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.
Nazarenko Tatyana Grigorievna
Tatiana Nazarenko
(Born 1944)
Painter. Engaged in artistic photography. Portrait painter, landscape painter, genre painter, master of historical painting.
In 1955-1962 she studied at the Moscow secondary art school at the Moscow State Art Institute named after V.I. Surikov, then in 1962-1968 at the Moscow State Art Institute named after V.I. Surikov under D.D. Zhilinsky.
Currently he teaches at the same institute.
Laureate of the State Prize of Russia, full member of the Russian Academy of Arts.
T.G. Nazarenko is one of the leaders of the artistic life of the 1970s. The creativity of her generation is characterized by analyticity, the desire for a multifaceted reading of the meaning of the work, the emphasis on personal intonation, and irony.
The language of allegory was close to many masters of that time. Nazarenko recalls: "The 70s forced us to resort to an allegory: an ambiguous time, when a lot seems to be allowed, and at the same time again no, closed again."
Particularly famous for her paintings on historical themes ("Execution of the People's Will", 1969-1972; "Decembrists", 1978). In them, she combines documentation, the spirit of evidence, a historical perspective and her own idea of the event.
Interest in various stages of history and culture, elements of stylization and direct quotation of famous works - all this brings Nazarenko's art closer to the aesthetics of postmodernism.
__________________________
Nazarenko Tatyana Grigorievna
Honored Artist of Russia, laureate of the State Prize of the Russian Federation, Prize of the Government of Moscow, member of the presidium, full member of the Russian Academy of Arts, professor
She was born on June 24 in Moscow. Father - Nazarenko Grigory Nikolaevich (1910-1990). Mother - Abramova Nina Nikolaevna (born in 1920). Spouse - Zhigulin Alexander Anatolyevich (born in 1951). Children: Nazarenko Nikolai Vasilievich (born in 1971), Zhigulin Alexander Aleksandrovich (born in 1987).
Tatyana Nazarenko's father, a front-line soldier, a regular military man, was assigned to the Far East after the war, and his parents left. Tanya stayed in Moscow with her grandmother, Anna Semyonovna Abramova. She showed her first school grades, and then her drawings and paintings.
A. S. Abramova has been a widow since 1937. Her husband, Nikolai Nikolaevich Abramov, was illegally repressed and died in custody. Left alone, she worked as a kindergarten teacher, a nurse, raised and helped her two daughters get a higher education, raised her granddaughter Tatyana, and then helped raise her eldest son Nikolai. Grandmother had an endless source of love in herself, but it seems that her main love was still Tanya, who also loved her. Anna Semyonovna Abramova remained to live in the paintings of the artist Tatyana Nazarenko: "Morning. Grandmother and Nikolka" (1972), "Portrait of A. S. Abramova" (1976), "Memoirs" (1982), "Life" (1983), "White wells. In memory of my grandmother "(1987).
At the age of 11, Tatyana entered the Moscow Art School. A circle of friends was quickly formed there: Natalya Nesterova, Irina Starzhenetskaya, Lyubov Reshetnikova, Ksenia Nechitailo - the bright future masters of the 1970s. It was a stormy, generous time, rich in various events of cultural life, a time of the rise of domestic art, acquaintance with outstanding works of domestic and foreign classics of the 20th century, until then banned and unknown to young people.
In 1962, Tatyana Nazarenko entered the painting department of the V. I. Surikov Art Institute, where D. D. Zhilinsky, A. M. Gritsay, S. N. Shilnikov became her teachers. After graduating from the institute from 1968 to 1972, she worked in the creative workshop of the USSR Academy of Arts under G. M. Korzhev.
The art of Tatyana Nazarenko was formed under the influence of the turbulent events of the 1960s and memories of the tragic events of the 1930s. It combines a full-blooded attitude, love of life, the ability to experience everyday events as a holiday - and constant anxiety, which allows you to turn these holidays into strange and complex actions, where everything is true - and not true, where there is as much fun as sadness, where there are many layers of perception, many spaces superimposed on one another, where time is unsteady, the accuracy of natural observations and the most unbridled fantasy are intertwined.
In the work of Tatyana Nazarenko, there is a strong analytical beginning. In whatever genre of painting she works, the main content of her paintings is expressed not only and not so much through the plot, but through the general spiritual atmosphere that determines the psychological state of the characters, and the emotional coloring of landscapes, objects, and the plastic language of her art. This spirituality of painting, combined with an analytical and close approach to the phenomena depicted, constitutes the meaningful originality of the artist's works.
The adequacy of time, deep modernity is one of the defining features of the artist's work. Nazarenko brings to his works something subtly, but undoubtedly making them a product of our days, the way of thinking of our contemporary. The viewer feels the time pulsing in her art.
