artist returned to the public in 1918, becoming a nail of the exhibition program arranged in the Winter Palace among representatives of various genres, styles and trends.
Developing the invented concept of "analytical art", Paul was actively writing with paints and brushes. From 1918 to 1922, he created a dozen outstanding work, among which the "Formula of the Petrograd proletariat" were the most noticeable, "victory over eternity" and "Cosmos Formula". At the same time, Filonov became the investigator of the "Master Analytical Art" school (MAI) and tried to promote his own theories in the metropolitan art academy.
The popularity of the Avant-gardeist teacher was dubious, his ideas did not find applications among students and as a result were rejected by the leadership adhered to traditional picturesque concepts. However, lectures read at the faculties of drawing and sculpture did not remain unused and useless. Based on them, Pavel Nikolayevich wrote the "declaration of the" global heyday "", which became a program document in the theory of the arts of the early Soviet period.
In practice, the principles of Filonov found an expression in the monumental work "Spring Formula". A cloth of 250 per 285 cm was written with a thin brush, whose strokes with amazing accuracy and expression passed the process of updating the picture of the world. The feeling of awakening nature from the winter sleep was created due to the combination of pure colors, pointing over the entire huge surface of the canvas.
Becoming a kind of apotheosis of the theory of "analytical art", this work has demonstrated a complex structure of the interaction of many living organisms and the merger of a person with the outside world.
The opposite sentiments differed the picture "Animals", written in 1925-1926. Formless creatures with distorted faces became central figures of a sad city landscape depicted with a sharply negative attitude of the artist, an enemy urbanization of natural landscapes.
Such a concept did not fit the canons of the new Soviet society, so in the early 1930s Philon, together with other conceptual artists began to test pressure from the authorities. His personal exhibitions were repeatedly canceled, and the pictures presented were isolated from existing expositions. The ban on creative associations put an end to the legal activity of the school MAI and deprived it of the founder of the livelihood.
As a result, Pavel Nikolayevich had to make a compromise and partially abandon the individual drawing manner to write several customers, among which the "Portrait of I. V. Stalin" and the "tractor shop" were distinguished.
These works purchased by the state brought an artist income, but plunged free creative nature into a state of anxiety and despondency, which was reflected in the cycle of paintings under the name "faces", created before the beginning of the Great Patriotic War. Triptych demonstrated disagreement with the regime and the willingness to defend their own creative ideals. He became one of the last works of the Avangardist artist Pavel Nikolayevich Filonov.
Personal life
The theorist of "analytical art" was married, but did not have his own children. In 1921, he concluded a marriage with a divorced woman Catherine Alexandrovna Serebryakova, who was 20 years older than the artist and brought up two sons.
Details of the personal life of Filonov and his wife, the descendants learned from a diary, consisting of several notebooks with memories. Pavel Nikolaevich wrote that he and Rina lived in different rooms and led separate household, but the relationship was well. The spouse supported the masters and in recent years literally saved him from hungry death.
In 2002, the artist's thoughts published in the form of book-biographies, complemented by reproductions of work and photographs from the personal archive of the artist's family.
Death
In 1941, when the Germans began the bombing of Leningrad, Filonov was engaged in salvation of his own paintings, which were on the top floor of a unheated workshop. Long night painter duty on the attic, guarding favorite work.
As a result, Pavel Nikolayevich was cold and on December 3, 1941, died of a disease caused by supercooling. In the official posthumous document, the cause of the death of the artist was pneumonia.
The next day, the Leningrad Union of Artists organized a meeting dedicated to the memory of the masters who died in the city cut off from the world, where the name of Filonov was mentioned among other talents.
Pavel Nikolayevich was buried at the Seraphim cemetery in Leningrad, and his paintings were given to preserve the sisters, and later presented the Russian museum of St. Petersburg. When transferring the inheritance of the artist, the gallery keepers showed that some paintings were disappeared.
Paintings
- 1912-1913 - "at the table"
- 1912-1913 - "Man and woman"
- 1912-1913 - "Feast of Kings"
- 1914 - "Peasant Family"
- 1915 - "Flowers of world heyday"
- 1920-1921 - "Victory over Eternity"
- 1925-1926 - "Animals"
- 1928-1929 - "Formula Spring"
- 1934-1935 - "Drummers"
- 1940 - "Persons"
Bibliography
- 1912 - "Canon and Law"
- 1914 - "Intimate workshop of painters and drawers" Made pictures "»
- 1915 - "PREVENTION O SPRED WORLD"
- 1922 - "Declaration of" world heyday ""
- 1923 - "Report"