Evgeny Yusov

Now living and working in Nizhny Novgorod, Yusov was born in 1945 and graduated from the Gorky Art School in 1970. Since 1972, he began to work actively and participate in exhibitions, included the member exhibition of “Big Volga” (1991, 1998, 2003), regional exhibitions “Autumn Opening Day” (1994-2007). He was the member of Russian Union of Artists since 1993 and the Board of Nizhny Novgorod Union of Artists since 1997. Many works of him are in collections in Europe and America.

MY LIFE

I Born 6 February 1945 in the town: Dzerzhinsk Gorky region. At eleven years old enrolled in art school, where he studied for four years. All these years were a time of continuous delight from comprehending the world surrounding me things, people and events, mainly the objective world, a huge and amazing nature.

I often imagine a teenager surprised opens his eyes to life, noisy and scandalous, it is not clear, melancholic, as blue winter evening …

In 1960 I started at the Gorky Art School. That was the heyday of our school, there came the young people from literally all over the country, age of students was very different, on the same course taught and fifteen, as I do, and adults, family men thirty years.

The level of work at that time was quite high. It was in the late 1950′s – early 1960′s. Russia in an influx of information about the world of art, and this had an effect on us, the young and the young, like a mirage, like a fairy tale. French painting of all conquered, and it was everywhere. Along with painting the world we face throughout the breadth and depth of Russian national art, especially iconography and the art of the XIX and XX centuries. And as a matter of following the painting appeared literature and music.

When I first got to the opera, it was conquered by all this magic synthesis of all arts, where music reigned.

Since then, the music for me is all the things living and feed my creativity. How Vrubel life fascinating beauty and cosmetic beauty I see with the confluence of art and music, or, rather, overflow one into another.

I remember in those days great impression on me producing music Impressionist (Ravel, Debussy), then paintings – Post-Impressionists, from Gauguin, Denis, Puvis de Chavannes to the music of Scriabin, Stravinsky and Čiurlionis. Appear Symbolists (Stuck, Becklin), then back to the Russian art (Roerich – Theatre – The World of Art). Then further to Mussorgsky; deeper – German music, next to her, of course, philosophy, and then Italian music – Renaissance – The Middle Ages.

And for ideas – like the music, the endless transition of one form to another, one state to another or to many different, are transformed into sensations, dissolving in the realm of the subconscious …

All this I lived then, eighteen, juice and eating big hops, cultural city.

“We had a lot in the canoe …”

In 1963 came the well-known events in the field of culture. After the article Il’icheva began repression. We began to beat. One after another began to drive out, the last, the eighth, was certified and I. It was a severe blow in my life and all my friends who like me, have been subjected to the cruelest ostracized. Not all survived.

Five years after the army I went back to school. Everything has changed. Instead, bearded, whether dressed and possessed paintings of young people, a host of business, smart and dignified young man, and that was amazing, girls.

In 1970 I successfully graduated from the school. But a break in tuition affect, especially in the sense that I kind of late, no time for others. Time passed enthusiasm, ability to absorb knowledge behind us. He had to learn to devote himself refreshing juices, feeding the creative imagination, an area of the subconscious, where the spring nature of my “I”.

I had to overcome the inertia of the official start of the creative in an artistic samostroitelstve. It took a lot of time to work in the dark, alone. And not only interfered with the temptations of life, all be gradually sinking into a torpor, a lethargic sleep, the more noticeable, when he had to compare with Moscow.

There were many losses and defeats in the period from 1970 to early 1980′s. In 1983, I suddenly, as Kandinsky his first abstract watercolor, painted a picture “Barents Sea” in a new, decorative style. It was a godsend – a way that is possible to achieve that fusion of music and art, about which I dreamed.

