I am my son's son. This line, made in the name of this article, reflects the true essence of the master's creativity, who gave his big talent, the depth and wisdom of the mind, latitude and warmth of the soul of the native Bashkir land, her people. These words can serve as an epigraph to any work of the artist, whether it is a picture, a portrait, landscape. Here, in the Bashkir land - the life roots of Ahmat Lutfullin, the origins of his philosophical, poetic quest.
Ahmat Fatkullovich Lutfullyn - Happy man. Fate knew him by the rare talent of the thinker, poet, painter and the worker, which he managed to embody in his extensive, diverse work. He received the highest recognition in our country, which may have an artist, - recognition of the leaders of the country, the republic and the people, its countrymen and numerous audience. On the eve of 1998, Ahmat Lutfullin, the only of the Ural artists, was elected a real member of the Academy of Arts of Russia. Happiness is not easy - in the tireless work, in doubts and uncompromising judgments, in mental participation, which is given to each hero of his works, their fate.
The artist created a huge number of works for more than 40 years of creative activity. His famous picture of "Wires to the Front" (1978) is in the meeting of the Tretyakov Gallery, and the "Farewell" (1970) - in the Russian Museum. Many works have been separated by museums of the country and private collections. But the exposition of the State Art Museum named after M.V.nesterov of the Republic of Bashkortostan and the artist's workshop gives an exhaustive idea of \u200b\u200bthe fertility, the nature, integrity of the creativity of A.F. Lutfullina, for a museum has been collected much of the best that he wrote.
All their works Ahmat Fatkullovich convinces us that there was nothing more expensive for him, closer than native land, the native people, whose lifestyle appears in his canvases.
The artist finds his hero already in the early works created in the late 50s - early 60s. This is his compatriots - "Safa", Mustafa-Agai, his mother - people who have experienced years of experience and difficult life; Bashkir girls with a young blush, charming in their immediacy. And already in these works, the artist identifies the essence of his creative quest, where the main thing for him is the disclosure of the spiritual content of man, the peculiarities of a national character. Therefore, so much charm, dignity in his heroes, fulfilled spiritual purity and nobility.
Ahmat Lutfullyn. Holiday in Trans-Urals. Sabantuy. 1964. Canvas. Butter. Dimensions: 220 x 300.
In this, Ahmat Lutfullin became a direct follower of the traditions of the first national artist Kasima Saliaskarovich Devletkildeeva, but Lutfull fell to live in another era, to have a different worldview in consonance with her, because absolutely rights to the Gazim of Shafikov, who wrote about the artist: "Lutfullin not just inherits - he himself creates Tradition.
The portrait invariably attracts the artist throughout the creative way. How many of them are created in painting and graphics! In the active seventies, in the mature eighties, and in the last also. The heroes of many of his portraits are ordinary people living and working on earth, they grow children and grandchildren, they had a chance to survive the war and loss. The new time has formed in them and new features - more confidence in themselves, inner freedom, but people who have passed the test with suffering and happiness, which have preserved modesty, spiritual resistance, diligence remaining eternal value. How much heat is invested in every portrait filled with sincere empathy of the author with the life of his hero!
The depth of the philosophical reflection of the artist about the value, human spirituality is filled with portraits of people of creative labor, created by him in different years, - writer H. Davletoshina (1958), conductor Mr. Mutalova (1959), Poets of Flastic Karim (1978,) and Ravil Bikbayev (1995), composer H. Akhmetova (1977) and many others. With all the individuality of the psychological characteristics and appearance of heroes, portraits unites the ability of the author, avoiding idealization, to convey in their images, the overall beginning, which characterizes them is the breath of creative, spiritual thought, the ability to empathize, deep feeling.
The works of Lutfullin are not designed speculative, it does not seek their "making", the finished of an artistic image achieving a convincing solution. Therefore, for example, in the portrait of a turf, thoroughly simulating the face and hands of the poet, he leaves a portrait almost unwitted background, discharged by nervous, restless lines that emphasize the inner tension of the hero, his sincere failure.
