Artist Fedorovich Biography

Vladimir Fedorovich - a well -known “unknown” artist Vladimir Fedorovich - a well -known “unknown” artist of his picture, it seems, cannot be called the works of an “unknown” artist: those that are found in the antique market are signed - many are dated. But what can we remember about him by reading the signature “Vl. Fedorovich ”and date“ ”? Almost nothing. So, in fact, for many Fedorovich remains an “unknown” artist.

Since in recent years the works of artists such as Fedorovich, any additional information about their work, any new facts of their biographies can provide significant assistance to antiquat and experts in painting in determining the artistic level of their works, their value assessment. The work, known to the smallest detail, signed by Vladimir Fedorovich and dated the year, which was in a private collection, has always made a desire to find out who this artist, how he lived, in what genres he wrote, what else wrote?

What is its place among other masters of painting at the beginning of the XX century? What information could be extracted from the picture itself? The choice of motive and composition, the general nature of the drawing, expressed in how the branches of the tree are written, the water surface, slightly pulled by ripples, in lilac and pinkish sunlight - all speaks of the artist’s connection with the style of modernity and symbolism.

This is also evidenced by a deep green-blue flavor, solved in a single color score. Generalization of forms, pronounced line-up, a certain inner lethargy, the desire for decorativeness- and there are signs of modernity of modernity. The internal mood of the work, thoughtfulness, immersion in the dream speak of the presence of symbolistic sentiments. The picture was written out with wide strokes, sometimes a few pastes: the author plays texture, but at the same time the letter is quite thin: he does not apply one smear on another, but puts them nearby, one after another.

The artist creates a romantic image of nature, giving a certain intimate mood. He does not act as a researcher, but conveys his impression, enjoying the charm of the captured moment, combining the naturalness of vision with decorativeness. The elegic mood of the landscape, the minor dream of the beautiful - this is what the rhythm of the drawing and the decorativeness of the general solution are subordinate.

These conclusions fit into the time of interest to us. In the year, Modern as a style has already taken place in Russia, and the artist fully uses his techniques and features. The picture is made in the technique of oil painting on a rude canvas of simple linen weaving. The signature is applied with a brown pigment, lies on a colorful layer under the author’s varnish.

Writing letters has a pronounced feature - elongated vertical lines. On the reverse side you can clearly read two inscriptions made by a black pencil: “Kuindzhi is general. The name of the artist is written with the same distinctive features as in the picture itself. Obviously, the artist himself was made, and the frame dates back to the same time. If we assume that the work was exhibited at the exhibition, then these inscriptions are easily explained.

In the reference book on Russian art “Golden Age” of art associations in Russia and the USSR - and in the “List of Russian Artists”, compiled by S. Kondakov to the anniversary of the Academy of Arts managed to find brief information: “Fedorovich Vladimir Nikolaevich. Born in the year. Student A. Vladimir Fedorovich entered the academy in a turning point for her, it was then that the reform was carried out, in particular, its educational part.

At the Academy, the Higher Art School was established with masterful leading artists. Former Wanderers, who for a long time were in an open confrontation with the Academy, began to train the young generation of artists. So, the workshops of I. Repin, A. Kuindzhi, A. Kiselev, N. Dubovsky and others were formed. Who could Fyodorovich study? Repin did not lead a landscape class, Kuindzhi taught there for no more than three years and for some time he could have taught Fedorovich.

However, it is most likely that it was A. Kiselev, who taught at the academy up to a year and led a landscape class. Confirmation of this was found in the encyclopedia "Partnership of Mobile Art Exhibitions" - GG. Kiseleva from for a year. Of the artists who studied at the Academy in the same years and surrounding Vladimir Fedorovich, I. can recall I. Goryushkina-Sorokopudova studies of Repin, an artist of the historical genre, V.

Zabin student of Kuindzhi, a master of bright romantic temperament and decorative talent, Ivan Kolesnikov, etc., having received the title of artist in the year, Fedorovich becomes a constant exhibitor of the “spring exhibitions” of paintings in the halls of the Imperial Academy of Arts of St. Petersburg until they closed them. year. They were established on the initiative of A.

