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.
N apply the picture, bring it from the outline to the completed state - this is both science and art; To show a genuine skill here, you need a long experience.
E. Delacroa
With name artist Ahmat Lutfullina Developed durable bashkir painting Throughout the second half of the twentieth century. Studying the work of the artist, it is necessary to focus on both its drawings. In art historical literature, this material was not specifically considered, and therefore his study remains relevant.
This problem acquires even greater severity, if we consider that in the past in the culture of the Islamic world, including among Bashkir and Tatars, appeal to the image, to the drawing - SURET was not allowed with a ball, which was the reason for the relatively late, slow motion development in artistic culture , in the art of these peoples.
The importance of studying the drawing in the practice of masters - painters is interesting and convincingly writes a well-known German researcher - an expert of art Max Friedlander. I apologize in advance for the spatial quotation, I find it necessary to reproduce it completely. He writes: "Every a purposeful sign of painting would be in a present way, from a pure heart, recommend to make a diligent study of the picture. If you contact his drawings from painting this or that master, then the impression arises, as if the curtain is risen in front of you, the drawing is superior to the painting, and for what reasons. The drawing occurs relatively quickly, it is the result of a certain spontaneous action that did not have to go through a long and difficult path of handicraft study, which is why it does not always involve the passage of the student stage, it is more free from the tradition or conditions of this or that workshop. In many cases, the draftsman is free from any external wishes, he is not associated with the order, he is free to surrender to his mood and whim, he is alone with himself and as if he behaves his unhurried conversation with himself, the drawing gives a much more definite idea of How much one or another artist owns the form. "
Ahmat Lutfullyn Of those artists, a huge part of the extensive artistic heritage of which, along with picturesque works, make up pictures - graphic work. They are special value. Sketches from nature are a grappling material, grated, in essence, from the flow of everyday life with its artificial reliability. These impressions of the artist arose spontaneously, suddenly (Ahmat, it called the ridiculous word "off-way."
Ahmat Lutfullyn. Reading old man. Figure to the picture "Passion about the rain". 1994.
An expressively captured silhouette, the correctly noticed detail, a characteristic gesture, self-adheredness in its drawings cause admiration. All decent attention The author artistically survived, and even analyzed and captured the lungs or, on the contrary, decisive, but always a mysterious touch of a pencil or handle to white and white paper. And then a miracle begins to arise under the hand of a talented master: a live line is born, a rapidly developing, growing, artistically debiting the entire space of the sheet. The drawing not only carries information about some subject, but this subject through a graphic solution, through expressive plastic filled with artistic and poetic sound. Fragile by nature a pencil or pen line, barely occurred, can suddenly be interrupted, disappear. Then occur again, turning along the work into a new quality.
Short-term sketch, especially drawing, is the most intimate, chamber type of creativity. Especially - in portrait sketches, in which the internal conversation of the artist with the model can occur. "And this is true, because it reflects the most direct communication of the artist with kind, his perception of reality. But at the same time, a large philosophical generalization of life impressions can be concluded in the figure, which turns it into the work of pathetic sound, "the famous St. Petersburg art historian N. N. Punin wrote in one of his works.
Such sketches of Lutfullin should include a number of pencil and first drawings related to its search for a composite solution of the pictorial canvas "Vestno. revolution" (1967). Canvas exhibited only once and the modern viewer remains little-known. Preserved in the archive, individual sketches indicate an energetic, passionate work of the artist over the plan of the conceived canvas. Or sketching sketches for the painting "Three Women" (1969), built on a wide artistic-shaped, philosophical generalization of ideological design of the work. Before starting work on the canvas, the author led the intensive search for the plastic embodiment of the idea of \u200b\u200bthe future work in sketches.
PictureDespite his small scale, it can carry high ideas of civil, even pathetic sound. In the work of A. Lutfullina You can identify entire groups of such drawings associated with its work on the large genre-historical canvases "Holiday in Aul", 1969, "Three Women", 1969, "Wires to the Front", 1978, with the pictures "Farewell" and "Waiting".
If mentally present drawings related to the above-listed pictures, then you can see a huge scale and the foundation on which the author managed to create a wide panorama of people's characters, types, persons. For the first time in the history of art, such a powerful, impressive picture of the life of the Bashkir people in all wealth of the national flavor was revealed.
