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Two worlds Mary Daugaviete. Art Historian Yuri Gerchuk.

'This name is not one of those that are on everyone's lips. Painting of Mary Daugaviete, traditional material (canvas), restrained in its expressive means, made only to attentive, receptive, and brought up the head. We cannot say that the artist quiet voice, chamber style. However, it is not one of those who grabs the viewer by the throat (or at least for the floors). There is no strain on ligaments, the desire to shout down anyone. No expression, overwhelming harmony, roaring color. This painting is not amazing, but looking for sympathy, ready to which is not every viewer of the current noisy exhibitions. But I think that's the name for a long time. It's not the fireworks that odvarka in heaven, goes out, leaving instead a bluish smoke. It seems to me that it is, on the contrary, increases. Very slowly, but steadily. Her paintings have an inner fullness and dignity. Individuality is not external, not only picturesque manners, and ways to understand and experience life, to think and feel. Behind her is a strong internal system of values: aesthetic, spiritual, moral. The art of Mary — philosophical, but without philosophizing, significant, but without false monumentality and pathos. Mar Datafile — the artist's paintings. At the heart of each of its work, large or small, is not immediate impression, not a study from nature, but a holistic view of some of life's phenomenon or problem. Her art is quite sensitive to the state of the world, society, social environment. Sensitive but are not inclined to direct, specular reflection. In rare cases, the picture responds directly to an event: 'the Pogrom in Baku' (1989). Usually the artist is able to find a visible and succinct a way of capturing the Zeitgeist. The form, of course, metaphorical, but very visual. These are, say, several of her paintings with people sleeping inside, sleeping in public, a crowd, on the beach (1983), in which faceless Lounges... Emotionally accurate image of the whole stagnant era: sleep heavy, uncomfortable, burdened, apparently, oppressive nightmare. "The sleep of reason" — by Goya — "produces monsters". However, these monsters Mar here depicts. She delicately avoids pressure demonstrative. Monster — until then — only implied. However, the crowd will Wake up soon and turn into a monster — headed, aggressive, dangerous. The fury of the crowd — one of the key themes of painting Mary Daugaviete. And in the picture "Expansion" (1986) before us and those who organizes and directs this rage. In the glare of the spotlight their aggressiveness already directly embodied in the allegorical figure of the monster. "The sleep of reason" is a modern public confusion, a crisis of social values, moral and spiritual, is revealed sometimes directly, in modern stories — in the crowd of thugs, scary, filled with merchants and beggars spaces of the Moscow subways. But he often appears in the allusions, appears in the mythological images ("Uranium"), biblical ("Sodom"), gospel ("judgement of Pilate"). Losing here the crucial external, sugesto household, the topic of social insanity polycast thus universally valid, philosophically-a universal sense. In any case, the moral vision of the artist of doubt in the viewer does not. Meanwhile, she does not put himself up as a judge over this life, somewhere down looking at her follies and disasters. She is among his characters, but here, among us, carried by the tornadoes of passion, the victim among the victims, a grain of sand among thousands. Her own slightly overact profile no-no, and will be shown in a violent crowd. If she is judging, rather than us, sees himself and white, and black ('self-Portrait with double', 1987), is not afraid to show their anxiety, mental duality, weakness. Still, the system of this painting — the balance of closed dense-in-itself of the compositions, strict rhythm, clear plastic and generalized, firm, slightly angular figure talking about her inner strength in the world. The artistic language of the Mary Daugaviete, very focused and specific, deprived of impressionistic effects running lights, immediacy of fugitive impressions, as well as expressionistic dissociation, the hysterical outbursts of passion. Her paint is thick and seems soft, but full of inner contrasts, tensions dull-green and bluish tones to sulphur-yellow or pinkish orange. The artist builds a painting of steady States, both physical and spiritual. Behind it there is a certain tradition, interest in dense paintings of the old masters, most probably to the Northern Renaissance and maybe slightly to primitiveschema provincial Baroque. This world is certain, strictly selected values reconciled, balanced and very personal. Last but not least is the value of his neighbor, small world: love, children, the spiritual unity of the family. His house, where everything from an early age artists. Herself Mara in eight years he painted his first majolica dishes (her mother is a famous Moscow keramida). Her two daughters enthusiastically draw, paint in watercolor. The creative atmosphere of the house was approved and the exhibitions in which they participate together: Mara, her husband, also a painter, a talented portraitist George Uvarov and both girls. It exhibits paintings, watercolor, ceramics, and hand-made toys and books for parents of children or by the children themselves. And finally family puppet theater, where they play all four. The exhibition, these are called "family games". This small home world forms a second, no less important range of topics in painting the Mary Datafile. In it is an anchor to its stability in the midst of the seething external, universal life. From this, for all the ordinariness of the stories, notable symbolism of these chamber canvases, focused their inner significance. Important than specific subjects — children games, introspective quiet adults, but the order of life, sustainability it measured currents, the strength of family tradition. With the monumental height allowed in the film "Epitaph" (1989) intimate topic: two naked, the artist herself and her husband, are closely woven into a peaceful sleep. Here there is a clear peace of mutual trust and warmth, amazing for a Frank story chastity. In the other works are activated family memory, Latvian rural roots, Moscow artist, arise Patriarchal images of her farm Rodney. The theme of the memory of past generations, the spiritual communion with them, with a kind of naive obviousness is embodied in a small picture of the Graveyard feast" (1989), where a procession of people with flowers in their hands very friendly meets at the cemetery wall with a crowd dressed in the shrouds of skeletons... Two worlds in canvas Mary Daugaviete seemingly contradict one another: dramatic, lush world of public passions and disasters and sustainable home world of family traditions, creativity and love. However, we do not separately perceptible, and we will not understand until the end. Only in the sense of the artist's work. Their delicate balance — and there is her inner theme. Peace be to this house!' Yuri Gerchuk. January 1995
Added: 03.08.2015
Author: Mara Daugaviete