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As a rule, solo exhibition gives creative modern master the complex as a whole, without singling out and emphasizing certain genre, plot nodes, scoping, which is being developed by the artist himself. On the contrary, show Dmitry Alexandrovich Shuvalov, the Russian Museum in November 2014 made it possible to identify some of his legacy nodes directly related to the nature of painting, or various forms of graphics. In the space of the exhibition halls of work representing these forms of art, is a close relationship in search of the most organic solutions of a motive, or existed in isolation from each other, focusing the viewer's attention on the skill of handling color spot, stroke or flexible line, indicating a rapid or just awakening movement. Thus, the concept of the exhibition included two lines at once, allowing you to not only show the key stages in the development of the master, but again such an important place for the art of the past century, the problem of distinguishing the paintings and sketches. Or focus on the relentless quest, which is accompanied by the realization way of design and fixation on canvas volatile nature. The abundance of materials that are considered to be preparatory, in this case, it seems particularly appropriate, in tune with nature will Shuvalov – painter and draftsman. And, most importantly – remarkable teacher, worked for many years in one of the leading art schools in our country and enthusiastically sought in his works the way of solving tasks set within the educational tasks to the students « Mukhinka»; (And not only it).
With regard to his paintings, where significant place belongs to the Leningrad City motives, we can talk about organic synthesis of academic and impressionistic line, where it is important not perfection and elaborate webs of each site, but the integrity of the pictorial and plastic ensemble, full of energy transformation of a particular motif in self-valuable expressive image. However, Shuvalov work are of particular interest also in terms of the problem of existence of Impressionism in postwar Leningrad painting. Thus appeal to his work is of great importance in understanding the true multidimensional realist tradition in the art of the 1960-80s., Where it touched and interacted with other areas shaped openings that existed in domestic and foreign art from the last third of the XIX century. However, among these influences « impressionistic component»; in realistic art of the Soviet period, of course, belonged to a leading position, and creativity Dmitry Shuvalov is a convincing proof of that.
In fact, in the landscapes of this master, sometimes (especially in images of colorful festivals Leningrad) include signs of narrative paintings, noticeable same principles approach to embody change their outlook on the world, which were marked by the search for the French founders of this area and their numerous followers. Perhaps, this city with its unique atmosphere, wrapped moist sea air, and with a strong dynamic rhythm of life was to create a large school of urban landscape in which development Shuvalov, of course, made a very significant contribution.
It is noteworthy that at the time when the artist was in search of his own path in art, in Leningrad became popular again formed at the turn of 1920 – 1930's. School Chamber of the landscape, the creators of which were V.Pakulin, A.Rusakov, N.Lapshin, Alexander Vedernikov, A.Grinberg, A.Karev and other masters. This is an amazing school, it is commensurate to their imaginative results with Paris, not exhausted its potential in the first postwar decade, when it gained often found themselves subject to biased and unfair criticism. Not by chance she was so attractive to the younger generation and Leningrad artists, to enter into creative life in the late 1950s. It should be noted that at this time a fruitful « school»; Impressionism in a wide range of his paintings and figurative possibilities in varying degrees, were many peers Dmitry Shuvalov – Graduates of the Leningrad Academy of Arts. However, in his first independent of apparent identity of handwriting recognition that true talent, which acts as the key to not only professional knowledge skills lessons, but also a rare ability to see and realize the world as spirited environment, performed a special poetry and harmony.
