Brusilovsky Misha- Russian artist, painter.

Photo: http://www.itsmycity.ru/blog/post/id/4809

Biography

Education:

• Boarding school for gifted children, Kyiv.
• Kyiv Art School named after. T. G. Shevchenko, 1952
• Institute of Painting, Sculpture and Architecture named after. I. E. Repina, Faculty of Graphics, Leningrad, 1959

Creative path

After graduation creative school Mikhail began to earn money by painting copies of paintings by famous Soviet artists for palaces of culture and other government institutions.

In 1953 he moved to Moscow, where he worked as a graphic designer at VDNH, but soon moved to Leningrad (now St. Petersburg), where he entered the Institute of Painting, Sculpture and Architecture. I. E. Repin.

In 1959, he defended his diploma at the Institute of Art in Leningrad and was assigned to Sverdlovsk (now Yekaterinburg). In Sverdlovsk, Misha Brusilovsky began teaching drawing at the Art School. I. D. Shadra, and also collaborate with the Central Ural Book Publishing House as an illustrator. Got busy easel paintings. He also accepted orders for monumental works.

Having lost his job in the publishing house and becoming free from the current situation, Misha Brusilovsky worked a lot in his workshop, which became a place of pilgrimage for artists. In his works, he addressed the theme of war, mythology, and painted paintings based on folk tales.

IN Soviet period The artist’s work caused a lot of controversy, since the style of the paintings had nothing to do with socialist realism, and was often considered anti-Soviet. With the advent of perestroika in the Soviet Union, the attitude towards the artist’s work changed and in 1986 the “ban on Brusilovsky” was lifted.

Countries and exhibitions where the works of Misha Brusilovsky were presented

• 1989 - exhibition in France, organized by French collector and gallerist Garik Basmajyan. The exhibition was a huge success, and the French press mentioned Brusilovsky's name along with the names of such artists from Russia as Ilya Kabakov, Eric Bulatov and Vladimir Yankilevsky.
• 1992 - Mikhail spent in the USA, where he created about a hundred paintings.

Trips to France and the USA influenced the artist’s painting style and color, and he began to rewrite his favorite subjects in a new way.

• 1993 - in Moscow, in the editorial office of the magazine “Our Heritage”, a personal exhibition of Misha Brusilovsky was held, at which works performed in a new pictorial manner were presented.
• 1993-1997 - Mikhail wrote a number of miniature works for the Autograph gallery.
• 1995, 1997 and 1999 the artist visits Israel.
• 1999 - in Sverdlovsk State Philharmonic an exhibition of paintings by Misha Brusilovsky took place " Bible stories" The exhibition featured paintings from the collection of Evgeniy Roizman.
• In 2001, a personal exhibition of Mikhail’s paintings took place at the Manole gallery in the city, Ain Hod, Israel, and a traveling exhibition “ Russian art. 300 years" in Beijing, Shanghai, Hong Kong, China and a personal exhibition at the Yekaterinburg Museum of Fine Arts.
• In 2003 The gallery-salon “Golden Scorpion”, among the permanent exhibitions “Noah’s Ark,” presented a joint exhibition of Misha Brusilovsky and sculptor Andrei Antonov.
• 2004 - Brusilovsky takes part in the exhibition of the Yekaterinburg Museum of Fine Arts “Carrying the Cross”.
• 2008 - an exhibition of paintings by Misha Brusilovsky was held in central London as part of the Art-7 project.
• In 2009, the artist took part in the exhibition of contemporary American and Russian art“Contact of Wind and Fire”, organized with the support of the Department of Press and Culture of the US Consulate General in Yekaterinburg.
• On September 16, 2011, the Yekaterinburg Museum of Fine Arts opened a retrospective exhibition dedicated to the 80th anniversary of Misha Brusilovsky.

