Nazarenko Tatyana Grigorievna (born 1944)
Painter. Engaged in artistic photography. Portrait painter, landscape painter, genre painter, master of historical painting.
In 1955–1962 she studied at the Moscow Secondary Art School at the Moscow State Art Institute named after V.I. Surikov, then in 1962–1968 at the Moscow State Art Institute named after V.I. Surikov with D.D. Zhilinsky.
Currently teaching at the same institute.
Laureate of the State Prize of Russia, full member of the Russian Academy of Arts. T.G. Nazarenko is one of the leaders artistic life 1970s. The creativity of her generation is characterized by analyticity, a desire for a multifaceted reading of the meaning of a work, an emphasis on personal intonation, and irony. The language of allegory was close to many masters of this time. Nazarenko recalls: “The 70s forced us to resort to allegory: an ambiguous time when much seemed to be allowed, and at the same time again not, closed again.” Her paintings on historical topics
(“Execution of Narodnaya Volya”, 1969–1972; “Decembrists”, 1978). In them she combines documentary, spirit of testimony, historical perspective and her own idea of the event.
Interest in various stages of history and culture, elements of stylization and direct quotation
famous works
- all this brings Nazarenko’s art closer to the aesthetics of postmodernism.
"I think, a person must constantly strive for something beautiful, no matter how trite it may sound"
Tatyana Nazarenko “In my opinion, a person should constantly strive for something beautiful, no matter how banal it may sound” Tatiana Nazarenko's career dates back to the late sixties and early seventies of the last century. She made her debut at exhibitions at a time when the “severe style” of the sixties began to become a thing of the past. Young artists of the seventies widely used metaphors, allegories, parables, boldly resorted to both the plastic language of the classics and artistic techniques and images of the most different eras and trends in art.
Already Tatyana Nazarenko’s early works “Execution of the Narodnaya Volya”, “Partisans Came”, “Decembrists”, “Pugachev” attracted attention with their new artistic concept. A specific historical event, depicted with emphasized authenticity, was turned to the present, revealing the deep connection of times. Nazarenko’s creativity was directed against “unconsciousness” and forced him to conduct a dialogue with the past. Comparing the past and present, turning to historical events of different eras, she sought to reveal the spiritual essence of her heroes, expressed in the deep patriotism and high citizenship of their thoughts, feelings and actions.
Her paintings are characterized by a philosophical sense of time, which is interpreted as a continuous continuous flow. Nazarenko’s paintings are distinguished by their breadth of plasticity and diversity. artistic means, clear color rhythm, decorative color, conventionality of space, grotesqueness, graphic nature, multi-scale and unexpected compositional solutions.
Her work speaks of a constant search for new artistic means, maximum expressiveness and originality of plasticity. Many of Nazarenko's works are autobiographical. For example, her “Circus Girl” balancing on a tight wire over a crowd of envious people and ill-wishers.
Nazarenko deliberately deforms people’s figures and faces, while assuring that she is not exaggerating anything, all the characters are copied from life and are extremely realistic.
American critic Donald Kuspit called Nazarenko's realism absurdist - according to the reality (the period of developed socialism) that gave birth to it. Nazarenko does not shy away from labels, which critics cannot do without. On the contrary, she calls herself a realist with some challenge, as if defending her right to this outdated and unfashionable genre...
Her realism is primitivist and has a somewhat popular character. But it certainly has nothing in common with the socialist, which depicted life not as it really is, but as it should be. Perhaps, against the backdrop of these false, varnished plots and tired stereotypes, her art is shocking. Sometimes it seems that she decided to explode these stereotypes with a parody...
Over time, her picturesque “theaters” became more and more dramatic and grotesque, including elements of surreal “black humor” - cross-cutting symbols of masks, puppet theater, cannibalism.
Since 1996, she has often given her images three-dimensionality, complementing or replacing her canvases with combinations of silhouette figures in the size of life, as if emerging from the painting into the real world - installations: Transition, 1996; My Paris, 1997. (Bella Yezerskaya)
Tatiana Nazarenko:
Life changes, art takes on new forms. I was a painter all the time, and then I became interested in plywood figures, I had two exhibitions of photographic works... I wanted to continue my search further, but, thanks to teaching at Surikovsky, I returned to painting again. Because explaining how to paint without touching the canvas is extremely difficult. (quoted from the article by Anna Chepurnova “Tatyana Nazarenko. In search of new forms”).
Biography
Tatyana Grigorievna Nazarenko was born in Moscow on June 24, 1944
In 1968 she graduated from the Moscow State Academic Art Institute. V.I.Surikova, (teachers: A.M.Gritsay, D.D.Zhilinsky, V.I.Shilnikov, etc.)
Since 1969, member of the Union of Artists of the USSR
In 1969–1972 she worked in the workshop of the USSR Academy of Arts under the direction of G.M. Korzhev
1975 - first group exhibition in Moscow (T. Nazarenko, O. Loshakov, O. Vukolov, I. Orlov, V. Rozhnev)
1987 - first personal exhibitions (Kyiv, Odessa, Lvov and abroad - Leverkusen (Germany)
1989 - personal exhibition at the Central House of Artists (Moscow)
In 1998 he became a corresponding member of the Russian Academy of Arts
1999 - Professor, head of the workshop at Moscow State Academy of Arts named after. V.I. Surikova
In 2001 he became a full member, a member of the presidium of the Russian Academy of Arts
In 2003, T. G. Nazarenko was awarded the title “Honored Artist of Russia”
Her paintings are in the collections of many museums in Russia and abroad, including the State Tretyakov Gallery, the State Russian Museum, etc., as well as in galleries and private collections (USA, France, Italy, England, Turkey, Germany, Finland, Czech Republic , Poland, etc.)
