Suur Kunstnik Alex Salaueu (1926)signeeritud sõber Ado Vabbe

  • ID товара: 150297158
Suur Kunstnik Alex Salaueu (1926)signeeritud sõber Ado Vabbe
Окончательная цена: 1 500.00 EUR
Начало: Вс 17.01.2021 16:50:51
Окончание: Вс 24.01.2021 16:50:51
Tallinn, Harju county, Estonia
1
Состояние: Старый
Расположение: Tallinn, Harju county, Estonia
Koл-во: 1
Срок доставки: 2 дней
Оплата: банковский перевод, наличными, депозитный платеж, оплата э-счетом Оsta.ee
Продавец: Livres07 100% / 113 / Посмотреть другой товар

VAATA PILTE !!!

PILDIL ON Alex Salaueu sin 1926

 

Format: 45 cm x 34 cm  raamiga

KÕIK MEIE OKSJONID  

E-pood: Livres07

 

Original Alex Salaueu

https://en.wikipedia.org/wiki/Alex_Salaueu

 

Alex Salaueu kunstiteosed on rikkad, elavad, sügavalt poeetilised ja inimlikud, vibreerivad kõigi siseelu emotsioonidega. See on tõeline hämmastus enne neid teoseid, mis toovad midagi ootamatut ja suhtlemisalaseid emotsioone.

 

Alex Salaueu (Aleksander Solovjev, Solovjov, Solovjev, Solovjev) (sündinud 13. septembril 1926 Soloni külas Novgorodi provintsis) üldnimi - avangardist. Valgevene Vabariigi Kunstnike Liidu liige, Valgevene NSV austatud kunstnik (1982).

 

Biography

Aastatel 1943–1944 osales ta 17-aastaselt partisaniliikumises, alates 1944. aastast oli ta armees ja osales lahingutes Balti riikides ja Karjala kannul. Seejärel autasustati Alex Salaueut Punase Tähe ordeniga ning mälestusmedalitega Suure Isamaasõja võidu auks.

Alex Salaueu viibis aastatel 1945 - 1949 Tallinnas, kohtus mitu korda Ado Vabbega, kes algatas Art'i ja soovitas tal jätkata abstraktse maalimisega. Pärast demobiliseerimist 1949. aastal läks kunstnik ema juurde Lätisse Madonasse. 1955. aastal astus ta Peterburi kunsti- ja tööstusakadeemiasse monumentaal-dekoratiivse maali meistrite osakonda. Pärast lõpetamist töötas ta mõnda aega Madonas keskkoolis joonistamise õpetajana. Ta on lõpetanud V. Mukhina nimelise Leningradi kõrgema kunsti- ja tööstuskõrgkooli (1957), Valgevene Teatri- ja Kunstiinstituudi (1965). Alates 1965. aastast töötas ta Y. Kolase Riiklikus Akadeemilises Draamateatris lavakujundajana ja hiljem (kuni 1995. aastani) - peakunstnikuna. Alates 1966. aastast sai Alex Salaueust ENSV Kunstnike Liidu liige.

Aastatel 1968-1969 - Vitebski kunstitootmise töötubade kunstilise nõukogu esimees.

Valgevene Kunstnike Liidu liige (1966).
 

His works in theatre-decorative art, easel painting and graphics. He has designed more than 100 performances, including «Symon the Musician» by Yakub Kolas (1976), «Kastus Kalinouski» by V. Karatkevich (1978), «Threshold» by A. Dudarev (1982), «Romeo and Juliet» by William Shakespeare (1986), «Mudromer» by N. Matukovsky (1988), «Love and Intrigue» by A. Petrushevskaya (1989) and others.

  • In 1973-1977 - Chairman of the Board of the Vitebsk regional organization of the Union of Artists of the BSSR.
  • In 1982, Alex Salaueu was awarded the title of Honored Artist of the Byelorussian SSR.
  • In 2017, Alex Salaueu was awarded the Order of Francis Skaryna in accordance with the presidential decree for many years of fruitful work, significant personal contribution to the development of art and culture of Belarus.

 

The arrival of Alex Salaueu to Vitebsk marked the appearance of the post-war urban avant-garde. As an artist who grew up on the classical school and world models of realism, Salaueu studied all sorts of abstract and realistic systems, and also began to combine realism with abstract art. During his work, the artist designed more than eight hundred performances in Vitebsk and more than a hundred in various theaters in Belarus and abroad.

Alex Salaueu was and remains an active participant in city, regional, republican and international exhibitions. Also his works were exhibited in Russia, the Baltic States, Germany, France and Australia. In 2010, the artist donated 35 of his works to the Vitebsk Art Museum, including abstract compositions and design sketches of decorations for the performances of the National Academic Drama Theater named after Yakub Kolas and pictorial canvases. Created for various theaters (including the Yakub Kolas National Academic Drama Theater), they allow one to get acquainted with the events of the post-war years through the prism of the author's perception, to trace the theatrical tendencies of that time. In addition, the artist gave the city paintings "Crucifixion", "Eve", "Requiem", "Old Fresco" and others. The work of Alexander Solovyov became an integral part of the culture not only of Vitebsk, where the artist had a significant influence on the formation of the artistic environment of the city, but also the whole of Belarus in the second half of the 20th century. Work in the artist's studio does not stop until now.
 

Theater

How stupendous, how overwhelming was the Vitebsk master's work in the theatre. For the best part of a century Alex Salaueu showed on many occasions that there was a rich vein of theatre in his blood. The theatre began to emerge as a mainstream form of art in the second half of the 19th century. The idea of a synthesis of the arts, engendered by the historicism of the 19th century, realised its creative potential, first and foremost, on the stage. As we know, Richard Wagner's operatic performances were the fullest embodiment of the Gesamtkunst-werk.

Alex Salaueu was to become actively involved in the theatre movements of both large and small forms. The work of the Salaueu was always figurative and anthropomorphic; his pictures have an intriguing subject and his figures fixed, typical features. The ramified associative nature of his painterly mise-en-scenes elevated his work to the level of a mythological reality that was more authentic than the visible and everyday. Salaueu's works were about fundamentals — love, birth, death, the people. As in masterpieces performed on the stage by great actors and actresses, his main instruments were transfiguration and catharsis.

At the same time it must be stressed that Salaueu understood the phenomena of the theatre and "theatricality" in his own idiosyncratic way, attributing to them a kind of artificiality. Later he was quite critical of theatricality as such, and used to compare the theatre unfavourably with the circus.

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