Biography of Alexander Panteleev

The ideas were nurtured for a long time, the author seemed to be afraid to take on them, experiencing feelings, more complex than responsibility. Thinking on the plastic of new paintings, he understands - it is necessary to write in a solemn, submissive spirit, the realities of Russian life are raised to the level of biblical legend. Probably, it is no coincidence that the “parable of fish” Vokg - the connection of the past and the new, opening the path.

The motive of fish, which has become a significant designation of the artistic world, Alexander Panteleev, acquires a new symbolic meaning, filled with the ideas of Christianity. Metal fish, invented by the author of the year, the victims of human violence and at the same time aggressors returned to their creator. Here they are - ruined creatures: crucified fish and a light temple, mourning all the departed, and a series of mourning in the heavenly row - like a deesaceous rank - and a sacrificial bowl on the table.

Even in years, these stories appeared with the artist, and now the circle was closed - what, about, thought in his youth, was given to be realized at the end of his life. The sharp, geometric sketches of that time melted into a realistic system, but did not lose the idea from this energy, but filled with the depth of human experience. The figurative and plastic system of these paintings is akin to the fresco: here people, like saints, in a solemn present before eternity, their figures -colonn carry a heavenly arch, they are the hope and foundation of the earth.

Work on the canvases went with incredible energy: for example, the “slaughter” was written in two weeks, the artist, as obsessed, did not leave it, could not come off for a moment. Some plots have undergone significant changes, especially concerns the "funeral Saturday." The sketches of the xs show a cheerful booth and clowns performing in it. Thinking about the topic of the year, the master first wanted to solve the picture.

But the canvas did not obey its master, the composition did not fit into the given format, and the true image of the picture slowly clarified. Starting it in September, in November, the author said: “With the buffoons, a different picture turned out to be in the buffoon, in a more rustic manner” and having finished the canvas, he still could not part with him and once in the evening, examining him by a candle, admitted: “I love Martha, a clown Timoshka, this kind of magic, I approach it with a brush, and it pulls it there.

Of course, it does not act like a “parable about fish”, but for me all the experiences, drama, and the difficulties of life in it. I wanted to about the mummers, but it turned out another. ” The artist experienced many topics extremely acutely, so, about the "slaughter" he said: "Now all of humanity, as in a slaughter." These paintings are difficult, not amenable to complete unraveling, they are encrypted by the author, only a feeling can lead to a forbidden limit, but nothing more.

Memories - they all have their own, blood, personal, but there is a common one, connecting people. Alexander Vasilievich believed that the paintings have several layers: plot, literary and internal, secret. In the film “Memories”, Vokg external literary layer with clearly readable scenes of the Nativity of Christ and the Secret Party is difficult to intertwine with the events of the artist’s inner life.

The pain of the past, unfulfilled, love for people and anxiety for them burn in tense paints of canvas, the twilight of the interior, meek and delicate eyes of the heroes. In January, the master said at a moment of special location: “I am drawing a lot, satisfied, I am making my best, after Bashkir, paintings, they are real, sincere” at the same time he works on a picture with three female figures - “The Last Picture” Vokg, which the Miro -naval wives saw.

Tragic dark-bearded, brown-green, yellow tones create the architecture of the picture-and there is a feeling of an icon, its darkened colors, a secret glow of old gold. This picture was destined to become the last. I do not feel easy feeling in work, I am given a lot with great difficulty. I got used to it and I perceive how Alexander Panteleev is a cozy house made of red brick on Kozlenskaya Street, 4, built at the beginning of the 20th century, but delicately stylized under Baroque - with a roof, bizarrely raised, with flowerpots on the cornice and white patterns of platbands, affectionately autumn with green linden, attracts and does not let go from itself.

The initial impression of the interior of a workshop consisting of two large rooms was different. The walls, pylons, racks, the designs of the three easels - the artist preferred to work simultaneously on three canvases are highly, vertically. The look is directed up all the time - these are the laws of this workshop. You feel how your shoulders straighten out and proudly rises your head.

According to the same canons, he organized his last apartment. In the first room of the workshop, where the work was mainly going on, there were easels by the large window, opposite them were hard wide bunks, a little at a distance - a home -made graphics table with convenient regiments inside, it was on it freely located stones brought from different seas, including a sea star from Cuba.At the wall there is a tall, again homemade, very roomy rack with a variety of antiques on the upper shelf and books in the rest.

Books mainly in art, a lot of catalogs, magazines, books on the theater, a lot of presented publications. An important place was occupied by an old player with records of classical music - I. Bach, V. At first, the paintings of Panteleev himself were hung in this room, later he posted a collection of paintings and engravings of his friends in it. The second room can be called a rest room - there is a buffet, a table, a small closet with antique things, opposite the window of the rack with paintings.