She worked under the leadership of Korzhev.
Of great interest to the researcher are genre
paintings with self-portraits by T. Nazarenko. There is a lot of controversy about this artist. Some see rationality and sober calculation in her works, others see ardent obsession, a living creative passion.
Flowers. Self-portrait. 1979
It seems to us that they contain both. And this is especially clearly and acutely manifested in Nazarenko’s paintings, which include a self-portrait. And almost all of her paintings include it, including historical ones (“Execution of the Narodnaya Volya”, “The Partisans Have Came”). The role of self-portrait seems especially active and effective in the paintings “My Contemporaries”, “Conversation”, “Young Artists”, “Grandma and Nikolka”, “New Year’s Eve”, “Tea Party in Polenov”. Each of them reveals, or at least poses, very important problems of human existence. There are difficult thoughts here about the meaning of life and creativity, the change of generations, the inevitability of death, etc. We believe that in each case Nazarenko presented some intimate piece of her personal life, her own biography (yes, this is apparently the case) . We believe that every situation is not only well thought out, but also deeply experienced and endured. And therefore, the self-portraits included in her paintings are taken for granted, as an integral part of the composition. The inclusion of a self-portrait in the painting became a necessary creative need for Nazarenko. “In one of my... paintings “After the Exams”, I, fearing that my self-portrait was somewhat tired, or, rather, it simply did not fit the given situation (a group of students), although I felt in the right place there, tried to paint a different character . It was a painful and very unsatisfying replacement,” recalls the artist.
With all this, however, it is noteworthy that each of the self-portraits included in Nazarenko’s paintings lives in a special psychological space, isolated from other characters. We feel in them not so much a direct participant in the depicted event, but rather a special actor, looking at partners, although not indifferently, but still with an outside glance. The heroine, endowed with the portrait features of an artist, is always thinking. Sometimes her gaze is turned to us. Exactly as in the above-mentioned compositions of the Renaissance masters. And he expresses the same eternal question: “What do you think about this?”
Pugachev. Diptych.
In the diptych “Pugachev”, an acute conflict, dramatic moment is chosen: Emelyan Pugachev is being taken in a cage to the place of execution in Moscow. And it’s not just anyone who’s lucky, but young Suvorov. But what is this strange spectacle unfolding before our eyes? The smartly dressed faceless soldiers are like motley toys. And Suvorov on a white horse resembles a doll; his whole appearance is so similar to his countless images that he seems to be deprived of individual features and becomes a sign, a diagram. And his horse does not walk, but seems to float through the air, and his fragile, lifeless hands do not hold the toy reins... And immediately this whole story takes on the features of a phantasmagoria, and it is no longer people who commit certain actions, but some puppets participating in some kind of not a game they invented.
The pictorial structure of this canvas is also deliberate, reminiscent of painted oleography. The floating clouds are very plump, and the golden color of the hills and distant buildings is extremely thick, and the blue-red-white costumes of the soldiers and the figure of Pugachev in a red shirt soaring above their heads are written in open, extremely contrasting tones...
And the second part of the diptych, enclosed in the same frame, looks completely different. This is a long vertical panel, painted in the tradition of the 18th century trompe l’oeil. Dark “museum” coloring, carefully written papers tucked behind a ribbon, several portraits dating back to the time of the Pugachev revolt, a piece of old brocade, several books, a melted candle in a candlestick... Everything is very serious, carefully written, everything seems to carry fine dust of past eras, traces of the touch of the people who created these things.
Decembrists. Uprising of the Chernigov regiment. 1976
There is no momentary experience in Nazarenko’s historical paintings. We look at long-standing events through time, and everything that happens seems to lighten up, freeze, break away from everyday adversity and acquire the clarity and completeness of a symbol.
The same duality is present in her group portraits. Their characters are recognizable portraits, the collisions are believable:
First summer. 1987
youth holidays, conversations in the workshop... And at the same time, there is something mysterious in them, turning everyday scenes into romantic fantasies. Thus, the past and the present come together closely in the triptych “Life” (1983).
And again, the artist materializes thoughts and feelings, depicts the objects that evoke these thoughts. In all three canvases that make up the composition of the triptych, there is a grandmother, already very old, wrinkled, supporting her gray head with her closed hands. And her life passes before her mind's eye. But T. Nazarenko would not have been true to herself if tangible and physical realities had not converged in the world she depicted. which are visible only to the spiritual gaze, if the line between the past and the present were not unsteady...
Anna Semyonovna Abramova died in Moscow at the age of 89, having lived to see Tanya’s work recognized, having seen her photographs on the covers of magazines, reproductions of her works in books.
T. Nazarenko’s works contain the power of persuasion and the ability to translate his ideas into full-fledged images. Here is a keen eye and a flight of imagination, the reflections of our contemporary and the eternal desire for love and mutual understanding. And there is also in her works the idea that for modern man These contacts are not so simple. And that is why so often in Nazarenko’s paintings close people are so far from each other and outstretched hands hang in the air.
Whatever she writes - and the range of her subjects is unusually wide, she works with equal intensity on a historical painting, and on scenes of youth holidays, on a portrait, landscape, still life - she brings into her works something elusive and undoubtedly making them the product of ours days, the way of thinking of our contemporary. The viewer feels time pulsating in her art.
T. Nazarenko is one of the artists whose talent was revealed in the seventies. Bright creative individuals developed and matured during these years. Difficulties broke the weak and strengthened the strong. Tatyana Nazarenko is one of the strong ones.
