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Renaissance

 

PUTERBROT Eduard Moiseevich

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As for myself, Eduard Pouterbrot, I would like to stress that as an artist I belong to this locality and this land. My road in art was intricate, for in my quests I was looking for it between my own vision and general perceptions of the East and West. I have discovered it in interpreting the ancient signs and lines bequeathed to people long before me. Their ambiguousness makes it possible to read the book of messages in time, experience and communication. I'm trying to compose symbols and their combinations, and to improvise on their themes. In my works I give only an impetus, provoking the spectators to develop the plot further on their own.

I believe that the four of us act as shamans, drawing ritual outlines in order to define the good and the evil, and in this way to assert or destroy it. We invite you to view our pictures. What will they tell you? About the life in an alien land? About the likes and hopes of the peoples living there, about their horrible and bloody history, the mountains and winds blowing over there? Most likely, they will tell you about the painters themselves... Though an inquisitive mind may also find all the rest in these paintings. For each person carries his abode within himself. Rain and snow remain outside. All the rest is staying inside.

EDUARD POUTERBROT

From the introductory article to the exhibition catalogue of works by Jeanna Kolesnikova, Yuri Avgustovich, Ibraghim-Khalil

Supyanov, and Eduard Pouterbrot. BLANKENHEIM, February 23, 1991

 


 

Creative Biography
1940 - Born on September, the 12th, in Makhachkala
1947-1957 - studied in the visual arts workshop in the House of Young Pioneers and the House of Folk Arts
1957-1962 - studied in Dagestan State University on the physics and mathematics faculty
1962 – started teaching draftsmanship, descriptive geometry, geometry and perspective in Dagestan Art School named after M.A.Djemal
1975 – became a member of Artists’ Union of USSR; started working as the chief designer/decorator of Kumyk Music and Drama Theatre named after A.P.Salavatov
1979 – received the title of laureate of Republic Prize of Dagestanian Autonomous Soviet Socialist Republic named after Gamzat Tsadasa
1980 -  received the Diploma of USSR-wide contest of German (GDR) dramaturgy on Soviet stage for decorating the play named «Mann ist Mann» (Man Equals Man) by Bertolt Brecht
1981 - received the title of Honoured Art Worker of Dagestanian Autonomous Soviet Socialist Republic
1985-1993 – worked as the chief designer/decorator of Russian State Theatre of Drama named after Maxim Gorky
1990-1991 – creative journeys to Germany (Blankenheim, Oldenburg), France, Hungary, Poland, Lithuania and Latvia
1993 – came to a tragic end

Personal Exhibitions
1962 – the first demonstration of works in professional exhibition
1968 – the first collective personal exhibition of the painter with participation of I.Bolshakov and G.Tushishvili
1971 – exhibition of works of artists of Autonomous Republics of Russian Soviet Federal Socialist Republic, Moscow
1978 – all-USSR exhibition “Homeland” («Страна родная»), Exhibition Hall “Manege”, Moscow
1978 – Diploma of the VIII-th biannual exhibition of applied graphics «Brno-78»
1979 – area exhibition «Soviet South 79», Makhachkala
1982 – personal exhibition of works, Makhachkala
1982 - exhibition «Theatre decorators/designers of Dagestan », Central Actor’s House named after A.A.Yablochkina, Moscow
1983 – International exhibition of theatre decorators/designers “Quadriennale-83” (Quadri-annual-83), Prague, Czechoslovakia
1984 – personal exhibition in Central House of Art Workers, Moscow
1985 – all-USSR exhibition of decorators/designers of theatre, cinematography and television in Central Artist’s House, Moscow
1991 - exhibition «painters of Europe», Germany, Oldenburn
1993 – seasonal spring exhibition in the exhibition hall of Artists’ Union of Dagestan
1995 – memorial exhibition in the “Intercolor” gallery, Moscow
1996 – memorial exhibition in Exhibition Hall Manege, Moscow
1997 – memorial exhibition in “А-3” Gallery, Moscow
1998-1999 – exhibitions in private galleries in USA (Los Angeles, San Diego, Baltimore)
2000 – memorial exhibition in Central Artist’s House, Moscow
2001 – memorial exhibition in exhibition hall of “Our Heritage” («Наше наследие») magazine, Moscow
2003-2006 – exhibitions in private galleries of Germany (Köln/Cologne).
2010 – “Memory” exhibition dedicated to 70-th birthday anniversary in the «School of Dramatic Art» theatre, Moscow
2010 «Renaissance», a jubilee retrospective personal exhibition, «First Gallery», Makhachkala

Painter’s works can be found in:

• The theatre museum named after A.A.Bahrushin, Moscow
• The State Tretyakov Gallery, Moscow
• Dagestan Museum of visual arts named after Patimat Saidovna Gamzatova, Makhachkala
• Dagestan State United History and Architecture Museum named after Alibek Takho-Godi, Makhachkala
• Art Collection of Russian Soviet Federal Socialist Republic, Moscow
• Center of Stas Namin
• Corporate and private collections in Russia, Germany, France, Spain, Austria, Italy, USA.