It is noteworthy that already in the works, which are usually attributed to the apprenticeship, whether sketchy portrait staging, scenery, performed during trips to the Kara Sea and the Volga, and especially in the preparatory works to the picturesque diploma picture, the protection of which took place in 1958, Shuvalov confidently combines restraint and austerity pictorial language with a rather broad generalization form of freedom of writing. And, perhaps most importantly – discovers the ability to build the track color and tonal relationships, which played such a significant role in the further evolution of his painting style. It is interesting that in these works, perhaps, seen something close landscapes, executed Leningrad « markistami»; in the thirties. This manifests itself in the manner in which the images are full of sketchy Vasilsursk on the Volga (1954), far Taimyr and its workers (1957) and fishing ports in Murmansk (1961). In the seven years between the appearance of these works, the artist has said to himself, defined in terms of the approach to solving problems picturesque. However, their main content was, perhaps, the same – Search this pictorial language that meets the transfer of the state of nature at the time of the creation of the painting. Mobility and variability of light and air, aptly grasped the artist is actually firmly embedded in stable unity of the natural environment and man-made take a human presence, whether boat on the waves of a river or a large industrial complex in the arctic port city. To what extent are the synthesis of impressionistic freedom of execution and expressed constructive system in contact with the plastic content of industrial landscapes « severe style» ;. This is manifested, including in the choice of panoramic composition, a stiffening of the composite frame pattern that « diluted»; the introduction of sufficiently bright color accents in a homogeneous medium, written in the most low-key scheme steel-gray, dark brown. This underlines the impressive scope of conquest of vast coastal spaces (« Port. Murmansk» ;, 1961). Unvarnished truth of everyday life north of the city are expressive paintings confirmation in the form of landscape, devoid of even a hint of any slogan-posters, sometimes occurs in those years, in the image of industrial landscapes. Similarly, in the pictures contemporary artist avoids posing moment, declarative Converted Heroes to the viewer and, moreover, one-dimensional and schematism inherent in individual portraits-types of this period.
In « Portrait E.Pogrebitskogo» ;, « Portrait geologist » and « Portrait of a fisherman » attracted by the perceived and convincingly embodied by the artist immersion model in their thinking, when the viewer trust as to touch the everyday concerns of working people, to impose a discernible print on his face, hands, and, ultimately, determine what is called « demeanor » . Similarly, in the « Portrait of mother » (1956), which is designed in the academic tradition, and at an earlier « Portrait of a teacher » we celebrate the author's ability to touch the inmost recesses of the human soul, and uncover trepidation peace of mind. This is largely achieved through discreet drama that lies in the contrast of the illuminated face and his dark & ??laquo; frame » (Clothing, background), or through a special fineness, nobility painting.
It is noteworthy that the above work Shuvalov created during the training workshop E.E.Moiseenko, and the process of forming their own manners of the young artist was held simultaneously with the process of creative self-determination of his distinguished mentor at the end of the 1950s. created the first narrative compositions, forever approving the name of the master in the history of Leningrad and the entire Soviet art. Despite the fact that Shuvalov independent creative practice almost did not apply to the form of thematic multi-figure painting, we can speak of the existence of a certain general direction, the direction of the search brings together teachers and students. This, above all, the desire to embody the truth of life seen in the character of the organization of plastic building picture – restrained, devoid of unnecessary detail and purely external entertaining.
Meanwhile, in the early 1960s, a recent graduate and found himself calling the teacher, to a large extent determine the course of his own creation. Since 1963 Dmitry Shuvalov teaches at LVHPU Mukhina and in contact with the atmosphere of other solutions compared with the Academy of Arts of creative problems that manifested itself in the direction of teaching painting at the departments that existed at that time in the « Mukhinka» ;. Thus, the desire to achieve greater conditionality solve their own work partly found confirmation and support then becomes aware cornerstone for approval as a special form of decorative plastic and imaginative solutions works of applied art and monumental painting. However, for the most Shuvalov it was rather the search for decoration within the easel painting and graphics. Decorative line he developed simultaneously with the directions close aesthetics « severe style» ;. Its origins can be found in a series of earlier studies, the combined name « Bazaar Vasilsursk» ;. A kind of continuation, it was in such works as the « Walrus Island » (1957), « Rostov » (1957), and especially in more recent architectural landscape of ancient Russian cities, written in 1960 – 70th.
