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Invitation to life. Ilya Trofimov.

'Painting the Mary Daugaviete known to visitors of exhibitions in Moscow since the late 70s. It is without a doubt fraught with discovery and fun not only as a model of style, but also as a collection of ideas as a whole artistic phenomenon. Mar Daugaviete is in the Prime of his creative activity. Created by her to date, so great, variety and richness that cannot be captured by a single glance. It will take a lot of pages of serious text to describe and systematize such a significant and profound material. But in addition to the many possible approaches – from what lies on the surface – the whole body of the works of Mary can and should be addressed as a diary. "Diary," written in paint, oil on canvas. It includes not pages, but hundreds of wonderful sketches, landscapes, still lifes, portraits and multi-figured compositions of symbolic meaning. Symbolism of painting Mary Daugaviete not realized at once, or rather, did not immediately formulated and quickly clothed in words. Most likely, this is due to the peculiarity of the letter, which ease their misleading: not a game? Definitely a game, but a game that requires "it", and Yes from all participants marginal return. If the game is life, what fool is not serious. In a sense, Mara shifted his personal history, his real life into the language of painting, told and continues to tell the story. In this life-painting, in this beautiful diary, as recreated in that heightened reality live with mom and dad – known Moscow sculptors (Lucius Daugaviete and Vladimir Zimmerling), fellow students, and then the Polygraphic Institute graduates, teachers, boys and girls; lover, then husband, Moscow painter George Uvarov, two daughters are adults, Mara and Maya, homemade puppet theatre, black cat, carved antique sideboard as a piece of architecture that has penetrated into the interior; mountains, clouds; fine, loose and strict – eternal trees; small world items ranging from soft toys and dolls, stitched together with my daughters, and ending with the family silver, shining on canvas the real magic. The life of Mary – always amazed me is built as a collection of objects, ready to become a part of the productions, sign in still life, to complement the portrait, get your little or significant role in challenging the action of the next picture. In the house of Mary is not "worn" items, as part of wealth or welfare, but we use them as a symbolic multi-purpose objects, participants live magic shows. Simple Cup is here something more than ordinary household items, and a simple tea party becomes a symbolic act. I realize this is perhaps only now, remembering not rare, but frequent visits to the house of Mary. It may seem strange, but they had always been for me. Mara is able to meet so that they feel involved in something important, perhaps beyond your current understanding. In this case we are not talking about some artificial situation, the stress arising from misunderstandings or any other false premises, which fills the lives of countless people. What I felt in the house of Mary, I would call a sense of clarity and significance of ordinary human life. In the center of her world is the artist herself, the author, as active principle, as a hero and at the same time the object of observation. Early and one of the most characteristic works of this direction — "I, the mother PAL", 55x75, oil on canvas. Mara puts himself into the core of the film, the most popular figures of characters: it is surrounded by asleep at posing people and mom, lost in thought approached close to the easel. The whole scene and action of the artist, literally wedged between the canvas and the photograph shown with a certain degree of irony, occasionally glancing in her painting. There is already fully disclosed attentive and slightly ironic view of an artist who speaks about inner freedom, and allows you to see the situation from the outside. It should be noted that a number of themes and subjects found and formulated Mara was already in the early period of art in the late 70s – early 80s. these themes and plots she comes back almost every year, sometimes more than once. From work to work changing plastic, the set of elements appearing and disappearing characters, changing light and color. This can be explained by the fact that within the "Canon", developed plot, it is easier to explore the formal side of painting, which has always been an important task for the artist. But gradually this repeatability and selectivity determine the imagery of painting, form the Mara as a kind, original thinker. As it was already mentioned, in the center, re-created her world, is the artist who have active relationships with others. Own body, face, plastic, and characteristic physical features of the immediate family members who served initially convenient and accessible educational material, become one of the Central themes of painting. It's recognizable, portrait presence in the most important storylines, bodily presence, which is having variety, not always rosy aspects of life. Let's take the theme of "Pogrom", where Mara puts a Nude female figure (himself) in the center of an angry mob. "I", "my body", "my skin", "my eyes" – this is the tool through which the artist knows the world in its most important manifestations. A series of canvases called "Worship artist" and "Bearing gifts", develops the thought regarding the particular situation of the artist in the world. Usually, this composition represents a procession of a group of people carrying in the hands, shoulders and heads a variety of gifts – things that in some way necessary