Who is Pozdeev? Amazing artist Andrey Pozdeev

(1998-07-12 ) (71 years old)

Andrey Gennadievich Pozdeev(September 27, 1926, Nizhny Ingash village, Krasnoyarsk Territory, USSR - July 12, 1998, Krasnoyarsk) - Russian and Soviet artist. Member of the Union of Artists of the USSR (since 1961).

Biography

Born into the family of a postal employee Gennady Danilovich Pozdeev and his wife Evdokia Ivanovna.

Worked as an assistant fireman. During the Great Patriotic War he served in the Far Eastern Fleet.

He began to comprehend painting on his own: he visited exhibitions, museums and galleries, studied the works of great masters of the past, read books, and painted from life. Subsequently he graduated from the Krasnoyarsk Art School named after V. I. Surikov (teacher - A. P. Lekarenko).

Andrey Pozdeev about his understanding of the artist’s work:

...The artist as a person is more individual. He allows himself what other people may not allow. But he has a great responsibility: to give of himself as he is. He is naked, he is “naked.” And he must also have a head, think like a philosopher. Philosophers of thought are an incredible thing. They talk about the same thing, but each from their own individual perspective. And I also have to convey color. And I am obliged, if I “got into” this business for the rest of my life - and here life is not enough - to constantly improve and develop to the very best. last day, how much fate has given me.

The artist’s personal exhibitions were held in museums in Tallinn (1984; with the assistance of O. Subbi) and Riga, in the State Museum, in the State Tretyakov Gallery, in the Central House of Artists in Moscow. Paintings by Andrei Pozdeev are in many museums around the world, including Tretyakov Gallery and in the Russian Museum. A significant collection of the artist’s paintings is in the collection of the Krasnoyarsk State Art Museum named after V. I. Surikov.

Andrey Gennadievich Pozdeev is included in the international art rating (world rating of artists of the 18th-21st centuries who shape the world artistic heritage).

The artist died on July 12, 1998 in his studio in Krasnoyarsk. He was buried at the Badalyk cemetery.

Some pictures

“Crossroads” 1957, m. KGKhM im. V. I. Surikova
“Sails” 1959, m. KGKhM im. V. I. Surikova
"Evening. Taxi rank" 1958, art., m. KGKhM im. V. I. Surikova
“Ready for voyage” 1959 art., m. KGKhM im. V. I. Surikova
“Warm Day” 1959, m. KGKhM im. V. I. Surikova
“At the Pier” 1959, m. KGKhM im. V. I. Surikova
"Old Town" 1960s KGKhM im. V. I. Surikova
“Yenisei. Embankment" 1960s. k., m. KGKhM im. V. I. Surikova
“City landscape” 1962, KGKhM im. V. I. Surikova
“On the Yenisei” 1963, m. KGKhM im. V. I. Surikova
“Sails” 1965, oil on canvas, KGKhM im. V. I. Surikova
“City landscape” 1965, KGKhM im. V. I. Surikova
“May Day” 1965 KGKhM im. V. I. Surikova
“Prospect Mira” 1967 KGKhM im. V. I. Surikova
“Landscape with a red house” 1968, KGKhM im. V. I. Surikova

Gospel cycle “Life”:

"Composition". 1990 Oil on canvas. 140 x 140 cm.
"Calvary". 1989 Oil on canvas. 150 x 150 cm
“Human Life” 1989 Oil on canvas. 140 x 140 cm (7 paintings)
"Christmas". 1989 Oil on canvas. 140 x 140 cm.
"Elders". 1980 Oil on canvas. 110 x 110 cm
“The Last Supper” 1989. Oil on canvas.
"Bowl". 1990 Oil on canvas. 130 x 140 cm.
"Ascension". 1989 Oil on canvas. 140 x 140 cm.
"Planet". 1990 Oil on canvas. 150 x 150 cm.
"Eve and the Serpent". 1996 Oil on canvas. 150 x 150 cm.