Kuindzhi in return for annual academic. He was the honorary chairman of the committee, elected from among the exhibitors who selected the works. In exhibitions, they usually participated from to artists, among them: K.Kryzhitsky, N. Roerich, A. Rylov, M. Sud-Kovsky, K. Bogaevsky, V. Purvit, K. Vrogblevsky and others, including V. From the first years, the students and followers of Kuindzhi set the tone at exhibitions.

Due to the constancy of the main composition and sustainable individual character of exhibitions, contemporaries began to perceive “spring-kov” as members of a certain art association. At the suggestion of Kuindzhi, in the AC room, “Wednesdays” were arranged, at which all the participants in the exhibitions could be present. Kuindzhi, in which Fedorovich actively participated.

In the year, Kuindzhi donated thousands of rubles for an institution at the “spring exhibition” of the competition of his name. According to the current legislation, this gave the exhibitions a special status and made them independent from the Council Ah to now eliminate the exhibition only by the highest decree. The purpose of the competition was "timely support for talents and encouraging a noble competition in fruitful work for the benefit of Russian art." Only young artists, "having an academic title or exhibiting their works for no more than 15 years, could apply for the award." Vladimir Fedorovich repeatedly received prizes of various degrees.

He participated in almost all “spring exhibitions”, except for the one that took place in the year in Moscow, in the Le Mersier Gallery on Petrovka, and was generally low. At the exhibition of the year, he exhibited ten works. If we assume that the picture we consider there was exhibited, then several names from the list of works could be attributed to it: “On the lake” of the study, “Summer in the evening” of the study, “Silence”.

However, the picture cannot be called a sketchy - it looks finished and well spelled out. Most likely - this is "silence." Taking into account the inscriptions made on the back of the frame, with a certain degree of confidence, it can be argued that this picture was exhibited at the exhibition of the year called "Silence". Unfortunately, due to the lack of illustrations, not all exhibited work were reproduced in illustrated catalogs, it is impossible to categorically assert this or completely exclude such an opportunity.

Judging by the names of the paintings, they all relate to the landscape genre, and having tracked the exhibition catalogs, starting from the year, Fedorovich’s work, we can say with confidence that the landscape is its main topic. In the catalogs of the “Spring Exhibitions” it was possible to find reproductions of only two early works of the artist: a picture called “quietly”, presented in the year, and “North of Elegy”, exhibited in the year.

Unfortunately, black and white reproduction cannot give a complete idea of ​​work. However, one cannot fail to note the mood that both paintings are permeated - sadness, lyricism and thoughtfulness of nature itself. Even the name reflects the meaning laid down by the author - not “silence”, but “quietly” the artist as if calling the viewer to stop and listen. The manner of writing, artistic techniques, and the style of these works quite correspond to the picture we are considering and fit into the already said about the work of Fedorovich.

In addition, in both paintings, the author’s signature with all the features inherent in it is clearly visible, which leaves no doubt that all three works are performed by one master. Vladimir Fedorovich was prolific, working a lot and a lot of exhibited artist at the beginning of the 20th century. At each exhibition, he represented several of his works, and sometimes their number reached 36, as, for example, at the 1st exhibition of paintings “community of artists” in the year, held in the palace of arts.

The artist participated in it as a full member of this community. In the same year, Fedorovich is a constant exhibit of exhibitions “Partnerships of Mobile Art Exhibitions”; He took part in the part of the Partnership, which was held in the halls of the Society for the Promotion of Arts. In the catalog of this exhibition, it was possible to find another reproduction of his work - the paintings “In February”.

Apparently, Vladimir Fedorovich was a rather active person. In different years, he worked in various art associations, such as, for example, “Society for the Mutual Moving of Russian Artists”, which was founded in St. Petersburg in the year and lasted up to a year. Fedorovich was also a member of the “partnership of artists”, founded in the year by a group led by R. Bergholtz and existed until the spring of the year.

Since the year, the partnership was organized by “spring” and annual exhibitions, and with the GO “autumn”, which enjoyed the unchanged success of the public and the exhibit of which Vladimir Fedorovich often acted. Among the other members of the employees and the full members of the partnership were: Yu. Clever Father, Yu. Klelet, son, I. Krayanovsky, V. Zarubin, A. Bely, A.