Worked under the direction of Korzhev.
Of great interest to the researcher are genre
paintings with self-portraits of T. Nazarenko. There is a lot of controversy about this artist. Some see rationality, sober calculation in her works, others - a devout obsession, a living creative passion.
Flowers. Self-portrait. 1979
They seem to have both. And this is manifested with particular clarity and sharpness in Nazarenko's paintings, which include a self-portrait. And almost all of her paintings include it, including historical ones (“Execution of the People’s Will”, “Partisans Came”). The role of the self-portrait in the canvases “My Contemporaries”, “Conversation”, “Young Artists”, “Grandmother and Nikolka”, “Meeting the New Year”, “Tea Party in Polenov” seems to be especially active and effective. In each of them, very important problems of human existence are revealed or at least posed. There are not easy thoughts about the meaning of life and creativity, the change of generations, the inevitability of death, etc. We believe that in each case, Nazarenko presented some secret piece of her personal life, her own biography (yes, apparently, it is so) . We believe that each situation is not only well thought out, but also deeply experienced, endured. That is why the self-portraits included in her paintings are taken for granted, as an integral part of the composition. The inclusion of a self-portrait in the picture became a necessary creative need for Nazarenko. “In one of my ... paintings“ After the Exams ”, I, fearing that my self-portrait was somewhat tired, or rather, it simply did not fit the situation (a company of students), although I felt myself there, tried to paint another character . It was a painful and very unsatisfactory replacement for me,” the artist recalls.
For all that, however, it is noteworthy that each of the self-portraits included in Nazarenko's paintings lives in a special psychological space isolated from other characters. We feel in them not so much a direct participant in the depicted event, but a special character, looking at partners, although not indifferent, but still with a third-party look. The heroine, endowed with portrait features of the artist, is always thinking. Sometimes at the same time her gaze is turned to us. Exactly the same as in the compositions of the Renaissance masters mentioned above. And it expresses the same everlasting question: “What do you think about it?”
Pugachev. Diptych.
In the diptych "Pugachev" an acutely conflicting, dramatic moment is chosen: Emelyan Pugachev is being taken in a cage to the place of execution in Moscow. And no one is lucky, but young Suvorov. But what is this strange spectacle unfolding before our eyes? Like toy colorful and smartly dressed faceless soldiers. Yes, and Suvorov on a white horse resembles a doll; his whole appearance is so similar to his countless images that he, as it were, loses his individual features and becomes a sign, a scheme. And his horse does not walk, but seems to be floating through the air, and fragile, inanimate hands do not hold a toy rein ... And immediately this whole story takes on the features of a phantasmagoria, and it is no longer people who perform certain actions, but some puppets participate in some kind of not their invented game.
The picturesque structure of this canvas is also ostentatious, reminiscent of a painted oleography. The passing clouds are already very puffy, and the golden color of the hills and distant buildings is excessively dense, and the blue-red-white suits of the soldiers and the figure of Pugachev in a red shirt that has soared above their heads in a red shirt are painted in open, extremely contrasting tones ...
And the second part of the diptych, enclosed in the same frame, looks completely different. This is a long vertical panel, painted in the tradition of 18th-century hoaxes. Dark “museum” coloring, carefully written papers tucked behind a ribbon, several portraits dating back to the time of the Pugachev rebellion, a piece of old brocade, several books, a candle in a candlestick that has swollen ... Everything is very seriously, carefully written, everything seems to carry fine dust on it past eras, traces of the touch of the people who created these things.
Decembrists. The uprising of the Chernigov regiment. 1976
In the historical canvases of Nazarenko there is no momentary experience. We look at long-standing events through time, and everything that happens seems to be illuminated, freezes, breaks away from everyday adversity and acquires clarity and completeness of the symbol.
The same duality exists in her group portraits. Their characters are recognizably portrait, the collisions are plausible:
First summer. 1987
holidays of youth, conversations in the studio... And at the same time, there is something mysterious in them - turning everyday scenes into romantic fantasies. Thus, the past and the present converge closely in the triptych "Life" (1983).
And again, the artist materializes thoughts and feelings, depicts the objects that these thoughts cause. In all three canvases that make up the composition of the triptych, there is a grandmother, already very old, wrinkled, supporting her gray head with her clasped hands. And her life passes before her mind's eye. But T. Nazarenko would not be true to herself if in the world depicted by her the tangible realities did not converge. which are visible only to the spiritual gaze, if it were not for the unsteady line between the past and the present ...
Anna Semyonovna Abramova died in Moscow at the age of 89, having lived to see Tanya's creativity recognized, having seen her photographs on the covers of magazines, reproductions of her works in books.
In the works of T. Nazarenko there is the power of persuasion and the ability to translate one's ideas into full-fledged images. Here - a keen eye and a flight of imagination, reflections of our contemporary and the eternal desire for love, mutual understanding. And there is also an idea in her works that these contacts are not so simple for a modern person. And therefore, so often in Nazarenko's paintings, close people are so far from each other and outstretched hands hang in the air.
Whatever she writes - and the range of her subjects is unusually wide, she works with equal intensity on a historical picture, and on scenes of youth holidays, on a portrait, landscape, still life - she brings to her works something elusive and undoubtedly making them a product of our days, the way of thinking of our contemporary. The viewer feels the time pulsing in her art.
T. Nazarenko is one of the artists whose talent was revealed in the seventies. Bright creative individuals developed and matured during these years. Difficulties broke the weak and tempered the strong. Tatyana Nazarenko is one of the strong.
Big window. 1985
Significant is the picture of the Moscow artist T. Nazarenko "The Big Window" (1985), which raises serious moral problems associated with the present day of our life. Here the problem of self-consciousness, the well-being of a modern person in the surrounding world, emotional contact with reality, with nature, with the objective world is solved as if from the contrary: instead of silence, peace, clarity, harmony ennobling the soul - cold tension, rigidity, disharmony of contrasts, incompatibility that cuts the eye spiritual and material, emphasized by the image of a hollow mannequin on the windowsill, the frightening emptiness of the objective world, the discomfort of human existence in this environment. In the harsh naked impartiality of a self-portrait (a tired, pale face reflected in the mirror, a look without a spark of inspiration), in the cold colors and dry lines of the landscape opening outside the window, in the indifferent collision of Moscow factory, industrial novelty and Kremlin antiquity, in multiple accessories of everyday artistic labor.
Once Tatyana Nazarenko - and every summer she lives in a village near Tula - came across an abandoned grain dryer. I asked my husband to take a picture: you can’t imagine a brighter symbol of the Soviet era! I decided to definitely use the grain dryer in the installation on canvas.
- Unfortunately, I began to understand the same Ilya, who has been making his installations for a long time. It's much more interesting than just drawing. I've come to this now.
To surrender to real painting, you need a different state of mind, country. Recently I was in one large European museum. And I caught myself thinking: I’ll come to the village now, take a canvas and between watering the beds I will write with pleasure. And then she pulled herself up: well, I’ll write, but what’s next? Waiting for a buyer?
- But what about inspiration, such when it is impossible to breathe?
— Oh, I don't like the word "inspiration". I cannot say that it is impossible to live without touching the canvas. Maybe. But the process of creativity is always a little different from what they write and say.
- Judging by your plywood "Portrait of Catherine II", presented recently in the "New Manege", have you completely changed traditional painting?