It is noteworthy that at the time when the artist was in search of his own path in art, in Leningrad became popular again formed at the turn of 1920 – 1930's. School Chamber of the landscape, the creators of which were V.Pakulin, A.Rusakov, N.Lapshin, Alexander Vedernikov, A.Grinberg, A.Karev and other masters. This is an amazing school, it is commensurate to their imaginative results with Paris, not exhausted its potential in the first postwar decade, when it gained often found themselves subject to biased and unfair criticism. Not by chance she was so attractive to the younger generation and Leningrad artists, to enter into creative life in the late 1950s. It should be noted that at this time a fruitful « school » Impressionism in a wide range of his paintings and figurative possibilities in varying degrees, were many peers Dmitry Shuvalov – Graduates of the Leningrad Academy of Arts. However, in his first independent of apparent identity of handwriting recognition that true talent, which acts as the key to not only professional knowledge skills lessons, but also a rare ability to see and realize the world as spirited environment, performed a special poetry and harmony. When this is hardly justified to say that the artist prefers a particular line of approach to the organization of the picturesque building a complete picture or full-scale sketches. Rather, one can speak of a targeted enrichment taken previously the basis of realistic route of administration, rising, including the national trend in Russian fine art of the late XIX-XX centuries represented, including the work of representatives « Union of Russian Artists ». In some works (« Pskov» ;, 1968; « Kolomenskoye. Moscow» ;, 1978) special care in recreating the look of ancient monasteries combined with the skill transfer that is usually determined as the aura of the time, the atmosphere of the story. Development of a low-key cool colors, built on a combination of contiguous ocher, brownish-olive, or silver-gray shades, combined with constructive spatial structure of paintings, consonant concise definition image of themselves architectural structures. The very ease of application smears, free form indicating the buildings, the difference awe author, admiring the talent of their creators and wants to recreate the organic involvement in the natural landscape of temples and walls powerful fortifications with which they make amazing figurative and spiritual unity.
On the other hand, the master is understandable and other festive and bright, decorative nature of ancient Russian culture, also discernible in the form of sealed by the author of the architectural landscape. As an example of this is the work « Rostov » (1977), « Monastery. Zagorsk » (1978), « Novodevichy Convent. Moscow » (1978). With regard to the embodiment of the image in the work of Leningrad Shuvalov, here we a sense of seeing the city as a space, as if prepared for for a colorful holiday activities. However brushwork here is more free, lets talk about the creative continuation of the principles of landscape Chamber 1930 – 40-ies. This approach is evident not only in the film « Naval parade on Neva » (1970) and in a series of studies with a similar name (« Feast on the Neva» ;, 1988), but also in the images of the Neva embankments. It seems they are covered with the fresh breath of the Baltic winds, river billowing waves, tossed the trees, sometimes as it slows the movement of passers-by. Such work « Area Labor » (1970), « Petropavlivka » (1972), « The right bank of the Neva » (1973), « Strelna » (1977). The last author elects favorite impressionist motif waterways, the marked-up sails, like the wings on the sky. At the same time in the images or the Fontanka Street, domed Trinity Cathedral, Shuvalov finds the right balance definition composite structure and looseness of brushwork, feel free to contact numerous windows and architectural detail, transforming them into an integral part of the environment inspired the historic center of Leningrad.
The feeling of incessant rhythm of life in the present, it would seem a very commonplace and at times the motives – Nevsky Prospect on a rainy day. It should be noted genuinely impressionistic approach to the image seen from a great height dynamic movement of the crowd filling the streets and assigned to alternating light and dark, warm and cold spots, indicating the figures passersby and umbrellas. Recent equally active « involved » This impressive purposeful movement in depth, support the roof of buildings, scheduled clean lines.
I should add that, in contrast to its pre-war Leningrad masters of landscape, available Shuvalov were not only recognizable types of the central promenade and avenues, but also areas of new buildings, with its color, its aesthetics. Perhaps they do not seem faceless Shuvalov – freedom in the placement of high-rise buildings identified in broad strokes and stressed careless strokes of the brush, embodied dynamic rhythm of modern life area (« Gagarin Avenue» ;, « Prospect Cosmonauts »). Through this accentuation sketchy manner as if the author emphasizes the aesthetic richness of the new urban landscape, where the distance between the eyes available buildings filled with greenery and blue summer sky with easy clouds running on it.
It should be noted that in relation to many considered the work of emerging issues of differentiation and sketch a complete picture. But in the case with the work of Shuvalov seems hard and does not imply typological differentiation. Much more important is the naturalness with which the author even in the most fugitive on execution of sketches, often written in small cartons, « captures » basic color relations and compositional structure, which can vary in several works devoted to the same landscape motif. However, it should say no more about the preference of either option, and on « test » this motive for approaching the immediate impression given at the time of first contact with the etched views.
