Municipal state-financed organization additional education
"Children's Art School of Pochinkovsky District"
Lecture course.
History of paintings.
Fonvizin Artur Vladimirovich.
History of fine arts.
DHS.
Developer: art department teacher
MBU DO "DSHI Pochinkovsky district"
Kazakova Inna Viktorovna
2017
Fonvizin Artur Vladimirovich
(18821973)
A.V. Fonvizin was born into the family of a forester. In 1901 he began his studies at the Moscow School of Painting and Painting, but was
expelled along with two friends, M.F. Larionov and S.Yu. Sudeikin, for
arrangement of an exhibition not permitted by the authorities.
In 190406 continued his education in Germany, in private workshops in Munich.
In the first decade of the century he was an active and prominent participant in high-profile exhibitions,
such as "Blue Rose", "Wreath", Salons "Golden Fleece", "Wreath Stefanos", "World
art."
In the 1920s became a member of the Makovets association, taught at the Tambov studios
Proletkult, in the Nizhny Novgorod art college.
On early stage his creativity worked in line with symbolism, in the style of
called lyrical primitive. Fonvizin's canvases of that time are different
exquisite range. It’s as if some kind of shimmering mysterious emanates from them.
light that creates a certain state of mind. Such are his "Bride" (1902),
"Leda", "Composition with the Figure of Christ" (both 1904).
However, today Fonvizin is better known as an unsurpassed virtuoso of watercolor
painting. By the 1930s. he finally chose for himself the main and favorite one since then
since then watercolor technique, revealed the romantically elevated structure of his art,
outlined a range of topics related to festive images of theater and circus and
childhood memories immersed in a rainbow haze. Immediately in color, without
pencil preparation, he paints airy, light floral still lifes from nature,
landscapes melting into the fog, but mainly portraits, giving preference to
female models.
His favorite heroines are actresses, often in theatrical costumes related to
a specific role, immersed in the elevated emotional atmosphere of the scene
(“Portrait of D.V. Zerkalova”, “Portrait of Yu. S. Glizer”, both 1940, etc.). And the children's
his love for the circus dictated to him countless, no longer in kind, but in imagination
generated color sketches of elegant riders (series "Circus", 1940-70s).
A romantic haze surrounds the images of popular artists melting in a haze of colors.
romances (series "Songs and Romances", 194060s), childhood memories of
provincial life (“Cabin Drivers”, 1940s). His best works are also included here.
for a book.
Meanwhile, neither the improvisational, seemingly careless freedom of watercolor painting, nor
the romantic dreaminess of his images was not met in the 1930s and 1940s.
official artistic guidelines, and therefore Fonvizin’s work
was attacked in the press at that time. And during the war he was for some time
deported to Kazakhstan for German origin. And yet the artist remained
invariably true to the nature of his talent, until the end of his life he developed and
varied all the same favorite motifs.
Artist's paintings.
Composition with
figure of Christ
Bride
At the circus
Portrait of D.V.
Zerkalova in the role
Yulia Tugina from
plays by A.N.
Ostrovsky
"Last
victim"
Fonvizin Artur Vladimirovich
Arthur Fonvisin
(1882 - 1973)
A.V. Fonvizin was born into the family of a forester. He began his studies at the Moscow School of Painting and Art Exhibition in 1901, but was expelled along with two friends, M.F. Larionov and S.Yu. Sudeikin, for organizing an exhibition that was not permitted by the authorities.
Zefirov Konstantin Klavdianovich (Klavdievich)
"Portrait of Fonvizin Artur Vladimirovich"
In 1904-06. continued his education in Germany, in private workshops in Munich.
In the first decade of the century, he was an active and prominent participant in high-profile exhibitions such as “Blue Rose”, “Wreath”, “Golden Fleece” Salons, “Wreath-Stephanos”, “World of Art”.
In the 1920s became a member of the Makovets association, taught in the studios of the Tambov Proletkult, at the Nizhny Novgorod Art College.
At the early stage of his work he worked in line with symbolism, in the style of the so-called lyrical primitive. Fonvizin's canvases of that time are distinguished by their exquisite range. It’s as if some flickering mysterious light emanates from them, creating a certain state of mind. These are his “Bride” (1902), “Leda”, “Composition with the Figure of Christ” (both 1904).