“It's not about change. The artist must leave his perception of the world. And this is exactly how I perceive our reality of the late 90s, and not otherwise. That's why I don't paint portraits of "new Russians". There it is interesting to write out only
silk dresses. The faces don't show anything. Therefore, even if I am writing now something specifically for sale - it won’t hurt to live on an academician’s pension of several hundred rubles - then these are still lifes. Flowers. It happens that I sell old favorite works. But not "Pugachev", which Soviet officials removed from exhibitions.
Circus. 1984
- And why then did they sell their famous "Circus"?
- This is the husband. I was in America then. And when he called and told me about it, I was ready to kill him. I have a really hard time parting with my work. Especially if a crowd of chirping modern aunts comes, who rummage through the works and try to bring down prices. There is a feeling of a bazaar. Although it seems inconvenient to refuse, they come by acquaintance.
Once I had to sell a work against my will. When I said that this is my favorite still life, homely, one of the gentlemen who came said: “But Pyotr Ivanovich can make sure that you don’t fly anywhere.” And I had to go to Paris. I laughed: now freedom, I will fly through Ukraine. And they answered me: "But Pyotr Ivanovich can make sure that the plane does not fly." I was truly horrified, my God, who was brought to me, not otherwise a mafioso ?! So, to my chagrin, I had to sell this work. They were not even stopped by the high price.
- And this is how you celebrate your anniversary - with some kind of confusion in your soul?
“I live like this all the time. And in the early nineties, when the country collapsed and there was a feeling of being useless, and in 85, when they did not let me go abroad and it seemed that life was over. I also remember the morning despair at the beginning of this year, when I learned that, by order of officials, my harmless plywood monument “Worker and Peasant”, which stood at the entrance to the Manege during my exhibition, was removed. It seemed to someone that he did not belong near the Kremlin. I felt like many years ago when my paintings were removed from the exhibition. I recently met one of these art officials. Didn't expect to meet me as an academician. He flourishes...
Nikolai Efimovitch.
The artist Tatyana Nazarenko has created her own tradition: for the fifth year she celebrates her name day - Tatyana's Day, January 25 - with an exhibition of new works. The first one took place in the Tretyakov Gallery, the current one - "My Paris" opens in the Manege Gallery, in the Central Exhibition Hall.
All genres of painting are subject to Nazarenko's talent. And from each of her exhibitions you expect surprises.
Last year, Nazarenko created the illusion of an underground passage at her exhibition, populating it with a crowd of painfully familiar faces. Her characters seem to have stepped out of the paintings, becoming plywood figurines, like those that street photographers put next to them. Plywood sculptures can be moved, swapped. The reception only superficially resembles street kitsch. Each figure has become a kind of social portrait, reflecting the exact signs of the times. The exhibition "Transition" has already visited the United States, and now continues its journey through Germany.
Tatyana Nazarenko lived in Paris last spring. Without the tourist rush, with the family, in the usual rhythm of city life. And, as she says, she felt calm and at ease there. The new exhibition is the result of this trip and the continuation of the experiment with plywood painting and sculpture.
The artist among his Parisian characters.
Everyone has their own Paris. Nazarenko was interested in the Parisians. Her current characters are students, bourgeois, young fashionistas in little black dresses, waiters, merchants, prostitutes, nuns, an organ grinder... Before us are a variety of types of city streets: day and evening, in a cafe, in a park, at a book dealer. And among these plywood sculptures, as you can see in the photo, the artist herself is quite naturally located.
If in last year's "Transition" you were crushed by a gray background, then here bright colors play on colored planes. But the roll call of the exhibitions is by no means reduced to opposition. Nazarenko is not prone to straightforwardness. She likes the Parisians, but she does not flatter them.
Inga PRELOVSKAYA
It is generally recognized: the brightest star among contemporary Russian artists. Paintings in the collections of the Russian Museum and the Tretyakov Gallery and famous private collections. Laureate of the State Prize, corresponding member of the Academy of Arts and professor at the Surikov Institute. This is all Tatyana Nazarenko.
Plywood figures of unsympathetic inhabitants of Moscow underground passages, monuments-“tricks” to LUZHK0VU with a shovel, to Kirkorov and other installations. outraged aesthetic critics. This is also Tatyana Nazarenko,
Saint Peter at the 12 Good Jobs project.
The XIV Moscow Art Fair "Art Manege" was held in the Central Exhibition Hall "Manezh". Fourteen years ago, it was started as a very ambitious project, evidence of the viability of the Russian art market. But initially, an omnivorous bomb was planted in the undertaking: salon art here coexisted with the stands of high-browed galleries. The kitsch brilliance and intellectual poverty that Art Manezh combined helped to rise the star of Art Moscow: a rival of the same age, held in the Central House of Artists. Art Manege tried to save its reputation, first with the approval of an expert council, headed by an expert with a worldwide reputation, Victor Misiano, then
invitation of curators (which is nonsense for the fair) from the artist Alexander Yakut to the gallery owner Vladimir Ovcharenko. Did not help. And "Manezh" has been refusing claims to the hill for several years, presenting everything that is (more precisely, those who paid money for renting the site). A few years ago, Art-Moscow exhibitors used to come to the Manege to make sure that their opponent was incompetent, defiling with an arrogant air. However, due to the financial crisis and customs problems, it was also unsuccessful. So at this vernissage one could meet activists of contemporary art who, with hidden embarrassment, asked each other: “And you
what are you doing here? That is, "Art Manege" in essence, did not become better, but remained a potential platform for the market.
And this time there was something to see even for an expert. However, the best is represented here not by pseudo-modern art, but by modernism and the “second avant-garde” of nonconformists. The best project “The Art of Three Decades. 1910 - 1930s ”- generally non-commercial. The "Fine Art Collectors Club" presented items from private collections by artists of the first third of the last century. The exposition was made by the chairman of the club Valery Dudakov, one of the best experts in the antiques market. Nadezhda Lermontova,
Vera, Mikhail… The names are impressive, although the things are not very. And the SHPENGLER Gallery (in a past life known as the Old Years), known for its constant collaboration with the Tretyakov Gallery, showed its favorites - from Burliuk's student, the repentant Ural futurist Viktor Ufimtsev, to the underground abstractionist of the 60s Valentin Okorokov. As always, "Pan Dan" - with their own, Yakovlev and. The newly formed "Gallery on Vspolny", owned by the "Society for the Encouragement of Arts", also affiliated with the State Tretyakov Gallery, presented, and Plavinsky, quite a museum quality. Lev Melikhov, chronicler of the underground, exhibited his photographic works, which have become a textbook, at the stand of the New Manege.
Well, two hits of the fair: the exhibitions "InArtis" with Andy Warhol's silk-screen prints (circulation and unsigned, but made with the blessing of the author) and "Zebra Bliss: formerly known as the Bookplate Museum" - these are not bookplates, but magnificent objects of the classic of the French "new realism" » Armand, graffiti artist Cricky and even Keith Haring, the famous American "new waver".
In general, it turned out not to be ashamed. And now living Russian artists were represented by worthy names and worthy works: Tatiana Nazarenko, Klara Golitsyna, Konstantin Sutyagin, Alexander Shevchenko…
But God have mercy, it was necessary to look for it
in a space of total area of 5000 square meters.
Well, if you want discoveries and new impressions, you get all the price tags and speculations. The fair is like a fair. By the way, as predicted, more and more of our nonconformists were sold. Most galleries unknown to the enlightened public did not pay off their stands. But, unlike the Art Moscow Fair, the Art Manege Fair does not publicize its commercial results. Hesitating, right?
