Ibryaev brief biography
Then what is the secret of full light and air of paintings by the wonderful artist Ilya Ibryaev? And is it possible to make a sketch if there are no colors at all? Ilya Ibryaev tells about himself and her work - in art I have long. From the young, early years, when we were given to school and accustomed to this vision of the world. They gave a pencil in their hands, told what colors exist.
An educational school, no matter how, gives any basics. But, growing up, we forget about them, it leaves, is erased, and we begin to choose professions. Parents begin to push us a little: be a musician, since I am also a musician, or an astronaut. And we are leaving for completely different professions. Once then it accidentally suddenly pops up, and we begin to be afraid: “Is it worth it to do it?
I don't know anything, I don’t remember anything!
The only thing you need to learn how to paint correctly, beautifully portray it. We are afraid of this. Therefore, many, the most risky, the most courageous, go in this direction, and many say: no, I will be better to engage in another. So, it is wonderful that you did this. This impetus was given by the school. Then there was an art studio with excellent teachers who immediately began to instill the first feeling of the beauty of this world.
What is beauty in general, how to perceive it, how to portray, show it? It was a very interesting time when you start to see absolutely differently. This delight begins to light you up, and you are trying to find out more, more and more. Then the art college, the picturesque department. Further Stroganovka, there is a serious school, a strong, chic drawing, painting, materials.
Applied university, a lot of applied sections, which still gives a lot. In Stroganovka, I studied at the distance of ceramics. I can say. In this art college with a picturesque bias, where we went through literally all the painting, the teachers were very strong, taught very well, clearly. I took a lot of my grandmother from there: we comprehended the painting, we passed the watercolor, oil painting too.
Of course, there were youthful ambitions. Probably, painting is no longer fashionable, you need to do something so that it is the unity of fine art, possibly plastic, possibly cinema. Such a conglomerate would make. But there was no strength, knowledge, experience to make such a large project. It was still necessary to learn. And I decided to try myself in plastic.
Spring Plastic is not a sculpture, it is precisely ceramics, where there is a shape, volume and most importantly, color. The combination of volume with color is a great idea, I thought then. And there will be a wonderful creative way. And I devoted Stroganovka to this matter. It gave me a lot. Thunderstorm clouds, firstly, made it possible to really realize the volume, plastic and three-dimensionality.
That is, when you constantly work on the plane, you “break through” the plane and illusoryly make 3D, create space, depth, volume. And when you sculpt, you really feel it 3D, plastic, volume. You imagine in advance how interesting it will be painted. And it all lit, and then of course came in handy. Any thing that you are going through in the visual arts does not matter, architecture, design, sculpture, ceramics, graphics - all this will necessarily affect your work.
In the process of training in Stroganovka, I wrote my watercolors. The people looked and surprised: “How so? Everyone writes with a tempor, gouache. " Because the tempor and oil can be written for a long, long time, and watercolor can be complicated. But the baggage is huge, experience in the studio, plus college. And I boldly wrote staging with watercolors on large formats.
Sunlight in the forest after a stanger, having worked in ceramics, constantly engaged in painting, again plunged into oil painting. I exhausted himself a second time in oil. Because again he lit a watercolor. Why does watercolor bring more drive? Why is the watercolor is still more interesting and more complicated than oil? I always say: here you have a white canvas, you have oil paints, you gained the pigment, as much as you need, put a smear on the canvas, and that’s it.
Further, if you do nothing, this smear will live like that. A week, two, year, ten years. There is no watercolor. You can moisten the paper, put one smear, and it flowed. And immediately some images begin to appear, some interesting texture. And you begin to burn, you want to continue further. Only you need to be able to manage it. In oil - no. While you do nothing mechanically, nothing will appear on the canvas.
Therefore, I was bored with butter, and I went to watercolor. Here is such a quick short way to the current state, in which I am now and I am perfectly dissolved. Where do you draw plots? Are these trips, nature nearby or photo? For example, a preliminary experience that obliged us to do homework in college. Someone went during lunch, fled to the dining room, and at that time we fanatically made sketches.
And for lunch they brought a pack of sketches, it is in an hour, every day, plus they worked in the evening.Active, fanatical work, and this is a visual perception, but we see everything around, try to draw everything, study everything. Hence all these plot moments arise. They accumulate in our “bank” - the head, we live, draw them, we have a good practice. And we are already in any situation, no matter what landscape we write, we write boldly and freely, since there is already accumulated experience.
Spring is a cloudy day since we are freely moving around the world, these are of course our Russian plots: nature, streets, cities, interiors in good beautiful houses and temples. From there everything was drawn. Moving to the other strip-to Europe, Asia, you see mountains, the sea, which is rarely seen then, you comprehend this new, interesting. But in principle, the state is the same.
There is a slight difference in lighting when you write some kind of plot. Because the sun is brighter than ours, and the color scheme, and the sensation of the environment, people, atmosphere is always the same as you absorbed. But there is what to catch on is architecture, a landscape environment that differs from our environment. These are hills, wonderful mountains, valleys, cutting fields, such a French flavor.
Plots around us. You just need to see, draw and admire every meter of nature that the Almighty created. Reims -Champagne - Morning in the Mountains in the student years did you make watercolor sketches or pencils? Graphics are a necessary thing. She trains her hand, eyes, she makes it possible to quickly capture the plot that you would like to do. You draw figures, they are in motion, and how to draw them quickly?
Here are two lines, and that’s all. In this case, even some system of fast-fast abstraction drawings in drawing, convenient, interesting and can come in handy in the process of your creative work. I often give an example when Picasso, a wonderful draftsman, a classic, draws a bull. Draws academically, with all folds, volumes, pile, reports materiality.
Such a chic graphic bull. Then he makes a rental, that is, it abstracts him a little to nine options. He draws the last bull with two lines. The character is the same as the classic, and emotions are even stronger. It resembles a bull in the caves of Altamy.