to the protagonist in his "doing", – elegant frames, flowers, dishes of fruit, vessels, apparently filled wine. The procession depicted in the moment when she directly approached and almost surrounds the painter, deep in the work, or cheering came any gesture. The painter can easily discern the features of the Mara, and the action takes place on the background of the southern nature with a characteristic silhouette pattern of pine trees, near the mountains, under the sky, which in all its glory deployed solemn masses of clouds. A few words must be said about the landscape "scenery", which plays an important role here. Mara stunning landscape. Many of her landscapes are a kind of visual formula of a natural landscape. They are extremely showy, and their beauty is related to the artist's ability to identify structural features. The landscape is exiled all secondary, too fractional, the main focus is on the relations of masses, volumes; colour contrasts get critical. Generalization creates the impression of quickness and certainty of the letter, and this becomes one of aesthetic effect, giving the landscapes and other works by the artist impression of clarity and completeness. It is important, however, to emphasize that produced the "effect" is not the purpose of this painting, it is in some sense a byproduct and consequence of the careful study of nature. Only a thorough, on-stolarski, due to natural diligence by examining the shape, color relationships, the artist stops at a particular "state" of the canvas. Same here – another important feature in the landscape, and in complex multi-figure compositions, there remains an acute impression of presence, the feeling that the picture was painted from life. But at the same time is a clear understanding of what the artist has done its "liberated" from all inert, which prevents the expression of his ideas. The range of topics developed by Mara, is very wide. To simplify the problem, it can be likened to the movement from the particular to the General, personal, personal space to the comprehension of wider phenomena, primarily affecting the identity of the man and the artist. Therefore the topic of family relationships, home circle ("family games", as the artist calls it), the theme of childhood, and not randomly theme of corporeality as widely and clearly presented in the works of Mary. Bodily, intimate conceptualized here in a symbolic manner and at the same time seen very clear, direct gaze, avoiding as false modesty, and connotations of low order. The idea of purity and truth corporal fanned amazing warmth of family relationships. Among the most expressive and tender should be called work, in which the last moments of the lives of children. The girls are busy playing, holding dolls, reading, listening, their presence filled a void, inevitably gaping behind parents. Understanding plastics, measure and generality in the transmission of nudity deserve special attention. Mara is not afraid and difficult issues – old age, senility, loneliness. In the "plastic theatre" of life, as already mentioned, your own body becomes for the artist a constant source of impressions, allowing to Express a certain state: melancholy, fatigue, waiting... In the end, private nudity Mara turned into a special form of dialogue with the Creator, becomes a way of inquiring about their own fate and the destiny of man in the world. One of the most amazing stories can be called "Lamentation of love". It is difficult to say anything without falling in the vulgarity. Through this theme through this story comes to an understanding of the magnitude of human "research", which has devoted itself Mar. Disturbing, beautiful and almost terrible heavens continue restless dynamics of human population compositions of Mara. Clouds are included in the artist's work as a special theme, as the alter ego of the spiritual movements of the characters, but primarily as an expression of its own author's perception of the depicted events. In this sense, internal CHS is a hallmark feature of many works of Mara. The landscape itself, the phenomena of nature as seen by the artist, often so full of content, internal dynamics, its own natural life that is able to stay without a man don't need him... One with nature's soul first learns about his greatness. It is involved in the creation, a particle of the infinite spaces, one can understand the beauty of the plan. Man and world appear in the paintings of Mary in Renaissance guise, they are subjected to the stately rhetoric of a Grand drama called life. The artist looks at the world through the prism of classical European art, especially painting, believing that one should not renounce the great legacy of his predecessors. To become a follower of the great, I must admit to being a student, to try to delve into their already not very clear speech. Then you will stretch the threads of relationship, the impossible happens: today will be fertilized secret knowledge of the ancients. This boldness and ease with which Mara enters into a dialogue with the past of European art, particularly attracted to her work. After the old masters, it clearly suggests to think the human part of the universe, the character, which has, perhaps, a small but significant role in the theater days, on the stage of life; humbly to realize that the play was written not by us, but should not shy away from participation in the show, but to participate, to make every effort so that the time allotted to us, has not passed in vain. It is no accident that each relies Nude his cloud, each age has its joys, each of the spring flowering trees. Ilya Trofimov. 29 may 2008'
Added: 03.08.2015
Author: Mara Daugaviete