Golubkina Anna Semyonovna( Artist)
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Biography Golubkina Anna Semyonovna
Anna Semyonovna Golubkina (1864-1927) In 1923 came a limited-edition written ASGolubkina book "A few words about the craft of the sculptor". Having devoted disciples of the note, she reveals to them his rich professional experience and a confidential conversation with the reader, thinks, shares his thoughts about art and the problems of the artist. Golubkina advises: "... arrange things to work so that only rejoice". Then you need and ... prepare yourself for work ". And only then ... try to think about how to model: to feel its movement, nature, beauty, discover its advantages and disadvantages to reconcile the nature. In a word - learn nature and get to her hot interest ". This advice can be considered creative credo Wizard. The joy of labor, the high destiny of the artist, a deep comprehension of nature - everything was the basis for her art.
Anna Semyonovna Golubkina was born in the ancient city Zaraisk. Hometown, a large close-knit family, which is valued and guarded her talent, has always been close and dearly loved her. Artistic skills of the future sculptor appeared early. As a child, it is well painted and lepila. Modest prosperity of the family forced to think about earnings, and twenty-five she went to Moscow to study technique baking dish and painting on porcelain. In a private art school for her outstanding talent drew the attention of renowned sculptor and sensitive teacher SM Volnukhin. His education continues in Golubkina famous for its democratic traditions of the Moscow School of Painting, Sculpture and Architecture. Demanding of themselves, is striving young artist to achieve a vital expression in the works. Her student's sculpture often recognized as the best and stood out among the other students' work. About a year conducting Golubkina in the walls of the Imperial Academy of Arts.
But even great respect for the well-known sculptor, VA Beklemishevo could not reconcile it with the academic principles of learning. The thirst for independence in the work leads Golubkina in Paris. Three times the artist came to France. The most fruitful have been 1897 - 1899's, when she used the advice of the famous wizard, A. Rodin. In Paris, comes to her first well-deserved success. At the "Spring Salon sculpture" Old Age "(1898) attracted the attention of the press, and the artist was awarded the medal.
Journey in art Golubkina beginning at the end of last century. The heightened sense of passing of the old world, a premonition of future threatening events were typical of the attitude of many artists. Feel free to enter into sculpture Golubkina theme of the awakening of the people. "Iron" (1897), "Work" (1900), "Slave" (1909) are very expressive force. Particularly striking is the sculpture "walking man" (1903). Steady advance depicted reveals the emotional content of the motif movement, transmits a single-minded will to fight. Energetic Modeling stresses titanic power Forms. Hyperbolic sharpness of turns it into a poetic symbol of the coming revolution. Allegorical image of the plastic characteristic of high relief and the famous "Wave" (1902), decorates the entrance to the Moscow Art Theater. Fighting man and the elements embodied the rebellious spirit of the age.
Golubkina had the fate to be a witness and a party of great social upheaval. She was closely connected with the revolutionary movement. From his youth brought up in an atmosphere of revolutionary fervor, . it is a student attended a social-democratic groups, . kept illegal literature, . distributed leaflets, . tended the wounded during the December armed uprising, . were arrested,
. By order of the Moscow Committee RSDLP, in 1905 Golubkina creates an inspired portrait of Karl Marx.
. By temperament Golubkina was courageous, determined and selfless man of strong beliefs in life, sensitively responded to the suffering and injustice
. She was infinitely good, and kindness is always carrying her effective assistance.
Golubkina took an active part in human destiny, she organized a gang of laid-off from the factory shoemakers, got the theater for workers Zaraysk. And when in 1914 the Museum of Fine Arts (now the Pushkin Museum of. Pushkin) opened the first exhibition of the artist, all from the sale of sculptures of the money she gave to the benefit of the wounded soldiers, and she stricken.
. Sincere sympathy to the man interested in his inner life determine the main feature of creativity Golubkina
. Portrait genre is central to its heritage. In any model, whether it be a simple man of the people deeply intellectual or creative person, she always reveals the spiritual essence, underlines the strength of the human spirit. Significant and dignified PS Golubkin, grandfather of the sculptor (1897), grief, and wise "Ivan Nepomnyashchii" (1908), hope and faith is a "Man" (1910). When the accuracy of social characteristics, Golubkina avoids routine. Zorko looking at a specific person, it raises the image of everyday life, reveals the most significant in the individual. Ambiguous expression of psychological portraits, because it reveals the complex spiritual state model. The severity of the classical beauty of the woman's face from the people ( "Mary", 1906) mitigated pensive look. Modeling Soft white marble conveys inner illumination. Filled with dramatic contrast of plastic marble bust LI Sidorova, through which both read pride and irony, kindness and grief. A picturesque interpretation of form in the portrait of marble T.V.Ros-Sinskaya (1913) expresses the emotional stress of seeing the world a teenager.
. Golubkina was typical fine sense of materials - marble, wood, clay, their expressive possibilities, decorative qualities
. But the most favorite material was clay, dutifully pass every light touch of fingers, allowing to work quickly, keep fresh impressions of nature. Plastic scenic sculptural forms in clay has the immediacy Etude. In the finished product can be traced process of the material, revealing the formation of an artistic image of its amorphous mass. Most emphatically, this effect is manifested in images of natural life began - "Fire" (1900), "hillock" (1904), "Earth" (1904), "bushes" (1908). Dvuhfigurnaya track "Fire" is designed for the fireplace. Shrunk into a ball shape of seated men and women were to be located in such a way that the flickering light of flames lit up the vigorous form, filled plastic juicy dramatic emotional power. Years of intense and selfless creativity, excitement associated with the personal exhibition in 1914, undermined the health of Golubkina. Serious illness in. years precludes her work productively. Until the mid 20-ies she works mostly in small ways: sculpts a model of children's toys, grinds from ivory and seashells elegant cameo. Fully devoting themselves to the public and teaching activities, which culminated in the book-confession "A few words about the craft of the sculptor."
The turning point comes in 1925. Golubkina working intensively with great enthusiasm. It carries the portraits of two of his longtime aide - molder GI Savinskoye (1925) and woodcarver II Bednyakova (1926), Paying tribute to the man working. Two character, two attitude conveys sculptor. In the first - optimistic, joyful acceptance of life, in the second - thoughtfulness, depth of experience.
. In 1927, the artist works on his famous works - "Birches" and a portrait of Leo Tolstoy.
. Fragile figure worthwhile girls - a poetic symbol of youth, the awakening, readiness for life
. Flap dress fits slender body, creating a variety of folds, forming a silhouette filled with a tremulous motion. The charm of this image is a lyrical statement of beauty, inspired enthusiasm.
Imaginative decision portrait of Leo Tolstoy given in a different tone. Golubkina always worried about the problem of creativity. Many times she turned to her theme of man-creator: Andrew White (1907), A. Tolstoy (1911), A. Remizov (1911). Portrait of a great genius strikes titanic force. The wholeness of nature, strong-willed individual's activity is perceived as the highest manifestation of human creativity. Spiritual energy is transferred to the image of the expressive power of modeling.
. "Birch" and the bust of Leo Tolstoy were the result of a creative way of a great artist, what was Anna Semyonovna Golubkina.
. Five years after her death in the former studio in Levshinsky Lane (now Street Shchukin) opened a museum-workshop ASGolubkina, where carefully preserved much of the artistic heritage of sculpture.