Biography of the poster
Placals of Jevgeny Abramovich. His work invariably attracts the attention of not only brothers by profession or lovers of fine art, but also inexperienced spectators. Bright and emotional posters of Eugene Deman are distinguished by a clear political orientation, ideological clarity, expressiveness of plastic language and graphic culture. He created the posters of political, sanitary-educational, circus, advertising.
The main theme of his work was the topic of the struggle for the world. The art of Yevgeny is relevant, acute, acutely, highly degree. Hundreds of artist posters, leaving the walls of the workshop, quickly found their place on the streets of cities and sat down, in the interiors of public buildings, on the pages of newspapers and magazines. Even today, they fully meet the high requirements that are presented these days to the poster as one of the most massive, shock and operational types of campaign art.
Evgeny Deman is a participant in many republican, all -Union and international art exhibitions and competitions, his works have repeatedly exhibited at the international Biennale of a poster in Warsaw. The recognition of the artist’s work is evidenced by the numerous awards and differences awarded to him. Evgeny Abramovich Deman was born in the year in Nikolaev. In the year he graduated from high school in the city of Staroconstantinov.
The family loved and understood art. Zhenya’s uncle and cousin were artists, and he had no doubt and fluctuations in choosing a profession: already at school the boy knew firmly that he would also draw. But life ordered differently. The war crossed out all plans. In the year, when Eugene was nineteen, instead of a sketchic, he had to pick up a rifle, put on a soldier's tunic and go protect his homeland.
He fought with German fascism from the first to the last day of the war-from the Leningrad Front to the West, participated in the battles for the liberation of Yelny, Smolensk, Vitebsk, Kaunas, Vilnius, and ended the war in Port Arthur. The leaflets of front -line letters to the mother are carefully stored in the artist’s family.
It is very difficult to find the news from the front for a letter when accelerated preparations for the offensive are on the summer in the summer of the year - terrible stress in headquarters, sleepless faces, days and nights of hard work - without rest, to the point that you forget to eat for days. And here is the result: the defense of the Germans is broken, the Nazis flew by Vitebsk, Orsha, Mogilev, Zhytomyr, our units 12 kilometers from Minsk!
And the most offensive thing is that I, a person who leads daily notes in the part of the military operation, has no opportunity to draw a few words to you. Others will write about our affairs, and we will only read and remember: dates, minutes, borders, cities and villages. ” According to the news from the front, they spoke not only about the heavy military work of the Soviet soldier, about the bitterness of the loss and the joys of victory.
In them is an indestructible dream of a peaceful sky, about the happiness of living, about his favorite creativity. Fulfilling his military duty, Deman remained an artist. Among the deaths and destruction, under the bombing and shelling, his keen eye did not stop noticing the beauty of his native land, tragically tormented, but as if waiting for a revival, could not but admire human characters amazing in his strength.
The troops of the 3rd Belorussian Front captured the city of Vilna. I am writing these lines, sitting on the sidewalk almost in the center of the city, choosing a moment of lull. Fritz is still shooting on the streets; Occasionally, shells or mines fly, but the fascists are coming “kaput” soon! Nature here is amazing beauty: everything is in greenery, the rivers are exceptionally picturesque and would have painted a hot fight again ”and another letter:“ How pleasant, the dusty, tired, but extremely happy to follow the newly conquered earth: the sun, greens, fields, groves, rims, Russian family logs, warm meetings and conversations with glorified White -russian partisans.
” In the short minutes of the calm, he picked up a pencil and made runaway sketches, trying to fix his observations with the possible accuracy with the possible accuracy - a broken enemy technique, a road sparkled with bombs, ruins of the burned cities that were not worried from fires and a fight. A militancy by nature is by no means belligerent in nature, with a mild character, only because of historical necessity, which became a soldier, everyone and in the most difficult periods of the front service did not lose faith in victory, in the revival of peaceful life and on a burned, wounded land, he knew how to see those small fractions of the beautiful that the war accidentally did not touch.
Not all artists who participated in the war have survived field sketches made “in hot pursuit” in difficult front -line conditions. Evgeny Deman could not save them. With honor, having fulfilled his duty to the Motherland, demobilized from the army in the year, the guard, the captain, the holder of three combat orders and seven medals, Evgeny Deman, came to Moscow with a firm intention to devote himself entirely to his beloved business, about which he dreamed of many years.The harsh experience of military youth left an indelible mark on the artist’s mind, hardened his will, formed his character, and exacerbated the features of high citizenship.
The war taught him to appreciate his life and sharply hate evil and violence. Not immediately, Deman was formed as a poster. In the difficult post -war years, his life developed so that he had no opportunity to study - it was necessary to work, keep his family. He became the artist-former in the partnership "Mosoblucodian". He made exhibitions, as a rule, he made up from the exposition hall, catalog and ending with invitation tickets.
His expositions were distinguished by a clear understanding of the general design and functional idea of the exhibition. Creatively comprehending material, he accurately found the necessary forms, scale, proportions of the design elements and skillfully subjugated them of the architecton of the interior. Many exhibitions are both in our country, so, abroad were registered by everyone.
The artist’s work this work carried away the artist, but did not bring complete satisfaction. The need to express oneself in the original copyright works grew. Neither health -lost health, nor material and domestic difficulties, nor the absence of workshops - nothing prevented the work stubbornly, to improve skill. Everyone thoroughly studied books on the theory and history of art, especially attentively got acquainted with the history of the Soviet poster.