However, today Fonvizin is better known as an unsurpassed virtuoso watercolor painting. By the 1930s He finally chose for himself the main and favorite watercolor technique since then, revealed the romantically elevated structure of his art, outlined a range of themes associated with festive images of the theater and circus and with childhood memories immersed in a rainbow haze. Immediately in color, without pencil preparation, he paints from life airy-light floral still lifes, landscapes melting in the fog, but mainly portraits, giving preference to female models.
His favorite heroines are actresses, often in theatrical costumes associated with a specific role, immersed in the elevated emotional atmosphere of the stage (“Portrait of D. V. Zerkalova”, “Portrait of Yu. S. Glizer”, both 1940, etc.). And his childhood love for the circus dictated to him countless color sketches of elegant riders, no longer in kind, but in fantasy (the “Circus” series, 1940-70s). The images of popular romances melting in a haze of colors (the “Songs and Romances” series, 1940-60s), and childhood memories of provincial life (“Carriers”, 1940s) are shrouded in a romantic haze. This also includes his best works for the book.
Meanwhile, neither the improvisational, no matter how careless freedom of watercolor painting, nor the romantic dreaminess of his images responded to the 1930s and 1940s. official artistic guidelines, and therefore Fonvizin’s work was attacked in the press at that time. And during the war years, he was expelled to Kazakhstan for some time for his German origin. And yet the artist remained invariably true to the nature of his talent, until the end of his life he developed and varied all the same favorite motifs.
____________________________
Method A.V. Fonvizina
The considered method of watercolor painting is named after wonderful artist Arthur Vladimirovich Fonvizin, who worked in an amazing, unique manner. And although there is an opinion that Fonvizin is traditional in his works, it can most likely be attributed to the fact that the artist did not use white, did not mix gouache with watercolors, i.e. he was traditional in pure watercolor.
Otherwise, his works are deeply individual in nature.
It would be possible precisely for this reason not to consider his method of watercolor painting, if not for the many followers, or rather imitators, among subsequent generations of artists, especially modern young watercolorists.
Some artists and art historians believe that Fonvizin painted his watercolors on the wet surface of paper. This is not true. An artist does not work on pre-moistened paper when he is entirely dependent on the whims of the spreading material. wet paper paints.
The memories of the artist’s contemporaries, his models, who watched the master’s work have been preserved. You can carefully look, and more than once, at his work in Tretyakov Gallery and at various exhibitions.
A. V. Fonvizin wrote on Whatman paper GOZNAK self made with a slight graininess, attaching the paper to the tablet with buttons, a trace of which remained on the work.
However, this incompleteness rather gives the impression of a special laconicism inherent in his works. Then, having collected a large amount of water with paint with a large brush, he gently rubbed it into the surface of the paper, adding other colors to obtain the required complex tone, i.e., a kind of palette was obtained in the work itself. With great skill, the artist controlled wide streaks of color with a brush, alternating dark and light areas, sometimes leaving the paper almost untouched.
Here and there the artist introduced color accents on the dried surface of the previous layer, sometimes very insignificant, almost dots, to emphasize the shape or color spot. In portraits, eyes and lips are most often emphasized.
In some works one can see how the artist, having taken an active color, which at first glance stands out from the general tone of the sheet, applied a wide stroke to its surface with a reverent movement of the brush.
IN later works A.V. Fonvizin slightly blurred some color areas, combining them with clear fills, and also layered several layers of color on top of each other. However, his work does not impress multi-layer watercolor, they retain amazing freshness, transparency and luminosity.
In conclusion, I would like to add the following. Looking at the watercolors of contemporary young artists who are passionate about the work of A. V. Fonvizin, I would like to believe that they will ultimately be able to move from imitating a great master, rather formal, to a deep understanding of his work and, using the artist’s basic, fundamental approaches to watercolor, create their own unique works.
http://www.liveinternet.ru/users/marginalisimus/post135125812/
A. V. Fonvizin’s method
The method of watercolor painting under consideration is named after the wonderful artist Arthur Vladimirovich Fonvizin, who worked in an amazing, unique manner. And although there is an opinion that Fonvizin is traditional in his works, it can most likely be attributed to the fact that the artist did not use white, did not mix gouache with watercolors, i.e. he was traditional in pure watercolor.
Otherwise, his works are deeply individual in nature.
It would be possible precisely for this reason not to consider his method of watercolor painting, if not for the many followers, or rather imitators, among subsequent generations of artists, especially modern young watercolorists.
Some artists and art historians believe that Fonvizin painted his watercolors on the wet surface of paper. This is not true. An artist does not work on pre-moistened paper when he is entirely at the mercy of the vagaries of paint spreading over the wet paper.