Fedor Romer.
Dozens of canvases, obscuring each other, piled up at one of the walls of the studio. And before the artist had time to turn the next work to me, I read its title, as if looking through the table of contents of an unfamiliar book.
"Uzbek wedding" - I read on a stretcher. And while Tatyana Nazarenko slowly unfolds the canvas, I have time to enjoy the theme, as it seems to me, created for our women's magazine. But here is the picture in front of me. I look, and some incomprehensible anxiety seizes me. Why? Where? After all, there seems to be nothing tragic on the canvas: near a low duval, musicians painted in a somewhat parodic way call the people to a family holiday, next to it is a thin, pale boy strewn with flowers on the road to the house. On the left, in the corner of the picture, are the guests. People of different ages, different temperaments, perceive the upcoming celebration in different ways: someone is frankly delighted, someone is just curious. And all this is authentic, colorful. So what's the deal? Where does this everlasting foreboding of trouble come from? Maybe it's the alarmingly red background of the picture or the sad face of the boy that is to blame. scattering flowers? Or maybe guests? They seem to deliberately hesitate to cross the threshold of the house prepared for the holiday.
I am talking about this Tatyana Grigorievna
Yes, at this wedding, - she says, - a tragic event occurred - the bride's stepfather died. A wonderful person who raised and educated her. Apparently, this painful impression, which I tried not to think about while working on the picture, nevertheless had an effect ...
Well, apparently, for every true artist, the truth of life and the truth of art are inseparable.
Tatyana Nazarenko, a graduate of the Surikov Institute, made her debut at exhibitions as a student with the painting "Mother with Child" (1966) and "Motherhood". This second painting, painted in 1968, was also the artist's diploma work. In the same year, "Uzbek Wedding" was created.
Students.
In later works, such as "Young Artists", "Students", "My Contemporaries", "After the Exam", "Guests in the Hostel", the author was attracted not so much by the plot as by the depth of psychological characteristics.
After exam.
And yet, Nazarenko's work "The Execution of the People's Will" received the greatest fame. The young artist managed to comprehend in her own way the tragic theme of the People's Will, whose moral highness always fascinated her.
This picture to some extent summed up the years of study at the institute, where the famous painters A. Gritsay and D. Zhilinsky were the teachers of the young artist. But at the same time she studied with the Italian and German masters of the early Renaissance. Is it not from here that in the "Execution of the People's Will" the sky is the color of a faded Renaissance fresco - light light blue? And in the portraits of Nazarenko's contemporaries, no, no, yes, and he will surround his face with a collar. reminiscent of a Spanish frill.
The artist is attracted by the genre, the portrait, and the historical composition. But she has pictures that you perceive as poetry, as music. The main thing in them is the mood. One of these paintings is "Evening in Tarusa". Loneliness and confusion lurk in tiny houses, far apart from each other, surrounded by austere pine trees, the dim yellow light of a lantern swaying in the wind is restless. all other feelings.
In a completely different, major key, “Seeing Off Winter”, “Meeting Guests at the Moldavian State Farm”, the lyrical narration “New Year's festivities”, the still life “Flowers in the Studio” and “In the Studio” are solved. For the last two works, Tatyana Nazarenko was awarded the first prize at the International Competition for Young Painters in Sofia
And now her paintings are exhibited in the GDR and are highly appreciated by German viewers.
Tatyana Nazarenko, laureate of the Lenin Komsomol Prize, is in constant search. This is the key to her success. Present and future.
"I think, a person must constantly strive for something beautiful, no matter how trite it may sound"
Tatiana Nazarenko
“In my opinion, a person should constantly strive for something beautiful, no matter how trite it may sound”
Tatiana Nazarenko
Nazarenko's works are characterized by a philosophical sense of time, which is interpreted as a continuous stream. Her painting is distinguished by the breadth of plastics, the variety of artistic means, clear rhythm, decorative color, the conventionality of space, grotesque and the variety of unexpected compositional solutions.The artist is constantly in search of new artistic means, expressiveness and originality of plastics.Many of her works are autobiographical.
The beginning of the creative path of Tatyana Nazarenko falls on the end of the sixties - the beginning of the seventies of the last century. She made her debut at exhibitions at a time when the "severe style" of the sixties began to become a thing of the past. Young artists of the seventies widely used metaphors, allegories, parables, boldly resorted to both the plastic language of the classics and artistic techniques and images of various eras and trends in art.
Already the early works of Tatyana Nazarenko "Execution of the People's Will", "Partisans Came", "Decembrists", "Pugachev" attracted attention with their new artistic concept. A specific historical event, depicted with emphatic authenticity, was turned into the present, revealing the deep connection of times. Creativity Nazarenko was directed against "forgetfulness", forced to conduct a dialogue with the past. Comparing the past and the present, referring to the historical events of different eras, she sought to reveal the spiritual essence of her heroes, expressed in deep patriotism and high citizenship of their thoughts, feelings and actions.
Her paintings are characterized by a philosophical sense of time, which is interpreted as a continuous continuous stream. The picturesque works of Nazarenko are distinguished by the breadth of plasticity, the variety of artistic means, a clear color rhythm, the decorativeness of color, the conventionality of space, the grotesque, the graphic quality, the diversity of scale and the unexpectedness of compositional solutions.
Her work speaks of a constant search for new artistic means, maximum expressiveness and originality of plastics. Many of Nazarenko's works are autobiographical. For example, her "Circus Girl", balancing on a tight wire over a crowd of envious people and ill-wishers.
Nazarenko deliberately deforms the figures and faces of people, while assuring that she does not exaggerate anything, all the characters are written off from life and are extremely realistic.
American critic Donald Kuspit called Nazarenko's realism absurd - in reality (the period of developed socialism) that gave birth to it. Nazarenko is no stranger to labels that critics cannot do without. On the contrary, she calls herself a realist with some defiance, as if defending her right to this outdated and unfashionable genre ...
Her realism is primitivist, has a somewhat popular character. But certainly it has nothing in common with the socialist one, which portrayed life not as it really is, but as it should be. Perhaps, against the background of these false varnished plots and stereotypes that set the teeth on edge, her art is shocking. Sometimes it seems that she decided to blow up these stereotypes with a parody ...
Over time, her picturesque "theaters" became more and more dramatic and grotesque, including elements of surreal "black humor" - symbols of masks, puppet theater, cannibalism.
Since 1996, she has often given her images three-dimensionality, supplementing or replacing her canvases with combinations of life-sized silhouette figures, as if emerging from the picture into the real world - installations: Transition, 1996; My Paris, 1997. (Bella Ezerskaya)
Tatyana Nazarenko:
Life is changing, art is taking on new forms. I was a painter all the time, and then I became interested in plywood figures, I had two exhibitions of photographs ... I wanted to continue my search further, but, thanks to teaching at Surikov, I returned to painting again. Because explaining how to paint without touching the canvas is extremely difficult. (quoted from the article by Anna Chepurnova "Tatyana Nazarenko. In search of new forms").