These features began to appear already in the first independent works of the artist, in the multidirectional search for the first postgraduate years.
At the end of her studies at the institute, in 1965-1967, Nazarenko traveled to Central Asia. Kazakhstan, Uzbekistan, Kyrgyzstan determined the range of subjects for her works for several years. Nazarenko's Central Asian paintings ("Mother with a Child", "Motherhood", "Samarkand. Yard", "Uzbek Wedding", "Prayer", "Boys in Bukhara") reflected her live observations. But not only. These works seemed to contain all the luggage of her student acquisitions. But they already show another inalienable quality of the young artist - originality. From under the usual forms of "the art of the sixties" a different content looms in them. Everything in them is much more unsteady and ambiguous, they are extraordinarily musical, primitive features appear in them: the desire to remove representation, to bring a smile, simplicity and play.
And it is no coincidence that immediately after the Central Asian series, Nazarenko turns to topics that are much more close to him. She paints pictures where the main characters are herself and her friends. The life of a generation becomes the subject of her art.
The beginning of the 1970s for Nazarenko, as for most artists of her generation, was a time of searching for a genre, manner, and theme. The artist tries her hand both in a primitivist manner and in the system of strict neoclassicism, she paints romantic-decorative and playful canvases. During these years, she wrote such different works as "The Execution of the People's Will" (1969-1972), "A Tree in New Athos" (1969), "Sunday in the Forest" (1970), "Portrait of a Circus Actress" (1970), "Seeing Winter" (1973), "New Year's Eve" (1973), "Morning. Grandmother and Nikolka" (1972), "Young Artists" (1968), "My Contemporaries" (1973), "Lunch" (1970), "Portrait of Igor Kupryashin" (1974).
Among her characters, one can almost always find one's own image - and the measure of the sharp-sighted ruthlessness of the eye, the ability to emphasize the acute character at the expense of the idyllic-prosperous is just as strong in relation to oneself as to any other model.
Characteristic in this sense are group portraits, solved as genre paintings (Students, 1969; Young Artists, 1968; My Contemporaries, 1973; Foggy Day on Shikotan, 1976; After the Exam, 1976). Their characters are recognizably portraits, the collisions are plausible: youth celebrations, conversations in the studio... And at the same time, there is something mysterious in them that turns everyday scenes into romantic fantasies.
Tatyana Nazarenko's historical compositions reflect our contemporary's view of the past. In her paintings, the past and the present are simultaneously present, a historical event - and our current understanding of it. The very approach to solving the topic is already characteristic: in historical canvases - "The Execution of the People's Will", "Partisans Came" (1975), "Decembrists. The Revolt of the Chernigov Regiment" (1978), "Pugachev" (1980) - the artist chooses tragic, culminating moments, requiring the highest tension of the spiritual forces of the participants in the action. Silence, silence are significant here.
Tatyana Nazarenko's painting "The Execution of the People's Will" appeared at the Moscow Youth Exhibition in 1972. The picture was seen by everyone, although not accepted by everyone. It bizarrely combined adherence to Renaissance models, a tendency to generalized reflections and a tragic sense of vulnerability of fighters for freedom, for spiritual ideals before the crushing faceless force of the machine of suppression. For the painting "The Execution of the People's Will" Nazarenko was awarded the Moscow Komsomol Prize. In 1976 she was awarded the 1st prize at the International Competition for Young Painters in Sofia (Bulgaria).
Compassion, a sense of social responsibility - in the future, these qualities developed and strengthened in the art of Tatyana Nazarenko, acquiring different, sometimes bizarre forms of embodiment, intertwining with the motifs of carnivals, holidays, festivities, with romantic self-portraits, with artistic play. And everywhere, invisibly and distinctly, there is anxiety, a feeling that behind the unsteady well-being of our everyday life there are the harsh fates of other generations, their pain and suffering.
Nazarenko loves to write carnivals. One of the first "carnival" works of the artist - "New Year's festivities" (1973), in which she seeks to show the inner meaning of the carnival, the range of diverse and rather complex feelings experienced by randomly gathered people.
Over the years, the play principle intensifies in the work of the artist. Narrative leaves the works, and allegory appears. In an allegorical capacity, he also uses reminiscences of the art of the past - whether it is almost direct quotations from classical works, historical costumes on our contemporaries, or the presence of objects from the past in compositions dedicated to today.
In the second half of the 1970s - early 1980s, Nazarenko painted several group portraits of friends who had gathered on a festive occasion. These are the paintings "Meeting the New Year" (1976), "Moscow Evening" (1978), "Carnival" (1979), "Tatiana's Day" (1982), "September in Odessa" (1985) and many others, as well as those written earlier canvases "Young Artists" (1968) and "My Contemporaries" (1974).