Big window. 1985
The painting “Big Window” (1985) by the Moscow artist T. Nazarenko is significant, raising serious moral issues related to today's day in our lives. Here the problem of self-awareness, the well-being of modern man in the world around him, emotional contact with reality, with nature, with the objective world is solved as if by contradiction: instead of silence, peace, clarity, harmony that ennobles the soul - cold tension, rigidity, disharmony of contrasts, eye-catching incompatibility spiritual and material, emphasized by the image of a hollow mannequin on the windowsill, the frightening emptiness of the objective world, the discomfort of human existence in this environment. In the harsh naked impartiality of a self-portrait (a tired, pale face reflected in the mirror, a look without a spark of inspiration), in the cold colors and dry lines of the landscape opening outside the window, in the indifferent collision of Moscow factory, industrial newness and Kremlin antiquity, in the multiple accessories of everyday artistic labor.
One day Tatyana Nazarenko - and every summer she lives in a village near Tula - came across an abandoned grain dryer. I asked my husband to take a photo: you couldn’t imagine a brighter symbol of the Soviet era! I decided to definitely use the grain dryer in the installation on canvas.
— Unfortunately, I began to understand the same Ilya, who has been making his installations for a long time. It's much more interesting than just drawing. I come to this now.
To devote yourself to real painting, you need a different state of mind and country. Recently I was in a large European museum. And I caught myself thinking: I’ll come to the village now, take a canvas and write with pleasure between watering the beds. And then I pulled myself together: well, I’ll write, but what next? Wait for a buyer?
- But what about inspiration, the kind when it’s impossible to breathe?
— Oh, I don’t like the word “inspiration.” I can’t say that it’s impossible to live without touching the canvas. Maybe. But the creative process is always a little different from what they say and write.
— Judging by your plywood “Portrait of Catherine II,” recently presented at the New Manege, have you completely changed traditional painting?
- This is not about treason. The artist must abandon his perception of the world. And this is exactly how I perceive our reality at the end of the 90s. That’s why I don’t paint portraits of “new Russians.” It’s only interesting to write there
silk dresses. The faces do not express anything. Therefore, even if I am now writing something specifically for sale - you won’t be able to live on an academician’s pension of a few hundred rubles very well - these are still lifes. Flowers. It happens that I sell my old favorite works. But not “Pugachev,” which Soviet officials removed from exhibitions.
Circus girl. 1984
— Why then did you sell your famous “Circus Girl”?
- This is my husband. I was in America then. And when he called and told me about this, I was ready to kill him. In general, I have a very hard time parting with my works. Especially if a crowd of chirping modern aunties comes, rummaging through the works and trying to bring down prices. The feeling of a bazaar remains. Although it seems inconvenient to refuse, they come because they know each other.
One day I had to sell a work against my wishes. When I said that this was my favorite still life, a home one, one of the gentlemen who came said: “But Pyotr Ivanovich can make it so that you don’t fly anywhere.” And I had to go to Paris. I laughed: now I’m free, I’ll fly through Ukraine. And they answered me: “But Pyotr Ivanovich can make sure that the plane doesn’t make it.” I was truly horrified, my God, who was brought to me, a mafioso?! So, to my chagrin, I had to sell this work. The high price didn't even stop them.
- And this is how you celebrate your anniversary - with some kind of confusion in your soul?
- I live like this all the time. And in the early nineties, when the country collapsed and there was a feeling of uselessness, and in ’85, when I was not allowed to go abroad and it seemed that life was over. I also remember the morning despair at the beginning of this year, when I learned that, by order of officials, my harmless plywood monument “Worker and Peasant,” which stood at the entrance to the Manezh during my exhibition, was removed. Some people thought that there was no place for him near the Kremlin. I felt like I did many years ago when my paintings were removed from the exhibition. I recently met one of these arts officials. I didn’t expect to meet me as an academician. He is thriving...
Nikolai EFIMOVICH.
Artist Tatyana Nazarenko has created her own tradition: for the fifth year she celebrates her name day - Tatyana's Day, January 25 - with an exhibition of new works. The first one took place in the Tretyakov Gallery, the current one - “My Paris” opens in the Manege gallery, in the Central Exhibition Hall.
Nazarenko’s talent covers all genres of painting. And you expect surprises from each of her exhibitions.
Last year, Nazarenko created the illusion of an underground passage at her exhibition, populating it with a crowd of painfully familiar faces. Her heroes seem to have stepped out of paintings, becoming plywood “fake” figures, like those that street photographers place next to them. Plywood sculptures can be moved and swapped. The reception is only superficially reminiscent of street kitsch. Each figure became a kind of social portrait, reflecting the exact signs of the time. The exhibition “Transition” has already visited the USA, and now continues its journey through Germany.
Tatyana Nazarenko lived in Paris last year in the spring. Without the tourist rush, with family, in the normal rhythm of city life. And, as she says, she felt calm and at ease there. The new exhibition is the result of this trip and the continuation of the experiment with plywood painting and sculpture.
The artist among his Parisian characters.
Everyone has their own Paris. Nazarenko was interested in the Parisians. Its current characters are students, bourgeois, young fashionistas in little black dresses, waiters, merchants, prostitutes, nuns, an organ grinder... Before us are a variety of types of city streets: day and evening, in a cafe, in a park, at a second-hand bookseller. And among these plywood sculptures, as you can see in the photograph, the artist herself is very naturally positioned.
If in last year’s “Transition” you were oppressed by the gray background, here bright colors play on colored planes. But the roll call of exhibitions is not at all reduced to opposition. Nazarenko is not inclined to be straightforward. She likes the Parisians, but she doesn't flatter them.
Inga PRELOVSKAYA
It is generally accepted that she is the brightest star among contemporary Russian artists. Paintings are in the collections of the Russian Museum and the Tretyakov Gallery and famous private collections. State Prize laureate, corresponding member of the Academy of Arts and professor at the Surikov Institute. This is all Tatyana Nazarenko.
