Ulyanov artist biography

That is why it is difficult to fake it. ” Ulyanov this year has turned on the birth of a sincere and seeking artist Nikolai Pavlovich Ulyanov. The funds of the All -Russian Museum of A. Pushkin are stored by many of the treasures of Pushkinians, and among them - more than one hundred sheets of the graphic cycle of N. Ulyanov “Pushkin in Life”, the portrait image of the poet “Pushkin at the desktop”, the multi -figure composition “Pushkin and his wife at the court ball”, one of the preparatory sketches for this work is a double portrait, and a thin graphic portrait, and a thin graphic portrait M.

He was born in the year, May 1, 19 April, under Art. It was as if some kind of imperious hand, starting with a meeting with a fellow countryman-artist Vasily Nikitich Meshkov, who “rescued” the teenager from an icon-painting workshop and helped him with professional self-determination, prepared for admission to the Moscow School of painting, sculpture and architecture-before the rewarding judgment of Nicholas Ge: “You will be an amazing painter!

Pushkin at the desktop. Canvas, butter Pushkin at work. Paper, pencil, coal Pushkin at work. Paper, pencil Biography born in a small tree, who received primary education at a parish school and in an icon-painting workshop, he entered the Moscow school of painting, sculpture and architecture of Musvz, became a favorite student of Konstantin Serov and Nikolai Ge, wrote portraits of Leo Tolstoy, Anton Chekhov, Vsevolod Meyerholda, Velvoloda Meyerholda, Vsevolod Meyerholda The poet Vyacheslav Ivanova, became a theater artist, designed the performances of the Moscow Art Theater, collaborated with other theaters, since there was a picturesque decoration in honor, and he was a painter in his nature.

In his youth, Ulyanov was close to the circle of world artists, entered the “Four Arts” group, taught, was recognized as comrades in the workshop, and even eventually admitted to academics of Rah. Muratov and B. Griftsov Unknown photographer from the portrait of V. Veresaev’s work of N. Ulyanov of the year. Positive brown. The young Nikolai Ulyanov, escaping from the province to Moscow, plunged into art life, was looking for a school, masters, a direction, but these searches were not only in the visual arts, but also among poets, writers and subtle intellectuals.

Muratov, a connoisseur of Italian art, the author of the enchanting “images of Italy” and one of the best Russian prose writers B. Zaitsev, writer and researcher of the fate of Pushkin and Gogol V. Veresaev, sculptor A. Golubkin, director V. Meyerhold - these are friends and objects of the image, “portraitable faces”. Painting talent and vitality, sincere enthusiasm for comprehension of the new, probably attracted friends to Nikolai Ulyanov, that is why they are not static in the portraits of his brush, but are full of life, irony, passions, puzzles, peering into portraits created by the artist, you understand that it brought him to the theater, which “turned into a theater faith”: he is interested The portraited, the complexity of emotions, but only a master can express this in a picturesque or graphic work.

Perhaps the most striking examples of such emotional expressiveness are portraits of two poets - Vyacheslav Ivanov and Alexander Pushkin. Work on the image of the poet and if a portrait of a man “era of twilight” - a symbolist, wise guy and ironic Vyacheslav Ivanov - is literally a portrait, then with the image of Pushkin everything is much more complicated: here the portrait develops into a genre, overcoming the conventions of a group, or rather, a double portrait.

And the genre in this work gains the features of theatricality - the composition of this picturesque canvas is so expressively built. According to the memoirs of the artist Elena Plekhan, Ulyanov from a year before the end of his life worked on the Pushkin theme: “Pushkin’s gypsum mask hung over Ulyanov’s written table. He loved to talk about Pushkin, his time, fantasized Pushkin and Natalya Nikolaevna in front of the mirror: we see them simultaneously at different angles.