The windows are almost closed by numerous colors - huge lemon trees, exotic plants, often blooming, cacti, which the artist loved very much. Walking around the workshop, you are amazed at the variety of objects reigning in it. Any of them entails a whole world of memories, associations, emotions. About each you can tell a long story from the life of the owner of the house.

Portrait of Pushkin, Bukhara Vaza, ancient lanterns, candlesticks and Bronze Bohemian candelabr, violin long white nights in the village of Krasnoye resurrected here with numerous signs of peasant life -samovars, buckets, buckets, spins, lights.

In the solemn rhythms of the workshop, you feel some theatricality. Entering it, as if you find yourself into a theater where the theater lantern on a painted pillar is mysteriously shining, where the gypsum cast of Aphrodite of Knidskaya caresses with classic forms, and the magnificent carved buffet of the 19th century reigns, as a grandiose decoration in an old opera. But all those who entered the workshop felt her extraordinary comfort and did not want to leave her.

So it happens now. But it did not start here for a very long time. The first workshop, so to put it, Alexander Vasilievich Panteleev, and then just Shurik, was the kitchen of the large apartment of his parents in the city of Ufa, on Karl Marx Street. A little later, he was engaged in the Palace of Trade Unions, where a wonderful woman, the mother of the famous artist M.

Kopyev, arranged him, then in the premises of the Ufa Opera and Ballet Theater, and, finally, from the year, in the Union of Artists, M. moved in a year in Vologda, Alexander Vasilievich worked in a workshop located on the ground floor of a residential building at the address of the garden, the year he moved to his last workshop. On Kozlenskaya Street, d. In photographs of the mm mm, we see the Ufa studio of Alexander Panteleev, you can find out on it about the addictions of the painter at that time.

On homemade racks - samples of rocks, a collection of Bukhara ceramics: the famous black -legged VAZ - the hero of many of his works “Failure asters” G. All of them are now the exhibits of the artist’s memorial workshop. Panteleev’s own ceramics, which he was engaged in the year in Central Asia, is also present in the workshop, and then distributed to friends, only two compositions were preserved in the Museum -Master’s museum - “in the eastern bazaar” and “pirates”.

He also made ceramics in the style of Picasso, in the old photo we see a similar jug. A few reproductions are hung around the closet on the walls. In the memorial workshop, you can turn over the album of reproductions made by a novice author, he gives interesting information about his sympathies in the world of painting. Of the 99 reproductions, the largest number belongs to modern art 35, of which 26 are works of foreign art, P.

Picasso leads, P. Cezann, R. Guttuzo, Mexican monumentalists, from Soviet artists - K. Petrov -Vodkin, A. Deineka, G. G. G. The Russian icon has been reserved several times. "Trinity" by Andrei Rublev. Western classics - antiquity and revival - are represented by the same number of reproductions. I would like to note interest in little -known, non -traditional works. But we must take into account what reproductions fell into the hands of the artist.

This is how the painter said about the influence of artistic heritage on him: “Years of active practical work and the study of the cultural past came. I began to delve into ancient Russian painting deeper, studied with our classics of the 19th century, masters of the pre -revolutionary period, Western artists. I was looking for roots, studied the aesthetic platform of a particular art school.

And if I found the features close to me in essence and not only by tricks, I believed that I could repeat them in my canvases I want to convey these sensations to people. But how to do this in painting? Ten years have been in work. Trips, sketches, sketches, patient workshop - witness of so many disappointments! Troubles, again, disruptions, it seems, there is no end to failures, even a habit of them appears, but the warm excitement of life again calls for work, and a premonition of the find gradually arises, the ability to think with painting comes, ”the artist wrote.

In a mature season, when the author began to compose his work, the method has changed.The very idea of ​​a future picture, arising through a whole strip of reflection, dreams, torment, around the excited theme was drawn quite schematically on a small scale. Sometimes years, the most striking example - the paintings of the “Russian Northern series” gg. The idea is a composition, or rather, many, its options were recorded in small rectangles that fill entire sheets.

These sketches-schemes opened an outstanding compositional gift in Panteleev. In them, it was important for the artist to lay the main proportional ratio of the canvas, the rhythmic structure of the image. And in this his paintings are close to architecture: “What is the most expensive for me in painting, in the world of feelings? Probably the romantic excitement of nature, the materiality of things and their fantasticity.

The beauty of the structure of objects, the purity of their surrounding space. It would seem that many contradictions, but they get together friendly. I am glad to a harmonious, harmonious world, with dramatic mystery in all living things. Of course, purely plastic preferences were also developed: decorativeness, monumentality, granity of form. ” Since the end of the 10ths, Alexander Panteleev refused to work from nature, but this is a rather conditional statement.

He admitted: "I do a pure landscape, starting from a specific place."