Plywood figures of unsympathetic inhabitants of Moscow underground passages, “fake” monuments to LUZHK0VU with a shovel, Kirkorov and other installations. causing outrage among aesthetic critics. This is also Tatyana Nazarenko,
Saint Peter on the project “12 good works”.
The XIV Moscow Art Fair “Art Manege” was held at the Manege Central Exhibition Hall. Fourteen years ago it was started as a very ambitious project, evidence of the viability of the Russian art market. But initially, the idea was planted with an omnivorous bomb: salon art here coexisted with the stands of high-brow galleries. The kitsch brilliance and intellectual poverty that Art Manege combined helped the rise of the star of “Art-Moscow: peer-to-peer competitors, held at the Central House of Artists. Art Manege tried to save its reputation - either with the approval of an expert council, headed by an expert with a worldwide reputation, Viktor Misiano, or
by inviting curators (which is nonsense for a fair) from the artist Alexander Yakut to the gallery owner Vladimir Ovcharenko. Did not help. And “Manege” has been renouncing claims to elevation for several years now, representing everything that exists (more precisely, those who paid money to rent the site). Just a few years ago, Art Moscow exhibitors entered the Manezh to ascertain the incompetence of their opponents, parading with an arrogant look. However, due to the financial crisis and customs problems, it turned out to be unsuccessful. So at the current vernissage one could meet activists of contemporary art who, with hidden embarrassment, asked each other: “And you
What are you doing here? That is, Art Manege, in essence, did not become any better, but it remained a potential platform for the market.
And this time there was something to see even for an expert. However, the best is represented here not by pseudo-modern art, but by modernism and the “second avant-garde” of nonconformists. Best project “The Art of Three Decades. 1910 - 1930s" is generally non-commercial. "Collectors Club" visual arts"presented items from artists of the first third of the last century from private collections. The exposition was made by the chairman of the club, Valery Dudakov, one of the best experts on the antique market. Nadezhda Lermontova,
Vera, Mikhail... The names are impressive, although the things are not so much. And the “SHPENGLER Gallery” (in a past life known as “Old Years”), known for its constant collaboration with the Tretyakov Gallery, showed its favorites - from Burliuk’s student, the repentant Ural futurist Viktor Ufimtsev, to the underground abstractionist of the 60s Valentin Okorokov. As always, “Pan Dan” - with its own, Yakovlev and. The newly formed “Gallery on Vspolny”, belonging to the “Society for the Encouragement of Arts”, also affiliated with the State Tretyakov Gallery, presented Plavinsky, of quite museum quality. At the New Manege stand, Lev Melikhov, a chronicler of the underground, exhibited his textbook photographs.
Well, two hits of the fair: the exhibition “InArtis” with silk-screen prints of Andy Warhol (circulated and unsigned, but made with the blessing of the author) and “Zebra Bliss: formerly known as the “Museum of Bookplates” - these are not bookplates, but magnificent objects of the classic French “new realism” "Armand, graffiti artist Criqui and even Keith Haring, the famous American “new waver.”
In general, it turned out not to be embarrassing. And now living Russian artists were represented by worthy names and worthy works: Tatyana Nazarenko, Klara Golitsyna, Konstantin Sutyagin, Alexander Shevchenko...
But God have mercy, this is what we had to look for
in a total area of 5000 square meters.
Well, if you want discoveries and new impressions, you’ll get all the price tags and price tags. A fair is like a fair. By the way, as predicted, our nonconformists were selling more and more. Most galleries unknown to the enlightened public did not pay for their stands. But, unlike Art Moscow: the Art Manege fair, it does not make its commercial results public. He's shy, isn't he?
Fedor Romer.
Dozens of canvases, obscuring each other, were piled up against one of the walls of the studio. And before the artist had time to turn her next work towards me, I read its title, as if I was looking through the table of contents of an unfamiliar book.
“Uzbek wedding” - I read on a stretcher. And while Tatyana Nazarenko slowly unfolds the canvas, I have time to rejoice at the theme, as it seems to me, created for our women's magazine. But here is the picture in front of me. I look, and some kind of incomprehensible anxiety overcomes me. Why? Where? After all, there seems to be nothing tragic on the canvas: near a low blower, musicians painted somewhat parodically are calling people to a family holiday, next to a thin, pale boy covering the road to the house with flowers. On the left, in the corner of the picture, are the guests. People different ages, different temperaments, perceiving the upcoming celebration differently: some are openly happy, others are simply curious. And all this is authentic and colorful. So what's the deal? Where does this persistent premonition of trouble come from? Maybe it’s all to do with the alarming red background of the picture or the sad face of the boy. scattering flowers? Or maybe guests? It’s as if they are deliberately slow to cross the threshold of a house prepared for the holiday.
I’m talking about this to Tatyana Grigorievna
Yes, at this wedding,” she says, “a tragic event occurred - the bride’s stepfather died. Wonderful person, who raised and educated her. Apparently, this painful impression, which I tried not to think about while working on the painting, did have an effect...
Well, apparently, for every true artist, the truth of life and the truth of art are inseparable.
Tatyana Nazarenko, a graduate of the Surikov Institute, made her debut at exhibitions during her student years with the painting “Mother with Child” (1966) and “Motherhood”. This second painting, painted in 1968, was also diploma work artist In the same year, “Uzbek Wedding” was created.
Students.
In later works, such as “Young Artists”, “Students”, “My Contemporaries”, “After the Exam”, “Guests in the Dorm”, the author was attracted not so much by the plot as by the depth of psychological characteristics.
After exam.
And yet, Nazarenko’s work “The Execution of Narodnaya Volya” received the greatest fame. The young artist managed to comprehend in her own way tragic theme Narodnaya Volya members, whose moral height she always admired.