 


 

PUTERBROT Eduard Moiseevich
Born in 1940 in Makhachkala.
In 1962 he graduated from Dagestan State University. VI. Lenin Mathematics.
Honored Artist of Dagestan.
Tragically died Nov. 15, 1993 in Makhachkala.
Collections where works
Works are in the State Central Theater Museum of. AA. Bakhrushin
State Museum of Oriental Art in Moscow,
Dagestan Republican Museum of Fine Arts,
private collections in Russia, the Czech Republic, Slovakia, Germany, France, Israel.
Participation in exhibitions and auctions

1977 Young Soviet Artists. Bulgaria, Hungary, Romania;
1978 8 th Biennial of Graphic Arts. Brno. Czechoslovakia;
1988 Young Soviet Artists. Poland, Bulgaria, Croatia, Cuba, East Germany;
1990 Restructuring `Art Year 5. Gallery L `orangeraie, September Paul de Vence, France;
1990 Exhibition of Soviet Artists. Istanbul.
1991 Exhibition of artists Dagestan. Blanheym / Ap. Germany;
1991 Kunst-Europe (Artists from Makhachkala). Oldenburg. Germany;
1993 Exhibition Gallery STANBET ". Mikkeli. Finland.

Autobiographical notes

This image - this is such a cabbage, which many would not stripped of leaves and stalks to not dobereshsya constantly approaching her (ideal).
All that be completely deciphered, it becomes tedious. Should read approximately. A hint. Metaphor should be infinitely deep. Emotions must be motivated. Blowing should trifle. Logic is not a mathematical. Fungus tearing asphalt. Clip hints. Surround the audience with smoke images. Themselves, he is afraid. He seeks meaning, fearing to find him.
Let leaves obkurenny, did not understand, stung, but not humiliated by the understanding and clarity. Thus, the shell should be simple, supposedly available, but with a glitch. From this the viewer must permeate nervousness, distrust of the authors hurt. Here or will contact, or ... let go.

Criticism

The Art of Edward Puterbroda - particularly remarkable subtlety and freshness of imagery tone. It clearly falls outside the range of fashion and prestige among our contemporaries Fine innovations. Sincerity mirochuvstvovaniya and severity of expression - features works by this artist. His concern is not individual topics, themes or motives, albeit a very spectacular and informative in its polysemy. He is looking for more - the possibility of almost palpable confer colorful element, pulsating on the canvases, the energy intensity of the experience of plastic spiritualising most ordinary reality.

In. Martynov

Bibliography

"Edward Puterbrot", a collection of "Music of Color", 1979, Makhachkala;
Album "The Art of Daghestan, 1981, Moscow, izd. "Soviet Artist";
Catalog of the exhibition "Edward Puterbrot", 1982, Makhachkala;
Catalog of the exhibition "Edward Puterbrot", 1984, Moscow;
"Edward Puterbrot", a collection of "Artists of the Soviet theater and cinema", N7, 1989, Moscow, izd. "Soviet Artist", p.. 133-144;
Catalog of "Restructuring` Art Year 5, 1990, Saint Paul de Vence, France;
Booklet Gallery STANBET, 1992, Moscow.

http://www.persona.rin.ru/eng/view/f/0/21994/puterbrot-edward-moiseevich

 


 

The exhibition of artists of Dagestan, devoted to Edward Puterbrot is opened in Moscow
21 April, 2010 18:41

Makhachkala, April 21, 2010. On April, 20, opening of the exhibition of artists from Dagestan took place in Moscow. The exhibition devoted to outstanding artist Edward Puterbrot. The works of Magomed Kazhlaev, Ibragimhalil Supjanov and Apandi Magomedov will be presented at the given exhibition.

The organizers of the exhibition are the Moscow theatre “School of drama art” together with the ministry of culture of the Republic of Dagestan and with the museum of history of Makhachkala.
http://www.riadagestan.com/news/2010/4/21/5036/

 


 

From the pages of the Georgian artist Khalil-bek Musayasul
«... No period of H. Musaev’s life has not been studied adequately, and while all given to popularization, this is only sensational outlined in the works and the fate of the master, dressed in a romantic clothes. But the artist is famous only by his art»
Edward Puterbrot

 


 

ARTISTS TRADE UNION OF RUSSIA
UNITED ART RATING
10000 best world artists (XVIII–XXI centuries)

The artists are nominated on the basis of International Artists Rating
(1-3 categories in the reference book “United Art Rating”)
Detailed principles of nomination
Nominated artists work or worked in all kinds of visual arts:
– in 2 dimensions (painters, graphic and poster artists,
theatre decorators, batik painters, illustrators, animators etc.);
– in 3 dimensions (sculptors, jewelers, ceramists, authors of installations etc.)
In the artists’ lists the surnames are shown before names,
the dates – in format “DD.MM.YYYY”

Puterbrot Eduard Moiseevich / 12.09.1940-1993 / Artist of 2 dimensions

http://painters.artunion.ru/be2-16.htm


 