Portrait painting Ahmat Lutfullina Reflects the poetics of his creativity, focused on the generalized idea of \u200b\u200bthe beauty and strength of the human spirit, aimed at transferring a national character in the images portrayed. This poetics are laid down in the structure of its work with their few-seal accuracy of parts, expressive plastic faces, hands. Everything is simple and significantly in them, for it comes from knowledge, your own experience.
With the greatest strength of the poetics of the master embodied in his genre painting - "Holiday in the Urals" (1964), "Three Women" (1969), "Sabantui" (1977) and other paintings. Their distinctive qualities are that the plot is more often used by the artist for creating a special atmosphere, the states in which the features of his heroes are clear. The essence of his paintings is in the philosophical, poetic orientation of the idea capable of transmitting moral bases, the depth of people's characters and destinies.
The brightest embodiment of these principles was the painting "Three women", affecting us not by their plot, and the large-figurative force that her heroine breathes. In it - three ages, three generations - so paints the artist bridge from the past to this. Women appear in front of the viewer at the time of focused meditation. Looking at their faces, figures, we read their fate, thoughts. Laconic composition of the canvas, the resultancy of each part, ascetic severity of the color solution and the limiting expressiveness of each image will derive it beyond the specific plot.
The life experience of Ahmat Lutfullina began in the war years. The memory is inecilless about that harsh time, complete deprivation and suffering. She paints paintings, many portrait works by the artist with dramatic notes, which in one way or another, in almost all of its works, and a special force in such as "farewell from homeland. Salavat "(1990)," Waiting "(1970). And in the last work of the Master "Fate" (1998) - a cry of the artist's souls, with pain perceiving human tragedies.
But here is another canvas - "White Yurt" (1989), in Lutfullinski intense, dramatic, where the world is seen in conjugation with cosmic universe. Like a ballish shadow of years, the epochs on anxious dark sky, the planets are rushed, and a leisurely life with its traditional plots, rites take place on Earth. These scenes are gaining a symbol value. Obtaining all adversity and times, a person rises over them with the strength of his spirit, traditions, faith. This is the main thing that Ahmat Fatkullylovich Lutfullin is powerful and beautifully talking about in his art.
It is necessary to note the high picturesque culture of the wizard. In his works, first of all, there is something that is given from God - a subtle feeling of color, as well as what can be absorbed only with Mother's milk - such a color palette in which the paints of their native land come to life. Being always very critical and demanding for yourself, Lutfolllin was able to develop the natural gift laid in it, leaning on the traditions of the Russian, Bashkir school, the experience of world art, and create his expressive visual manor, able to embody his creativity.
V. Sorokina
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Conversation Conversation -
Grandmother from the village of Buragulovo -
Portrait of a young girl in Bashkir dress -
Portrait of the Father
Portrait of the Father -
Portrait of the Father
Portrait of the Father -
Old oven Old oven -
Portrait of an old woman
Portrait of an old woman -
Gigaters Gigaters -
Portrait of a man
Portrait of a man -
Portrait A. E. Tulkin
Portrait A. E. Tulkin -
Forester's wife
Forester's wife -
Indiana Indiana -
Mother Heroine Ishmurzina
Mother Heroine Ishmurzina -
Mustafa Agai.
Mustafa Agai. -
Portrait of Kruglov
Portrait of Kruglov -
Old woman in blue
Old woman in blue -
Salavat Yulaev
Salavat Yulaev -
Portrait of a hobunis
Portrait of a hobunis -
Portrait of a woman in red
Portrait of a woman in red -
Portrait of a shamsikamer from the village of Amangildino -
Portrait of Louise
Portrait of Louise -
Landscape of my aula
Landscape of my aula -
Landscape village Ravilovo
Landscape village Ravilovo -
Portrait of R. Bikbayev
Portrait of R. Bikbayev -
Portrait of Anvar Kashapova
Portrait of Anvar Kashapova -
Portrait of Galina Morozova
Portrait of Galina Morozova -
Portrait of mansura
Portrait of mansura -
Portrait of Louise
Portrait of Louise -
Portrait of Bashkarka
Portrait of Bashkarka -
Female portrait
Female portrait -
Portrait of the Urals Sultanova
Portrait of the Urals Sultanova
This artist was recognized as one of the famous Bashkir creators, he is not the only one who tried to convey to his fans through her paintings, love not only to his homeland, but also love for their people.