This picture, to some extent, summed up the years of study at the institute, where the young artist’s teachers were famous painters A. Gritsay and D. Zhilinsky. But at the same time she studied with Italian and German masters early Renaissance. Isn’t this where the sky in “The Execution of Narodnaya Volya” is the color of a faded Renaissance fresco - light, light blue? And in the portraits of Nazarenko’s contemporaries, no, no, and he will surround his face with a collar. reminiscent of a Spanish frill.
The artist is attracted to both the genre, the portrait, and the historical composition. But she has paintings that you perceive as poetry, as music. The main thing in them is the mood. One of these paintings is “Evening in Tarusa”. Loneliness and lostness lurk in tiny houses far apart from each other, surrounded by austere pine trees; the dim yellow light of a lantern swayed by the wind is restless. This picture was painted in the Tarusa House of Artists, apparently on one of the days when the longing for the abandoned home overcomes all other feelings.
“Farewell to Winter”, “Meeting Guests at the Moldavian State Farm”, the lyrical narrative “New Year’s festivities”, the still life “Flowers in the Workshop” and “In the Workshop” were solved in a completely different, major key. For her last two works, Tatyana Nazarenko was awarded first prize at International competition young painters in Sofia
And now her paintings are exhibited in the GDR and are highly appreciated by German viewers.
Tatyana Nazarenko, laureate of the Lenin Komsomol Prize, is constantly searching. This is the key to her success. Current and future.
Born on June 24, 1944 in Moscow.
Graduated from the Moscow State Art Institute. V.I. Surikov in 1968.
From 1969 to 1972 she worked in a workshop at the USSR Academy of Arts.
Since 1969, member of the Union of Artists.
Laureate of the State Prize of Russia in 1993.
In which collections of work
The works are in the State Tretyakov Gallery in Moscow,
State Russian Museum of St. Petersburg,
art museums of Saratov, Vologda, Kyiv, Arkhangelsk, Perm, Nikolaev, Bryansk, Novokuznetsk, Novosibirsk, Elista, Rostov-on-Don, Bratislava, Rostock, Berlin, Sofia,
P. Ludwig Museum, Aachen, Germany,
private collections in Germany, France, Finland, Turkey, Italy, Great Britain, Spain, Portugal, USA,
Cremona Foundation, Weisman Foundation in the USA.
Participation in exhibitions and auctions
1975 5 Moscow artists. Moscow;
1978 3 Moscow artists of 3 generations. Berlin, Rostock, Schwerin, Halle. Germany;
1981 23 Moscow artists. Central House of Artists. Moscow;
1982 Russische Malereiheut. Thoma Levy Galerie. Hamburg. Germany;
1982-83 Exhibitions of Soviet artists from the collection of P. Ludwig. Cologne, Lubeck, Rebensburg, Mains. Germany; Vein. Austria; Tiburg. Netherlands; Onstad, Howicodon. Sweden;
1984 Russian kunst des zwanzigsten jahnunderts. Sammu long Seemjonow Galeria der stadt essfibgen an Neckar. Germany;
1986 Art of Moscow. West Berlin;
1986 Kunstlerinnenaus der sowjetunion. Kunsthalle Recklinghausen. Germany;
1987 Contemporary Soviet Art. Selection from c. Norton T. Dodge. Kennesaw College Art Gallery. USA;
1987 Personal exhibition. Odessa, Kyiv, Lvov. Ukraine;
1987 - 88 Personal exhibition. Leverkusen, Bremen, Oldenburg. Germany;
1988 Russian avant-garde and contemporary art. Sotheby's auction. Moscow;
1988 Sowjetkunst heute. P. Ludwig Museum. Cologne. Germany;
1988 International images. Cevicley. Pennsylvania. USA;
1989 Von der revolution zur perestroika. Works by Soviet artists from the collection of P. Ludwig. Barcelona. Spain;
1989 Personal exhibition. Central House of Artists. Moscow;
1990 Personal exhibition. Soho Gallery. Boston. USA;
1990 Moscow theasures and traditions. Seattle. USA;
1990 Moscow - Washington. State Tretyakov Gallery. Moscow;
1990 The quest for self expression. Painting in Moscow and Leningrad 1965-1990. Columbus museum of art. Columbus, Ohio, USA;
1990 26 artists from Moscow and Leningrad. Central Exhibition Hall of the Union of Artists of the RSFSR. St. Petersburg;
1990 Frammenti d`arte contemporanea 32 protagonisti daol USSR. Rome;
1991 Figuration-Critique. Grand Palais. France;
1991 Washington - Moscow Art exchange exhibition. Garneqie Library. Washington;
1991 Artistas rusos contemporaneos. Satiago de Compostela. Spain;
1991 Pintusa russae sovietica em Portugal de Nicolay IIa Gorbachev. Castel de Leirea. Leirea. portogal; 1992 Expo-92. Barcelona. Spain;
1992 Personal exhibition. Gallery Fernando Duran. Madrid;
1993 A dream reveals the nature of things. State Tretyakov Gallery. Moscow;
1993 Tatyana's day. State Tretyakov Gallery. Moscow;
1993 Personal exhibition. Gregory Gallery. USA;
1993 Personal exhibition. Gallery "Today". Moscow;
1994 Personal exhibition. Russian gallery. Tallinn. Estonia.
1995 Gregory Gallery, New York, USA
1995 Gallery Studio, Moscow
1996 Central house artist, Moscow
1996 State Tretyakov Gallery, Moscow Palette gallery
1997 Central Exhibition Hall "Manege", Moscow
1997 M. Gelman Gallery, Moscow
1997 State Museum Fine Arts named after. A.S. Pushkin, Moscow
1997 Gallery "EXIT-ART", Cologne, Germany
I work to express something important to me. I would really like to be understood - although not necessarily in exactly the way I intended my work. It is important for me to convey the general structure of my plan.