Eugene Yusov

EXHIBITIONS EUGENIE Yusov

1997 – “Art-Manege (Moscow).
1998 – State Institute of Art (Moscow). Personal exhibition.
1998 – Gallery “Lasta” (Moscow). Personal exhibition “Color and image.”
In 1998 – Gallery Interkolor “and” Lasta “(Moscow). Group exhibition “Sources” (with B. Kalinin and V. Tyrdanovym).
1999 – Jubilee Exhibition of artists of Nizhny Novgorod (Moscow).
2000 – Exhibition Centre (Nizhny Novgorod). Group exhibition “Space of Free Creativity” (with V. Tyrdanovym, V. Wrekin, Yu Pridanovym, V. Fufachevym, A. Iniutin Y. Kuzmin).
2001 – School. MV Lomonosov Moscow State University (Nizhny Novgorod). Personal exhibition.
2003 – Museum of UNN. Lobachevsky (Nizhny Novgorod). Personal exhibition “Harmonic improvisation.
2004 – Exhibition Hall “Stroganov” gallery (Nizhny Novgorod). Group Exhibition (with V. Tyrdanovym, V. Wrekin).
2005 – Exhibition “Harmonic Improvisation”, Nizhny Novgorod State Art Museum.

Works

1979
Baikal range. Oil on canvas. 51 × 73.

1983
Portrait of wife. Oil on canvas. 42 × 36.

1984
Portrait. Gouache. 42 × 36.
Portrait NV Kolesnikova. Oil on canvas. 70 × 50.
Portrait VG Kolesnikov. Oil on canvas. 70 × 50.

1985
August. Oil on canvas. 110 × 130.
The house of my childhood. Canvas, oil. 130 × 130.

1988
Portrait of E. Frolova. Oil on canvas. 110 × 70.
White stones. Oil on canvas. 87 × 80.

1991
Still Life with a cow skull. Oil on canvas. 76 × 94.
Gorohovets. Triptych. Canvas, tempera. 100 × 61, 100 × 95, 100 × 61.
Artist. Cardboard, tempera. 130 × 280.

1992
White and red. Oil on canvas. 47 × 67.
Exodus. Triptych. Oil on canvas. 100 × 55, 100 × 80, 100 × 65.

1993
Baikal. Oil on canvas. 65 × 116.
City-temple. Triptych. Oil on canvas. 100 × 60, 100 × 95, 100 × 60.
Stairs. Oil on canvas. 50 × 70.
Lamentations. Oil on canvas. 100 × 80.

1994
Heaven and earth. Canvas, plywood, oil. 70 × 70.
Still. Oil on canvas. 59 × 80.

1995
Women. Triptych. Canvas, oil. 135 × 75, 100 × 100 135 × 75.
Fallen. Paper, plywood, canvas. 75 × 75.
And embrace my water to my soul. Oil on canvas. 75 × 75.

1996
May. Oil on canvas. 1993 × 108.
Sleep. Oil on canvas. 94 × 100.
June. Canvas, oil. 100 × 155.
Artist. Oil on canvas. 102 × 175.

1997
White banners. Oil on canvas on hardboard, oil. 117 × 110.

1998
Tale of the lake. Gouache. 25 × 55.

2000
Lady. Oil on canvas. 75 × 75.

2001
Triptych “golden dream”. Gesso, oil. 50 × 70, 60 × 45, 50 × 70.

2003
Triptych “songs.

1. Songs. Oil on canvas. 116 × 98.
2. Songs. Oil on canvas. 116 × 98.
3. Songs. Oil on canvas. 146 × 90.
Song of the old man. Oil on canvas. 90 × 146.
Poet. Oil on canvas. 98 × 130.

2004
Rider. Oil on canvas. 50 × 60.

2005
Ivan. Fiberboard, oil. 55 × 46.
Olga. Fiberboard, oil. 55 × 42.
Ilya Plekhanov. Fiberboard, oil. 60 × 45.
Gust. Fiberboard, oil. 90 × 67.
Knight. Oil on canvas. 75 × 75.

2006
Portrait of Purihova. Fiberboard, oil. 68 × 64.

2007
Oath. Oil on cardboard, oil. 74 × 50.
Women-II. Triptych. Oil on canvas. 75 × 50, 75 × 75, 75 × 50.
Call. Hardboard, oil. 90 × 70.
Make A temple. Oil on wood. 90 × 70.
Pink room. Oil on canvas. 77 × 88.
Triptych.