Biography
Tatyana Grigorievna Nazarenko was born in Moscow on June 24, 1944
In 1968 she graduated from the Moscow State Academic Art Institute. V.I. Surikova, (teachers: A.M. Gritsai, D.D. Zhilinsky, V.I. Shilnikov and others)
Since 1969, a member of the Union of Artists of the USSR
In 1969-1972 she worked in the workshop of the Academy of Arts of the USSR under the direction of G.M. Korzhev
1975 - the first group exhibition in Moscow (T. Nazarenko, O. Loshakov, O. Vukolov, I. Orlov, V. Rozhnev)
1987 - the first solo exhibitions (Kyiv, Odessa, Lvov and abroad - Leverkusen (Germany)
1989 - personal exhibition in the Central House of Artists (Moscow)
In 1998 he became a corresponding member of the Russian Academy of Arts
1999 - professor, head of the workshop at the Moscow State Academic Art Institute named after. V.I. Surikov
In 2001 he became a full member, a member of the Presidium of the Russian Academy of Arts
In 2003, T.G. Nazarenko was awarded the title of "Honored Artist of Russia"
Her paintings are in the collections of many museums in Russia and abroad, including the State Tretyakov Gallery, the State Russian Museum, etc., as well as in galleries and private collections (USA, France, Italy, England, Turkey, Germany, Finland, Czech Republic). , Poland, etc.)
And Igor Novikov on the eve of their exhibition in Switzerland. The conversation turned out to be intense, about the perception of art today and yesterday, in our country and in the West. We decided to publish it for you in full, without abbreviations.
Tell us what kind of exhibition you are opening in Zurich?
Igor Novikov: The exhibition is called "Russian Seasons" and will be held from January 12 at the Jedlitschka Gallery (Seefeldstrasse 52. CH - 8008 Zürich, Switzerland). A good gallery, in the very center of Zurich, with spacious, bright rooms and large windows. Its owner, a Swiss, is not the first time I have made my exhibitions. The exhibition will feature three artists, me, Tanya Nazarenko and my father, artist Alexei Novikov. He is more often in Switzerland than in Moscow. Many where exhibited and also a sought-after artist. From each of us will be 8-9 works. A catalog will be published for the exhibition.
Alexey Novikov. Celebration. 42x62 cm. 2000
"Russian Seasons" ... do you directly continue the ideas of Diaghilev, present Russia and Russian art to the Western public?
Igor Novikov: Tatyana is most interested not so much in Europeans, but in former "ours" in Switzerland, Germany, France. Europe is small and through the social. people from different parts of the network are interested in when Tatyana's exhibition will take place, whether it will be possible to see her herself, etc. These are not only those who emigrated in the 1990s, but also those who left recently. They know Tatyana primarily from the Moscow artistic environment. But the Swiss know me and my father better. But, whatever our passports, we will always be Russian artists, and our art is Russian art. Therefore, yes, this exhibition presents Russian art to Europeans. But not all, of course, but only what we do.
Igor, we have already talked about the art of Tatyana Grigoryena in one of the interviews, please tell us about your paintings. These people, are they some kind of symbols?
Igor Novikov: These are pictograms. Conditional signs. Phantoms. Depending on the situation and on the picture, they can mean different things. Humor, compassion, biblical stories, sometimes, these are political things. They appeared on my canvases in the 80s, at the time of perestroika, and at first they were red and black. Then other colors began to appear, white, green, yellow ... These are not road signs (as some suggest), but completely invented figures - someone climbs stairs, someone flies through the sky, someone climbs out of the ground, goes in a row across Moscow or across Russian landscapes, and so on.
Igor Novikov. Goodbye, Russia! 150x200 cm. oil on canvas 2004.
For artists, painting is purely fixation, but you have an obvious statement here?
Igor Novikov: I strive to create some kind of tension, raise a question and reflect the time in which I live. I have noticed that sometimes the events that I depict in my paintings become prophetic. For example, the painting "Goodbye, Russia!" I drew in 2004 Lesopoval - this is Russian eternal chaos with a lonely surviving bear cub that looks at our Kremlin necropolis - the Mausoleum with anxiety, the eternal question "What to do?". The white color of the three figures personified the color of the awakening revolution. My other work, "Moscow Heat", 2009. Not knowing about the upcoming Ukrainian split, I drew fire extinguishing, against the background of the Flag of Ukraine, our two-headed Eagles with watering cans.
Moscow heat. 140x190 cm. oil on canvas 2009
My wife Tatyana, than a brilliant artist and famous? The fact that she reflected her time. I think this is the main task of the artist. What we are doing. The more individual you do it, the more you have “your own face” in art, the more you are an Artist. And not just a craftsman who, without investing any individuality, paints a landscape, a church, a waterfall, a forest, and so on, which have already been painted a hundred times. The artist must have his own world, in which he lives himself, and where he invites the viewer. And when we see this figurative world, we immediately read, this is Tatyana Nazarenko, and this is Natalya Nesterova, this is Tselkov, and so on. This indicates whether the artist is a genius or not.
Just paint landscapes and sketches, take photographs, etc. - this is not serious. The task of the artist is to depict, to create a new figurative world. Whether we succeeded or not, time will tell.
I agree with you one hundred percent that "otherness" makes an artist. But in our country, "otherness" has always been especially eradicated.
Igor Novikov: In the artistic environment, it is generally common that artists fuss so that during which time they need to invite, pour a glass of wine, agree, make a smart face, be a member of various councils and commissions, parties. They run for different titles, medals, orders. It reminds me of insanity.
By the way, it’s clear with Tatyana Grigoryevna, but do you also have titles?
Igor Novikov: I am an honorary member of the Russian Academy of Arts. I will not hide, I am glad and grateful to the Academy. Of course, I was ashamed to receive this title. I remember the Academy from the Surikov Institute, where I studied in the workshops of Yu. Korolev. E. Salakhova... Of course, not all of them were exceptionally outstanding artists, but for us the academicians were very respected old men, in glasses, in gray-black jackets. There were no more than fifty of them. There was such silence in the Academy that we perceived it as a Temple of the Arts, esotericism, some kind of closed order. And now, of course, it's not quite the same. Sometimes you look who is there in the Academy, and a big question and surprise arises.
You mentioned the Surikov Institute, was that your soil? Did you grow up as an artist from there?
Igor Novikov: Let's start with the fact that my father is an artist. Of course, like all children, I also drew something from the very beginning. As a result, it turned out that he also became an artist. Although my father was not very happy. Of course, even in those days the life of an artist was not sugar, but in Soviet times we were favored at least a little by the authorities, workshops were given out, and something else. Now you have to survive/earn/buy/withdraw as you like, and spin around. Being an artist today is increasingly reminiscent of some kind of clowning.
Wait, but your creativity would hardly be favored by the authorities ...
Igor Novikov: Of course not. Many works were placed against the wall. You couldn't show everything. For example, the sky from Tanya's painting.
Such a blue sky could not be written in the 80s.
Tatiana Nazarenko. Women's company. 150x120 cm. oil on canvas 2007.
Because there were a lot of other artists, Papikyan, there was someone else who would yell, stomp: “How is it, there must be clouds, there must be sfumato!” It's hard to believe now. As in Popkov, for example, a lot of cones flew and so on. By itself, the color could annoy many. In those days, it was not easy either.