I do the same thing all the time, varying the same theme - the theme of loneliness. Loneliness seems to me to be one of the most significant human dramas. In different works - in large historical canvases, in portraits or genre paintings - this theme determines a lot in my canvases. I think about how terrible loneliness is, how difficult it is and how inevitably it awaits a person in different situations of life.
To make people think, to encourage them to sympathize - this is the main goal of my work...
I usually start painting when the painting is completely thought out and formed in my head. Sometimes it can take a year or two from idea to execution - it doesn’t matter.
If the impression of what I saw is very strong and it seems to me that many people will be depicted in the picture, I first draw - on a piece of paper, on a restaurant napkin, in a word, on everything that may be at hand. Usually I don’t deviate from the original plan and only enrich the canvas with some details...
What worries me, I should leave on the canvas, or at least on a piece of paper. This is my life. Until the idea is on canvas, I cannot free myself from it, like a mother who is expecting a child. After all, you treat paintings like children - they leave the studio, leave me, have their own destiny - happy, unhappy...
It seems to me that real art begins where there is a secret, some unspokenness, thanks to which for each person a favorite thing is fraught with a charm that is revealed only to him...
By creating a picture, it’s as if you are summing up some stage of your life. In any case, this is exactly what happened to me with many canvases. An unfulfilled thing interferes with your life, worries you and reminds you of yourself, so you feel your responsibility to life, which gave you the opportunity to create.
Criticism
The creative star of Tatyana Nazarenko flashed brightly and unexpectedly in the firmament of Russian art at the very beginning of the seventies. Its spiritual glow does not diminish or dissolve in time. The world of images and the artist’s painting language are largely determined by certain historical views that create the atmosphere in which our understanding of human nature awakens. If you mentally imagine a gallery of Nazarenko’s paintings from historical genres and “masquerade” buffoonery to portraits and still lifes, then everything in them will be located, as it were, on one timeless plane of significance, regardless of the specificity and thoroughness of the reproduction of individual attributes and realities of the past and present.
The works of Tatyana Nazarenko have a special magnetism; they are associated not only with memories of what has happened, but also are addressed to the future. Her works excite the viewer's imagination with their multi-association, metaphorical nature...
In her paintings, the heroes of ancient events appear, as if resurrected, but they are perceived outside of specific time parameters, perhaps due to the fact that she endows them with features inherent in herself, trying to connect specific historical characters and destinies with the virtues and vices of our generation. Thus, Nazarenko reaches a special level of artistic generalization, which allows him to operate with universal concepts and values even in relation to situations of purely private life.
When discussing Nazarenko’s work from a historical and philosophical perspective, one cannot ignore the purely pictorial, plastic merits of her works. She nurtures the ideas for her paintings for a long time, mentally improving the plot plot, placing the necessary semantic accents. At the same time, she already imagines the future composition, its coloristic dramaturgy, light accompaniment to a strictly restrained, solemn chorus of colors. Nazarenko’s pictorial style incorporated the artistic techniques of the old masters, with their ideas about the luminosity of color, texture, and plastic discoveries brought into art in the twentieth century. As already noted, Nazarenko sees the future painting even before her brush touches the canvas, therefore her work is distinguished by the precision of figurative solutions, color and compositional structures, and inside this static harmony passions and experiences are seething.
Nazarenko Tatyana Grigorievna
Tatyana Nazarenko
(Born 1944)
Painter. Engaged in artistic photography. Portrait painter, landscape painter, genre painter, master of historical painting.
In 1955-1962 she studied at the Moscow Secondary Art School at the Moscow State Art Institute named after V.I. Surikov, then in 1962-1968 at the Moscow State Art Institute named after V.I. Surikov with D.D. Zhilinsky.
Currently teaching at the same institute.
Laureate of the State Prize of Russia, full member of the Russian Academy of Arts.
T.G. Nazarenko is one of the leaders of artistic life in the 1970s. The creativity of her generation is characterized by analyticity, a desire for a multifaceted reading of the meaning of a work, an emphasis on personal intonation, and irony.
The language of allegory was close to many masters of this time. Nazarenko recalls: “The 70s forced us to resort to allegory: an ambiguous time when much seemed to be allowed, and at the same time again not, closed again.”
She was especially famous for her paintings on historical themes ("Execution of Narodnaya Volya", 1969-1972; "Decembrists", 1978). In them she combines documentary, spirit of testimony, historical perspective and her own idea of the event.
Interest in various stages of history and culture, elements of stylization and direct quotation of famous works - all this brings Nazarenko’s art closer to the aesthetics of postmodernism.
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Nazarenko Tatyana Grigorievna
Honored Artist of Russia, laureate of the State Prize of the Russian Federation, Prize of the Moscow Government, member of the presidium, full member of the Russian Academy of Arts, professor
Born on June 24 in Moscow. Father - Nazarenko Grigory Nikolaevich (1910-1990). Mother - Abramova Nina Nikolaevna (born 1920). Spouse: Zhigulin Alexander Anatolyevich (born 1951). Children: Nazarenko Nikolay Vasilievich (born in 1971), Zhigulin Alexander Alexandrovich (born in 1987).
Tatyana Nazarenko’s father, a front-line soldier, a career military man, after the war was assigned to the Far East, and the parents left. Tanya stayed in Moscow with her grandmother, Anna Semyonovna Abramova. She showed her first her school marks, and then her drawings and paintings.