This is one of the favorite techniques of the magic Vermaur Delft. This technique makes it possible to additional expressive details. We can compare the reactions of two characters to a situation, against which the “characters” not just froze. The complex psychological experiences in the facial expressiveness of Pushkin’s face, calm confidence in the impeccability of her victorious beauty of Natalia Nikolaevna, the alarming color of the picture with the predominance of dark crimson tones - everything is like a prelude to the tragedy of Pushkin and N.

Pushkin in front of the mirror in the Anichka Palace.

Canvas, oil sketch to the picture "A. Pushkin at the court ball in front of the mirror ”19 years. Cardboard, A. Pushkin’s oil at the court ball in front of the mirror. Cardboard, oil Nikolai Pavlovich Ulyanov for a long time and carefully approached work on the image of Pushkin. The first approaches to the topic dates back to the year when, according to the artist, he made trial sketches.

Here's how he recalled this later: "I remember this day very clear - it was cold, it was raining, and, as if warming the warmth of the Pushkin theme, I began to throw the composition."Then there was a long break of 10 years, and a new attempt to undoubtedly be a very important role in deciding to delve into the comprehension of Pushkin’s creativity in order to create a visual, original version, had a friendly environment of the artist and, above all, M.

Belyaev, a-Pushkinist, the initiator of the museum of A. Pushkin on Moika, 12, and V. Veresaev, author the poet "Pushkin in life." Portrait of M. Paper, pencil “Pushkin in life” is not by chance that is the name of the large cycle of graphic sheets, made by the artist in the years. Ulyanov-schedule in a free drawing seems to turn over the pages of Pushkin’s life, not at all imitating the fluidity of his pen, creating original images echoing with the poet’s work.

Pushkin-lyceum player in the park. Paper, coal Pushkin with his wife in Peterhof. Paper, watercolor, coal Pushkin at the fair near the Svyatogorsky monastery. Paper, Watercolor Ulyanov was generously gifted not only with the talent of the artist, but also with the talent of the writer, the memoirist. He is a thinking artist, doubting, looking for his manner and a topic, reflecting and expressing his thoughts and feelings in different genres.

His thoughts about working on the poet’s image are interesting: “If in the early period of his biography, Pushkin was interested in me as a freedom -loving person, a poet of indomitable vitality, then in the last period associated with the Higher Light, he touched as a person tragically doomed ... The last years of Pushkin’s life seemed so rich dramatic plots that they made it possible to create uniform drawings and paintings.

Such stories could result in bizarre multi -figure compositions. For more than 20 years, his plot of the future picture was worried, he began to make sketches of the composition, searched for the model, pondered the details of the interior, costumes, but first of all he was occupied by the image of the poet in a state of extreme mental stress. This tension is emphasized by a comparison with impassive calmness of the face of the one that he called the "pure charms of the purest sample." According to contemporaries, for the image of Natalia Nikolaevna, one of the first beauties of his time posed for the artist - actress and director Julia Solntsev, who was remembered by the audience at the Aelita movie.

The artist studied the portrait features of Pushkin not so much according to the lifetime portraits of poets, although they were studied, but examining, studying the posthumous mask and making sketches from it at different angles. It is curious that the graphic cycle “Pushkin in life” and the picturesque canvas “A. Pushkin at the court ball, and the portrait work “Pushkin at the desktop” was created almost at the same time.

All of them are dated years for years, but also sheets of the graphic cycle, and the picturesque canvases indicate a difficult path to comprehend the puzzle of Pushkin’s puzzle by the artist ... And in this series it is important to note the difference between the picturesque portrait of the poet and his image in a multi -figure composition. I think that the artist himself expressed this most precisely, determining that Pushkin was for him a “source of complex and joyful excitement”.

Pushkin in Mikhailovsky. Paper, coal Pushkin with his wife. Paper, coal, Pushkin Pushkin Pushkin. Paper, pencil Pushkin in Trigorsky. Paper, watercolor, gouache Pushkin in Smirdin's bookstore. Paper, coal duel Pushkin with Dantes.