The works of Eduard Pouterbrot (1940-1993), whose life had a tragic end, call for a long and careful scrutiny, as in the case with the old-time encoded manuscripts. And gradually, through a multitude of layers and temporal admixtures, and gropings along the labyrinths of unfamiliar signs and mysterious symbols, you may have a glimpse of pure and fleeting truth... (The Code, A Diary Page. Triumph. Sign Movements, and A Situation),
His canvases, pasteboards, and sheets of paper (there are a great number of them left from the last most prolific years) bear, like the pages in a diary, an imprint of the artist's innermost sentiments and thoughts. However, Eduard Pouterbrot was not preoccupied with reflecting «the stream of consciousness)) wherein the accidental and optional pretends to be significant, for he did not indulge in self-esteem. Each sheet «keeps in mind)) the structure of an entity, collected and arranged in a compositional whole. Most probably, this is due to his experience in working as a stage designer, for the theatrical scenery has to be properly structured, though providing for the freedom of action with a particular role assigned to props as well as actors.
The painter draws a frame - a serial or a cycle sign, a gesture of detachment and self-irony, and the limits of stylization. This framewor holds a rather shallow but multi-layered space within which in a free fanciful way, devoid of any definite plot, are depicted side by side mountains, a string of small lights, a rider, a mythological monster, a vessel, a zurna, an arrow and bows, a cemetery, the robber's head, graphic symbols, flowers, and a stone-carving piece... This slightly resembles a view from the top when t picture of the world looks flat, with the objects appearing as their own symbols, and everything seems to be especially familiar and dear in the distance.
The farther from the perceptible, the more signs you see. The painter exposed himself to the world to make the ancient, beautiful and bleak world manifest itself through his striking palette and dusky combinations of colours, and the rhythm of now gentle and
uncertain and then vibrant and vivid lines.
Whether Eduard Pouterbrot was aware of his cultural mission or not (being loath to use high-flown words), he was engaged in the translation)) of the Daghestan ancient ritual symbols, sacral depictions and legends into the language of modern art. His authorized and poetic «translation» made the viewers, irrespective of their place of residence, feel deeply attached to this previously unknown world.

 

 

Magical World of Allegories

«Can’t comprehend what had happened. Sometimes the paintings know more than their creators».
/Eduard Puterbrot/

The art belongs to those who are interested in it. What was being done by a Dagestanian painter Eduard (Edward) Puterbrot, was interesting for me from the first days of acquaintanceship in 1981, and in all subsequent periods, up to the painter’s tragic death in November 1993. We had been exchanging correspondence, meeting in Moscow, Makhachkala and Köln (Cologne) for over ten years. Possessing an enlightening attitude of mind, Eduard himself was a huge realm, which harmoniously joined a multitude of talents, the very first of them being the talent of human communication.

Any gift is not a value in itself, but, first of all, an ability to give. Eduard was an uncommonly generous giver of spiritual and cultural treasures he was overfilled with. For his friends and close ones he was a good genius, who opened eyes to their talents, gathered everyone to the exhibitions invented by himself, and constantly impelled to joint creativity. Presenting only himself and his paintings, graphics, sculpture, posters and scenography wasn’t enough for him. He always wanted to show a certain community of creators of original Dagestanian Art. By today, it seems the universalism of Eduard was almost a primordial quality of his personality. The very enumeration or the national theatres of Dagestan, in which he worked during almost twenty years, impresses: the Kumyk, Avar, Dargwa, Russian, Lak, Lezgi. Enumeration of performances decorated by Eduard Puterbrot would take several pages, and that is not only the sketches and drawings of decorations, but also the volumetric constructions of scale models, drawings of costumes in colors with recommendations of materials they should be produced of, posters etc., id est a kind of entire theatrical industry. In that regard, the artist was totally uncompromising and consistent, upholding his professional creative right for the metaphor, grotesque and purely individual interpretation of a performance, and, broader than anything else, what he depicted on the paper or canvas. In the work he strived for verbosity and allegoric style, finding foundation in decorative art, folklore, dramatic history of multi-national peoples, in the very fantastical landscape of the «country of mountains» surrounding him from the childhood.

Speaking about style, Puterbrot purports in first place the “magical world of allegories” – the realm of fairy tales, parables and legends, as well as that “culture of laughter”, which literary critic Mikhail Bakhtin wrote about in his works. It is verily the presence of such a fairy-tale style and the «culture of laughter», which constitutes the essence of many performances, staged based on the plays of Dagestanian playwrights (Khay Vakhit, Gamzat Tsadasa, Magomed Atabaev, Alimpasha Salavatov et alii). Alas, not only during the stagnant 70’s and 80’s, but also in the first years of “Perestroika”, Puterbrot came out to be a way too much of an innovator for the ideological and cultural authorities, [an innovator] who disturbed the “land of Nod” of conservatively thinking officials and obedient to their will members of the «creative unions». And it’s very significant that the artist was self-critical and self-demanding to the utmost limit, observing also the situations, when, being tired of endless resistance, he was ready to embark on the path of compromise. In March 1986 he makes a half-humorous, but, in fact, a very serious confession in his diary: «Eduard Puterbrot from a notorious daredevil and wisecracker is changing into a “currier of performances”». Or, one year earlier, he reflects upon the same: «...I felt that some kind of self-essence is missing in what had been made, an imp, a “Puterbrot’s touch”. Everything had been proofread too well...».

As opposed to scenography, in easel painting and graphics the artist did not have to enter the contradictory relations with the surrounding world, and more so with himself. This was a kind of protected zone of free creativity, where he could take the liberty of both “pure art” and passionate journalism and any professional creation of forms, deprived of which no artist can develop properly.