A. S. Abramova has been a widow since 1937. Her husband, Nikolai Nikolaevich Abramov, was illegally repressed and died in custody. Left alone, she worked as a teacher in kindergarten, a nurse, raised and helped her two daughters get higher education, raised her granddaughter Tatyana, and then helped raise her eldest son Nikolai. Grandmother had an endless source of love within herself, but it seems that her main love was still Tanya, who also loved her. Anna Semyonovna Abramova lived on in the paintings of the artist Tatyana Nazarenko: “Morning. Grandmother and Nikolka” (1972), “Portrait of A. S. Abramova” (1976), “Memories” (1982), “Life” (1983), “White wells. In memory of my grandmother" (1987).
At the age of 11, Tatyana entered the Moscow Art School. A circle of friends quickly formed there: Natalya Nesterova, Irina Starzhenetskaya, Lyubov Reshetnikova, Ksenia Nechitailo - future bright masters of the 1970s. It was a stormy, generous time, rich in various events of cultural life, a time of the rise of domestic art, acquaintance with outstanding works of domestic and foreign classics of the 20th century, which until then had been banned and unknown to young people.
In 1962, Tatyana Nazarenko entered the painting department of the V. I. Surikov Art Institute, where her teachers were D. D. Zhilinsky, A. M. Gritsai, S. N. Shilnikov. After graduating from the institute, from 1968 to 1972, she worked in the creative workshop of the USSR Academy of Arts under G. M. Korzhev.
Tatiana Nazarenko's art was formed under the influence of the turbulent events of the 1960s and memories of the tragic events of the 1930s. It combines a full-blooded attitude, love of life, the ability to experience everyday events as a holiday - and constant anxiety, which allows you to turn these holidays into strange and complex events, where everything is true and not true, where there is as much fun as sadness, where there are many layers of perception, many spaces superimposed on one another, where time is unsteady, the accuracy of field observations and the most unbridled imagination are intertwined.
Tatyana Nazarenko’s work has a strong analytical element. Whatever genre of painting she works in, the main content of her paintings is expressed not only and not so much through the plot, but through the general spiritual atmosphere, which determines the psychological state of the characters, the emotional coloring of landscapes, objects, and the plastic language of her art. This spirituality of painting, combined with an analytically close approach to the depicted phenomena, constitutes the meaningful originality of the artist’s works.
Adequacy of time, deep modernity is one of the defining features of the artist’s work. Nazarenko brings something elusive into his works, but which undoubtedly makes them a product of our days, the way of thinking of our contemporary. The viewer feels time pulsating in her art.
These features began to appear already in the artist’s first independent works, in the multidirectional searches of her first postgraduate years.
At the end of her studies at the institute, in 1965-1967, Nazarenko traveled to Central Asia. Kazakhstan, Uzbekistan, and Kyrgyzstan determined the range of subjects for her works for several years. Nazarenko's Central Asian paintings ("Mother with Child", "Motherhood", "Samarkand. Courtyard", "Uzbek Wedding", "Prayer", "Boys in Bukhara") reflected her living observations. But not only. These works seemed to contain all the baggage of her student acquisitions. But they already show another integral quality of the young artist - originality. Beneath the usual forms of “art of the sixties,” a different content emerges from them. Everything in them is much more unstable and ambiguous, they are unusually musical, primitive features appear in them: the desire to remove the representation, to bring a smile, simplicity and play.
And it is no coincidence that immediately after the Central Asian series, Nazarenko turns to topics that are much closer to himself. She paints pictures where the main characters are herself and her friends. The life of a generation becomes the subject of her art.
The beginning of the 1970s for Nazarenko, as for most artists of her generation, was a time of searching for a genre, manner, and theme. The artist tries her hand at both the primitivist style and the system of strict neoclassicism, painting romantic, decorative and playful canvases. During these years, she wrote such diverse works as “Execution of Narodnaya Volya” (1969-1972), “Tree in New Athos” (1969), “Sunday in the Forest” (1970), “Portrait of a Circus Actress” (1970), "Farewell to Winter" (1973), "New Year's Celebration" (1973), "Morning. Grandmother and Nikolka" (1972), "Young Artists" (1968), "My Contemporaries" (1973), "Lunch" (1970), "Portrait of Igor Kupryashin" (1974).
Among her heroes you can almost always find your own image - and a measure of the vigilant mercilessness of the eye, the ability to emphasize the sharp-characterized at the expense of the idyllic-prosperous, just as strongly in relation to oneself as to any other model.
Characteristic in this sense are group portraits, solved as genre paintings(“Students”, 1969; “Young Artists”, 1968; “My Contemporaries”, 1973; “Foggy Day on Shikotan”, 1976; “After the Exam”, 1976). Their characters are recognizable and portrait-like, the collisions are believable: youth holidays, conversations in the workshop... And at the same time, there is something mysterious in them, turning everyday scenes into romantic fantasies.
Tatyana Nazarenko’s historical compositions reflect our contemporary’s view of the past. Her paintings simultaneously present the past and the present, a historical event - and our current understanding of it. The very approach to solving the topic is already characteristic: in historical paintings - “Execution of the Narodnaya Volya”, “Partisans Came” (1975), “Decembrists. Uprising of the Chernigov Regiment” (1978), “Pugachev” (1980) - the artist chooses tragic, climactic moments, requiring the highest tension of the spiritual forces of the participants in the action. Silence and silence are significant here.
Tatyana Nazarenko's painting "The Execution of People's Volunteers" appeared at the Moscow Youth Exhibition in 1972. The picture was noticed by everyone, although not everyone accepted it. It intricately combined adherence to the models of the Renaissance, a penchant for generalized reflections and a tragic sense of vulnerability of freedom fighters, for spiritual ideals, before the crushing faceless force of the machine of suppression. For the painting “The Execution of Narodnaya Volya” Nazarenko was awarded the Moscow Komsomol Prize. In 1976 she was awarded 1st prize at the International Competition of Young Painters in Sofia (Bulgaria).