Books and films about Misha Brusilovsky

• In 2002, the Ural Gold Fund and the publishing house of the Our Heritage magazine published the book “Misha Brusilovsky. The World of the Artist”, author-compiler Alexander Ryumin. The book is dedicated to the work of Misha Brusilovsky.
• The premiere took place on April 28, 2009 documentary film Svetlana Abakumova "Sunday in the workshop." The film is dedicated to the life and work of Misha Brusilovsky.
• June 9, 2011 The premiere of Boris Shapiro’s documentary film “Misha and His Friends,” filmed at the Bo-Sha-film studio, took place at the Yekaterinburg Cinema House. The film tells about the life and work of Misha Brusilovsky.

Misha Brusilovsky Awards

• In 1991, the G. S. Mosin Prize was awarded for his contribution to the development artistic creativity in the Urals.
• Prize awarded in 2002 Governorate of Sverdlovsk region "For outstanding achievements in the field literature of culture and art."
• In 2011, by decree of President Ro Russian Federationawarded the title Deservedly th artist of the Russian Federation.
• In 2013, the mantle was awarded Honorable about the member Russian Academy arts.
• In 2016 he was awarded the title of Honorary Citizen Sverdlovsk region.

Honored Artist of Russia.

Born in 1931 (Ukraine, Kyiv) - died in 2016 (Ekaterinburg).

In 1952 he graduated from the Kyiv Art School. T.G. Shevchenko. He worked in Moscow at VDNKh as a graphic designer.

From 1953 to 1959 studied at the Leningrad Institute of Painting, Sculpture and Architecture named after I.E. Repin at the Faculty of Graphics (thesis supervisor is A.F. Pakhomov). Assigned to Sverdlovsk, he worked in a publishing house and taught at art school. Since 1968, Brusilovsky has been a member of the Union of Artists of Russia, laureate of the Prize named after. G.S. Mosin (1990), laureate of the Governor of the Sverdlovsk Region Prize for outstanding achievements in the field of literature and art (2002).

Together with his friend G. Mosin in 1964, M. Brusilovsky painted the historical monumental canvas “1918”, which became a phenomenon of Soviet painting and was exhibited at the first zonal exhibition “Socialist Ural”, at exhibitions in Moscow, Italy and the GDR. Second collaboration artists - the canvas “Red Commanders of the Civil War in the Urals” (1969).

M. Brusilovsky worked in various genres: portrait, large multi-figure compositions, still lifes, decorative painting. In portraits, he tried to convey the true essence of a person, to create a portrait of his soul. Thus, in the portrait of V. Volovich (1981), Brusilovsky revealed the artist’s own ideal, his ideas about the aesthetic sources of creativity. The portrait of G. Mosin (1981-85) was decided differently, where the artist is depicted in the image of a hunter - a man standing firmly on his feet. M. Brusilovsky painted more than 60 self-portraits. As a rule, he turned all his images into the space of the picture, entering into dialogue with its actors(“In the Workshop”, 1965).

The image of a woman is the main one in the work of M. Brusilovsky. For an artist, a woman is a symbol of elusive beauty, which he strives to comprehend in each of his canvases. And then, when in the form of a bull he kidnaps Europe, transformed into a swan, clings to Leda, seduces Little Red Riding Hood with a wolf, and falls to the life-giving beauty of Susanna as an old man. The artist’s favorite model is his wife Tatyana, whose features are recognizable in many heroines of M. Brusilovsky’s paintings.

The most significant cycle of works was created by the artist based on gospel motifs: “The Crucifixion”, “Peter and the Rooster”, “Walking on the Waters”, “Christ in the Garden of Gethsemane”, “Carrying the Cross”, “Flight into Egypt”, “ Last Supper» - paintings painted in different years, made in the same stylistic manner. Despite all the spectacular conventional decorativeness, they are permeated with nervous sensuality and deep dramatic experience.

The anti-war cycle, created in the 60s, embodies the pain of the past war (“Pieta. To the Victims of War”, “The General”, “Auschwitz”, “Requiem”, etc.). The peculiarity of M. Brusilovsky’s pictorial thinking is the theatricality and entertainment of his compositions. Even in the most tragic paintings, painting exudes the energy of love of life.

