Posts tagged Russian painter
Today will be Neo- Romanticism Surrealism.
Who is the painter?
Pavel Tchelitchew. Born in 1898, Tchelitchew lived outside Moscow until his family, dispossessed of its estate by the Bolsheviks, fled to Kiev. There, he studied briefly with the Constructivist Alexandra Exter before moving to Berlin (1921) and Paris (1923).
Why Neo- Romanticism?
In British art history, the term “neo-romanticism” applies to a loosely affiliated school of landscape painting that emerged around 1930 and continued until the early 1950s.
In Germany this term is used for an alternative label for the group of German composers identified with the short-lived Neue Einfachheit movement in the late 1970s and early 1980s.
But one thing is for sure: Neo-romanticism as well as Romanticism is considered in opposition to naturalism as a demanding a cultural reorientation responding to ‘the soul’s longing for a meaning and content in life” that might replace the fragments of modern knowledge with a holistic world view’.
What I can say about his work?
For general aspects, his works are anatomical evidence, we see enlarged feet – an allusion to wars, we need to keep our temper, to be down to earth and not idealistic or cruel -.
The colors, at a first glance, are most hot, hot, hot as an atmosphere of ‘love’, hateful or…why not? resentment.
It has seen a riot of colors: full of red, a few paintings somewhat balanced, then again some monogamous or simply… you can not tell exactly what he felt.
Again he was influenced by wars, but not so dramatic as the other.
I like his works – some of them – because they look like a calm scene, though their colors take you to revolt and hidden resentment, boiling and just so blown. Although they are on a beach or rocks… besides, his characters have expressive faces and their defects augmented.
Which is his notable painting?
This panorama of freaks, monsters and mutants, as the “Inferno” of his personal divine comedy.
He painted this work in New York from 1936 to 1938, and populated it with hundreds of characters from remote times and places, including many from his own biography.
From today’s perspective, “Phenomena” – with its hallucinogenic rainbow of colors, desolate urban background and the oversized appendages on many figures – seems to prophesy the nuclear holocaust.
In any event, it cemented Tchelitchew’s reputation as a major Surrealist painter.
This is a landscape populated by a cast of hundreds, including Hitler, Mussolini, Marlene Dietrich, Cecil Beaton, freaks galore, several Surrealists and last but not least the painter himself – the bottom left- .
With this image, which has echoes of Dali but has more in common with the political ”scenery” painted by Peter Blume, a contemporary who was also born in Russia, Tchelitchew plunges into Surrealism only to emerge a few years later with ”Hide-and-Seek,” a picture of children around a tree, which among other things, acts as an illustration of Ruskin’s views on the subject of paranoiac perception – the black spot reflected surrounded by little yellowish ans greenish spots (with black) -.
This is a children’s game in the tree that can be embodied in an apocalyptic vision of war – and that black tree can be the congealed blood of those who died in war-.
What is his perception about the world?
From children to the crazy personalities of history, from playful to war-to the madness hidden resentment -, from patriotism and selflessness in a selfish hatred towards the impossible, from a personal non-involvement of things seen / felt.
Happy birthday ladies/ mothers/ girlfriends/ all kind of female breathing 😀 .
Today I will talk about Olga Rozanova, a Russian painter from XX-th century.
Olga Rozanova was an abstract painter, Suprematist – told you about it last week! – and had a full life of art behind.
She followed the classes at the Stroganov School of Applied Art.
Since 1912 she started a friendship with the Futurist poet Aleksei Kruchenykh whom will in 1916 marries.
These times she will develop a pure combination between volumes, colours and lines.
The composition ‘CITY ON FIRE’ is a Suprematist painting – the Cubo- Futurist painting too – has a special relationship between color and the line.
Masculine lines, broken and in the same forming a whole, but with the symbol + colors forming “the true relationship at the same time expresses the meaning.”
In the Suprematist art the connection between the new building – unit – and color as a symbol which represents objects or human figures is one close – one without the other would not exist.
The symbol of white color is fantastic, like the fire – represented by yellow, orange – should be quenched with a non-color. Here THE yellow is a central/ focus, surrounded by shades of white to gray – lots of gray- which covers the monotony of the buildings ‘ walls ‘.
Yellow turns into a lava at the bottom of the painting – specifically the right corner – as if the composition have a flow, a hidden fluidity hidden between those jags.
Here we see – again- the game between volumes and colours.
It’s like you get into another space, the top down and vice versa.
The colors are brutal, full of life, separated by a black that gives a new meaning – of moderation or veering sight of the center of the painting – as if reveals to you other important points in the painting.
We have many squares covered by semicircles to equalize the masculine energy or ‘ gross ‘.
The sexual energy is intense by red and balanced in blue – the same pure colour – and close to green, that gives a new direction of thinking: moderation and lower down to Earth.
People are abstract, not human, less stylized and full of masculine lines with the secondary colors – pink and other colors coming from mixtures-.
The skin color is inhumane and the look – oblique – ‘re going to think of women from other worlds.
The two kings – hearts and diamonds – are both corps of vanity and different way of thinking – emotional and rational-. The diamonds are forms of rationality or reason / moderation and the hearts are symbols of lust, emotionality or various shades of feelings.
Even here the colors are pure, unmixed and there is a tie between hot and cold – COLOURS!.
This series of suprematist paintings bring Olga to the major Suprematist at the time. Working with Malevich and many artists she has developed expressiveness and emotional paintings, even if Cubo – Futurism is less expressive in feelings.
The cold light with metamorphosis and hidden emotional issues give a new aura to works: human / inhuman way.
Here are not strictly abstract objects, they are also ‘ problems ‘ of society seen abstract.
In this ‘ Universal war’, Olga brigs blue – a symbol of air / reason – too full of other objects that distract him: small non – forms which are ‘floating‘ or ‘flying’ through the blue table – the reason.
The white is a symbol of purity – perhaps a new world in which those who died in this war will go – or a way to show death – they go to heaven.
Orange give a short victory – nobody knows from which side – but… there is an easily excited world, and the dirty green – it’s combined – give the moderation of the facts or by tracking / or during the battles.
These are my observations about Rozanova’s works and world.
Hope you liked what you’ve just read.