Compassion, a sense of social responsibility - these qualities later developed and strengthened in the art of Tatyana Nazarenko, acquiring different, sometimes bizarre forms of embodiment, intertwined with motifs of carnivals, holidays, festivities, with romantic self-portraits, with artistic play. And everywhere there is invisibly and clearly present anxiety, a feeling that behind the precarious well-being of our everyday life there are the harsh destinies of other generations, their pain and suffering.
Nazarenko loves to write carnivals. One of the artist’s first “carnival” works is “New Year’s Celebration” (1973), in which she strives to show the inner meaning of the carnival, the range of diverse and rather complex feelings experienced by randomly gathered people.
Over the years, the playful element intensifies in the artist’s work. Narrativeness disappears from the works, and allegory appears. In an allegorical capacity, he also uses reminiscences of the art of the past - be it almost direct quotes from classical works, historical costumes on our contemporaries or the presence of objects from the past in compositions dedicated to today.
In the second half of the 1970s and early 1980s, Nazarenko painted several group portraits of friends gathered for a festive occasion. These are the paintings "New Year's Eve" (1976), "Moscow Evening" (1978), "Carnival" (1979), "Tatiana's Day" (1982), "September in Odessa" (1985) and many others, as well as those written earlier canvases "Young Artists" (1968) and "My Contemporaries" (1974).
If in Nazarenko’s early group portraits one could clearly feel silence, concentration, the desire of the characters to hear each other, to listen to the truth, then in subsequent works (“Carnival”, “Tatiana’s Day”, etc.) the unbridled element of carnival reigns. The costumes and poses are extravagant, the spirit of the festival possesses not only people, but also objects. However, this is a holiday without fun, communication without mutual understanding and spiritual closeness. The theme of loneliness, so important for the artist, is intricately combined in her work with the theme of carnival ("Portrait in a Fancy Dress", 1982).
There are elements of carnivalization in both the paintings "Carousel" (1982) and the diptych "Dance" (1980).
In Nazarenko’s works there is a desire for contact with the viewer, a willingness to open oneself to an attentive, sympathetic gaze. The artist wrote several works where she almost directly talks about the confessional nature of her art, about how painful and difficult it is to show oneself unprotected, exposed before the court of universal indifference (“Flowers. Self-Portrait”, 1979; “Circus Girl”, 1984; “Spectators”, 1988; "Meal", 1992).
One of the most unusual paintings by Tatyana Nazarenko is the triptych “Workshop” (1983). The artist presents to the viewer a real workshop in which real paintings were created (“Tatiana’s Day” and “Carnival”), and at the same time the process of realizing his plan.
There is another form of “confession” in Nazarenko’s works. In such works she does not need irony, she does not require the colorful clothes of a carnival: the closest, warmest thing is embodied here... And almost always in these paintings there is an image of a grandmother: “Morning. Grandmother and Nikolka”, the triptych “Life” (1983) and others . In 1982, the painting “Memories” was painted, in which the artist seemed to materialize life associations that arose when looking at old photographs.
Among the main works of Tatyana Nazarenko are also: “Home Concert” (1986), diptych “Happy Old Age” (1988), “Little Orchestra” (1989), “Wreckage” (1990), “Monument to History” (triptych, 1992), “ Time" (triptych, 1992), "Mad World" (1992), "Spell" (1995), "Homeless" (2001).
Tatyana Nazarenko is a social artist. “I’ve always been interested in people,” she says. “I can’t turn away, I can’t brush aside other people’s misfortune. Making people think, calling them to empathy is the main goal of my work.” A clear proof of this was her exhibition “Transition” (1995-1996) - an installation of 120 painted plywood “fake” pieces made in human size. At the exhibition, visitors had to stop and look at the faces of unfortunate old women, disabled people, wandering musicians - all those whom they see every day in underground passages, but most often pass by without stopping to look. The exhibition was a great success (later it was seen by residents of Germany, the USA, and Finland), and “Transition” became for the artist a literal transition to a new stage in life, to a new art.
In 1997, her exhibition “My Paris” took place, where there were also figures made of plywood - Parisian cafe garçons in long white aprons, fish sellers... Another exhibition of Tatyana Nazarenko - “Moscow Table” was held the same year in the Marat Gelman gallery, and then was shown at the State Russian Museum of St. Petersburg in the program of the exhibition “Art versus Geography”. In May - September 2002, the Kuskovo Museum hosted an exhibition of the artist “I myself am glad to be deceived...” (The Art of Deception).
Since 1966, when Nazarenko first showed her works at the VII Moscow Youth Exhibition, she has constantly participated in city and all-Russian exhibitions, fine art exhibitions in Russia and abroad. The first personal exhibitions took place in Leverkusen (1986), Bremen, Oldenburg, Odessa, Kyiv, Lvov (all 1987). Since then, the artist's personal exhibitions have been held in Moscow (the first - 1989), Cologne, Washington, New York, Boston, Madrid, Tallinn, Helsinki and other cities. Works by Tatyana Nazarenko are kept in the collections of the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the National Museum of Women in the Arts (Washington), the National Jewish Museum (Washington), the Museum contemporary art(Sofia), Museum of Modern Art (Budapest) and others art museums world, in private collections.
Tatyana Nazarenko's creative works have been awarded high awards: the State Prize of the Russian Federation (1993), the Moscow Government Prize (1999), the silver medal of the USSR Academy of Arts (1985), the gold medal of the Russian Academy of Arts (2005).
T. G. Nazarenko - Honored Artist of Russia (2002), since 1997 - corresponding member, since 2001 - full member, member of the presidium of the Russian Academy of Arts; Professor of the Department of Painting, Head of the Easel Painting Workshop at the Moscow State Academic Art Institute named after V. I. Surikov (1998). Member of the Union of Artists since 1969.
Lives and works in Moscow.