Its main feature paintings- sketchiness, lightness, fluidity of the pictorial manner, creating a feeling of a living, moving transparent environment in which people are born fantastic images, legends emerging from the depths of the subconscious, folk memory and folklore. This gives the painting of M. Brusilovsky an unsteady, multi-valued, moving character; it is distinguished by a love of complex metamorphoses, unexpected transformations and reflections, it creates a world in which imagination and reality penetrate each other, transform into one another. The ability to theatrically transform history into legend, life into a game of imagination has made the artist’s art one of the most vibrant and original in modern Russia.

The works of M. Brusilovsky are in museums and private collections in Russia, France, Germany, Austria, England, Israel, Switzerland, and the USA.

The exhibition is opened by Yulia Kruteeva, ARTbird gallery:

Misha Shaevich: “I just don’t remember 90% of the work, it was a very long time ago”:

Misha Shaevich: “I look... I’m not upset. How well I worked once. I also made so many pictures... It’s just amazing”:

Evgeniy Roizman: “Misha Shaevich, I have a question, only in open text, for real,” Soviet authority was it a plus for artists?":

Yulia Kruteeva: “What was the first painting by Brusilovsky that fell into your hands and under what circumstances?”:

Evgeny Roizman: “For specialists, Brusilovsky is the largest Russian artist of the second half of the 20th century.”
From the audience: “Can I add? And the first half of the 21st”:

Evgeniy Roizman: “As Vitya Makhotin said - This is, sorry, how it turns out”:

Yulia Kruteeva: “What internal question is your collecting of paintings subject to?”:

Evgeniy Roizman: “And I saw this picture with gymnasts, this is such serious work. And so it haunted me”:

Misha Shaevich: “Although it was already a kind of repetition, it was largely improvisation, this is a different picture”:

Evgeniy Roizman: “The Railway Society invited local merchants to make railway to Irbit. To which the local merchants said..":

Misha Shaevich: “There is no elementary artistic level, and such exhibitions are made that you come there and think: “Okay, thank God that he found a sponsor”:

From the audience: “Can I ask you to carefully praise naive artists”:

Misha Shaevich: “And then there were a lot of meetings and often...”:

Misha Shaevich: “Vitya and I are already patriarchs, so we have such a situation that we are older than everyone..”:

Misha Shaevich: “Well, it happened and it happened. You don’t need to regret it or worry about it... You need to work calmly and cheerfully”:

Misha Shaevich about joining the party: “I said that I am susceptible to corruption, so it’s better not to do it”:

Evgeniy Roizman: “Can you list powerful real artists for those present..”:

Misha Shaevich: “We were like young people then...”:

Yulia Kruteeva: “What motivates an artist to paint self-portraits?”:

Misha Shaevich draws autographs:

The miracle of a flying pencil.

In Yekaterinburg from cancer Ural artist Misha Brusilovsky died. He was 85 years old.

Misha Shaevich Brusilovsky was born on May 7, 1931 in Kyiv into the family of a military man. During the Second World War he was evacuated with his family to Southern Urals to the city of Troitsk. In 1943, after the liberation of Kyiv from occupation, the family returned there.

Brusilovsky studied at a boarding school for gifted children, after which he art school named after Shevchenko at the Kiev Art Institute. Later in Leningrad he graduated from the Repin Institute of Painting, Sculpture and Architecture.

After graduating from the institute, in 1959 the artist was assigned to Sverdlovsk, where he remained to live.

It is planned to open a museum of the artist Misha Brusilovsky in Yekaterinburg by the end of the year.

The artist, painter, monumentalist, graphic artist was a recognized author, his works are exhibited and are popular not only in Russia, but also abroad. Brusilovsky had the title of Honored Artist of Russia, honorary member of the Russian Academy of Arts. In addition, the artist was an Honorary Citizen of the Sverdlovsk Region, a laureate of the G. S. Mosin Prize and the Governor of the Sverdlovsk Region Prize “For Outstanding Achievements in the Field of Literature and Art.”

https://www.site/2016-11-03/o_zhizni_i_tvorchestve_hudozhnika_mishi_brusilovskogo_umershego_segodnya_v_ekaterinburge

"On par with Picasso and Matisse"

About the life and work of the artist Misha Brusilovsky, who died today in Yekaterinburg

Misha Brusilovsky "Regional newspaper"

In Yekaterinburg today, November 3, artist Misha Brusilovsky died of cancer. He was 85 years old. the site remembers life and creative path Brusilovsky, which is in the top 50 most expensive Russian artists and is rightfully considered a world-class master.