The memories of the artist’s contemporaries, his models, who watched the master’s work have been preserved. You can carefully look, and more than once, at his works in the Tretyakov Gallery and at various exhibitions.
A.V. Fonvizin wrote on handmade Whatman paper GOZNAK with a slight grain, attaching the paper to the tablet with buttons, a trace of which remained on the work.
It looks like the author didn't preparatory drawing with a pencil, but began to draw with a thin brush tip, outlining only minor contours of what was being depicted, as evidenced by the unfinished works.
However, this incompleteness rather gives the impression of a special laconicism inherent in his works. Then, having collected a large amount of water with paint with a large brush, he gently rubbed it into the surface of the paper, adding other colors to obtain the required complex tone, i.e., a kind of palette was obtained in the work itself. With great skill, the artist controlled wide streaks of color with a brush, alternating dark and light areas, sometimes leaving the paper almost untouched.
Here and there the artist introduced color accents on the dried surface of the previous layer, sometimes very insignificant, almost dots, to emphasize the shape or color spot. In portraits, eyes and lips are most often emphasized.
In some works one can see how the artist, having taken an active color, which at first glance stands out from the general tone of the sheet, applied a wide stroke to its surface with a reverent movement of the brush.
In his later works, A. V. Fonvizin slightly blurred some color areas, combining them with clear fills, and also layered several layers of color on top of each other. However, his works do not give the impression of multi-layered watercolors; they retain amazing freshness, transparency and luminosity.
In conclusion, I would like to add the following. Looking at the watercolors of contemporary young artists who are passionate about the work of A. V. Fonvizin, I would like to believe that they will ultimately be able to move from imitating a great master, rather formal, to a deep understanding of his work and, using the artist’s basic, fundamental approaches to watercolor, create their own unique works.
A. V. Fonvizin’s method
The method of watercolor painting under consideration is named after the wonderful artist Arthur Vladimirovich Fonvizin, who worked in an amazing, unique manner. And although there is an opinion that Fonvizin is traditional in his works, it can most likely be attributed to the fact that the artist did not use white, did not mix gouache with watercolors, i.e. he was traditional in pure watercolor.
Otherwise, his works are deeply individual in nature.
It would be possible precisely for this reason not to consider his method of watercolor painting, if not for the many followers, or rather imitators, among subsequent generations of artists, especially modern young watercolorists.
Some artists and art historians believe that Fonvizin painted his watercolors on the wet surface of paper. This is not true. An artist does not work on pre-moistened paper when he is entirely at the mercy of the vagaries of paint spreading over the wet paper.
The memories of the artist’s contemporaries, his models, who watched the master’s work have been preserved. You can carefully look, and more than once, at his works in the Tretyakov Gallery and at various exhibitions.
A.V. Fonvizin wrote on handmade Whatman paper GOZNAK with a slight grain, attaching the paper to the tablet with buttons, a trace of which remained on the work.
It seems that the author did not make a preparatory drawing with a pencil, but began to draw with a thin brush tip, outlining only minor contours of what was depicted, as evidenced by the unfinished works.
However, this incompleteness rather gives the impression of a special laconicism inherent in his works. Then, having collected a large amount of water with paint with a large brush, he gently rubbed it into the surface of the paper, adding other colors to obtain the required complex tone, i.e., a kind of palette was obtained in the work itself. With great skill, the artist controlled wide streaks of color with a brush, alternating dark and light areas, sometimes leaving the paper almost untouched.
Here and there the artist introduced color accents on the dried surface of the previous layer, sometimes very insignificant, almost dots, to emphasize the shape or color spot. In portraits, eyes and lips are most often emphasized.
In some works one can see how the artist, having taken an active color, which at first glance stands out from the general tone of the sheet, applied a wide stroke to its surface with a reverent movement of the brush.
In his later works, A. V. Fonvizin slightly blurred some color areas, combining them with clear fills, and also layered several layers of color on top of each other. However, his works do not give the impression of multi-layered watercolors; they retain amazing freshness, transparency and luminosity.
In conclusion, I would like to add the following. Looking at the watercolors of contemporary young artists who are passionate about the work of A. V. Fonvizin, I would like to believe that they will ultimately be able to move from imitating a great master, rather formal, to a deep understanding of his work and, using the artist’s basic, fundamental approaches to watercolor, create their own unique works.