The artist’s initial painting experiments belong to a fairly complicated transition period, when some alternative stylistic directions had been developing in our domestic visual arts, in spite of the official “socialistic realism”. In that regard, Dagestan was a fertile ground for development and formation of the artist, who would be able to overcome the fettering influence of the all-USSR official doctrine. In his most early multi-figure compositions, still lives, genre scenes, landscapes et cetera Eduard Puterbrot persistently shows the many-colored nature or the surrounding world and the wealth of its forms. He frequently reiterates the same motif, in which the “cornucopia” appears, depicting vases and plates with the gifts of Southern Nature, lavishly introducing the handicrafts of folk artisans, carpets, home utensils et cetera into the object series. But, in the process of doing that, he stoops nowhere to the level of down-to-earth naturalistic semblance of life and hackneyed doubling of reality. The poetry and metaphor predominate on his canvases, organically combining with the high spirit of folk legends. He could have repeated the words of Moscow painter of the elder generation Eugene (Yevgeniy) Rastorguyev: «We are but leafs. The folk art is the roots».

Eduard rightfully considered himself a truly Dagestanian artist, relying upon the historical and cultural traditions of his fantastic country. He refused to understand those, who were able to be not enraptured by its stern and in the same time magical landscapes, ancient architecture of the highland hamlets, ceramics, carpet weaving, jewel-crafting and gold-smithery, and national songs.

In that regard, he was closer to the profound folk sources of creativity, compared to his peers in major art centers of the country.

Remaining aside from the capital passions and rather tumultuous exhibition life, Eduard Puterbrot, nevertheless, had not turned into a provincial outsider, preoccupied with narrow shop-related interests. He contrived to make discoveries for himself and for the others even in the places, where, as it might seem, everything was fitting into the proven museum framework, or into not less unshakable national traditions. In particular, in 1977 he published an article titled “Witnesses of great experiment” in the “Soviet Dagestan” journal, wherein he provided an expanded analysis of some works from the collections of Dagestanian museums. Inter alia, he took notice of the half-forgotten and shoved back into storerooms pictures of Aristarkh Lentulov, Nadezhda Udal’tsova, Pavel Kuznetsov, Aleksandra Ekster, Aleksander Rodnichenko, as well as of some other masters, who represented Russian and Soviet Art in the first post-revolution abroad exhibitions in Germany and Italy. These works were later, in 1925, handed over from the State Museum Funds of Moscow and Leningrad to Dagestanian Republican Museum of Regional Studies, which was subsequently transformed into Museum of Visual Arts.

But, of course, the artist made his main discoveries in his workshop, creating year by year the painting and graphical works, which drew up into series of various sizes, or into separate individual pictures. In the 60’s and in the beginning of 70’s these were, as a rule, figurative works. But, gradually, the artist’s inclination towards visual symbolism and signs, as well as towards the increased colorfulness and expression, had outlined itself. The final transition into abstractions had [, however,] not occurred within the mentioned years. Little by little, a kind of Eastern accent and what Eduard himself called “the fairy-tale style” had been gaining strength. In a letter to the well-known Moscow art critic Vladimir Ivanovich Kostin he wrote in October 1981: «The “topics” of my “topical” pictures are all made up, they are based on the fairy-tales (which do not exist), or rather shards thereof, the shards which got stuck into my head. And they are an incentive towards painting, towards modeling with paints. Surely, this is a kind of traditionalism, a certain «Eastern-ness», but this is my world. I was born and live in the East, in my Dagestan. The real East is not like that, of course, but it’s interesting for me to live in my own».

This fundamental confession explains a lot. The artist really could not imagine his creativity beside Dagestan. That was not a blind biological devotion to the «lesser motherland». That was rather a manifestation of artist’s profound instinct, the feeling of roots, without which any bursts and experiments remain a kind of plastic demagogy and empty declarations. Eduard was eager to build up the necessary cultural layer, to create a collective of like-minded friends, with whom it would be possible to fight one’s way into the large-scale world culture space. Amongst the most interesting artists of elder and middle generations, Eduard Puterbrot designates the names of Aleksey Ivanovich Avgustovich and Galina Pavlovna Konopatskaya, who underwent a high quality school of realistic art. Eduard valued highly many works of sculptor Anatoliy Yagudayev, the watercolors of Omar Guseynov, theatrical sketches of decorations and costumes of Tatyana Mun, Valentina Kondasheva, Nabiyula Bamatov. Amongst the young names of like-minded artists, the following ones appear in Eduard Puterbrot’s diaries and letters more frequently than the others: Magomed Kazhlayev, Ibragim Supyanov, Yuriy Avgustovich, Zhanna Kolesnikova and an artist from Nalchik, Ruslan Tsrimov. Eduard invested much hope into their creative development, support and common joint actions in Makhachkala and everywhere. Some of his hopes had come true, while some had remained the “Puterbrot’s dreams”. In any case he had always counted upon the «friendship» and was a sighted optimist, ready to provide a disinterested help to anyone, in whom at least the tiniest bit of talent and originality had been glimmering.

Substantial changes of artist’s aesthetics had started in the 80’s and were subsequently progressing up till the end of his short life. Vector from the real to the fairy-tale, from figurative to the abstract was being felt constantly. He uncovered in himself again and again the new possibilities of perception and ways to play the much loved by him «glass beads game». Some people, when looking at his individual series, would say he sometimes forgot himself in playing and created something which is usually called a «thing-in-itself». But, even in such cases, these were the “games of art”, and not the cold scholastic amusements and fashionable exercises.

The painting graphics of Eduard Puterbrot and the graphical painting are not just the casuistry, but a real practice of a specific artist, who could draw with oil and other paints and, vice versa, [could] use any graphical technique to solve purely painting tasks.