Numerous drawings and sketches are made by Ahmat with nature when he wandered with an etudent and album on the Village of the Abzelilovsky district of Bashkiria. Attentive study and professional artistic analysis of the assembled material give it to the canvas exceptional accuracy. It is such a goal that pursues drawing from nature: as soon as possible to capture the most characteristic, characteristic of this model. Working on the scenic canvas itself, the author knew the measure and resorted to the generalization, which testified to his good artistic taste and talent.
But in the work of nature also concrete. He records on the same sheet of paper, next to the pattern name, the name of the captured person, where, in which village does it live when the sketch is made. Quite often, some poetic lines, words of folk songs and tunes were performed. By the way, Ahmat possessed an excellent musical hearing, a pleasant voice chamber, often dried up the ancient Bashkir melodies during the work, played on Mandolin. A fragile, weightless paper sheet stores traces of his touch, its communication and meetings.
The large group consists of scattered drawings and fully implemented in full-scale portrait sketches created by A. Lutfullin in communicating with artists, writers, scientists, actors. In the art workshop, their whole chest and many more folders, packages. The preservation of a huge archive is largely obliged to his wife and friend - Louise. Her image is recognized in many drawings and sketches of the artist.
Ahmat Lutfullyn. Kuraist Rakhmatulla Blyulyakanov. 1978.
Whether these drawings are carefully thought out and presented together, in a single space of the museum and exhibition hall, no matter how interesting and fully complement each other: painting and drawings.
That is how in the future, when the Republican Museum of Fine Art will finally appear in Ufa, creativity Ahmat Lutfullinalike I. Creativity of other mastty artists Bashkortostan , their best not only pictorial, but also graphic work should be represented by the viewer in a non-historical unity, in the context of the integrity of the art created by the master. Only, it is not different ways to present the viewer with a historically established picture of the development of visual art in the republic. In the meantime of almost a century, it remains in the staples of the art museum closed for the viewer. Art should be wide open and affordable for the people.
The scale of the creative heritage of Akhmat Lutfulline is impressive. He convinces that his works on maintenance and significance occupy a special place. Therefore, it is advisable to exposure and storing his work in a separate, independent museum, fully allotted by A. Lutfullin. The Ufa must have a museum of a member of the Russian Academy of Arts, the People's Artist of Russia, the Honorary Member of the Academy of Sciences of the Republic of Belarus of Akhmat Lutfullina. So in Yerevan, there has been a museum of Martios Saryarna for a long time on the street called him name. In Lithuania, in Kaunas - Museum of Mikoelas Churlenis, to which the "Road of Churlenis" leads. In Kazan - Museum of Baku Urmanche, in Saransk - Museum of Stepan Ersi, not to mention the museums of Rembrandt and Van Gogh in Amsterdam and many memorial art museums in Moscow and St. Petersburg.
The authoritative researcher in the field of drawing N. N. Punin, one of whose statements was given above, wrote: "It was accepted on some strange misunderstanding to share artworks in drawings and painting, for this, in my opinion, there is no reason. Figure because it reproduces the form, differs from painting only intensity, and this face is elusive. The form does not exist without paint and cannot be reproduced without it. The drawing in the accepted sense of the word not only gives the paint of white and black, but also paint of other colors, which does not speak. It is impossible to put any color in any form - each form carries some kind of color essence. From the point of view of the intensity of the influence of this color on the form, other painting is more drawing than a pencil sketch "(5).
The thesis expressed is directly related to the nature of the creative method of Ahmat Lutfullin. Picturesque - he draws and on the contrary: drawing - painting. Figure, the plastic wornity of the artistic plan makes up the structural basis of the compositions of its picturesque canvases. A strong, talented painter capable of extensive generalizations, to the bold stylization in the work on the form, it attaches fundamental importance to the quality of the drawing in the work. The painter in it can not be separated from the draftsman. In painting it is strict, restrained, ascetic, sometimes even somewhat misfortune on color.
TO BE CONTINUED... Modern artists of Bashkiria - drawing in the work of Ahmat Lutfullin. Part 2.
Almira Yanbukhitina
) I will try to put thematic records about Bashkir artists who participate in the competition. Of course, let's start with the nomination of the legend about those who are no longer with us. The first to rightfully will be the outstanding Bashkir artist, the People's Artist of the USSR, Ahmat Fatkullovich Lutfullyn.