Many critics assure that his best picture, transmitting all these feelings, is "three women", which Lutfullin wrote in 1969.
In this picture, the artist drew three women who are dressed in national costumes, as if the artist found them for the tea party ceremony.
The situation in the room where these women are not rich, but judging by the food you can say that the women of the peasantics are depicted.
This is evidenced by tea, bread and milk.
It seems to us that this is a small snack.
And now they are climbing and continue to go to their home affairs.
My attention was attracted not to costumes of these women and not even poor decor with food.
It seemed to me the attractive themselves shown.
In my opinion they symbolize the generation.
In the foreground, the artist portrayed the oldest of women, very wise and fair.
She is already a grandmother in my opinion.
To the right of her, it is most likely her daughter, she also had a lot of people, but her lots still have to see.
And the left is the young, it is she who is the granddaughter of the oldest woman.
It is depicted in my opinion innocent, who has not yet seen difficulties in life.
Not in vain next to her, the artist drew a flower.
He, as it may compare this girl with a blossomed flower, sometimes stupid in some moments and not even experienced in most life situations.
Outside the window, the artist painted a landscape, young guys ride bicycles and it seems that life has not stopped, it continues to go further, and generations will replace each other.
Code - and this young girl first will become mom, and then wise grandmother, with his life experience.
Analysis of the painting "Holiday in the village"
Paint material: canvas, oil.
Picture genre: historical.
Sketch Picture: "Rustic holiday" Paper, tempera. 17.5x36.5 cm.
Storage location: State Tretyakov Gallery, Moscow.
Size: 93 x 108.
Creation date: 1917.
Picture "Holiday in the village" (see Admission 2), Kustodiev wrote in just five days - this is exactly the amount of time an artist held an artist in his country estate.
In the painting "Rustic holiday", the artist transfers the fun and latitude of the Russian festive walking on the background of cozy rustic lords and bright autumn foliage. As always, Kustodiev, coloring the paintings are very decorative: it is built on a combination of red, yellow, orange, oars and white colors.
Collecting material for the program painting, Kustodiev in the summer of 1903 made a big trip along the Volga from Rybinsk to Astrakhan. The motley paintings of the Volga bazaars, quiet provincial streets and noisy pier forever remembered by the artist. Many Volga impressions he used subsequently in the picture "Holiday in the village".
In the municipality of the plot, in the apparent chance of depicted - deep thoughtfulness, composite clarity. Bold combinations of bright colors give the picture decorativeness, bringing it closer with a loaf.
The theme of funny and perky rustic holidays and festivities, with a rude folk humor, with brightness, juice and immediacy especially attracted the artist. The painting "Holiday in the village" had a great success at exhibitions, both in Russia and abroad.
Analysis of the painting "Tritizn Day"
Material: canvas, oil.
Picture genre: Impressionism.
Storage location: Saratov State Museum. A.N. Radishchev.
Size: 110 x110.
Creation date: 1920.
In the picture "Troitsyn Day" (see Appendix 3), created the idealistic image of the Russian holiday. Holiday of coming early summer, Holy Trinity. We see the outskirts of the city, a wide melan, the dome of churches, elegant, slowly walking people. Everywhere festive revival is felt, boxes with flowers and sweets are hung everywhere. The people ride on the top three, walks, leads conversations, having fun in the fair boals. In the foreground, the picture of Kustodiev placed a power merchant family as a symbol of patriarchal Russia.
The picturesque canvas shines all the shades of blue and green colors, and white clouds and bright red and yellow details complement the festive pattern of the picture.
The foreground is assigned to the main characteristics of Custodian festivities. This is a deputy, her daughter, young and slightly embarrassed, father - a merchant in classic clothes, and a young man who is easily guessed by the possible fiance. It should be noted that Kustodiev writes people with templates. He even has characters representing different types of professions, - Bulkhek, a nun, the cab driver - became characteristics of individual paintings. In the picture, all the elegant, funny, in prosperity, talk and rejoice. Everywhere satisfaction and wealth.