When I studied at the institute (after all, it was better in Moscow than in Leningrad, Surikovskiy was always more “leftist”, freer), but still, when many teachers saw my blue sky or green earth, which I sometimes did, grabbed their heads. My drawings were good, I tried, but this is the Surikov Institute. School Repin, Surikov, I tried to match. As for the composition, it seemed to me that I could express my vision and feelings. I always thought that composition is freedom. That you can boldly show as you see fit. When these blue, red, orange colors, which were many in my paintings, were seen by Bondrenko Pavel Ivanovich, at that time the rector, he stamped his feet, shouted: “How is it? Yes, how dare you!" The Surikov Institute belonged to the Zhdanovsky district committee of the party, I remember there was one woman, the first secretary of the district, who came to all the screenings. Therefore, when they saw "leftists", they were expelled from the institute. For example, I was expelled twice, I had to be transferred to other workshops, because I saw color or shape, plots a little bit wrong - it was sad.
Then there were some claims and difficulties, but now there are others ...
Igor Novikov: Yes. Now there is no special freedom either. They began to say that it is impossible to show nudity. It's funny.
We go to all the museums in the world and see nudes there. It doesn't occur to anyone in their right mind to perceive this as pornography, molestation, or anything else but art.
Tanya Nazarenko: This week they took my work for an exhibition at the Academy. And I could not find the right work, which was already printed in the catalog. And she offered another, also red, and there are two girls who play with the head of a man with their feet. They say to me: “Tatyana Grigorievna, well, you understand, what if someone from the Ministry of Culture comes and does not like the work?”
And here will anyone from the Ministry like it? We sometimes forget what kind of world we live in and how quickly things can change.
Tatiana Nazarenko. A game. 120x80 cm. oil on canvas
I am happy that I left the Surikov Institute and now I can travel freely. It's not just about the little things, but the main thing, now the students of the institute should know how to fulfill a certain idea and nothing more. Surikovskiy and Repinskiy have always been institutions of Creators. Today, this has changed. Now this is more like an institution of artisans than an institution of creative people, artists. And what does the church do? Piotrovsky recently rightly said that theatrical performances can be judged only by theater critics, and not by the Church, and not even by the audience. And there will be no Piotrovsky, who stands up for art, there will be some of his deputy, who will not do this.
Igor Novikov: It seems to me that in Moscow, in Russia, spirituality ends gradually and finally. Spirituality, which was inherent in her in the Soviet and especially in the pre-Soviet period. With the advent of Soviet bandit capitalism and the church revolution, culture in Russia finally comes to a standstill and degradation.
In my works I do not laugh either at Russia or at the West. On the contrary, I'm sad. Massive fooling of people occurs here and there. But we have more. It's a shame that Russia is the richest country in the world, which has so much natural wealth, oil, land, and so on, but unlike, for example, Norway, where 50% is owned by Norwegians, or Saudi Arabia, where a person is already born a millionaire, in our country, most of the population lives in poverty and devastation, dragging out a meager lifestyle.
Igor Novikov. Evening call, evening Bell. 95x130 cm. oil on canvas
Igor, but you are on 28 line rating "50 Most Expensive Living Russian Artists" by The Arts Newspaper Russia. How did you achieve this and how did you become a Swiss citizen?
Igor Novikov: In the late 80s it was already easier to agree on a workshop, and now I got a house for workshops on Furmanny Lane. It was under eviction and, it seems, they gave it to us for 200 rubles, "do what you want." Residents moved out, and the art colony grew. In 1989, foreigners came to our exhibition and decided to show it in Warsaw and published a catalogue. Then she went to the museum of the city of Martigny in Switzerland. We went to the opening, and there I signed a contract with gallery owners. Later he received a UNESCO scholarship. It turns out that since 1990 I have been living in the West, although of course I have never lost touch with Russia either. In 1993 I had a personal exhibition at the Tretyakov Gallery. But here I am known less than in Europe, where my works, my pictograms are recognized. In general, over the years, the value of the work has somehow formed. There were many exhibitions, various catalogs, prices rose gradually.
Moscow the day after tomorrow. 155x200 cm. Hm. 1989. This series of works is in the collection of the Tretyakov Gallery.
Tatyana and I were not in Russia for some time, and now, when we heard from the TV screen that the country needs to support Aleppo, rebuild all these ruins, we don’t understand when our whole country is in ruins, what can we talk about? Not a single museum was built by the state. But only here, perhaps, the Yeltsin center.
Tatyana Nazarenko: You know, this is a very bizarre concept "Yeltsin gave freedom." From the hands of Yeltsin, at one time, I personally received state awards, Natasha Nesterova and I. We got freedom. Never in my life would I have received a state award if not for Yeltsin. Not before, not now. I remember that Bazhanov voted for me then, and the other candidate was Viktor Ivanov, who, according to all the rules, should have received this award, as our great realist. I respect him immensely, but the fact that they gave me the prize was possible only in the Yeltsin era. But for some reason it never occurred to anyone to ask for my work or Natasha Nesterova for an exhibition at the Yeltsin Center. I learned about all this only from the media, seeing how all Putin, Medvedev, Naina Yeltsina and other artists starred in front of Eric Bulatov's painting "Freedom".
Igor Novikov: In our country culture is not supported by the state. In any case, the art that we do is not interesting to the authorities.
The authorities love what is fun and understandable to them, the theater there, the stage, the cinema, at worst.
Igor Novikov. Big Striptease. 140x190 cm. 1994
Art does not amuse power, you will not particularly relax under it, you will not dance, you will not sing in karoka. Culture, in their understanding, is entertainment, listening to songs "under the veneer" at your villa in Lugano or Monte Carlo, at worst on Rublyovka or Sochi Ples. I went to these theaters, tens of hundreds of them in Russia and especially in Moscow, rebuilt for folk artists and so on, they all shine, they are all in marble. And then we, artists, why do they need it?
Tatyana Nazarenko: I'm not interested when art is a moment of entertainment.
Entertainment is great, but I can't agree with that. Art is not only entertainment, it is knowledge of the world.
Tatiana Nazarenko. Butchers. 140x170 cm. oil on canvas Moscow Museum of Modern Art.
The Museum of Modern Art was created by Zurab Tseretelli with huge battles, fights and his own influence. The Academy of Arts was cut off from all institutions and from all budgets. There are no state purchases of contemporary art. Many things, I know this personally, were purchased for the Moscow Museum of Modern Art personally from the pocket of Zurab Konstantinovich, for which I am very grateful to him.
Art is taken out of the big box. On and on In the 1990s there were leftists, rightists, there were many wonderful exhibitions, indeed, freedom of action. The arena has now been taken away and given to contemporary art.
Tatyana Nazarenko: Great, street art.
But the fine arts are not in demand now. Easel art, I mean.
Tatiana Nazarenko. Big company. 360x100. see x.m. 2013.
In Pushkin that year there was an exhibition of Brewers and Cranachs. Easel painting, please. He specifically created a series of works.
Tatyana Nazarenko: Yes, these “adecdotal exhibitions” have been going on lately: Pivovarov-Cranachy, Gutov-Rembrandt. Everyone walks around with a smart look, looking for closeness to Rembrandt in Gutov's pieces of iron. I have nothing against Gutov, he is an attractive artist to me, only if it were not for the comparison with Rembrandt. In my opinion, this is anecdotal.
So you are against modern art in a classical museum?
Tatyana Nazarenko: No, I think that contemporary art is now gaining more and more space.
Igor Novikov: Beuys once brought trash to the museum in the 1950s. By the way, they wanted to expel him from Germany for this, to deprive him of citizenship. But once it's interesting, rubbish in the museum. Or here in Switzerland one naked person runs around the museums, and now seven museums are waiting for him to run through the halls. Or, the so-called "artist" brought her dirty, unmade bed, with panties, vodka, condoms to the Venice Biennale, then many museums showed her. Well, what is it? This is a theater, this is an action, but this is not fine art. To display golden toilet bowls, running lines, TV screens, random photographs, fragments of our everyday life... A circus, a booth, a tent, I don't know what to call it, but not fine art.