I use the material of the agency Bashinform
In the summer of 1957, the VI World Festival of Youth and Students took place in Moscow. And on the eve of this event, an exhibition of young artists of the USSR was opened, dedicated to the festival. She aroused great interest among Muscovites and guests of the capital. Among the work, which attracted special attention of visitors, there was a series of portraits, surprisingly fresh in perception and expressive color - "Bashkirka Girl in the interior", "Portrait of Bashkira", "Portrait of Mother", "Portrait of an old man" and others. In the book reviews, these works received the highest marks. Their essence came down to the fact that in the captured characters, the artist Dosee to the viewer is hardly working, kindness, the rigor and restraint of the feelings of these people, managed to express the deep origins of the national nature of their people. Thus made a 29-year-old painter from Ufa Ahmat Lutfullyn in front of the mass audience. By this time, he already found his hero, found the topic that will be the main one for the next 50 years of his intense creativity - this is the life of its people, originality, beauty and nobility of a national character in the entire variety of its manifestations. Among the characters of his paintings - workers, the inhabitants of his native Abzelilovsky district, representatives of the creative intelligentsia of the republic.
Pictures "Farewell" and "Waiting" were conceived by him as a triptych poem about the fate of the people in one of the most dramatic periods in the history of our country - during the Great Patriotic War. The artist found expressive funds, the language of genuine monumentality, arguing the greatness of the feelings of his heroes. Large thematic canvases "Holiday in Trans-Urals. Sabantuy", "Holiday in Aul", "Kubza Melodies", "White Yurt", "Divorce about the rain" give an idea of \u200b\u200bthe faith and national traditions of the Bashkir people.
The classic of Bashkir painting was the canvas of Ahmat Lutfullin "Three Women." A strikingly concise, stronger and solemn composition of this painting, is also obvious and a symbolic allegorical context of it. Three women are depicted behind the traditional tea party. It seems to be a typical household scene. But it is worth looking at the faces of these women immersed in their thoughts, and we will see representative of three generations, the United naturally and simply, perhaps this is one family, but each of them has its own difficult fate. And for three concrete alive destinies, the fate of all people, the deep foundations of being. This picture has long stood the poet Evgeny Yevtushenko during his arrival in Ufa. A person who knows in painting, a friend of many famous masters of the brush of different directions.
"Ingenious artist," he said shocked, unable to break away from the canvas.
With great love and deep comprehension of character, the personality of the characters is executed by the artist portraits of the leaders of the Bashkir culture - the writer of the Khada Davletshina, the poets of Mustra Karim and Ravil Bikbayev, composer Husain Akhmetova, artist Aliya Sithdikova and others.
Ahmat Fatkulovich first of the artists Bashkortostan became a corresponding members of the Academy of Arts of the USSR and a valid member of the Academy of Arts of Russia. His works are stored in the collections of the country's largest museums. One of the albums of his painting the artist entitled "I am the Son of the Earth of my". He loved her lovelessly, his land, and this love drove him with his brush, making it an inspired singer of his godded edge. These days he would have been 80 years old.
Self-portrait 1959. 
Girl with mandolina 1978 
Wires to the front 1979 
White horse 1986. 
Girl - Bashkirka 1957 
Mother portrait 1989. 
Old woman at the window 1974 
Portrait of Father 1991. 
On Sabantuy 1964. 
Waiting 1941 (1970) 
Farewell 1973. 
From Land 1996 
Rally at the mosque 1980 
Three women 1969. 
Portrait of Bashkarka 1958. 
Family. People of my collective farm 1974 
Fate 1998. 
Sabantuy 1977. 
Bashkirka from Buragulovo 1980 
White Yurt 1989.
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.
international and Russian exhibitions. The best works of the artist are in the Bashkir State Art Museum. M. V. Nesterova, in the Tretyakov Gallery, Russian Museum. With the greatest full talent of the Bashkir artist manifested itself in the paintings dedicated to his beloved homeland, her people, especially in such complex forms of painting, like triptych and a composite portrait. These, first of all, include "Family" (1963), "Golden Autumn" (1968), "Three Women" (1969), "Holiday in Aul. 30s "(1969)," Waiting. Year of 1941 "(1970)," Old Woman at the window "(1974) and, of course, Triptych" Family of the collective farmer of Razhapa "(1974). It should be noted that the majority of Lutfulline thematic paintings are devoted to the history of the Bashkir people. In his clutters, history does not live in itself, but closely echoes today. "The past never dies," the artist says, "it continues to live in the present. It is impossible to understand our time without thinking about the history of the Motherland. " A. Lutfullyn is one of the few artists whose paintings are filled with inspired love for their homeland - Bashkortostan. They are always distinguished by a bright national peculiarity. He is a truly Bashkir artist.