Albums

Eleven albums by Andrey Pozdeev have been published:

“100 paintings by the artist A. G. Pozdeev” (1992)
"Andrey Pozdeev. Space and Time" (1993)
"Andrey Pozdeev. From the collection of S. Obraztsov” (1997)
"Andrey Pozdeev. Collection from the KKhM im. V. I. Surikova" (1999)
“Portraits of Andrey Pozdeev” (2001)
“The World of Andrey Pozdeev” (in 3 volumes):

"Painting" (1999)
“Graphics, watercolor” (2001)
"Archive, Memories" (2002)

“Andrey Pozdeev: Human Lives” (2004)
“Graphics by Andrey Pozdeev” (2005)
“Kaltat of Andrey Pozdeev” (2006)

Awards

Memory

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Notes

Literature

Zhukovskiy V. I.// Visual content in the visual paintings of Andrei Pozdeev) // Journal of the Siberian Federal University. Humanitarian sciences. Humanities & Social Sciences. - 2008. 1 (1). - pp. 124-148.
Rusakov Eduard[Text]: [Conversation with the doctor philosophical sciences, head of the department of art history, professor V.I. Zhukovsky] // Krasnoyarsk worker. - 2001. - September 12. - No. 170.

Excerpt characterizing Pozdeev, Andrey Gennadievich

After everything that Napoleon said to him, after these outbursts of anger and after the last dryly spoken words:
“Je ne vous retiens plus, general, vous recevrez ma lettre,” Balashev was sure that Napoleon not only would not want to see him, but would try not to see him - the offended ambassador and, most importantly, a witness to his obscene fervor. But, to his surprise, Balashev, through Duroc, received an invitation to the emperor’s table that day.
Bessieres, Caulaincourt and Berthier were at dinner. Napoleon met Balashev with a cheerful and affectionate look. Not only did he not show any expression of shyness or self-reproach for the morning outburst, but, on the contrary, he tried to encourage Balashev. It was clear that for a long time now the possibility of mistakes did not exist for Napoleon in his belief and that in his concept everything that he did was good, not because it coincided with the idea of what is good and bad, but because he did This.
The Emperor was very cheerful after his horseback ride through Vilna, in which crowds of people enthusiastically greeted and saw him off. In all the windows of the streets along which he passed, his carpets, banners, and monograms were displayed, and the Polish ladies, welcoming him, waved their scarves at him.
At dinner, having seated Balashev next to him, he treated him not only kindly, but treated him as if he considered Balashev among his courtiers, among those people who sympathized with his plans and should have rejoiced at his successes. Among other things, he started talking about Moscow and began asking Balashev about the Russian capital, not only as an inquisitive traveler asks about a new place that he intends to visit, but as if with the conviction that Balashev, as a Russian, should be flattered by this curiosity.
– How many residents are there in Moscow, how many houses? Is it true that Moscow is called Moscou la sainte? [saint?] How many churches are there in Moscow? - he asked.
And in response to the fact that there are more than two hundred churches, he said:
– Why such an abyss of churches?
“Russians are very pious,” answered Balashev.
“However, a large number of monasteries and churches is always a sign of the backwardness of the people,” said Napoleon, looking back at Caulaincourt to evaluate this judgment.
Balashev respectfully allowed himself to disagree with the opinion of the French emperor.
“Every country has its own customs,” he said.
“But nowhere in Europe is there anything like this,” said Napoleon.
“I apologize to your Majesty,” said Balashev, “besides Russia, there is also Spain, where there are also many churches and monasteries.”
This answer from Balashev, which hinted at the recent defeat of the French in Spain, was highly appreciated later, according to Balashev’s stories, at the court of Emperor Alexander and was appreciated very little now, at Napoleon’s dinner, and passed unnoticed.