Misha Brusilovsky ended up in Sverdlovsk in 1959. A couple of years later he exhibited at the local House of Artists in honor of his thirtieth birthday. The paintings presented at the Sverdlovsk debut were academic, but the exhibition was still not approved - they said that he arrived already infected, covered with the “decay of form-making.” Misha Brusilovsky talks about this in Boris Shapiro’s film “Misha and Friends.” It was a time of struggle against formalism - including in Sverdlovsk: here it was carried out by graphic artist and chairman of the local Union of Artists Alexander Vyaznikov. He covered himself with the words that in terms of creative methods, “we must search, but very carefully.”

Misha Brusilovsky was taught academicism first in Kyiv - at the Shevchenko Art School, then - in Leningrad, at the Repin Institute of Painting. It is worth mentioning here that the now “Honorary Citizen of the Sverdlovsk Region” was born in Kyiv. In 1943, left without his father, who died at the front, and his mother, who left with Misha’s brother for Magadan, he found himself a homeless child. He made money by cleaning the shoes of passers-by on the station square, and gave part of the proceeds to a local authority - the Cat. One day, in addition to money, twelve-year-old Misha gave Kota a portrait he had drawn with his own hand. Tom liked it and got Misha into a boarding school for gifted children.

Brusilovsky might have stayed in Kyiv, but it was difficult to enter the local art institute because of his Jewish origin: the quota for admission is one Jew per year, and it was already occupied by the son of some big boss. Misha went to Leningrad to study at the Institute of Painting. And there, despite the time saturated with ideology, the teachers were quite free-thinking people who did not train young artists exclusively on socialist realism. In Sverdlovsk, Misha Brusilovsky was assigned after his studies; here he first took a thorough step towards the anti-Soviet, otherwise - towards the anti-canonical.

Together with his friend Gennady Mosin, a Ural artist of European level (“if they had thought of anything here, they would have made a memorial room for him,” Brusilovsky tells the KulturMultur portal about him), he creates the then sensational painting “1918.” From there, according to Evgeniy Alekseev, a specialist in the art of the Urals of the 20th century, the development of unofficial Ural art begins. The controversy was caused by the fact that Lenin, depicted on the red podium, was not the same as the Soviet audience was accustomed to seeing him. He “was supposed to be kind, darling,” says Misha Shaevich to the Regional Newspaper, “but in the picture of Mosin and Brusilovsky he turned out to be tough, decisive, capable of anything for the sake of his goals - absolutely anti-canonical.

At the same time, Brusilovsky’s paintings were not politically charged, which to a certain extent disappointed the then Ural underground: after the noise around “1918,” they expected a continuation - a struggle. But the fight against socialist realism was not always openly political. Another way was to demonstratively abandon the aesthetics of socialist realism in favor of the mysticism of the avant-garde or symbolism (art critic Ekaterina Andreeva talks about this in her book “Postmodernism”). In this sense, the main path of the artists of the 60s was to work with form - its distortion and deformation. Therefore, in the paintings of Misha Brusilovsky, the plot (whether biblical, mythological or anti-war) is only a way to interact with the form, thereby deciding narrowly professional artistic problems, giving the viewer a wide field for interpretation; not just depict familiar reality, but convey your inner vision of this reality. Regarding the work of Misha Brusilovsky, the statement of the curator of the Prado Museum in Madrid, Juan Fernandez, is known: “[he] showed his homeland and the world an unprecedented cascade of transformations of form and color, which boldly puts him on a par with such phenomena of our time as P. Picasso, H. Miro, A. Matisse.”