1. White beach. Fiberboard, oil. 70 × 100.
2. Tale of kings. Fiberboard, oil. 80 × 60.
3. Golden sunset. Fiberboard, oil. 70 × 100.

About painting

Eugene Yusov‘s works clearly fall outside the Box of “good” and “recognizable”. The principle of similarity in the relationship. “ art – man “works now, except that in the utilitarian and read only” simple “,” market “a spectator who buy now in tone, but not for the profound aesthetic experience. Transformation of the visible world in the visual arts – a serious matter. So I need it to modern audiences, and to what extent? Is it appropriate to speak here about the measure at all, because for the true artist is always tempting measureless measures, though the ancient people and were taught that “the measure – higher? All the daring avant-garde became classics. Culture, making the galactic spiral, back “to square one,” the classic portrait of the traditional landscape (this is not meant kitsch, but the work of masters) – or not closing the circle, Torit road next?

Look at some horizon paintings. The real innovators little. Originality never turned into art. In art mass satellites, and the untrained eye can easily be confused with a fake diamond. And what is innovation in the visual arts? Tried, it would seem, everything: from the nails and hoses Gunter Yukkera to sticking to the canvas documents from Ilya Kabakov. Conceptualism is the history of art, he lived through the day.

Painter Eugene Yusov, now living in Nizhniy Novgorod, knows what to say through his paintings. Spectator, side by side with his pictures, is immersed in them, as in music: layering of shapes and color spaces, scumbling and contrasts create the effect of motion and sound (hearing). At first glance, abstract colored flashes of sudden highlight, from the inside, the real picture of the world, its space integrity. What is the mystery of artistic Yusov and permissible if “razyat” her study of art terms such as surgical knives?

World Yusov is material and intangible. Materiality is glimpsed in him initially; modeling recognizable realities outside world through colored spots, hard zakomponovannyh, gives the viewer the opportunity to stumble eye on “native” in the abyss of color associations. The game of color forms in Yusov – not gessevskaya “The Glass Bead Game”. It is subject to strong wave: not nastroenchesko, impressionistic, and directional thinking. If you have a thought, the wealth of emotions will колористически “cling” around the mental images. Yusov gives the title of work, and they are on associative thinking. In the triptych “The city-church” we consciously see the walls and towers, and the “clash” is tragically cool, green and purple, then violently, passionately warm gold, red, paint – kraplaka, cadmium red, yellow strontia – are in tension whether past, or future battles for the shrine. In “Still Life with a cow’s skull,” we will look in vain skull in the game strong, light brush strokes and patches of light, in the spaces pasty texture, the contrasts of dark swamp and soft ocher, until suddenly will not see him lying on the tablecloth, on the edge of the table in surrounded by a mysterious utensils and draperies – to a second loss in front of brilliance again and scattered on the canvas of colors! Yusovskie canvases not a kaleidoscope. The image is set powerfully. He did not allow the anarchy of interpretations. This is not impressionism, happily brighten recognizable shape. Yusovskie flashes recreate the reality of breathing, alive. The impression of a strong structure with improvisation pictorial expression.

So, it is not an impressionist. Realist? Ezoterist?

What is the fine art of the current Russia Yevgeny Yusov?

The artist, who does his universe, rather than imitating being.

It is not yet born
She and music, and word
Because all living
Inviolable bond.

So wrote M. Birth of Aphrodite. Yusov language form tells about the nature of the workshop. Surf paints upon the shore of the canvas. The painting “River Wind” is exactly what happens. Intertwined with light lines create a symphony of color. Fabrics Yusov – a breakthrough: a spatial art – temporary, of the painting – to music. His paintings entirely “Scriabin”, but soundlights – not an end in itself. The master is not illustrative. He is far from the plot. All that he is, he does through art – and nothing more.

Thinking man inside “evrokultury, European, always associated with universalism and freedom, thinking the Russian man is inseparable from the togetherness and the archetype. What if Yusov together in his work a universal dynamism evrokultury and Russian archetype? Postrealizm it or Transavantgarde? “Rose smells a rose, even though you call it a rose, though not” – said in Shakespeare.