It was clear from the indifferent and perplexed faces of the gentlemen marshals that they were perplexed as to what the joke was, which Balashev’s intonation hinted at. “If there was one, then we did not understand her or she is not at all witty,” said the expressions on the faces of the marshals. This answer was so little appreciated that Napoleon did not even notice it and naively asked Balashev about which cities there is a direct road to Moscow from here. Balashev, who was on the alert all the time during dinner, replied that comme tout chemin mene a Rome, tout chemin mene a Moscow, [just as every road, according to the proverb, leads to Rome, so all roads lead to Moscow,] that there are many roads, and that among these different paths there is the road to Poltava, which Charles XII chose, said Balashev, involuntarily flushing with pleasure at the success of this answer. Balashev didn’t have time to finish his sentence last words: “Poltawa”, as Caulaincourt already started talking about the inconveniences of the road from St. Petersburg to Moscow and about his St. Petersburg memories.
After lunch we went to have coffee in Napoleon's office, four days ago former cabinet Emperor Alexander. Napoleon sat down, touching the coffee in a Sevres cup, and pointed to Balashev’s chair.
There is a certain after-dinner mood in a person that, stronger than any reasonable reason, makes a person be pleased with himself and consider everyone his friends. Napoleon was in this position. It seemed to him that he was surrounded by people who adored him. He was convinced that Balashev, after his dinner, was his friend and admirer. Napoleon turned to him with a pleasant and slightly mocking smile.
– This is the same room, as I was told, in which Emperor Alexander lived. Strange, isn't it, General? - he said, obviously without doubting that this address could not but be pleasant to his interlocutor, since it proved the superiority of him, Napoleon, over Alexander.
Balashev could not answer this and silently bowed his head.
“Yes, in this room, four days ago, Wintzingerode and Stein conferred,” Napoleon continued with the same mocking, confident smile. “What I cannot understand,” he said, “is that Emperor Alexander brought all my personal enemies closer to himself.” I do not understand this. Didn't he think that I could do the same? - he asked Balashev with a question, and, obviously, this memory pushed him again into that trace of morning anger that was still fresh in him.
“And let him know that I will do it,” said Napoleon, standing up and pushing his cup away with his hand. - I will expel all his relatives from Germany, Wirtemberg, Baden, Weimar... yes, I will expel them. Let him prepare refuge for them in Russia!
Balashev bowed his head, showing with his appearance that he would like to take his leave and is listening only because he cannot help but listen to what is being said to him. Napoleon did not notice this expression; he addressed Balashev not as an ambassador of his enemy, but as a man who was now completely devoted to him and should rejoice at the humiliation of his former master.
– And why did Emperor Alexander take command of the troops? What is this for? War is my craft, and his business is to reign, not to command troops. Why did he take on such responsibility?
Napoleon again took the snuff-box, silently walked around the room several times and suddenly suddenly approached Balashev and with a slight smile, so confidently, quickly, simply, as if he were doing something not only important, but also pleasant for Balashev, he raised his hand to the face of the forty-year-old Russian general and, taking him by the ear, tugged him slightly, smiling with only his lips.
– Avoir l"oreille tiree par l"Empereur [Being torn out by the ear by the emperor] was considered greatest honor and favor at the French court.
“Eh bien, vous ne dites rien, admirateur et courtisan de l"Empereur Alexandre? [Well, why aren’t you saying anything, admirer and courtier of Emperor Alexander?] - he said, as if it was funny to be someone else’s in his presence courtisan and admirateur [court and admirer], except for him, Napoleon.
– Are the horses ready for the general? – he added, slightly bowing his head in response to Balashev’s bow.
- Give him mine, he has a long way to go...
The letter brought by Balashev was last letter Napoleon to Alexander. All the details of the conversation were conveyed to the Russian emperor, and the war began.

