Nasedkin Vladimir Nikitovich

Born April 4, 1954 in Ivdel in the Urals.
In 1976 he graduated from the Nizhny Tagil Pedagogical Institute, Faculty of Arts and Drawing.

Collections where works

Works are in the State Tretyakov Gallery,
State Museum of Fine Arts. A.S. Pushkin
. State Museum of Oriental Art in Moscow,
. Museum of Contemporary Art in Yerevan,
. museums and galleries in Perm, Saratov, Krasnoeltse, Nizhny Tagil, Yekaterinburg, Kurgan, Lipetsk, Yelets, Ivano-Frankivsk, Kaliningrad, Irbit, Lviv, Lower Toure
. private collections in the United States, Britain, Poland, Canada, Germany, Italy, Nicaragua, Hungary and Cuba
.

Participation in exhibitions and auctions

1982 II International Triennale of drawing Dykh young artists. Germany (Nuremberg) and Switzerland (Lausanne);
1983 Personal exhibition. Mary. Turkmenistan;
1986 Personal exhibition. Ekaterinburg;
1988 III International Exhibition of miniatures and the small size pa bot. Toronto. Canada;
1989 II International Festival of Graphic. Menton. France;
1989 Impreza. I International Biennial. Ivano Frankivsk. Ukraine;
1990 Interdruk-90. I International Biennial. Lviv. Ukraine;
1990 xylon. XI International Triennale gras vyury. Winterthur. Switzerland
1990 V International Exhibition-Fair. Los Angeles. U.S.
1991 IV International exhibition of miniatures and the small size pa bot. Toronto. Canada;
1991 Soviet-American Exhibition kalligra IFE. Moscow, New York;
1991 I International Exhibition for Printing graphite ki small forms. Susekyullen. Sweden;
1991 Kuprum - V. V International Biennial of Graphic ne chutney on metal. Lublin. Poland;
1991 VI International Biennial of printed gras Fiqi. Varna. Bulgaria;
1991 VII International exhibition of printing gras Fiqi small forms. Lodz. Poland;
1991 VII International Exhibition-Fair. London;
1991 Personal exhibition. Moscow;
1991 Personal exhibition. Kurgan. Russia.

Autobiographical notes

I love the work, where reality is mastered active, then there is a simple recognition of such a complicated picture, which teaches her to master. The viewer should feel that he would not impose someone's will, no pressure on him. I'm trying to raise the role of art perceiver. His perception should be as unique as yourself and the creative process.
I think that the artistic value of the product determines the combination of shapes, colors, lines. The plot is often prevents this action of painting, and at the same time, it helps to accept a purely artistic merit, helps to reduce them to unity. Me and my friends are often blamed for the destruction of visual images, . in obscurity, and even meaningless, . but we liken the art of poetry and music, . where visual, . plastic image stood in the background and not a creature of, . because visual images are only one means to excite the emotions,
. But there are others: rhythm, color system, plastic.
I'm using innuendo, incompleteness, esthetic allusion, striving for simplicity and clarity, avoiding analytical constructs, allegories, all sorts of symbols and parables.

Criticism

Watercolor series, engravings and lithographs by Vladimir Nasedkina appear in their actual content is not more than mirages. However, their shimmering, pulsing, which dissolve in the space of a sheet of white paint and the lines reflect the very specific experiences and impressions of the artist, a lot of thinking about what surrounds him, many who went around the country. Search it Altai, Karelia, Khakass, Turkmen or ferapontovskih drawings and watercolors documenting something significant, of course, there is no need. In his work was dominated primarily musical and poetic beginning, alien slightest manifestation of naturalism and grounded bytopisatelstva.

In. Meyland

Bibliography

Album "Youth of the country", published. "Soviet Artist", 1984, Moscow, p.. 215;
In. Konstantinova N-Tagil. T. Badanina IN. Nasedkin ", Journal of Art", N2, 1990, p. 22-25;
G. Elshevskaya "New album charts, ed. "Soviet Artist", 1991, Moscow, p.. 76-77;
In. Meyland Vladimir Nasedkin "collection" The Art of Picture ", published. "Soviet Artist", 1990, Moscow, p.. 296-297.