Painter Vasily PTYUHIN was born in 1948 on an
island in the Kuriles Iturup the VolcanoBogdan Hmelnitsky. He graduated from the Far Eastern Institute of Arts
with a major "Painting." He currently lives and works in the ancient Russian
city of Vologda. Member of the
Union of Russian Artists. Participating in regional, national,International and foreign exhibitions. His works are in private collections in
Russia, England,
France, Kingdom of the Netherlands, the USA, Germany, Spain, Portugal, Abkhazia,
Ukraine, Hungary and Yugoslavia,
China, and in museums and
art galleries.The exhibitions began in 1975 in the Far
East. These were regional exhibition, which took place in the cities of Khabarovsk and Komsomolsk-on-Amur. This was followed by countless collective and personal exhibitions in the cities of Tomsk, Krasnoyarsk, Vologda, Kirov, Yaroslavl, Novgorod, St.
Petersburg,
Moscow.The
artist works in the manner of the realist school of
painting, of its direction, which tends not to maximize the naturalistic image, and the symbolic understanding of the
plot. First of
all, it is worth noting the fact of the artist's treatment of
historical topics, so uncharacteristic for contemporary art. This property of a
man who has something to say and who can express themselves on
canvas.Born and raised among the oceans, it seems to absorb the
energy of a free
sea wind,
ocean scale and sense of independence. It is not limited, as is often the case,
village scenes, to which it is linked geographically.
Fragments of ancient
history, the Gospel story, scenes from Russian history - became subjects for works by Vasily Ptyuhina. Terse and concise
composition, sufficiently contingent on
color, they are close to some of semiotics (such as, for example, the paintings "Debate", "Domitian, you're wrong", "The Tsar's Bride," "To
new shores" "Alarm").Look at some of them. For example, a "Dispute". Medieval Inquisition. It would seem that where the
Middle Ages, and where we are, but
there is nothing accidental in such scenes - and in our
time,
ladies and gentlemen, on behalf of the
people are humiliated, tortured and killed worldwide. What gets up secular inquisition! Artist with a responsive
soul can not pass indifferently. But
back to the painting itself.
Figure conditional, nothing more. Academic training in
harmony with the subordination of nature's creative plan. Unnatural kinks violation prospects - do not interfere with the perception of the
picture, but help create a composite
space. However, the artist uses techniques developed in the
days of the Renaissance, as if to the audience that, despite the relevance of the topic, it
still is a time away. Considerate and thoughtful viewer even realize who they are. If you look on
paper, which is holding a
monk, a diagram of the
movement of the planets. Look into
the face of
a man chained to a
wall and holding a
candle - yes, we guessed, of course - it's Philip Giordano Bruno, but not the elegant
young man, whom we remember from the
famous engraving, and the aged, unshaven and exhausted. Those who are familiar with the protocols of the Inquisition, could say, "That's not the case. These sessions, hypocritically called disputes, prisoner kneeling in the middle of the hall, and his captors stood over him, as though reminding that they who are representatives of
God on
earth. " All this is true, but if the artist reproduced the documented all this action on the canvas, it would have been a good
illustration of these documents, and the art would not have won anything. I would like to note the skillful handling of light:
two light sources - the dominant
yellow, the
symbol of
fire, as if anticipating the
fate of the hero, and a small amount of
blue, glowing like a faint
hope -
well illuminate faces and
clothes of characters. I do not know, did the master of these associations, but really, it came out very well. The painting was done in the late twentieth century, the 400th anniversary of the
death of remarkable thinker and
poet. For talking about the
suffering of the
church and the poor Christians, few people thought of this in our country.And here's another story of our times: "Domitian, you're wrong." Is not it, a familiar phrase? Well, it is then that the audience did not forget that it's not just about the time it is - there is an allusion. Of course, these days artists are not evicted from
concert halls, now other ways to deal with the culture and the fact that it happens unintentionally, creators no easier. But do not think that the picture - disguised poster. It is a
live scene in the ancient theme that finds its appreciative audience. It is not in any
way linked to any particular case, and if it were not for professional
performance, it could pass for a splint on that sets up and the small size of operation.Of ancient
Rome "Tsar's Bride" takes us to the medieval Russia. Visit the Moscow Kremlin will recognize the familiar
interior. The artist did not have to ponder over
the color scheme - are all drawn from
life, except for the
figures, of course. Seemingly playful scene, a dozen years ago, it would be called, even courageous, but not everything is so simple.Let them, freed from the shackles ofclothing sinful flesh and swellsends of the fingers chin and nippleslet it shine in the HaiLet them