After his meeting in Moscow with Pierre, Prince Andrey left for St. Petersburg on business, as he told his relatives, but, in essence, in order to meet there Prince Anatoly Kuragin, whom he considered necessary to meet. Kuragin, whom he inquired about when he arrived in St. Petersburg, was no longer there. Pierre let his brother-in-law know that Prince Andrei was coming to pick him up. Anatol Kuragin immediately received an appointment from the Minister of War and left for the Moldavian Army. At the same time, in St. Petersburg, Prince Andrei met Kutuzov, his former general, always disposed towards him, and Kutuzov invited him to go with him to the Moldavian Army, where the old general was appointed commander-in-chief. Prince Andrei, having received the appointment to be at the headquarters of the main apartment, left for Turkey.

Andrey Gennadievich Pozdeev born on September 27, 1926 in the village of Nizhny Ingash, Krasnoyarsk Territory, in the family of postal employee Gennady Danilovich Pozdeev and his wife Evdokia Ivanovna. He was proud of his belonging to the original Siberian family, he said: “I am a Yenisei tradesman. The family includes blacksmiths and cabinetmakers.” Mother was from the Angara River.
The family constantly moved due to his father's work. They lived mainly in villages along the Yenisei. WITH early years Andrey Pozdeev was engaged in drawing. In 1937 he took part in the regional competition children's drawing, dedicated to the centenary of the memory of Pushkin, and received a cash prize for the portrait of the poet.
At the very beginning of the war, Andrei Pozdeev began working at the Combine Plant. For going to his mother and grandmother, who then lived in the village of Tyukhtete, he received 6 months in prison under the “Stalinist decree”. In the colony he constantly painted, designing wall newspapers and various “corners.”
After his release, Andrei Pozdeev was sent to study at a vocational school at the Yenisei station. In 1943 he went to the front as a volunteer. Was sent to the Far East. Participated in hostilities (signalman in artillery). After the end of hostilities he served in the Kuril Islands
After demobilization due to illness (tuberculosis), Pozdeev returned to Krasnoyarsk region, to Minusinsk, where his family then lived. In 1948 he participated in an exhibition of Minusinsk artists.
From 1948 to 1953 he entered art schools in Sverdlovsk and Leningrad. Each time I entered, but was forced to return due to worsening illnesses.
After moving to Krasnoyarsk in 1950, Andrei Pozdeev was accepted into the “Artist” partnership and entered a children's drawing school, which he completed in two years. His teacher was Andrei Prokofievich Lekarenko.
Since 1956, Andrei Pozdeev began working at the Art Fund as a copyist.
In the autumn of the same year, Pozdeev participated in an exhibition of works by Siberian artists, which took place in Irkutsk, and was accepted as a candidate member of the Krasnoyarsk organization of the Union of Artists of the RSFSR. The candidacy dragged on until 1961.
In the 60-70s, Andrey painted a lot from nature of the city and its surroundings. In addition to the streets of Krasnoyarsk, depicted in watercolors and drawings, at the same time the artist painted a large series of works called “Kaltat” (after the name of the river in the State Reserve “Stolby”).
Andrey Pozdeev participated in Regional and Zonal exhibitions (there were 31 of them), and from 1964 to 1997, 11 personal exhibitions were also held: Krasnoyarsk, Novosibirsk, Norilsk, Tallinn, Moscow, St. Petersburg, Zelenogorsk. The artist appreciated exhibitions; they helped to sum up what had been done and find new creative outlets. In 1983, at the exhibition " Soviet Russia“Two of his paintings were presented - “Dandelions”, “Kuzmicheva Polyana”. Andrey Pozdeev participated in the All-Union exhibitions: “Exhibition of works by young artists Soviet Union To World Festival youth and students", Moscow, 1957 and All-Union art exhibition "40 years of the Komsomol", Moscow, 1958.
All his life Pozdeev painted flowers. IN different years he painted them in different ways and created a huge number of paintings with the title “Bouquet” or “Flowers”.
In the 80s, Andrei’s reading circle included the Bible and books on Sacred History. Esoteric literature also aroused great interest. In the new workshop, which the artist received in 1980, as a result of the rethinking of this literature, a series of works was created, which included such paintings as: “Calvary”, “Prayer of the Cup”, “Creation of the World”, the cycle “Human Life” and others.
In 1991, exhibitions were organized in Moscow (Central House of Artists, 1993) and St. Petersburg (State Russian Museum, 1996), albums were released, and several television programs, articles were published in central art magazines.
Pozdeev's official recognition began with his first personal exhibition in Moscow in 1993. Based on its results, he was nominated for competition. State Prize. In 1998, Andrei Pozdeev was awarded a Diploma and a silver medal Russian Academy arts
July 12, 1998 A.G. Pozdeev died in his workshop in Krasnoyarsk.
Since 1992 to date, 12 personal albums by A. Pozdeev have been published: “100 paintings by the artist A. G. Pozdeev” (1992); "Andrey Pozdeev. Space and Time" (1993); "Andrey Pozdeev. Ichs from the collection of S. Obraztsov” (1997); "Andrey Pozdeev. Collection from the KKhM im. V.I.Surikov" (1999); “Portraits of Andrey Pozdeev” (2001); “The World of Andrey Pozdeev” (in 3 volumes): “Painting” (vol. 1) (1999), “Graphics, watercolor” (vol. 2) (2001), “Archive, memories” (vol. 3) (2002); “Andrey Pozdeev: Human Life” (2004); “Graphics by Andrey Pozdeev” (2005); “Kaltat of Andrey Pozdeev” (2006), “Printed graphics of Andrey Pozdeev” (2009).

Already at the end of the Great Patriotic War, Pozdeev was drafted into the army, served in Far East- in Manchuria, the Kuril Islands. There he saw the bloody, dirty, undignified underside of the war, which was later reflected in many of his canvases. There he fell ill with a severe form of tuberculosis.

Pozdeev came to conquer Krasnoyarsk. In 1948, Andrei Pozdeev, loaded with canvases and sheets of cardboard, came to Krasnoyarsk and immediately decided to show his works to professional artists. Pozdeev was supported by Andrei Lekarenko, who strongly recommended that he enroll in an art school. He graduated from Surikov school with honors.

Before the artist came to his own style, he spent quite a long time copying the works of classics and drawing sketches. “I have always loved to draw. Having completed the seven-year school, he sent an application and his drawings to Omsk art school. But then the war began, and my studies ended...” High water Sunny day

“Sails” When in 1974 Pozdeev’s first personal exhibition was allowed “with difficulty” in Krasnoyarsk, our administrators and art critics were going to cause a critical rout during the discussion. But the idea did not work out: among those who came to this discussion there suddenly turned out to be many kind and smart people who love Pozdeev and his paintings.