His works – in private collections and collections in Germany, Sweden and England.

Serious art critical studies about him – in front.

E. Eugene Kryukov Painting Yusov / / Home. – 1995. – Dec. 14. (№ 39 (45)). – S. 4.

In this exhibition, unfamiliar to us the painter from Nizhny Novgorod is nothing provincial. Embodied in the broad spatial compositions of bold moves fantasy actively resist rutinerskomu equilibrium, so kindly today many of those who exhibited in the Moscow exhibition halls. Maybe somebody will not like this monumental proportions, it is the design and the pairing of free flowing, scrap and regain the integrity of forms, it is striking and elegant fading light. Yusov clearly violates accepted now, especially in the art-basis, the rules of the game. No fashion for originality, but there is really an original artist.

Whether he was late or gone forward … not the most important for this talent to stay in the current fairly standardized panorama fit in a row.

In painting Yusov is freshness, excitement, passion. He is building a huge tower like Babel. Invites to look into the unusual architecture of halls, where, after the destruction of all fanned by the cold and exclusion, and the landscapes drawn into the world of childhood, creates songs that are close popular rites. All this is not immediately covered by the eye, requires painting ideas, but a strong and credible force itself plastic. The surging rhythm of symbolic decorative panels Yusov can illuminate the space of large modern interiors, to overcome the routine, to answer the human dream.

Eugene Yusov far from any kind of sensuality. It is monumental but decorative and symbolic context, especially when it turns repetitive motion and rhythm, connection and control of different configurations of layers of color. The beautiful architecture, picturesque plastic successfully replaced by Yusov figurative design, causing the association with nature with nature, theater, music. Mergers and overflow of painting and music can be called an internal momentum of his art. In a number of plastic moves visible dynamic pairing of the sixties. By this time, tending to a large extent, the very concept Yusov – romantic movement to new horizons, enthusiastic creation.

Svetlov, IE, Doctor of Arts / / From the presentation materials for the exhibition “Origins”

Art Museum opens solo exhibition Eugene Yusov “Harmonic Improvisation” dedicated to the 60 anniversary of the artist, the identity of the complex and extraordinary. By painting it a bright and original, the ratio of the audience in different ways. One picture Yusov seem conglomeration of fragments flying worlds, the cacophony of sounds, for every other picture sounds like a song, whose meaning is revealed to those who possess inner ear.

The fact that the “Harmonic improvisation” Yusov created the music of Alexander Scriabin, and Sibelius. At one time, Scriabin tried to influence the audience more than music and light, denoting the score moments of lighting the room in different colors. In addition, certain of his sonatas were preceded by a detailed textual introduction, entitled “State of mind. Probably Yusov and chose Scriabin himself in the “collaborators. If his music sounded in the halls of the exhibition of the artist, the many spectators, not just selected, cutting through to the inner ear and opens the third eye to see a conglomeration of multi-colored cone shapes and outlines of the alleged title of paintings lady, knight, age-old linden trees, women in the garden of the Magi … But even without these visions of the audience can get pleasure from the harmony of color chords, then sharply contrasting with each other, then amplifying the sound of any one of the main tone in the picture.

Usually, harmonic improvisation from other artists do not have names, just numbers. In Yusov things differently. In his paintings he tries to recast the music in pictorial images. In a sense, this work is akin to the experiments of the alchemists, who tried to recast the usual elements in gold. ” Only Yusov their “experiments” are not produced in crucibles, and in your soul. Yes, and improvisations of his paintings is difficult to call, since some of them were created over the years: nine years – “June”, six – “Dream”, for four years – “Clouds boats” … And the involvement of a number of paintings to the music shows the rhythm of the color bands and the threefold like a symphony, a form of triptychs: City-Temple, “” Conviction, “” Song, “” Exodus “.

Judging by reviews, pictures Yusov some viewers tune in philosophical mood, others raise numerous questions, others clearly believe that the artist does not reflect, and transforms reality.

The founder and theorist of abstract non-objective art Wassily Kandinsky believed that as a symphonic music affects human emotions and color masses, spots, lines can excite us without intermediaries – images and objects.