fly and whip opoyashetUboyas not my maiden staticlet me be condemned and returnedthe
yard with his
father shameful sealPoems written by famous writer Galina Shchekina about this picture, again suggestive of
violence against an individual. It seems we can not escape from the topic, but here we have a picture "to new shores." A proud man, and freely, discovering new lands. Even the priests, whom the author clearly has no sympathy here
play a
positive role. Here is how the artist himself says about this picture: "When in the open
air in Great Ustyug I painted
the church, of course, I walked
her around, read the inscription on the plaque, and, suddenly, my heart skipped a beat - the
date of its construction coincides with the date of the
beginning of the great discoveries here in
Siberia and the Far East. And if we remember that the great pioneers Dezhnev Popov and atlases
come from these places, it is not impossible that they
may see the
architecture and, perhaps, from the place of their departed plain trial. Immediately there was a plot. In the process of sketching church gradually disappeared, and
the figures have remained. Black-and-white
version was ready, but that color somehow was not. I wanted to do something special, the more these
pictures I've met at shows. As a result, it was decided to abandon further
work. But
one day, I heard an interview with the director the movie "Amphibian Man", where he described how a long time to find an
actor for the role Ihtiandra and, suddenly, he saw Vladimir Korenev with his incredibly blue
eyes. "Here it is, my hero" - thought the director. "Here it is, my color" - I thought. First picture was blue - blue, almost grizaylnoy, but then I painted her once, as now I regret. "Painting "Alarm" - another page of Russian history. More precisely, a thousand pages, merged into a single image.
Little man, beating a huge bell, condemned to death, is not pity, but admiration. Involuntarily comes to mind is the thought: as long as there are characters in the Russian
land, and Russia - to be. Cloth decided very lucidly and rationally due to the fact that it marked one piece, the artist was able to show maximum
expression, and at the same time, we feel the diversity of the composition, but not by promising delights, so that the audience understands - this
alarm hears many citizens. And now, thanks to the artist, and we hear it.
Expressive drawing, expressive contrast evokes the color and it seems the author is exalted, causing the canvas, these large
bright spots of
paint. -Shake blurred boundaries bell. In
nature, we do not see it, but the artist wants to depict the sound, and this he did it! Such a technique could only afford a
modern writer.Associative - symbolic portraits, performance artist, and this is a
portrait of the poet Mikhail Sopina and "Camerata" - portrait image of
music and
poetry quartet,
landscape and portrait Kocherygina.Each portrait made Ptyuhinym especially Plural - it is also a kind of plot. For example, if you do not know what the "Camerata" - a collective portrait, one would think that this is just a story composition on a musical theme. This work deserves special attention.
She performed in a style that mimics the technique of the
old masters. If there is not a modern book in hand of the central
character, one would think that it was written at that time. But it looks more closely, we discover more and more features that characterize modern painting. This concise
forms, which borders with geometric and conventional representation of the anatomical characteristics of
the characters, and the prospect of willful neglect. And what about the background - space with the outlines of distant galaxies, of which people have learned only in recent years. As if to music and poetry of the Renaissance fly to us through the ages. The painting is executed monumental and very well could be painted any
theater or any Philharmonic.Heroes portrait Basil Ptyuhina - is his inner
circle. Here, poets,
musicians and artists. For example, the portrait of
the landscape Kocherygina. They tied a long time teaching at the Academy of Architecture and Construction. In the foreground shows the artist holding a
sketch, as if demonstrating the release of their lyricism (here Ptyuhin proved himself a remarkable copyist). Background - is the same landscape, but written a master of another character, temperament, and other schools.About portrait Sopina say his poems:And I stood silent obeliskOver the
steppe, where everything is burned.And cried -Stone -On the close-up,The fact that the
return is not given:Where wasAnd cruel and nelaskov,And I heard,How exactly breathingScreamed in my dissent,To
love calling, soul.Emotional expressiveness of works by Ptyuhina often based on the use of virtually open-color (red candor - in "The Tsar's Bride," the brightness of
orange in the "Alarm"). In general, color saturation and decorative characteristic of landscape and
still life painter. Monumental in form, expressive color, composition tending to the sign-symbol of the painter VI Ptyuhina
always find its audience of art
lovers..