Different people, different tastes, I do not argue. I'm not against conceptual art. But it seems to me that the world has become one-sided in this regard. There is a powerful tilt towards contemporary, conceptual art, not only in Russia, but all over the world. Where is democracy? There are other visions of the world in which we live. Why is it said that actual installation is art and painting is not art?
Wait a minute, but no one questions that what you and Tatyana are doing is art.
Igor Novikov: Of course not. I'm not worried about myself in this case. I'm talking in general, about painting, traditional media. I feel sorry that many people do not see the interesting things that are happening in Moscow and other cities.
There is one art - conceptual, and there is another. It is clear that if we are talking about a private gallery, then the gallery owner has the right to exhibit what he sees fit. And when it comes to state museums and exhibition venues, then different art has the right to be represented there. The budget lives at the expense of taxpayers. Here in Switzerland, the opinion of taxpayers, the opinion of different groups of people, is taken into account very strongly. They listen to him. Polls, debates, voting are conducted and all disputes are resolved at the state level. Of course, in Switzerland the priority is towards conceptual art. But the debate is on.
Someone says, why do we need Kandinsky, Miro, when all this has already happened? But Beuys, you know, this has already happened too, right?
Igor Novikov. Valya. 80x80cm. oil on canvas 2014.
And then where to put these garbage installations and the like, where to store them? And after all, they gave a lot of money for them, they received grants. Many contemporary contemporary artists, I believe, "clog the air". They keep a pack, with their energy they propagandize these things of their own, only confusing people. Approved, "squeezing" with their projects in state museums. Then they run around the world and shout “We are in the museum, we are at the Biennale!”.
But who needs it? At auctions, by the way, this disgrace is not. Auctions sell good art. Art. People who buy don't need this nonsense. Take the same Kabakov, because he returned to painting. And he knows how to draw, he has a good education.
Tatyana Nazarenko: In New York, people go to the Metropolitan, to MOMA, to see art.
Wait a minute, but you are Tanya, you did the installations. Not only painting is now in the art of living. Do any of the current artists, not painters, cause sympathy, interest in you?
Exhibition "Disappearing Reality" by Tatyana Nazarenko in the Marble Palace of the State Russian Museum.2006
Tatyana Nazarenko: I love video installations. Video art. This is interesting. But, I want to say that this is a different art. Here at Sviblova's, a wonderful magnificent museum, but this media is a different art. In the theater, in music, there are gradations, but only for some reason in art, these gradations are erased. If it is called fine art, but in my opinion it is something else. Of contemporary contemporary artists, I don’t know, maybe Igor and I won’t get along, well, I like AES + F. But then again, Tanya Arzamasova writes superbly. They make drawings, paint on canvases. They ask questions.
An artist is one who does his things Artistically. Raises problems and solves them in an artistic way.
Igor Novikov: I really liked the exhibition of Helium Korzhev. For example, I discovered for myself this series of demons, devils .... But you see, he is an artist. It's interesting and it will always be interesting. And twenty glasses or thirty bottles, or a bed brought to the museum is nothing, it is zilch. Take it out of the museum and no one will care. Not now, and certainly not in the future. They rush to museums to be close to the classics, to give themselves artistry. But it's immediately obvious whether a person is a professional or not.
Why did many come running to Furman? Because it "flopped". You could earn money. The first wave made a lot of money from art. People rushed there because they could become famous, somehow give themselves significance. It ended in 1993. And that's all, all these "artists", they disappeared. Who started playing the drums, then you see performances are already doing, then he became the editor-in-chief of some magazine, another opened a shoe store. They're not artists, you know? These are random people in art. They spin, spin, together they are a party and this is their strength.
Igor Novikov. Swiss swans. 100x140 cm. oil on canvas, 2011.
If a person is a professional, an artist, it can be seen no matter what he does, in what technique and so on. Erik Bulatov is an artist. Pivovarov is an artist. Oleg Tselkov, Natalya Nesterova, Yankilevsky, Grisha Bruskin, Konstantin Khudyakov are, in my opinion, brilliant artists.
Tatyana Nazarenko: Here is the War group, we saw the report when we were in Zurich. A family with three children, with prams, left for Switzerland. They were kicked out with scandals everywhere. They were homeless. Who are they unfortunate in Europe need with their actions against Russia?
There is a profession Artist. She's insanely complex.
I told all my students that this is an insanely difficult profession. If you can't, don't. It is not necessary to give birth to children during study and especially before a diploma. I beg you to do it later. Well, I told other stories, different ones, but I warned that this is a difficult profession. If you think being an artist is simple and easy, you better leave. Go to another workshop, where you will be taught to draw grape leaves shining through the sun, but this will not make you an artist.
In general, our Russian reality leaves its mark on our entire attitude. Russian exhibitions of young artists, about which the Institute says: “What wonderful exhibitions!” Once, at the presidium of the Academy, I said that the last exhibition was monstrous: “I have just arrived from Ulyanovsk, where adult artists cannot pay for their workshops.
"They can't earn anything with their art. Why are you preparing beggars for what future life? Absolutely nobody needs them!"
Tatiana Nazarenko. Russian doll. Oil on wood. 1997
The entire Presidium came down on me like a mountain: “What are you talking about, Tatyana Grigorievna! We're all so great."
Interview: Katya Kartseva
She was born on June 24, 1944 in Moscow.
Graduated from the Moscow State Art Institute. V.I. Surikov in 1968.
From 1969 to 1972 she worked in a studio at the Academy of Arts of the USSR.
Since 1969, a member of the Union of Artists.
Laureate of the State Prize of Russia in 1993.
In what collections of work
Works are in the State Tretyakov Gallery in Moscow,
State Russian Museum St. Petersburg,
art museums of Saratov, Vologda, Kiev, Arkhangelsk, Perm, Nikolaev, Bryansk, Novokuznetsk, Novosibirsk, Elista, Rostov-on-Don, Bratislava, Rostock, Berlin, Sofia,
P. Ludwig Museum, Aachen, Germany,
private collections in Germany, France, Finland, Turkey, Italy, Great Britain, Spain, Portugal, USA,
Cremona Foundation, Weisman Foundation in the USA.