Portraits Judging by the first impression, Pozdeev is truly “out of this world”: indifferent to luxury, fashionable clothes and generally everything external, very far from the bustle of the party and market: Well, isn’t he an eccentric?

“... all the same, the person will be similar, not even externally - internally, and those who know him will recognize him...” His exhibitions are successfully held in Moscow, St. Petersburg, abroad, they write about him, publish albums, luxurious catalogues: but he has no orders or honorary titles. Only glory, in which he does not want to “swim”. "I do not need it!" - his typical excuse for all temptations. The excuse is not of an eccentric, but of a sage.

Even his earliest, simplest landscapes and still lifes ("Sea Perches", "Sunflowers") - they still amaze today with their brightness, harmony, easy precision of composition and color. Flowers

Reserve "Stolby" "...Reserve "Stolby". There is a hut, a half-dugout, all covered in flowers. There I painted a bunch of landscapes. Animals walk and wander there. What a miracle, what a miracle!”

Siberian Picasso For all his originality, Pozdeev is not alone in the context of the world visual arts. He can safely be placed on a par with such famous masters as Picasso, Matisse, Klee, Kandinsky; the similarity with these artists is obvious.

(1926-09-27 ) Place of Birth: Date of death: Citizenship:

Russia

Genre: Style: Awards: Website:

Andrey Gennadievich Pozdeev(September 27, 1926, Nizhny Ingash village, Krasnoyarsk Territory - July 12, 1998) - Russian and Soviet artist. Member of the Union of Artists of the USSR (since 1961).

Biography

Born into the family of a postal employee Gennady Danilovich Pozdeev and his wife Evdokia Ivanovna.

Worked as an assistant fireman. During the Great Patriotic War he served in the Far Eastern Fleet.

Andrey Pozdeev about his understanding of the artist’s work:

...The artist as a person is more individual. He allows himself what other people may not allow. But he has a great responsibility: to give of himself as he is. He is naked, he is “naked.” And he must also have a head, think like a philosopher. Philosophers of thought are an incredible thing. They talk about the same thing, but each from their own individual perspective. And I still have to convey color. And I am obliged, if I got into this business for the rest of my life - and here there is little life - to constantly improve and develop until the very last day, as long as fate has given me.

The artist's personal exhibitions were held in museums in Tallinn and Riga, at the State Russian Museum, at the State Tretyakov Gallery, and at the Central House of Artists in Moscow. Paintings by Andrei Pozdeev are in many museums around the world, including the Tretyakov Gallery and the Russian Museum. A significant collection of paintings by the artist is in the collection of the Krasnoyarsk State art museum them. IN AND. Surikov.

He died on July 12, 1998 in his workshop in Krasnoyarsk. He was buried at the Badalyk cemetery in Krasnoyarsk.

Some pictures

Gospel cycle “Life”:

"Composition". 1990 Oil on canvas. 140 x 140 cm.
"Calvary". 1989 Oil on canvas. 150 x 150 cm
“Human Life” 1989 Oil on canvas. 140 x 140 cm (7 paintings)
"Christmas". 1989 Oil on canvas. 140 x 140 cm.
"Elders". 1980 Oil on canvas. 110 x 110 cm
“The Last Supper” 1989. Oil on canvas.
"Bowl". 1990 Oil on canvas. 130 x 140 cm.
"Ascension". 1989 Oil on canvas. 140 x 140 cm.
"Planet". 1990 Oil on canvas. 150 x 150 cm.
"Eve and the Serpent". 1996 Oil on canvas. 150 x 150 cm.

Albums

11 albums by Andrey Pozdeev have been published:

“100 paintings by the artist A. G. Pozdeev” (1992)
"Andrey Pozdeev. Space and Time" (1993)
"Andrey Pozdeev. From the collection of S. Obraztsov” (1997)
"Andrey Pozdeev. Collection from the KKhM im. V. I. Surikova" (1999)
“Portraits of Andrey Pozdeev” (2001)
“The World of Andrey Pozdeev” (in 3 volumes):

"Painting" (1999)
“Graphics, watercolor” (2001)
"Archive, Memories" (2002)

“Andrey Pozdeev: Human Lives” (2004)
“Graphics by Andrey Pozdeev” (2005)
“Kaltat of Andrey Pozdeev” (2006)

Awards

Memory

Andrey Gennadievich Pozdeev born in the village of Nizhny Ingash, Krasnoyarsk Territory, in the family of a postal worker. While still a small child, Andrei began to draw, and throughout his life he could not imagine his life without drawing. In 1937, Pozdeev took part in a regional children's drawing competition dedicated to the centenary of Pushkin's memory, and received a cash prize for his portrait of the poet.