Everything happens in the glade, apparently, on the outskirts of this city. This is not a park, because the strollers are freely driving anywhere, the circus tent is visible. The trees are located in the scatter, and this is an artist's hand - more people are placed.
Everything in the picture is placed in space created by the high church on the right and the tree on the left. Further - another bell tower. It helps to emphasize the topic - the holiday of Trinity. Artists of those times considered the church as an important element that no picture of the Russian life did without it. Even on a self-portrait, the artist places himself against the background of the Trinity-Sergius Lavra.
Bright paint helps to feel the atmosphere of joy and relaxation. Bright colors of clothes at the checkpone, a bouquet of flowers at the girl and the seller. The artist has always loved and respected the national tradition. And the art depicting it should bring joy. He will carry this faith through all his creativity.
Analysis of the painting "Walking on the Volga"
Material: host, oil.
Picture genre: genre scene.
Storage location: State Russian Museum, St. Petersburg.
Size: 100 x 125.
Creation date: 1909.
In the picture "Walking on the Volga" (see Appendix 4), the embankment is shown with walking people, the Volga, the picturesque opposite bank of the river. High view allowed the wizard to cover a wide festive panorama.
According to the Alley on the steep coast, where once in the hotel "Hermitage" in 1906, BM was stopped in 1906. Kustodiev, merchants and checkpieces walk, cuzzers, sex, military, wanderers. The picture of Kustodiev "Walking on the Volga" comes life. Festive elegant people walk to the music of the brass orchestra. In the tent traded sweets and confectionery products, a street tea is running, where everyone can drink a self-sized seagull. A little further performed Russian romances. Barsni, and a gazebo, and a tea shop, and everything else that neither there is typical Russian: and the outfits of the tramps, and ampirous houses, and a freshly red church.
There were many artists in Tutaev and among the most famous - Boris Kustodiev. He visited Romanov in 1906-1909, lived at the Hermitage Hotel on Volzhsky Boulevard and from the window of this hotel, wrote his picture "Walking on the Volga", stored now in the Russian Museum of St. Petersburg.
Kustodiev is a singer of Russian provincial life, with irony and love depicts characters of that time: merchants and deposits, elegant buses, officials and peasants. No wonder when the "Custodievic character" now speak, the characteristic types of that era immediately pop up in memory. An embezzlened by the artist in her parade, festive form, she is now the subject of nostalgic experiences in real Orthodox Russia, with traditions of folk holidays and customs and, cute heart, the undispable cozy blessing blessing, leisureness of that life.
The picture is written from the second floor of the hotel, the boulevard we see as if on top. On the side of the Volga - our handsome resurrection cathedral. Visible a marina shipping society "Airplane". At this short gap of the boulevard there were several marins, each with its wooden staircase down - the coast is very high. Every shipping society, and there were several of them: "Rus", "Nadezhda", "Brothers Lots", "Kashin", had her own marina and their steamers. Some came on schedule almost simultaneously and from turning the river to Yaroslavl arranged races. The townspeople knew and came here to the Boulevard to watch, who would discuss.
Bashkir artist Ahmat Fatkullovich Lutfullyn wrote one of his most famous works, imbued with the national flavor of the symbolic canvas "Three Women", in 1969. It is possible that the picture of A. Lutfullina's plot was based on his own memories of childhood, held among simple workers of the village of Ascarovo.
The central semantic element of the picture is the image of three women of different ages, meaning the great power of the communication of generations. According to Bashkir national traditions, a woman in the picture is presented as a symbol of motherhood and a keeper of a homely hearth.
Three representatives of the finest floor just needed snapped with a simple peasant food and are going to drink on a cup of tea before returning to hard, tedious work until the evening. From a small, low, covered tablecloth with geometric patterns of the table, it makes a kind, simple aroma of homemade bread and milk, three neat, fragile appearance of a cup of a cup of scented herbal drink.
