Alexey Nikolaevich Volkov Biography

Alexander Nikolaevich Volkov. Landscape with trees, E Gg. Here, for example, what was the problem of Malevich and his students? Malevich’s students were all Suprematists, and, in principle, it was almost impossible to distinguish their work from each other, they all did similar things. But after the "square" Malevich himself did not know what to do. When he returned to figurative painting, he already had weak things.

In the thirties and sorror years, Volkov managed to convert his finds from the field of the formal system into new painting. True, on this occasion, some mistakenly believe that "he was crushed, and therefore he succumbed, began to write red convoys, collective farms and so on." But Volkov reacted very vividly to life. And life has changed. And he said: “Life is changing, and we are all a quail.

We must look for new forms.

” When the Ferghana canal was built, for forty days the people went like a holiday. The artist could not not see this, he could not help but capture. And he did it completely sincerely. And here I would like to make a clear separation - we are talking about socialist realism now. Artists then really fought to be a representative of socialist realism. Volkov here, in Tashkent, Falk-in Moscow, someone else.

But then they began to call socialist realism what was officially supported, and this is completely different. In those years, there was a struggle between deep, personal and official art. Now, studying the work of my father, I am more and more convinced how deep his later works are. Moreover, interest in them today is colossal. This suggests that in any life situation, the artist can remain himself, express his thoughts.

Father said such a very complex thing, which I understood over the years: "Careerism is not terrible, terrible careerism in art." That is, if a person makes a career, but remains an artist, it’s not scary, and when he begins to fake in art, trying to make a career thus, this is dangerous. What Pushkin said is “inspiration is not for sale, but you can sell the manuscript.” You can not sell inspiration!

I remember that after one of the paternal exhibitions, the school was divided into the so -called “Volkists” and “anti -wilchists”. It even got to fights. But, speaking of shores in the eyes of people, the father reassured: "People do not see, but time will pass and they will see." There is still a deep study of Volkov’s work. Nowadays, when such difficulties between cultures arise, such gaps between religions, some historical conflicts, when it became important who was born where to grow, where the borders pass, the only thing that truly unites people is a true culture, this is a true science.

And art is one of the most important threads connecting human hearts and human destinies. Father gave this all his life. The father once said: "In our life, there are not enough two things-freedom of art and freedom of trade." The fact is that, of course, he did not accept much and did not accept much in official art, which was called socialist realism, but which was actually not such.

Volkov was one of those people who created the art of the era of socialist realism. He was always a direct person and believed that you can’t live like that, but write otherwise. Indeed, very often in contemporary art, artists come up with an image or say: now we play according to these rules, and then we will play for others. Volkov never played, he walked, obeying his inner instinct, a feeling of truth of life that was in him.

And so when life changed, it also changed. It was a natural reaction. When he felt that too many artists were writing official paintings about construction sites or something else, he began to write more intimate things, went into himself, but remained himself. I remember that just a few years ago people said: well, what is a construction, collective farms, it was already a decline that people were just captured by the period when everything was customary to scold.

But they watched the works of Van Gogh “Potato Potato” or Mille “Arklis”, which depicts praying workers. The theme of labor was always present in world art as one of the forms of human existence, this is especially manifested in the Protestant religion, in which everything is very seriously treated: only with labor you can earn something and should not get anything by accident - this is not a thorough deed.

In this sense, wolves were a very consistent person. He loved the people who surrounded him, he had friends from ordinary families. This is the basis of his work and, a kind, covenants for us with his brother and our students. It is pleasant that Volkov is considered the largest Uzbek master, one of the creators of the school of fine art of Uzbekistan. And there were artists before him, but - a different nature.

Volkov’s school is probably the most significant phenomenon, perhaps the most fruitful, which has the opportunity to develop now.Together with my brother Valery and my son, I taught at a private academy in Moscow, and a whole galaxy of new students Volkov grew up there. So this phenomenon continues to live and develop. And not only in Moscow, but also in Tashkent, his students live and actively work in Uzbekistan.

After all, wolves owe many to his native land, and he left behind many beautiful painters. Father wanted ordinary people to see his things. He invited home a janitor Aunt Nyura, a carpenter who made him subframes, neighbors, boys. I also remember that Sarah Gyanturaeva, Abror Hidoyatov, came to watch his work. In the twenties, a very strong facility arrived in Central Asia from Russia from Russia.

Among the scientists were the Assumption, Korzhenevsky, and other people. Volkov organized an exhibition of his works at the university, because of which the dispute erupted then. Disputes lasted three days, Volkov’s supporters defended him, and in the evening the opponents came and dropped from the walls of the picture, which again turned out to be posted in the morning - this fact was recorded.

Speaking of Volkov’s relationship with the viewer, it is worth recalling the book of reviews at his anniversary exhibition in Tashkent. Unfortunately, his father was very ill then, could not attend the exhibition, and every day we told him about her, brought a book of reviews. I remember there was a stormy discussion of the exhibition in the Union of Artists, which lasted until one in the morning.

The transcript’s transcript recorded a speech that stated that “such an exhibition as the Volkov exhibition led to the Hungarian events of the year”! And you probably know how you drowned the Hungarian revolution in the blood. How could you compare work with such bloody events? And another artist said: “Volkov’s work reminds me of one American artist“ A look at the world through the basin of a woman ”.

And the picture was called "a look at the world through the berets." Such people as Professor Khodokin, the wonderful archaeologist Yurenev, Igor Vitalievich Savitsky, also spoke to such a thing. No, be yourself! Look for yourself, look at life. ” Once he recruited students, among them was Pavel Marakov. Father asks them: “What do you like? One says “I love Shishkin”, the other calls someone else, and Marakov says “I love the steppe ...”.

Father said: “This is the most important thing, life is the most important thing! Father said: “You look wrong. You need to look at the artist to see something good in him. You will always see bad. If you do not see anything good, then you can reject, and if you see something, you have to catch on. ” After all, becoming an artist is very difficult, and the father had a very careful attitude to the personality.

No one can blame Volkova of being the chairman of the picturesque section, he pressed or pressed someone. He could argue with Kurzin, they called themselves "Friends-Voins in Art." But they loved and appreciated each other as artists. Kurzin after his link to us first came to the house. And after a while my brother Valery was the first to make an exhibition-opening of Kurzin for Uzbekistan.

Father was a tramp, a traveler, he could never sit still, was always in motion, and when he lacked colors, words began to appear. And he also loved music. By the way, one of the reasons why he decided to do painting was Erdenko’s concert, a wonderful violinist, a gypsy by origin. Volkov loved to listen to Scriabin’s concerts, this new music affected him with incredible force.

Father wrote poetry somewhere up to a year. Then he stopped. I have two of his poetic notebooks. A very great interest is now observed in his poetry. Eduard Babaev, Tashkent, who left for Moscow, a wonderful poet, writer, subtle researcher and a great connoisseur of the work of L. L. wrote about her.