Biography Cyril Danelia
On the third floor of the museum, more than 70 picturesque paintings and objects from state and private collections were exhibited. Ten years ago, one of the first exhibition projects of the newly created Moscow Museum of Modern Art was the exhibition of Danelia. And given that the first personal exhibition of the artist took place in the year, the exposition was, in fact, twice anniversary.
Probably, this gave the right to life to such an ambitious name, although the author himself considers it self -irony - they say, there are very few new things, so you have to exhibit “hits”. Kirill Danelia, despite the loud surname, did not connect his life with cinema or theater, although the education received the appropriate-he graduated from the production faculty of the Moscow Art Theater School-now he is known primarily as an artist and owner of the gallery of ancient and ancient Eastern art, almost the only one in Moscow specializing in this subject.
He believes that if you do something, then professionally, and therefore spends most of the time on the search for items of oriental antiques at Western auctions. The main idea of his collection is the collecting of artifacts from the regions that had the most impact on the development of world art. His meeting includes unique things of the museum level-sculpture, engravings and mosaics, objects of decorative and applied art.
The galleryman notes that collecting things is much more interesting and closer to him than their subsequent sale. As for Kirill Danelia's own work - and he has been engaged in lifes for about twenty years - the artist also addresses the good old days, paying tribute to tradition. It is believed that he is the successor of the X era, whose representatives again “discovered” the traditional genre of still life and rethought him.
However, the origins of his work can be traced in the first third of the 20th century. Thus, the assembly technique, in which Cyril works, that is, the use of various voluminous details or even objects, goes back to Marseille Duchan with its redimides. Our assembly was practiced by Tatin, Puni and Rodchenko, because when looking at the works of Danelia, the masters of the Russian avant -garde are immediately recalled.
Frequent in the artist’s works, the violin motive is also picturesque options, and the objects use real skeletons in the objects of cubists, although the author considers this tool the most beautiful and harmonious, moreover, that causes many associations. The artist’s signature - “K”, imprisoned, refers to Casimir Malevich. The work "Lianozovskaya Icon" demonstrates that Cyril is also honored by the Lianozovo school.
He believes that the “Lianozovites”, however, as well as the entire Russian non -conformism, and Robert Raushenberg had the strongest influence on him. This colorful representative of American art of the post -war period also practiced work in mixed techniques. Cyril honors him as the main master in contemporary art, and associates his own work primarily with pop art, for whom Raushenberg did a lot.
Working mainly in the collage and assembly technique, Danelia uses a variety of objects. In its objects, bottles, playing cards, scraps of newspapers, various metal products - a jeza, a saw or rusty car license plates, pieces of frame with rusty handles are often appeared, and broken backs of chairs are used as a frame. The artist searches all these artifacts in flea markets in Europe: “You will not find this in our garbage dumps, everyone takes it to the country,” he says.
The basis of collages and assemblies can be canvas, wood. As a result, Danelia turns out not only that in the visual arts it is customary to call mixed technology, but a mix of objects, times, traditions and cultures, saturated with multiple reminiscences. The objects compared by the artist gain memory, history, and this transfers ordinary things to the art area. The still life receives dual and contrasting meanings from Danelia.
On the one hand, pushing active textures - pastoral painting, expressive volumes and surfaces of objects, Danelia revives the composition, they breathe and vibrate. But, on the other hand, these compositions are real Nature Morte - “dead nature”, because this is a narrative about life or, more precisely, the death of things that have served their age and abandoned as unnecessary in the far corner, from where their artist pulls out to the light of God in order to bestow a new, elevated life.