Women are depicted practically in the same poses, they all sit, pick up his left leg to themselves, and the right tiredly bent in the knee. The skin on the hands of the elders looks somewhat thinned from the difficult conditions of field work. A young girl is dressed in brighter clothes compared to other women of their family. The absence of a scarf and somewhat flirty twined long braids covered talking about youth and, perhaps, fun and somewhat romantic nature. The look of her is light and straight, the cheeks bloom with a blush, which cannot be said about the representatives of the older generation. Silent rigor and seriousness slipped in their clear, similar to the silhouettes.
On the hands of a young woman you can see the uncomplicated decorations, there is feelings that she wants to hide in the palm of a broken smile in the palm face so that other women do not notice her in the girl's mischievous joy.
Behind three holidaymakers, two windows stretches from childhood Favorite Fatkullovich Lutfulline, a unbarrous mountain landscape. At lunchtime, everything is calm and leisurely, it seems that the world around three women seems like freezing, enjoying every moment of deserved rest.
"Three women" are far from the only picture of the chairman of the Bashkir Union of artists, in which a talented painter chances the beauty, tenderness and amazing effect of the spirit of the beautiful sex. "Portrait of Mother", "Mother-heroine of Ishmurzina", "Portrait of an old collective farmer", "Portrait of a Bashkir woman", "Maginur Khasanova", "Girl in black" and many other wonderful, expressive canvases were written by the artist to chanting the external and internal The beauty of such different and amazing women. Every canvas calls to protect those who connect the generations for centuries, prolongs the life of a whole kind and takes care of each in the family, sometimes in his great love forgetting about his own well-being.
Ahmat Fatkullovich Lutfullyn (Bashka. HTMT Ftullah Ursa Lotfullin, 1928-2007) - Bashkir Soviet painter. People's Artist of the USSR (1989). Actual member of RAH (1997).
Biography
Born on February 4, 1928 in the village of Ascarovo (now Abzelilovsky district, Bashkortostan) in the forest family. In the villages of Ascarovo and Abzakovo, his childhood and youth passed. Later by the boy, he went on foot to Magnitogorsk and went to study in the craft school on Tokary.
After the war, Lutfullin A. F. studied at the Leningrad Architectural and Art School (1945-1948), Ufa Theater and Art School (1949-1951), State Art Institute of the Lithuanian USSR (Vilnius, 1951-1954). Member of the Union of Artists since 1960 Honored Artist of the RSFSR (1978). Honored by the artist BASTR (1966). Actual member of RAH (1997).
Repeatedly elected by a member of the Board of the Bashkir Union of Artists, Chairman and a member of the Art Council at the Bashkir Workshops of the RSFSR Art Fund, a member of the Exhibition of the Ural Socialist Exhibition, a member of the Board of the Union of Artists of the RSFSR, was a member of the Audit Commission of the Union of Artists of the RSFSR, a member of the exhibition of the Union of Artists of the RSFSR.
During the second half of the twentieth century, he influenced the development of Bashkir painting.
In the village of Ravilovo Abzelilovsky district, in the house of the Lutfullian family, which the artist presented countrymen, opened the "Mosque of Akhmat". Louise Lutfullina, the spouse of the painter, said: "Recently he sick, the thought was - what to do with this house, it was decided not to give and not sell, but to make a mosque, in memory of the father, mother and grandfather." According to the will of the artist himself, he was buried in the village of Abzakovo Beloretsky district of the Republic of Belarus.
Creative heritage
Ahmat Lutfullylin is the author of the famous painting "Three Women", 1969 At the same time, he is the author of portraits and cloths about the history and modern life of the Bashkir people: "Farewell to the homeland. Salavat "(1990)," Holiday in Aul. 1930s "(1969)," Wires to the Front "(1978)," Farewell "(1970)," Waiting. Year of 1941 "(1970).