A special section in the vast artistic heritage Shuvalov up his graphic works made in different techniques – Here we find numerous pencil drawings, gouaches watercolors. The last close of his canvases in a restrained poetry figurative embodiment of peace. With subtle understanding of expressive possibilities of prisoners in selected materials, the author of any of the work does not seek to hit the artistic execution, « show off » reception, receiving a self-sufficient role and in violation of the unity of the image. Sense of proportion and naturalness, the ability to maintain the necessary measure « non finito » manifests itself primarily in the clear plastic problem, which the author has set itself in each watercolors and gouaches. This artist often creates a kind of graphic improvisation. We say that as an example made in the 2000s. gouache « Summer Garden » and « View from the studio» ;, where full use opportunities « hint Art» ;, giving imagination a great opportunity to find matches in the familiar, largely textbook motives and dedicated to him memorable graphic impromptu. This work can be considered quite logical continuation of transparent filled with touching poetry soft diffused light watercolors, resulting from travel masters in the vicinity of Leningrad (« Oranienbaum» ;, « Kobralovo ») or sightseeing (« Winter Canal» ;, « Summer Garden . Autumn etude» ;, 1981; « Savior on Spilled Blood» ;, 1999). It is noteworthy that the « image object» ;, stated in the title of the work, can completely dissolve and become a ghost in the melting like swam into one another transparent color spots (« Autumn. Academy Stieglitz» ;, 1981).
In contrast, in watercolor studies performed outside of the city on the Neve – for example, in the Vologda and Moscow at the same time with the same oil paintings (such as a series of images of the Kremlin, performed in 1978), the color becomes compacted, somewhat dry, devoid of the ease, almost weightless, which features many of his landscapes Leningrad. The use of hard clear outline stroke and expressive plastic accents allows both to approve the architectural ensemble or a separate building in the area of ??natural or urban landscape. In this regard, the image of a nude female figure and still life in watercolor Shuvalov as it combined two lines of searches that we celebrate in his landscapes. At the same time in their « nude » he is working enough plastic body, paying special attention to the anatomical veracity in harmonious subordination of all its constituent elements, briefly outlining the accompanying entourage – details of the situation and background. In this case, the main thing for the author – how to decide on the move with his disciples a certain task, to find the necessary, the most effective result of solving the problem of translation in the laconic nature ornate language. Likewise, in the images « inanimate » Shuvalov, who seems to be trying to go to a kind of full-scale minimalism, drawing from a variety of colors and forms of nature that is able to create an image of a capacious and lively, open to further their self-fulfillment in paper space. Whiteness of the latter in this case is not a « empty » – on the contrary, it is perceived for the preservation of live vital energy, which continue lavished just cut flowers. And quite normal subjects – household utensils that are constantly used as props for school assignments, opens new faces precisely because the artist deliberately imposed conditionality tsvetoprostranstvennogo solutions.
Note that the possibilities of expressive means watercolors are played in full and in portraits, whether images of children in the early series « Children fishing village Nazia» ;, or portraits of relatives of the artist, made in 1990 – 2000-ies. But for the subtlety and nuance of pure luminous « fills » always discernible inquisitive comprehension of man's spiritual world, revealed in a passing state or in some stable traits that the author is especially hard « feels » in pencil works. It is noteworthy that in his graphic portraits Shuvalov often takes the model's face close up. Monumentality stated quite openly, assuming the active model in the inevitable « dialogue » with the audience. However, the artist avoids exaggerated expression facial expressions or facial expression – « glow spirit » and does not require any redundancy affectation. Returning to the picturesque landscape wizard, you can once again make sure that such an approach to the world around him was to software that allows it to find fulfillment through freedom and argue in the living nature, capable of continuous self-renewal and rebirth, and just so eternal, capable tirelessly to protect its touching beauty. Inclusion of all living things and man-made, created man in perpetual motion, in which resides the world, can be called the most important source, always nourish creative pursuits Dmitry Shuvalov. And a sense of confidence openness comprehend the hidden motive forces of nature and art – That is probably the main thing that opens the viewer at the time of acquaintance with the works of this great master of Leningrad.