Amongst the works of 80’s there are those, which seem a purely mechanical plaiting of geometrical tracery, combination of cabalistic symbols and signs. That was not yet a calligraphy (he will come up to a series with such a name later), but that was also something totally detached from real life. Or, that was rather “another life”, natural for an artist, who turned to the life of color and lines, to the intensity of colorful patches and the rhythmics of tones, id est to everything that a plastic image consists of. He acts not through the topic and similarity to something material and natural, but through the very musical structure of the image.

In the vast series of “Homily”, in more early cycles of «Code» and «Guide-book», in «Exercises in calligraphy based on motifs of “1001 nights”», in multiple still lives, where the «inanimate nature» transforms into the living festival of colors and lines, Eduard Puterbrot in essence celebrates his liberation from the fetters and limitations. He allows himself to combine the colors, which would otherwise seem incompatible, paints on the silver or golden background, or creates the most tender and barely discernable fade-ins of colorful patches. There is no any possibility to describe with words his fantastical linear constructions, soaring in relative space, or standing on the not less relative planes. These are the artist’s dreams. This is his sub-conscious, translated into visible image by a conation.

Having received in 1988 the long-awaited workshop, from the windows of which one could see the sandy seashore and the Caspian Sea, Eduard had created a large number of works of all the sorts and genres within a short time. He as though anticipated the shortness of the time provided to him by the Fate, and he worked with particular ardour and fruitfulness. Among the late entries in the diary, there is one short but quite significant reasoning: «It has become clear for me, that hopelessness gives birth to surrealism, and faith – to abstraction...» Thus, with every passing year the artist was becoming more and more inclined towards the inspiring principle of faith, towards the pure ideal rhythms of plastic art, not burdened by the material weigh and volume. The onerous aesthetics of surrealism and the corresponding hopelessness was growing around him, having thickened to the darkness in autumn 1993.

The scale of artist’s personality is determined by his creative work and the civil attitude. Reading Eduard Puterbrot’s diaries, one understands with all evidence, how organically was his world outlook formed, how varied were his interests, and with what an internal passion that externally calm and balanced man was experiencing everything happening in Dagestan and around him.

In the artist’s deserted workshop his last artwork, carrying the conspicuous name “Insight”, was standing on the easel. It seems unfinished, but that is not so, as there is a signature on it. Everything the painter wanted to say on the canvas, he had said.

Right after the creation of this picture they cut it to the heart, they shot my Edik.

There remained drawings, paintings, theatrical sketches, lines of letters and diaries. We can always turn to all this. The artist’s family had moved his whole archive and all created by him to Moscow.

To be an artist means to live many times.

William Meyland, member of International Association of Art Critics.

Published in “Success” magazine, #2 of April 2010

STANBET GALLERY presents easel and decorative art of various styles and national schools of the formely Soviet Union. The collection is characterized by high plasticity of the works, umrestramed from the extremeties of vanguardism and political situations. The Gallery artists create a harmonic, positive art capable of existing m interiors of public buildings and ppvate houses, museums and exhibition halls.
One of the mam tasks of the Gallery is to reveal new names and return to the world of art forgotten artists of different generations
STANBET GALLERY arranges exhibitions and tours for Soviet and foreign artists. For instance, in 1991 Peter Max's (a well-known American artist) East European tour started in St. Petersburg and Moscow An exhibition of Gallery artists is planned for 1992 in New York with a following tour throughout the USA
The Gallery holds auctions of Soviet art in different countries.

EDUAR D PUTERBROT
Born in 1940 in Makhatchkala.
Lives in Makhatchkala. Graduated from the Dagestan University, majoring in mathematics, in 1962. His works can be found in the Bakhrushin Central Museum of Theatrical Art in Moscow, the Dagestan Museum of Art, in other museums of the USSR and also in private collections in the USSR, Czechoslovakia, Germany, France, Israel.

EXHIBITIONS:
1977 - Young Soviet Artists. Bulgaria, Hungary, Romania.
1978 - Young Soviet Artists.
Germany. 1978 - 8th Graphic Arts Exhibition. Brno, Czechoslovakia. 1990 - Soviet Art Exhibition. France.
1990 - Soviet Art Exhibition. Turkey.
1991 - Dagestan Art Exhibition. Germany.
1991 - "Kunst-Europe" (Artists from Dagestan). Germany.

Sermon #5". 1991. 50,5x37,5. Various techniques.
"Sermon #25". 1991. 49,6x34,5. Various techniques.

 


 

Eduard Puterbrot

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Eduard Moiseevich Puterbrot (Эдуард Моисеевич Путерброт)
Birth name Eduard Moiseevich Puterbrot, (Эдуард Моисеевич Путерброт)
Born September 12, 1940 (age 71)
Makhachkala, Dagestan
Died 15 November 1993 (aged 53)
Makhachkala, Dagestan
Field Painting, Art
Training Dagestan State University, Makhachkala
Movement symbolism

Eduard Moiseevich Puterbrot (September 12th, 1940, Makhachkala — November 15th, 1993, Makhachkala) — a Dagestani artist, member of Artists' Union of USSR, laureate of Republic Prize of Dagestanian Autonomous Soviet Socialist Republic named after Gamzat Tsadasa for the paintings «Master» and «Village concert» as well as sketches of decorations to «Medea» by Euripides and «Chest of disasters» by Gamzat Tsadasa, Honoured Art Worker of Dagestanian Autonomous Soviet Socialist Republic.[1][2][3]

Puterbrot is considered one of the developers of new style of painting in Soviet Art, characterized, inter alia, as symbolism.[4]

Eduard Puterbrot participated in Exhibitions in USSR, Germany (Blankenheim, Oldenburg), France, Hungary, Poland and Latvia.