His main works: "Portrait of Mother", x. m., 1956. "Self-portrait", x. m., 1957. "Babai", x. m., 1959. "Portrait of the Perizher Mr. Mutalova", x. m., 1959. "Mother Heroine Ishmurzina", x. m., 1959. Mustafa-Agai, x. m., 1960. "Mother of the deceased Hero", x. m. 1960. "Girl in black", x. m., 1961. "Family", Triptych, x. m., 1962. "On Sabantuy", x. m., 1963. "Portrait of the Bashkir writer Khadi Davletshina", x. m., 1963. "Young worker", x. m., 1963. "Portrait of a collective farmer", x. m., 1967. "Golden Autumn", x. m., 1967. "Portrait of a Bashkir woman", x. m., 1967. "Three women", x. m., 1968-1969. "Expectation. Year 1941 ", x. m., 1969-1971. "Holiday in Aule", 1930, x. m., 1973-1974. "Kolkhoznik Rajap", x. m., 1974. "Portrait of an old collective farmer", x. m., 1974. "At the window", x. m., 1974. "Portrait of a young woman", x. m., 1974. "Portrait of a doctor I. X. Hidiyatova", x. m., 1974. A series of portraits of the excavation of the collective farm. M. I. Kalinina Abzelilovsky District of the BASTR (12 works), x. m., 1974. "Sabantuy", x. m., 1974-1977. Maginur Khasanova, x. m., 1977. "Kolkhoznik Khairullin", x. m., 1977. "Portrait on the background of the collective farm current", x. m., 1977. "Portrait of the Popular Poet of Bassram M. Karima", x. m., 1978.
The artist's paintings are located in the State Russian Museum, the M. V. Nesterov Art Museum in Ufa, in private collections.
Exhibitions
Participant of international (since 1975), All-Union, All-Russian and Republican exhibitions since 1957, zonal - "Ural Socialist". Personal exhibitions took place in Moscow (1963, 1976), Ufa (1978, 1994).
- Republican, Ufa, since 1957 at all other than the youth 1972 and 1976.
- Zonal exhibitions "Ural Socialist": Sverdlovsk, 1964; Perm, 1967; Chelyabinsk, 1969; Ufa, 1974.
- Decade exhibition of works by artists Bassram, Moscow, Leningrad, 1969.
- The exhibition of works by the artists of the BASTR, dedicated to the 100th anniversary of the birth of V.I. Lenin, Ulyanovsk, 1970.
- Decade exhibition of works by Artists BASTR in Kara-Kalpakia, Nukus, 1976.
- Exhibition of works of artists of 3 zones, Moscow, 1971.
- Exhibition of works of artists of the autonomous republics of the RSFSR, Moscow, 1971.
- All-Russian exhibition "Soviet Russia", Moscow, since 1957 at all.
- All-Russian Art Exhibition, Moscow, 1969.
- Exhibition "Artists of Russia to the 30th anniversary of the victory over fascist Germany", Volgograd, 1975.
- All-Russian Art Exhibition "Soviet Russia-5", Moscow, 1975.
- All-Russian Art Exhibition "Slava Labor", Moscow, 1976.
- All-Russian Art Exhibition dedicated to the 60th anniversary of the Great October, Moscow, 1977.
- All-Union Art Exhibition dedicated to the VII World Festival of Youth and Students, Moscow, 1957.
- All-Union Exhibition of Artists, Moscow, 1962.
- All-Union Art Exhibition "On guard of the World", Moscow, 1975.
- All-Union Art Exhibition "On the Lenin Faith" dedicated to the 60th anniversary of the Great October, Moscow, 1977.
- The exhibition of works of three artists of the BASTR (A. F. Lutfullina, A. D. Burziantseva, B. D. Fuzeva), Moscow, 1963.
- Exhibition of works of artists of the BASTR in the GDR, Galle, 1975.
- International Exhibition "Soviet Art", Poland, 1963.
- International Exhibition "Soviet Art", MNR, Ulan-Bator ", 1964.
- International Exhibition "Soviet Art", GDR, Berlin, 1974.
- Personal exhibition of works, Moscow, 1976.
- International Exhibition "Soviet Art", Paris, 1977.
- International Biennale, Czech Republic, Catch, 1977.
- Personal exhibition of works, Ufa, 1978.