Pozdeev is a graduate of Krasnoyarsk art school named after V.I. Surikov, participant of numerous exhibitions. At the very beginning of the war, Andrei Gennadievich began working at the Krasnoyarsk Combine Plant. For going to his mother and grandmother, who then lived in the village of Tyukhtete, he received 6 months in prison under the “Stalinist decree”. In the colony he constantly painted, designing wall newspapers and various “corners.”

In 1943 he volunteered for the front and served in the Far Eastern Fleet. He was demobilized due to becoming seriously ill with tuberculosis. Pozdeev returned to the Krasnoyarsk Territory, to Minusinsk, where his family then lived. Thanks to a miracle, Andrei Gennadievich was able to partially overcome the disease and continued to live, being in an endless creative search, and draw.

Since 1956, Andrei Pozdeev began working at the Art Fund as a copyist. In the autumn of the same year, Pozdeev participated in an exhibition of works by Siberian artists, which took place in Irkutsk, and was accepted as a candidate member of the Krasnoyarsk organization of the Union of Artists of the RSFSR. In the 60-70s, Andrey painted a lot from nature in Krasnoyarsk and its environs. At the same time, the artist painted a large series of works called “Kaltat” (after the name of the river in the Krasnoyarsk reserve “Stolby”).

Andrei Pozdeev participated in regional and zonal exhibitions (there were 31 of them); from 1964 to 1997, 11 of his personal exhibitions were also held: Krasnoyarsk, Novosibirsk, Norilsk, Tallinn, Moscow, St. Petersburg, Zelenogorsk. The artist appreciated exhibitions; they helped to sum up what had been done and find new creative approaches. In 1983, two of his paintings were presented at the exhibition “Soviet Russia” - “Dandelions”, “Kuzmicheva Glade”.

Pozdeev loved to paint flowers. Over the years, he depicted them in different ways and created a huge number of paintings with the title “Bouquet” or “Flowers”.

In the 80s, Andrei Gennadievich’s reading circle included the Bible and books on Sacred History. Esoteric literature also aroused great interest. In the new workshop, which the artist received in 1980, as a result of the rethinking of this literature, a series of works was created, which included such paintings as: “Calvary”, “Prayer of the Cup”, “Creation of the World”, the cycle “Human Life” and others.

In the 1990s, exhibitions were organized in Moscow and St. Petersburg (State Russian Museum, 1996), albums were released, several television programs were created, and articles were published in central art magazines.

Andrei Gennadievich was a sincere and searching person, his work in different time differed in the technique of execution, the originality of vision and depiction of reality. Many of his works were condemned by some colleagues in the art workshop, the public, and people accustomed to the clarity and traditionality of drawing. But there were, of course, fans of his talent. Pozdeev had followers, those who studied, comprehending his style of writing. Andrei Gennadievich himself painted without imitating anyone, he always followed his feelings and emotions.

Pozdeev’s works trace almost all the main stages of world art: realism - impressionism - post-impressionism - fauvism - abstractionism. For the artist, this was not following trends, it was not imitation, but the embodiment of his personal consciousness. For him, these were natural stages of personal creative growth.

Pozdeev’s official recognition began, perhaps, with his first personal exhibition in Moscow in 1993. Based on its results, he was nominated for the State Prize. In 1998, Andrei Pozdeev was awarded a Diploma and a silver medal from the Russian Academy of Arts.

From 1992 to the present, 12 personal albums with reproductions of paintings by A.G. Pozdeev have been published. His works are kept in various museums around the world, including the Tretyakov Gallery and the Russian Museum. A fairly large number of the artist’s paintings are in the collection of the Krasnoyarsk State Art Museum. V. I. Surikova.

A.G. Pozdeev died in his workshop in Krasnoyarsk on July 12, 1998. He was buried at the Badalyk cemetery in Krasnoyarsk.

In memory of the great artist, an original bronze monument to Pozdeev was erected in the historical center of Krasnoyarsk in 2000, in the Krasnoyarsk secondary secondary school No. 69 (Shumyatskogo St., 3) a small museum has been organized.