Puterbrot's works can be found in[5]:

  • Central theatre museum named after A.A.Bahrushin, Moscow
  • State Tretyakov Gallery, Moscow
  • Dagestan Museum of visual arts named after Patimat Saidovna Gamzatova, Makhachkala
  • Dagestan State United History and Architecture Museum named after Alibek Takho-Godi, Makhachkala
  • Directorate of Art Exhibitions of USSR
  • Art Collection of Russian Soviet Federal Socialist Republic, Moscow
  • Center of Stas Namin
  • Corporate and private collections in Russia, Germany, France, Spain, Austria, Italy, USA.

Contents

[hide]

[edit] Short creative biography

Morning Still Life. 1979. Cardboard, oil painting. 76 x 75

Based on the information from the Album-catalogue of works 1965—1993[6]:

  • 1947-1957 - studied in the visual arts workshop in the House of Young Pioneers and the House of Folk Arts
  • 1957-1962 - studied in Dagestan State University on the physics and mathematics faculty
  • 1962 – started teaching draftsmanship, descriptive geometry, geometry and perspective in Dagestan Art School named after M.A.Djemal
  • 1975 – became a member of Artists’ Union of USSR; started working as the chief designer/decorator of Kumyk Music and Drama Theatre named after A.P.Salavatov
  • 1979 – received the title of laureate of Republic Prize of Dagestanian Autonomous Soviet Socialist Republic named after Gamzat Tsadasa
  • 1980 - received the Diploma of USSR-wide contest of German (GDR) dramaturgy on Soviet stage for decorating the play named «Mann ist Mann» (Man Equals Man) by Bertolt Brecht
  • 1981 - received the title of Honoured Art Worker of Dagestanian Autonomous Soviet Socialist Republic
  • 1985-1993 – worked as the chief designer/decorator of Russian State Theatre of Drama named after Maxim Gorky
  • 1990-1991 – creative journeys to Germany (Blankenheim, Oldenburg), France, Hungary, Poland, Lithuania and Latvia
  • 1993 – came to a tragic end

[edit] Art works

Love Game. 1993. Canvas, tempera, oil painting. 80 x 72

According to William Meyland, «Eduard Puterbrot was universal: theatre set design, painting, easel grahpics, poster, small plastic art». «The artist viewed all the landscape of mountainous country surrounding him from the childhood as a huge theater stage. Dagestan nourished his art work constantly.» As evaluated by the art critic, Puterbrot had refuted the known formula by Rudyard Kipling (from The Ballad of East and West) "East is East and West is West, and never the twain shall meet". In his rendition the East and West were shifting and combining. He was a rare connoisseur of culture and art of multilingual peoples of Dagestan, but he also strove to see the whole world and avidly interested himself in contemporary art, frequently came to Moscow and other art centers of the country.[2][7]

Sunny Day. 1977. Paper board, oil painting. 103 x 80

According to the Moscow art scholar Ivan Kuptsov: «Eduard Puterbrot, like no other, was true to the Dagestan traditions, high culture of effulgent, but subtle light combinations. … His art works are perspicacious, figurative, they possess the scale and epic nature, … where each detail is transformed by his intuition»". «Eduard Puterbrot understood painting not as the music through color, but as writing through color, and in that peculiarity is his fundamental distinction from the lack of subject as an experiment and the color and form creation», — wrote painter Yuri Avgustovich.[8]

Eduard Puterbrot was working on the «translation» of symbolics of ancient rituals, sacral images, legends of Dagestan into the language of contemporary art. As noted by the art scholar and critic Viktor Martynov, «The legends, stories, myths, and fairy-tales of highland peoples intertwined in his aesthetic consciousness in a tight clew of impulsive passions, intuitive insights, unexpected associations and reader-book reminiscences».[9]

[edit] Exhibitions, awards

2010 was announced the "Year of Eduard Puterbrot in Dagestan" by «Бизнес-Успех» magazine.[10] In the article dedicated to 70 years anniversary of Eduard Puterbrot, Yulia Goloveshkiva describes exhibitions organized on various art-platforms of the Republic.[11]

Certificate of Unified Art Rating of Professional Artists' Union of Russia

The following exhibitions and projects are mentioned:

— exhibition «Memory», organized in April 2010 in Moscow by the Museum of History of the city of Makhachkala;

— project of painter Magomed Kazhlayev «Code»: Eduard Puterbrot and the painters of Dagestan";

— «Martian bread» — memorial evening and exhibition of works based on theatre set design of Eduard Puterbrot in the gallery of art scholar Vagidat Shamadayeva;

— large exposition of works by Eduard Puterbrot from the collection of artist's family in the framework of the "First Gallery" project (Republic of Dagestan)[12][13];

— Album-catalogue «Eduard Puterbrot. Revival»;

— collection of articles by the artist and about the artist, compiled by Dzhamilya Dagirova from the libraries and archives of artist's friends.

Eduard Puterbrot is included into the Unified Art Rating and into International Art Rating of Professional Artists' Union of Russia «10000 best artists of the world» with an attribute of «category better or equal to three».[14][15] Certificate of Unified Art Rating of Professional Artists' Union of Russia testifies the conferment of category 3-A.