If in the early group portraits of Nazarenko one could clearly feel the silence, concentration, the desire of the characters to hear each other, listen to the truth, then in subsequent works ("Carnival", "Tatyana's Day", etc.), the unrestrained element of carnival reigns. The costumes and poses are extravagant, the spirit of the festival owns not only people, but also objects. However, this is a holiday without fun, communication without mutual understanding and spiritual closeness. The theme of loneliness, so important for the artist, is bizarrely combined in her work with the theme of carnival ("Portrait in fancy dress", 1982).
There are elements of carnivalization in the paintings "Carousel" (1982) and in the diptych "Dance" (1980).
In the works of Nazarenko there is a desire for contact with the viewer, a willingness to open oneself to an attentive, sympathetic look. The artist has written several works, where she speaks almost directly about the confessional nature of her art, about how painful and difficult it is to show herself unprotected, revealed before the court of general indifference ("Flowers. Self-Portrait", 1979; "Circus Girl", 1984; "Spectators", 1988; "Meal", 1992).
One of the most unusual paintings by Tatyana Nazarenko is the triptych "Workshop" (1983). The artist presents the viewer with a real workshop in which real paintings were created ("Tatiana's Day" and "Carnival"), and at the same time the process of translating his idea.
There is another form of "confession" in the works of Nazarenko. In such works, she does not need irony, she does not need colorful carnival clothes: the closest, warmest is embodied here ... And almost always in these paintings there is an image of a grandmother: "Morning. Grandmother and Nikolka", the triptych "Life" (1983) and others . In 1982, the painting "Memories" was painted, where the artist, as it were, materializes the life associations that arose when looking at old photographs.
Among the main works of Tatyana Nazarenko are also: "Home Concert" (1986), diptych "Happy Old Age" (1988), "Little Orchestra" (1989), "Fragments" (1990), "Monument to History" (triptych, 1992), " Time" (triptych, 1992), "Mad World" (1992), "Spell" (1995), "Homeless" (2001).
Tatyana Nazarenko is a social artist. “I have always been interested in people,” she says. “I cannot turn away, brush aside other people’s misfortune. Making people think, calling them to sympathy is the main goal of my work.” Vivid proof of this was her exhibition "Transition" (1995-1996) - an installation of 120 painted plywood "tricks" made in human growth. At the exhibition, visitors had to stop, peer into the faces of unfortunate old women, disabled people, wandering musicians - all those who are seen daily in the underground passages, but most often pass by without stopping their eyes. The exhibition was a great success (later it was seen by residents of Germany, the USA, Finland), and "Transition" became for the artist literally a transition to a new stage in her life, to a new art.
In 1997, her exhibition "My Paris" was held, where there were also figures made of plywood - garcons of Parisian cafes in long white aprons, fish sellers ... Another exhibition of Tatyana Nazarenko - "Moscow Table" was held in the same year at the Marat Gelman Gallery, and then was shown at the State Russian Museum of St. Petersburg in the program of the exhibition "Art against geography". In May-September 2002, the Kuskovo Museum hosted an exhibition of the artist "I'm glad to be deceived myself..." (The Art of Deception).
Since 1966, when Nazarenko first showed her work at the 7th Moscow Youth Exhibition, she has been constantly participating in city and all-Russian exhibitions, exhibitions of fine arts in Russia and abroad. The first solo exhibitions were held in Leverkusen (1986), Bremen, Oldenburg, Odessa, Kyiv, Lvov (all in 1987). Since then, the artist's solo exhibitions have been held in Moscow (the first in 1989), Cologne, Washington, New York, Boston, Madrid, Tallinn, Helsinki and other cities. The works of Tatyana Nazarenko are kept in the collections of the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the National Museum "Women in Art" (Washington), the National Jewish Museum (Washington), the Museum of Modern Art (Sofia), the Museum of Modern Art (Budapest) and other art museums of the world, in private collections.
The creative works of Tatiana Nazarenko were awarded with high awards: the State Prize of the Russian Federation (1993), the Moscow Government Prize (1999), the silver medal of the USSR Academy of Arts (1985), the gold medal of the Russian Academy of Arts (2005).
T. G. Nazarenko - Honored Artist of Russia (2002), since 1997 - Corresponding Member, since 2001 - Full Member, Member of the Presidium of the Russian Academy of Arts; Professor of the Department of Painting, Head of the Easel Painting Workshop of the Moscow State Academic Art Institute named after V. I. Surikov (1998). Member of the Union of Artists since 1969.
Lives and works in Moscow.
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.
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.
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 difficult 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 written 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 that is why so often in the paintings of Nazarenko, 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 glance 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 novi 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 Hering, 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 workshop. 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.