Participation in exhibitions, auctions
1975 5 Moscow artists. Moscow;
1978 3 Moscow artists of 3 generations. Berlin, Rostock, Schwerin, Halle. Germany;
1981 23 Moscow artists. Central House of Artists. Moscow;
1982 Russische Malereiheut. Thomas Levy Gallery. Hamburg. Germany;
1982-83 Exhibitions of Soviet artists from the collection of P. Ludwig. Cologne, Lübeck, Rebenzburg, Mains. Germany; Vein. Austria; Tiburg. Netherlands; Onstad, Hovikodon. Sweden;
1984 Russische kunst des zwanzigsten jahnunderts. Sammu long Seemjonow Galeria der stadt essfibgen an Neckar. Germany;
1986 Art of Moscow. West Berlin;
1986 Kunstlerinnenaus der sowjetunion. Kunsthalle Recklinghausen. Germany;
1987 Contemporary Soviet Art. Selection from c. Norton T. Dodge. Kennesaw College Art Gallery. USA;
1987 Personal exhibition. Odessa, Kyiv, Lvov. Ukraine;
1987 - 88 Personal exhibition. Leverkusen, Bremen, Oldenburg. Germany;
1988 Russian avant-garde and contemporary art. Auction "Sotheby's". Moscow;
1988 Sowjetkunst heute. P. Ludwig Museum. Cologne. Germany;
1988 International images. Sevikley. Pennsylvania. USA;
1989 Von der revolution zur perestroika. Works by Soviet artists from the collection of P. Ludwig. Barcelona. Spain;
1989 Personal exhibition. Central House of Artists. Moscow;
1990 Personal exhibition. Soho Gallery. Boston. USA;
1990 Moscow theasures and traditions. Seattle. USA;
1990 Moscow - Washington. State Tretyakov Gallery. Moscow;
1990 The quest for self expression. Painting in Moscow and Leningrad 1965-1990. Columbus museum of art. Columbus, Ohio, USA;
1990 26 artists from Moscow and Leningrad. Central Exhibition Hall of the Union of Artists of the RSFSR. St. Petersburg;
1990 Frammenti d'arte contemporanea 32 protagonisti daol USSR. Rome;
1991 Figuration-Critique. Grand Palais. France;
1991 Washington - Moscow Art exchange exhibition. Garneqie Library. Washington;
1991 Artistas rusos contemporaneos. Satiago de Compostela. Spain;
1991 Pintusa russae sovietica em Portugal de Nicolay IIa Gorbachev. Castel de Leirea. Leirea. portogal; 1992 Expo-92. Barcelona. Spain;
1992 Personal exhibition. Gallery Fernando Duran. Madrid;
1993 The dream reveals the nature of things. State Tretyakov Gallery. Moscow;
1993 Tatyana's day. State Tretyakov Gallery. Moscow;
1993 Personal exhibition. Gregory Gallery. USA;
1993 Personal exhibition. Gallery "Today". Moscow;
1994 Personal exhibition. Russian gallery. Tallinn. Estonia.
1995 Gregory Gallery, New York, USA
1995 Studio Gallery, Moscow
1996 Central House of Artists, Moscow
1996 State Tretyakov Gallery, Moscow Palette Gallery
1997 Central Exhibition Hall "Manege", Moscow
1997 M. Gelman Gallery, Moscow
1997 State Museum of Fine Arts. A.S. Pushkin, Moscow
1997 Gallery "EXIT-ART", Cologne, Germany
I work to say something important to me. I would very much like to be understood - although not necessarily in exactly the way I intended my work. It is important for me to convey the general structure of my plan.
I do one thing all the time, varying the same theme - the theme of loneliness. Loneliness seems to me one of the most significant dramas of man. In various works - in large historical canvases, in portraits or genre paintings - this theme determines a lot in my canvases. I think about how terrible loneliness is, how hard it is, and how inevitably lies in wait for a person in different situations of life.
To make people think, to call them to sympathy - this is the main goal of my work ...
Usually I start painting when the picture is fully thought out and formed in my head. Sometimes it can take a year or two from concept to execution - it doesn't matter.
If the impression from what I saw is very strong and it seems to me that a lot of people will be depicted in the picture, I first draw - on a piece of paper, on a restaurant napkin, in a word, on everything that can be at hand. Usually I do not deviate from the original idea and only enrich the canvas with some details...
What worries me, I should leave on the canvas, or at least on a piece of paper. This is my life. Until the idea is on the canvas, I cannot free myself from it, like a mother who is expecting a child. After all, you treat paintings like children - they leave the workshop, leave me, have their own fate - happy, unhappy ...
It seems to me that real art begins where there is a secret, some kind of reticence, thanks to which for each person the thing he loves is fraught with a charm revealed only to him ...
Creating a picture, as if summing up some stage of your life. In any case, this is exactly what happened to me with many canvases. An unfulfilled thing prevents you from living, disturbs and reminds you of yourself, so you feel your responsibility to life, which gave you the opportunity to create.
Creative Star Tatiana Nazarenko flared up in the firmament of Russian art brightly and unexpectedly at the very beginning of the seventies. Her spiritual glow does not decrease and does not dissolve in time. The world of images and the language of the artist's painting are largely determined by certain historical views that create the atmosphere in which our understanding of human nature awakens. If you mentally imagine a gallery of paintings Nazarenko from historical genres and "masquerade" buffoonery to portraits and still lifes, then everything in them will be located, as it were, on one timeless plane of significance, regardless of the specificity and thoroughness of the reproduction of individual attributes and realities of the past and present.
Tatiana's works Nazarenko have a special magnetism, they are associated not only with memories of the past, but also turned to the future. Her works excite the viewer's imagination with their multi-associative, metaphoric...
In her paintings, the heroes of ancient events appear, as if resurrected, but they are already perceived outside of specific time parameters, perhaps due to the fact that she endows them with features inherent in herself, trying to connect specific historical characters and destinies with the virtues and vices of our generation. Thus, Nazarenko it reaches a special level of artistic generalization, which makes it possible to operate with universal human concepts and values, even in relation to situations of purely private life.
Thinking about creativity Nazarenko in the historical and philosophical aspect, one cannot ignore the purely pictorial, plastic merits of her works. For a long time she hatches the ideas of her paintings, mentally improving the plot plot, placing the necessary semantic accents. At the same time, she already represents the future composition, its coloristic drama, light accompaniment to a strictly restrained, solemn chorus of colors. painting style Nazarenko it also absorbed the artistic techniques of the old masters, with their ideas about the luminosity of color, texture, and the plastic discoveries introduced into art by the twentieth century. As already noted, Nazarenko she sees the future picture even before her brush touches the canvas, therefore her works are distinguished by the accuracy of figurative solutions, color and compositional constructions, and inside this static harmony passions and feelings are seething.
A. Rozhin
Bibliography
A. Dekhtyar "Young Artists of the 70s" ed. "Soviet artist", 1979;
A. Kamensky " Tatiana Nazarenko", magazine "Bildende kunst", N1, 1976;
A. Morozov " Tatiana Nazarenko. New names.", ed. "Soviet artist", 1978;
Gambrell Samey "Soviet Art Today", Art in Amerika, November 1985;
L. Krichevskaya "Paintings of Tatyana Nazarenko", magazine "Artist", N6, 1982;
A. Yakimovich "Historical compositions and genres of T. Nazarenko", magazine "Soviet painting", N5, 1982;
V. Lebedeva "Painting of Tatyana Nazarenko", magazine "Soviet Union Today" (in German), N10, 1987;
Catalog of solo exhibition, 1988;
A. Morozov " Tatiana Nazarenko", Leningrad, ed. "Aurora", 1988;
Auction catalog "Sotheby`s", "Russian Avant-Garde and Soviet Contemporary Art", 1988;
Weiss Evelin "Sowjet kunst teute Cologne", Museum Ludwig, 1988;
Matthew Gullern Bown "Contemporary Russian Art", Phaidon Press Limited, Oxford, Great Britain, 1988;
V. Lebedeva " Tatiana Nazarenko", ed. "Soviet artist", 1991.
She was born on June 24, 1944 in Moscow.
Graduated from the Moscow State Art Institute. V.I. Surikov in 1968.
From 1969 to 1972 she worked in a studio at the Academy of Arts of the USSR.
Since 1969, a member of the Union of Artists.
Laureate of the State Prize of Russia in 1993.
