Ayrat Hamidullin Biography

Anna Akchurina about genuine in art. Eduard Manet. His painting is a whole phenomenon: multifaceted, sometimes causing disputes, and at the same time unconditional in its value. Against the background of modern trends in the art of his work - in its kind measure of authenticity and the fact of the moment of magic - in such an already studied, beaten direction as impressionism, or rather, “Moscow Cezannism” - as Alexander Benois designated this school at the beginning of the 20th century.

The painting of Ayrat Hamidullina is the twilight symphonies of pearl -silver tones, these are characteristic cold -time gamms; the finest color nuance worthy of the palette of Falk; Ephemer forms with bright accents and cold shadows enriched with reflexes. Along with these elusive mirages, we also see other works, built on the confrontation of the diametral elements.

As a reflection of the alter-ego of the artist, they are a completely different language, different plasticity. These works have a sharp dynamics of composition, broken forms, tense color contrasts, plastic expressiveness and peculiar asceticism of the means. Here we are dealing with symbolism, regardless of the genre of the work. So, a still life with a wooden figure of the angel and the skull of the bull turns out to be a parable about the struggle of good and evil, and about the turn between them.

And the detached portrait of a young girl is an allusion to the history of Yudifi and Olofern. One of the strongest examples of such a metaphor is the Toreodora series, which continues the tradition of Tavromachia in world painting. Not to mention the curious interpretation of the topic - the artist Fernando Bothero. The series "Toreodora" is one of the climaxes of the picturesque and compositional searches of Ayrat Hamidullin.

Here the visible is transformed as a sign, a symbol charged with colossal energy. The illusoryness is discarded as an outlined rag. Only the main thing. Information to the archetype. Brought to the limit, to the laconicism of the hieroglyph. The gallery of the images of Matadora is a symbolic self -portrait of an artist, in the soul of which two elements are also fighting: nature and art, beauty and cruelty.

And the panel of the mulets is like a sign of war: with yourself, with the world. Separate experiments of the artist return us to the coloristic still life of Georgio Morandi, others explore the method of Cezanne. The painting of Ayrat Khamidullin is paid in the pan -European context, and is a kind of cultural phenomenon connecting the heritage of opposite historical eras.

At the same time, the artist speaks with his viewer, only in an inherent voice. The breadth of the range and individualism inherent in it generates the works of unexpected and sharp, sometimes conflict, but, whatever it is about, they are always impeccable from the point of view of color and technology. As for the symbolism of the language of Ayrat Hamidullin ...

In this aspect, his still lifes are curious, which sound as a dialogue of forms and color chords, as a theatrical mise -en -scene, where each hero has his own role in general action. An uncompromising person and an honest artist with a high personal bar of skill, he is a certain tuning fork, a measure of impartiality in art. Many things in his presence lose their false significance, pathos, and through the crackling facade the elementary hack, “imitation” visible: the moment of truth ...

and here it is appropriate to say a few words about his pedagogical practice. The consistent adherent of the principles of Cezanne, the artist, who puts the shape and study of the color change in space at the forefront, he first drew our attention to the fundamental difference between the approach to the image of chiaroscuro and thermal humidity - among the masters of the academic school - and the impressionists of Ayrat Gabdullovich hit us, unexpected views on the artist’s craft, interpretation of him.

subtleties. Taught to think. And to think non -standard. Do not get hung up on the outer shell of the object, but analyze its design. He did not offer ready -made recipes. He bored on simple decisions, over attempts to disguise the inability or step over the necessary steps, striving for a quick result. Thus, he pushed us to overcome infantility in himself - and be honest in his work.

You can’t deceive the knowledgeable that you have not learned, you will not hide. It is impossible to hide. One of its principles: artistry is higher than illusory. He warned us against obvious solutions lying on the surface: - Any fool will take the color of the first grass through yellow and green. But how to take her color is not directly, in relations with the environment - this is the task.

In this regard, I give a classic example of it, how Paul Cezanne conveyed the color of the brown sex in the film “Pierrot and Harlequin”: - Take a look: in general, there is not a single smear of purely brown paint. All color is composed of countless shades, sometimes paradoxical. But in general, all this colorful mess looks brownish. This is how to write ... Cezann is worth the study.

I remember his words: - This is an imitation. This was the most severe sentence. We should talk about the Hamidullin school, which has its own distinctive features. Ayrat Gabdullovich is a non -trivial teacher.His students of KHU students named after Feshina can be recognized not only by the special color and interpretation of nature, but also by the sum of the artistic principles that are formed by his school.

Thus, we are talking about a systematic vision of painting as such. About priorities. About the special unity of the drawing and painting. And also about the method of constructing form and space on the plane. All this is formed by the teacher into a single consistent system in which the steps of professional skills do not overshadow the main goal, which is the artistry, gained through the realistic method in the context of the fundamental discoveries of impressionism, division and tonal painting by Nikolai Krymov.

The subject of the search for the Khamidullin school is not photographic naturalism, and not dry academicism, and not the tendential moralism of socialist realism, but the living truth of artistry, refined analytical art that learned the discoveries of impressionists. We are talking about a tradition, which includes the experience of the best domestic colorists and drawers, primarily Surikov, Vrubel, Korovin, Feshin ...

about the tradition that is based on the discoveries of Rembrandt and Vermaur, Syra and Signac, and not alien to the sharp conditional visual language of artists of the 20th century. A specialist from an amateur is distinguished by a base. Knowing what exactly - what information and skills - must be applied in this particular case to obtain the necessary result.

And of course, practice. It is this quality that the students of the school of Ayrat Gabdullovich are distinguished. Obvious skill and truly artistic level of work of students KHU named after Feshina is noted among professionals at annual reporting and captures of students. That is, graduates of the Feshinsky school are the already established artists who have received the skills and methods of working on nature necessary for a professional.

Just work, do not bury the talent in the ground ... ... the time of postmodernism blurred the boundaries - good and evil; genuine and fakes; искусства — и его суррогата. The criteria are overturned. It is no longer customary to argue about tastes. The concept of vulgarity has gone from the mentality. And beauty and ugly are no longer antipodes, but full -fledged participants in one surreal performance ...

our time hurts, and he needs a surgeon's scalpel. Without a coordinate system, any phenomenon, any activity is absurd. Right now, we need landmarks, some saving and unshakable values, signal boundaries, indicating the goals and dangers of the path. The role of such lighthouses at all times is performed by iconic objects and works, or the highest manifestations of the human spirit.

So they serve us navigators in the monstrous cacophony of our era. Such guidelines, of course, include the art of the artist Ayrat Hamidullin. Belonging to the followers of pure painting, this artist completely concentrated his searches in the problems of color, color, tone transmission of objects, in the construction of form and space, in solving purely visual, composite problems.

The concept of adherents of pure art, painting - is not a podium of a publicist and not the blacksmith of a new ideology. Its goal is not the glorification of the great world, not the service of political interests. Its goal and the only task is the painting itself, as such. All that she creates is only beauty. Does the layman need abstract beauty, beyond rational benefits and status meters?

Does he need a useless art that does not flatter, does not entertain, does not serve sexuality, is not a reliable investment, does not raise the industry and fertility, and, in addition, inspires a vague suspicion of insignificance, some inferiority of the momentary life - before that strange and unknown, which is actually living deeply indifferent and deaf, because it lies outside the understandable and that it lies outside the understandable A tangible reality the question remains open.

And this question is about beauty, about the self -sufficiency of beauty in human society. Anna Akchurina, August 26