[edit] Gallery

[edit] References

  1. ^ http://www.puterbrot.ru/biography/biogr.htm Творчество Э.Путерброта. Об авторе.
  2. ^ a b http://www.nasledie-rus.ru/podshivka/7019.php Вильям Мейланд. Наследие Эдуарда Путерброта. Журнал «Наше Наследие» № 70 2004.
  3. ^ http://www.dagpravda.ru/?com=materials&task=view&page=material&id=13306 Дина Сдобникова. Этот проницательный Путерброт. Республиканская общественно-политическая газета «Дагестанская правда»
  4. ^ Barbara Kellner-Heinkele; Joachim Gierlichs; Brigitte Heuer. Islamic art and architecture in the European periphery : Crimea, Caucasus, and the Volga-Ural region. Wiesbaden : Harrassowitz, 2008. ISBN 9783447057530 344705753X
  5. ^ Возрождение. Альбом-каталог произведений 1965—1993 годов. — Махачкала: Издательский дом «Эпоха», 2010. — 130 с. ББК 85.103(2) Я6; УДК 75/76; П90
  6. ^ Возрождение. Альбом-каталог произведений 1965—1993 годов. Краткая творческая биография. — Махачкала: Издательский дом «Эпоха», 2010. — 130 с. ББК 85.103(2) Я6; УДК 75/76; П90
  7. ^ http://www.epokha.ru/index.php?option=com_content&task=view&id=438&Itemid=45 Вильям Мейланд. ВОЛШЕБНЫЙ МИР ИНОСКАЗАНИЙ. Журнал "Бизнес-успех" №21, апрель 2010 года.
  8. ^ http://www.dagpravda.ru/?com=materials&task=view&page=material&id=8866 Джамиля Дагирова Самовозрождение Эдуарда Путерброта. Республиканская общественно-политическая газета «Дагестанская правда»
  9. ^ http://www.dagestan-art.ru/?dr=data/1306406232/1306958409/1309890733&pg=1309890879 Виктор МАРТЫНОВ, Вступительная статья к каталогу персональной выставки Э. Путерброта, Москва,1984 г.
  10. ^ http://www.riadagestan.ru/news/2010/9/30/103719/ Риа Дагестан. В Махачкале открылась выставка художников Дагестана, посвященная 70-летию Эдуарда Путерброта
  11. ^ http://www.ndelo.ru/one_stat.php?id=3441 Человек-художник Эдуард Путерброт. Дагестанский информационный еженедельник «Новое дело»
  12. ^ http://mkrf.ru/news/regions/detail.php?id=148045 Министерство культуры Российской федерации. Эдуард Путерброт: Знакомый и неизвестный
  13. ^ http://www.dagestan-art.ru/?dr=data/1306406232/1306958243&pg=1309877628 «Первая галерея». Эдуард Путерброт. «Дагестанская правда», 8 сентября 1976 г. Яркие краски, яркий талант.
  14. ^ http://painters.artunion.ru/b2-16.htm Единый художественный рейтинг Союза художников России
  15. ^ http://painters.artunion.ru/be2-16.htm 10000 best world artists (XVIII—XXI centuries). Artists Trade Union Of Russia

 

„Was hier entstanden ist, begreife ich nicht. Manchmal wissen Bilder mehr als ihre Schöpfer.“

Eduard Puterbrot

Die Kunst gehört demjenigen, den sie anspricht. Das, was der daghestanische Künstler Eduard Puterbrot erschaffen hat, hat mich persönlich seit unserer ersten Begegnung 1981 und den darauf folgenden Jahren bis zu seinem gewaltsamen Tod im November 1993 angesprochen.

Mehr als zehn Jahre lang korrespondierten wir, begegneten uns in Machatschkala, Moskau und Köln.

Eduard war eine Welt für sich, die viele Begabungen harmonisch vereinigte, vor allem die Fähigkeit und Freude zu menschlichen Kontakten.

Keine Gabe existiert nur für sich selbst, vielmehr befähigt sie, Andere zu beschenken.

Eduard war ein außergewöhnlich großzügiger Spender geistigen und kulturellen, ihn dabei selbst ausfüllenden Reichtums.

Für seine Nächsten und Freunde war er ein wohlwollend aufmunterndes Genie, das sie auf ihre besondere Talente und Begabungen aufmerksam machte, sie alle auf den von ihm konzipierten Ausstellungen zusammenbrachte und zur Erschaffung gemeinsamer Kunst animierte.

Es genügte ihm nicht, ausschließlich eigene Malerei, Graphik, Skulpturen und Plakate zu präsentieren. Das Zusammenspiel von eigenständigen Arbeiten daghestanischer Künstler war ihm ein beständiges Anliegen.

Heute erscheint mir sein spezieller Universalismus fast als wichtigster Zug seiner Persönlichkeit.

Beeindruckend ist die Vielzahl der diversen Nationaltheater in Daghestan, mit denen er fast zwanzig Jahre lang zusammengearbeitet hatte, den Ensembles der Kumyken, Awaren, Darginer, Russen, Laken und Lesginen.

Eine Liste all jener Aufführungen, bei denen Puterbrot mitwirkte,

würde mehrere Seiten füllen. Es sind bei weitem nicht nur Zeichnungen und Skizzen von Dekorationen sondern auch eine Vielzahl von

Bühnenbild-Entwürfen, farbigen Kostüm-Mustern begleitet von Vorschlägen zur Auswahl von Textil-Stoffen und anderen Materialien, Plakate usw.