In what collections of work
Works are in the State Tretyakov Gallery in Moscow,
State Russian Museum St. Petersburg,
art museums of Saratov, Vologda, Kiev, Arkhangelsk, Perm, Nikolaev, Bryansk, Novokuznetsk, Novosibirsk, Elista, Rostov-on-Don, Bratislava, Rostock, Berlin, Sofia,
P. Ludwig Museum, Aachen, Germany,
private collections in Germany, France, Finland, Turkey, Italy, Great Britain, Spain, Portugal, USA,
Cremona Foundation, Weisman Foundation in the USA.
Participation in exhibitions, auctions
1975 5 Moscow artists. Moscow;
1978 3 Moscow artists of 3 generations. Berlin, Rostock, Schwerin, Halle. Germany;
1981 23 Moscow artists. Central House of Artists. Moscow;
1982 Russische Malereiheut. Thomas Levy Gallery. Hamburg. Germany;
1982-83 Exhibitions of Soviet artists from the collection of P. Ludwig. Cologne, Lübeck, Rebenzburg, Mains. Germany; Vein. Austria; Tiburg. Netherlands; Onstad, Hovikodon. Sweden;
1984 Russische kunst des zwanzigsten jahnunderts. Sammu long Seemjonow Galeria der stadt essfibgen an Neckar. Germany;
1986 Art of Moscow. West Berlin;
1986 Kunstlerinnenaus der sowjetunion. Kunsthalle Recklinghausen. Germany;
1987 Contemporary Soviet Art. Selection from c. Norton T. Dodge. Kennesaw College Art Gallery. USA;
1987 Personal exhibition. Odessa, Kyiv, Lvov. Ukraine;
1987 - 88 Personal exhibition. Leverkusen, Bremen, Oldenburg. Germany;
1988 Russian avant-garde and contemporary art. Auction "Sotheby's". Moscow;
1988 Sowjetkunst heute. P. Ludwig Museum. Cologne. Germany;
1988 International images. Sevikley. Pennsylvania. USA;
1989 Von der revolution zur perestroika. Works by Soviet artists from the collection of P. Ludwig. Barcelona. Spain;
1989 Personal exhibition. Central House of Artists. Moscow;
1990 Personal exhibition. Soho Gallery. Boston. USA;
1990 Moscow theasures and traditions. Seattle. USA;
1990 Moscow - Washington. State Tretyakov Gallery. Moscow;
1990 The quest for self expression. Painting in Moscow and Leningrad 1965-1990. Columbus museum of art. Columbus, Ohio, USA;
1990 26 artists from Moscow and Leningrad. Central Exhibition Hall of the Union of Artists of the RSFSR. St. Petersburg;
1990 Frammenti d'arte contemporanea 32 protagonisti daol USSR. Rome;
1991 Figuration-Critique. Grand Palais. France;
1991 Washington - Moscow Art exchange exhibition. Garneqie Library. Washington;
1991 Artistas rusos contemporaneos. Satiago de Compostela. Spain;
1991 Pintusa russae sovietica em Portugal de Nicolay IIa Gorbachev. Castel de Leirea. Leirea. portogal; 1992 Expo-92. Barcelona. Spain;
1992 Personal exhibition. Gallery Fernando Duran. Madrid;
1993 The dream reveals the nature of things. State Tretyakov Gallery. Moscow;
1993 Tatyana's day. State Tretyakov Gallery. Moscow;
1993 Personal exhibition. Gregory Gallery. USA;
1993 Personal exhibition. Gallery "Today". Moscow;
1994 Personal exhibition. Russian gallery. Tallinn. Estonia.
1995 Gregory Gallery, New York, USA
1995 Studio Gallery, Moscow
1996 Central House of Artists, Moscow
1996 State Tretyakov Gallery, Moscow Palette Gallery
1997 Central Exhibition Hall "Manege", Moscow
1997 M. Gelman Gallery, Moscow
1997 State Museum of Fine Arts. A.S. Pushkin, Moscow
1997 Gallery "EXIT-ART", Cologne, Germany
I work to say something important to me. I would very much like to be understood - although not necessarily in exactly the way I intended my work. It is important for me to convey the general structure of my plan.
I do one thing all the time, varying the same theme - the theme of loneliness. Loneliness seems to me one of the most significant dramas of man. In various works - in large historical canvases, in portraits or genre paintings - this theme determines a lot in my canvases. I think about how terrible loneliness is, how hard it is, and how inevitably lies in wait for a person in different situations of life.
To make people think, to call them to sympathy - this is the main goal of my work ...
Usually I start painting when the picture is fully thought out and formed in my head. Sometimes it can take a year or two from concept to execution - it doesn't matter.
If the impression from what I saw is very strong and it seems to me that a lot of people will be depicted in the picture, I first draw - on a piece of paper, on a restaurant napkin, in a word, on everything that can be at hand. Usually I do not deviate from the original idea and only enrich the canvas with some details...
What worries me, I should leave on the canvas, or at least on a piece of paper. This is my life. Until the idea is on the canvas, I cannot free myself from it, like a mother who is expecting a child. After all, you treat paintings like children - they leave the workshop, leave me, have their own fate - happy, unhappy ...
It seems to me that real art begins where there is a secret, some kind of reticence, thanks to which for each person the beloved thing conceals a charm revealed only to him ...
Creating a picture, as if summing up some stage of your life. In any case, this is exactly what happened to me with many canvases. An unfulfilled thing prevents you from living, disturbs and reminds you of yourself, so you feel your responsibility to life, which gave you the opportunity to create.
Criticism
The creative star of Tatyana Nazarenko flashed brightly and unexpectedly in the firmament of Russian art at the very beginning of the seventies. Her spiritual glow does not decrease and does not dissolve in time. The world of images and the language of the artist's painting are largely determined by certain historical views that create the atmosphere in which our understanding of human nature awakens. If you mentally imagine a gallery of Nazarenko's paintings from historical genres and "masquerade" buffoonery to portraits and still lifes, then everything in them will be located, as it were, on one timeless plane of significance, regardless of the specificity and thoroughness of the reproduction of individual attributes and realities of the past and present.
The works of Tatyana Nazarenko have a special magnetism, they are associated not only with memories of the past, but also turned to the future. Her works excite the viewer's imagination with their multi-associative, metaphoric...
In her paintings, the heroes of ancient events appear, as if resurrected, but they are already perceived outside of specific time parameters, perhaps due to the fact that she endows them with features inherent in herself, trying to connect specific historical characters and destinies with the virtues and vices of our generation. Thus, Nazarenko reaches a special level of artistic generalization, which makes it possible to operate with universal human concepts and values, even in relation to situations of purely private life.
Arguing about the work of Nazarenko in the historical and philosophical aspect, one cannot ignore the purely pictorial, plastic merits of her works. For a long time she hatches the ideas of her paintings, mentally improving the plot plot, placing the necessary semantic accents. At the same time, she already represents the future composition, its coloristic drama, light accompaniment to a strictly restrained, solemn chorus of colors. The picturesque manner of Nazarenko absorbed both the artistic techniques of the old masters, with their ideas about the luminosity of color, texture, and the plastic discoveries introduced into art by the twentieth century. As already noted, Nazarenko sees the future picture even before her brush touches the canvas, therefore her works are distinguished by the accuracy of figurative solutions, color and compositional constructions, and inside this static harmony passions and feelings are seething.
