The naive art of biography

A picture of the screen of Tahitian women on the coast. One of the first experimenters was Paul Gauguin. Having left on Tahiti, the artist tried to show his life “the eyes of the savage”, to see the world with an uncomplicated, fresh look. The primitive was fond of not only Gauguin - for example, Henri Matisse gathered African sculpture. Naive painting was not just unprofessional - for Nava, the internal causes of creativity were more important than its result.

It was a direct, ingenuous art that did not imply reflection. The first artist-navistan and representative of the innovative trend in art art historians consider the French painter-self-taught Henri Russo. He began to write already in adulthood, leaving the main profession - for a long time he served at customs.

Already in the year, at the age of 42, Rousseau tried to present his work in Paris, at the “Exhibition of Independent”, but his paintings were ridiculed by both spectators and critics. However, the artist did not abandon classes with painting. After some time, he met the young poet Alfred Jarry, who was struck by the original works of Russo. Jarry introduced the painter into the circle of avant -garde.

The first positive review of the artist’s work appeared on the pages of the avant -garde magazine Mercure de France. And in the year, on the autumn salon, along with the paintings of the Fovista Henri Matisse, Andre Deren and others, the Rossiyo Leo canvas appeared. He was noticed by the audience, and several works of the artist were acquired by the famous merchant of the paintings of Ambroise Vollar.

The artist’s popularity grew, and already in the year Pablo Picasso arranged a banquet in his honor, at which leading painters and critics of that time gathered. Contemporaries appreciated Rousseau for Rousseau for unusual plots, an original manner, work with color. Jaguar attack on a horse. Many art lovers began to specifically look for anyone unknown painters. Soon after the death of Rousseau, one of his admirers, the German critic and art dealer Wilhelm Vide, formed a group from such artists, which was called "artists of the Holy Heart" or "Sunday Artists." In the year, Larionov organized an exhibition called "target", for which the Zdanevichi first brought from Georgia the work of Niko Pirosmani.

In the perfumes of Tbilisi taverns, they drew attention to the paintings that decorated the walls, and to unusual signs. In February, Ilya Zdanevich wrote an article “Samorodok artist”, and soon Pirosmani was shown at the exhibition in Moscow. The oilcloths were black and white. Pyroman wrote, leaving where it was needed, unnoticed pieces of oilcloth. Then he applied this technique for portraits.

The impression of some things made in such a manner was extraordinary. I forever remembered his oilcloth “prince”, where a pale old man in black Circassian stands with a horn in his hands on a meager ground. Behind him, the Mountain Caucasus brought almost to the topographic scheme. The prince’s Circassian was just an unwritten piece of oil oilcloth, especially sharp in dawn dull lighting.

I could not understand what paints this lighting was transferred. From the memoirs of the writer Konstantin Paustovsky 14 in the year on the basis of art courses named after Nadezhda Krupskaya, an absentee folk university of art appeared. Many classics of late domestic naive art still studied - and studied precisely in the stand. The training did not prevent them from working in their own, not like a manner of anyone, but in the expanse, artists got the opportunity to improve technical skills and gain professional criticism, learn different opinions about their works.

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