Nicholas Radlov Ernestovich( Artist)
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Biography Nicholas Radlov Ernestovich
Nicholas Ernestovich Radlov (1889-1942)
Creative image Nicholas Ernestovich Radlov seemed ambiguous, if not contradictory. "Classic" for the tastes and predilections, he devoted himself to "ephemeral" art of caricature. Theorist charts - but also as a Draftsman not following their own theories. Student ID Kardovsky separating the credo teacher - but in his own work is far from the cult of the line and form, characteristic of "neoakademistam" - the true adherents of the school. Surprising and scope of its activities, especially in the Soviet era - art history classes, book and magazine graphics, work in theater, teaching drawing, creating portraits - paintings and drawings.
. In the 20-30-ies in the first place was the work in the book and in the satirical journals
. But in pre-revolutionary years Radlov made a name for himself in art circles, not so much drawings (although his cartoons appeared in The New Satyricon "since 1913), . many articles on art, . published in the Apollo, . "World of Art", . Argus.,
. In the works Radlov these years clearly traced his aesthetic preferences
. At one end - the circle of the World of Arts and the School D. Kardovsky (V. Shukhaiev, A. Yakovlev, B. Grigoriev). On the other - an alien impressionism (interpreted very broadly) and the latest trends, united by the term "futurism" - "dry stick of lush tree art". In the article "On Futurism and the" World of Art ", . in books on futurism "and" From Repin to Grigoriev "Radlov reasoning for its assessment, . sometimes resorting to surprising parallels: both, . Futurism approaches them with Peredvizhnichestvo, . since both, . his opinion, . inspired by the ideas, . vnepolozhnymi own art.,
. A special area of interest was Radlov schedule
. Articles "Contemporary Russian Graphics and Drawing" (1913) and "Russian Book Graphics" (1919), . the book "Contemporary Russian Graphic Art" (1916), . "Graphics" (1926) and "Drawing from Nature" (1935), . work of individual masters and individual problems ( "A few words about the cartoon and the Antonovskoe", . "Figure in a children's magazine") - this is not a complete list of them written on this subject,
. The most interesting concept, developed in the late 1910-ies.
Graphics have "thought about ... phenomenon "- the art of abstract and requires a conditional language. Graph can be achieved only "stripped-down reality" and not "convince us of its actual existence". Singling out the book drawing, Radlov assigns it to the field of decorative and applied arts - building on the principles of design miriskusnicheskoy books. According to him, drawing in the book "should be avoided realistically interpreted by tonal relations, because only by emphasizing the two-dimensionality sheet, he can fulfill his destiny," that is to decorate the page. If the machine-pattern recognizes the right to be three-dimensional space -, . spatial and use color, . then book graphics all this is impermissible: "colorful pages will ask to get away from the book", . "picture book should avoid interpretations of the realistic image", . "tone transfer form should be banished from the pictures of the book.,
. Characteristic that book drawings Radlov not follow these postulates - though they were created mainly in the 30's, when the original concept was to them largely revised
. Often, his sheets are made in common then tonal style. Color them used - especially in the children's book (A. Volkov, "The Wizard of Oz", V. Kataev, "Tsvetikov-Semicvetik, H. Radlov "Stories in Pictures").
However, the ratio Radlov to illustrate always been effective. On the one hand, . He examined it under the laws of easel painting ( "Mount images in, . that she was glued to the book "), . but, . On the other hand, . as an illustration in the book should not only be part of the body of the book, . that is, to gain a measure of conventionality and flatness, . but to obey the style of the text ( "in the illustration ..,
. temperament of the artist should shrink "). This last requirement comply strictly Radlov, . unrecognizable by changing the manner of his book of drawings and autolithography - close enough to compare the time illustrations of Bulgakov's "Dyavoliade" and to "Shuteynym stories" Shishkov, . to lead O. Forsch "Radishchev" and the stories Zoshchenko.,
. Another major area of study has become a caricature Radlov
. Cooperating in the comic and children's magazines in Moscow and Leningrad ( "Hippo", "laughers", "Hedgehog". "Siskin", "Crocodile"), he became one of the leading cartoonists of the country. Thoughts about the cartoon, he expressed in articles, clever and unexpected. Radlov considering caricature as "the art of pure representation". "The method is akin to cartoons decorative Egyptian art, children's drawings and art of classical academies". It is no accident Radlov sees the reason for the long life of caricatures by Daumier and artists "Simplicissimus" in that their "low" art was based on the principles of art "great shape".
. The main property of Radlov cartoons - witty inventiveness of plot moves
. Feeding mainly near artist material cultural life, they are deprived ostrosatiricheskoy orientation and differ rather gentle humor. More tangibly "sting" in a series of caricatures "fun project" and "Happy idea" (the author of the texts are spoken Zoshchenko): in these figures Radlov tireless in inventing fantastic designs from items that are not performing his appointment. Last leaf, . adjacent to this cycle ( "Avtodrap), . established already during the war, . when the artist worked extensively in the "windows TASS: in these years, his cartoons are made for a truly evil and sharp (" Fruits of the fascist education ", . "On the question of nutrition in Nazi Germany").,
. In the 20-30-ies Radlov artist has screened several Radlov - a theoretician and art critic
. Meanwhile, scientific heritage Radlov largely determines its place in the national culture. According mentality Radlov theorist: concrete material served as a pretext for generalizations, for the construction of integrated concepts. A certain contradiction in the findings, the desire for normative model of development of art is present in almost each of his work. And yet - the need in the art of "grand style" is particularly pronounced in pre-revolutionary articles. Building opposition "analytic" and "synthetic" painting (artist-synthetic "is looking for form in the treasury of his artistic memory", . analyst will decompose lines and spots his impression of nature), . Researcher, . essentially, . opposed to subjective "impressions", . advocating the "style" - that is, a set of rules, . stands between the "creator" and "nature",
. "It is absolutely necessary to possess a form to put into it the content". Despite the fact that Radlov attempts to delineate the area of the actual graphics were fairly vague (the traditional division of the methods and techniques he rejected the image), . despite the fact that discussions of the many illustrations muddled and contradictory, . his work on the theory of graphs have not lost value today, . have not lost their inherent sense of depth and severity.,
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