Since the mid -fifties, he began to try his hand at the industrial and magazine schedule, and in the year his "combat baptism" as a poster. He created the first posters for printing - spectacular and advertising. Already in these early works, features are traced, which later determined the individual handwriting of the artist, his creative principles. Deman strove for the laconic expressiveness of the poster sheet.
His posters with a bright invention, an unexpected turn of the topic were witty, easily “read”, immediately attracted attention to both professionals and spectators. The artist was irreconcilable to the stamp that had existed in the years in the poster with a characteristic set of shallowing style and compositional techniques. In addition to their momentary role of a purely advertising character, the sheets of everyone, as a rule, carried independent artistic value, such as, for example, circus posters “on the arena Oleg Popov”, “Yu.
Nikulin, M. Shuidin, A. Vekshin ”or advertising posters“ You can win for 30 kopecks by lottery ticket a successful debut confirmed the fidelity of the chosen path and instilled confidence in his abilities, and ideological maturity allowed everyone to begin work on a political poster, which became the main meaning of his work. I consider a successful debut of my main topic to the struggle for peace.
” And later: “We, masters of fine art, with our works we can say a lot about how important for all Soviet people a peaceful sky above our heads, how strong in us is a protest against the threat of a thermonuclear war.” Yes, a bitter memory of the war, about twenty million human lives, carried away by it, forever remained an unhealed wound in the heart of the veteran of the Great Patriotic War.
Therefore, probably, he was so deeply empathized with other people's pain, injustice and violence - the tragedy of the people of Chile, American aggression in Vietnam, therefore, so actively and angrily stigmatized by their art those who threaten humanity with a nuclear disaster. The sharpest, burning topic of modernity - the protest of the peoples against the threat of a new war is devoted to many bright and bold poster sheets made by different artists.
In this diverse and many -sided theme row, the posters of Evgeny Jegeniy Distan are favorably distinguished by "faces not with a common expression." It was the political poster that brought the artist to the orbit of great art. And it was in him that his original talent sounded in full force. The poster of the beginning of the sixties, when the first political sheets of everyone was seen, developing in the common direction of Soviet fine art, experienced significant difficulties.
The main task in the work of the posterists was the final overcoming of primitivism, stamp, declarativeness, and the sweetness of images - that was a serious illness of the poster of the fifties. Now the usual stereotypes have been destroyed, the figurative language of the political poster became more diverse and active. More often used such means of expressiveness as a symbol, metaphor, allegory.
The interest of posterists in photomontage has increased. Political poster The ability to use genuine documents in the work is one of the valuable qualities of everyone. In the early posters, he used a photograph. In the first, now well -known sheet of “the criminal exposes the trace! In the center of the poster, a photograph, which went around the entire world press: the torn bodies of the Vietnamese patriots, and above them mockingly posing in front of the lens, killer soldiers with machine guns in their hands.
The photograph on the entire poster sheet imprisoned a bloody hand, whose fingerprints form clearly reading letters “USA”.The artistic and political advantages of the sheet - the activity of the fine material, open journalism - allow us to consider it one of the best works of the master. Subsequently, recalling how the theme of the poster and its artistic embodiment was born, Deman wrote: “I was shocked by the tragedy of Vietnam.
And I wanted to make a poster-discharge. The form of the poster was prompted by a leaflet of the Social Democratic Party, on which the text of the royal manifesto was printed, on top of which there was a bloody imprint of the palm and text: "To this, Nicholas II had a hand." And suddenly there was a new interesting turn - I saw: in the fingerprints of the fingers you can catch the image - the bloody trail of the executioner.
" Another poster was no less popular - “above the Chileans went missing” “The criminal is known! A thick mesh of a prison grate is imposed on the entire field of the sheet. Each of her cages has a genuine photograph of a Chilean citizen. In the shots of the upper row, they are lit by a flasher of a stress-red-red color. Below - the same faces, gradually blurring, plunge into dense dumb darkness.
And out of this darkness, the cruel face of Pinochet is highlighted with an unexpected white spot. Tightly compressed lips, eyes hidden under the black glasses of glasses reflecting the prison bars, and nearby, almost resting on the temple, white, piercing, like a screaming inscription: the criminal is known! Saturated with intense drama, the poster instantly attracts attention, causes a sense of pain and compassion for the difficult fate of people who are ruined in prisons and concentration camps of the bloody junta, gives birth to hatred of the poster of the executioner of Pinochet.
The study of creativity is the study of the work of such major masters as G. Klutsis and D. Hartfield helped the artist in working on a photoplacate. He studied from the curtain constructiveness of compositional installation, the harmonious connection of photography, slogan, lines - in the name of the maximum expressiveness of the image; He was attracted by the murderous sarcasm of the Hartfield photographic fluits, made by the language of bold allegories, symbols, acutely commenting on the political events of the day.
But, bowing to the talent of these wonderful masters, who at one time said a new word in the art of the Soviet poster, Deman managed to find his handwriting, express his artistic personality, bring new modern features in the poster inherent in the art of the sixties. Plastic language is clear and understandable. The artist knew how to speak clearly, extremely concisely concisely, about the most topical, acute problems of modernity.
Active effectiveness, instant "readability", the ability to cause a quick and active reaction of the audience - distinctive features of the posters of the house.