urpur.ru

Until perestroika, Misha Brusilovsky’s paintings - both individually, like “The Arkady Raikin Theater”, and created together with Mosin - like “Red Commanders of the Times Civil War in the Urals,” remained “harmful for the Soviet visual arts“, in particular, Boris Yeltsin called them as such, while still the first secretary of the Sverdlovsk regional party committee. Misha Shaevich took his first step towards fame abroad closer to the nineties: he was invited to organize an exhibition in Paris by the famous French collector Garik Basmajyan. Posters with a reproduction of Brusilovsky’s painting “Aggression,” hung in public places, were immediately snapped up by Parisians. For the gallery owner, this was a sign of the success of the upcoming exhibition. And it really turned out to be successful - in the French press Misha Brusilovsky took a place among such Soviet artists, like Erik Bulatov or Ilya Kabakov. True, the gallery owner himself was not present at the opening of the exhibition - Garik Basmajyan left for the USSR at the invitation of the Soviet Ministry of Culture and disappeared. Disappeared from his room at the Rossiya Hotel. Relatively recently (in 2014), an investigation into this matter was resumed in Paris - its results may affect whether Basmajian’s collection will be given to his close relatives or not, while it remains in the Hermitage storerooms. After the disappearance of the French gallery owner, Misha Brusilovsky’s cooperation with his galleries was suspended, although this did not in any way affect the artist’s growing world fame.

Today it is reinforced by the fact that Misha Shaevich was among the top 50 most expensive Russian artists (living; according to The Art Newspaper Russia). In 2006, his painting “Football” was sold for 108 thousand pounds sterling, otherwise - at the current exchange rate: about 8 million rubles. True, this money did not go to the artist personally - at one time Brusilovsky sold this painting to some collector, and years later it left him for so much a large sum However, this certainly influenced Brusilovsky’s rating on the art market. Even before this sale, Misha Brusilovsky gave an early version of the painting “Football” to Evgeny Roizman. Evgeniy Vadimovich spoke about this at the opening of the artist’s Yekaterinburg exhibition in 2011: “I was actually lucky - Misha Shaevich gave me pictures.” Evgeny Roizman now intends to transfer this collection of paintings to the Misha Brusilovsky Museum; they plan to open it in Yekaterinburg before the end of this year.

Not only the painting “Football” has several options. Such a story with a repetition of the plot is found in Misha Brusilovsky and in the series “Little Red Riding Hood” or, for example, in a series that can be called a “requiem” for those who died during the war. But each time only the plot is repeated, the very form with the help of which Misha Shaevich conducts artistic reflection on an already familiar subject is always new, this is a new solution professional tasks artist. On domestic issues Misha Brusilovsky usually does not answer about what this or that picture or this or that version of it means, or rather, he says that he is ready to listen to the viewers’ interpretations. He imbues his creative method in the film by Boris Shapiro, talking about how the artist is led by his hand - led in an unknown direction, while his head “lags very far behind the artist’s hand.” In such a new way, with another improvisation, he could continue the “requiem” series: to the paintings “Pieta to the Victims of War”, “Requiem”, “Auschwitz” he would also add a work dedicated to Babyn Yar - the memory of executed civilians, mainly Jews Ukrainian origin. He made a sketch. But I didn’t have time to do the work itself - I no longer had enough energy for it. In an interview with Oblastnaya Gazeta, Misha Brusilovsky says that he wanted to make this picture not scary, but sublime: “like a solemn mass; it would be a white painting with compositions of colored angels.” He also says that it would have turned out beautiful, and this is perhaps because the tragedy of Babyn Yar is connected with Brusilovsky personally. His second cousin went there and was shot - her former apartment neighbor handed her over to the Germans.

On the importance of Misha Brusilovsky as an artist for Sverdlovsk creative environment says his close friend, graphic artist Vitaly Volovich. In the already mentioned film by Boris Shapiro, he says that Misha Shaevich’s work was like yeast: “Every time after we came to his workshop, some special courage was born and we found strength in the fact that in our work try to be independent and proceed only from what seems [important and meaningful] to you as an artist.” Being such for artist-friends, Brusilovsky himself considered this environment fundamental for creativity - in order to become an artist, you must have friends. In particular, two of his close friends - Vitaly Volovich and German Metelev - accompany his sculptural embodiment in the composition “Citizens. Conversation" - what is standing in the Ekaterinburg park. It is visible from the window of Misha Shaevich’s apartment and confuses him, according to the artist - the monument to Brusilovsky could have been made funnier.