Puterbrot hat gewissermaßen eine ganze Theater-Industrie zu bedienen vermocht. Auf diesem Gebiet agierte er als Künstler absolut kompromisslos, konsequent und folgerichtig - für das Recht auf Metaphorik, auf Groteskes sowie eine zutiefst individuelle Interpretation der Aufführung. Dabei wirkte er manchmal sogar prononcierter als es bei seinen eignen Arbeiten mit Papier und Leinwand zum Ausdruck gekommen ist.

Dort strebte Puterbrot stets jene Großzügigkeit und jenes Metapherreichtum an, die seiner dekorativen Kunst, der Folklore, der dramatischen Geschichte der Vielvölkernation, der fantastischen Landschaft des „Berglandes“, das ihn von seiner Kindheit an umgab, ein Fundament gaben.

Wenn wir über den Stil von Eduard Puterbrot reden, dann lässt er sich wohl am ehesten als „verzauberte Welt der Allegorie“ zu beschreiben – eine Welt der Märchen, Parabeln und Legenden, aber auch der „Kultur des Lachens“, über der Literaturwissenschaftler Michail Bachtin in seinen Abhandlungen geschrieben hat. Die Fülle dieser Märchenhaftigkeit und Lachkultur wurde zum Wesen vieler Theateraufführungen daghestanischer Dramatiker (Ch. Wacit, G. Zadasa, M. Atabajew, A. Salawatow u. a.).

Während der so genannten Periode der politischen „Stagnation“, den 1970-er und 1980-er Jahren, auch in den ersten Perestroika-Jahren, erschien Puterbrot den ideologischen und kulturellen Instanzen als zu großer Neuerer, der gegen das schläfrige Zarentum der Beamten und deren gehorsamen, den „Verband der Kunstschaffenden“ bevölkernden Mitgliedern, verstieß.

Bezeichnend ist, dass Puterbrot - obwohl überaus selbstkritisch und anspruchsvoll gegenüber sich selbst - hin und wieder, erschöpft vom beständigen Gegenwind, bereit war, den Pfad des Kompromisses einzuschlagen.

Im März 1986 schrieb er in einem scherzhaften, in Wirklichkeit aber sehr ernst gemeinten Bekenntnis: „Eduard Puterbrot – der bekannte Waghals und schöpferische Draufgänger verwandelt sich in einen „reinen Organisator von Spektakeln.“

Schon ein Jahr zuvor sinnt er darüber nach, dass „...ich spüre, dass es in meinem Werk irgendwie an mir selbst fehlt, am Teufelchen, an Puterbrotigkeit. Alles zu sehr zwangskonform.“

Im Gegensatz zum Bühnenbild musste Puterbrot bei seiner Tafelmalerei keine Konflikte mit seiner Umgebung oder gar mit sich selbst ausfechten.

Hier befand sich für ihn eine Art geschützter Zone freien Wirkens, wo er sich „reine Kunst“, Leidenschaft und jegliche Art schöpferischer Tätigkeit erlauben konnte, ohne die kein Künstler sich weiterentwickeln kann,

Die allerersten Erfahrungen des Kunstmalers Puterbrot gehen zurück auf jene recht komplizierte Übergangszeit, als sich in unserer Nationalkunst

ungeachtet des offiziell verordnetem Soz-Realismus auch einige andere Stilrichtungen herauszubilden begannen.

Daghestan erwies sich in dieser Hinsicht als fruchtbarer Boden für den Künstler, auf dem er sich finden und entwickeln konnte, wo es ihm möglich war, sich der fesselnden offiziellen Allunions-Kunst-Doktrin zu entziehen. In seinen frühen multifigurativen Kompositionen, Stillleben, Genreszenen und Landschaften präsentiert Puterbrot beständig die Vielfarbigkeit seiner ihn umgebenden Welt und die Vielfalt der sich dort offenbarenden Formen. Oft wiederholt er das gleiche Motiv: das Füllhorn, Vasen und Schalen mit den Gaben der Natur des Südens, großzügig integriert er dabei eine Reihe von Arbeiten nationaler Künstler wie zum Beispiel Teppiche oder Haushaltsgegenstände ein. Bei all dem beschränkt er sich nicht auf eine Verdopplung der Wirklichkeit, vielmehr legt er damit die Betonung. auf Poesie und Metaphern, die sich mit dem hohen Geist nationaler Legenden verbinden.

Er hätte sich die Worte Ewgenij Rastorgujews, eines Moskauer Künstlers der älteren Generation zu eigen machen können:

„Wir sind nur das Laub. Die Wurzeln bildet die Nationalkunst“.

Eduard zählte sich selbst zu Recht zu den wahrhaft daghestanischen Künstlern, die sich an die historischen und kulturellen Traditionen ihrer

wunderschönen Heimat anlehnen. Er konnte Menschen nicht verstehen, die sich für deren raue doch zugleich märchenhafte Landschaften, deren Keramik, die alte Architektur der Bergdörfer, die Goldschmiedekunst, Teppichweberei, Nationallieder und Tänze nicht begeistern konnten. So gesehen war er den ursprünglichen nationalen Quellen künstlerischen Schaffens näher als seine Altersgenossen in den großen Kunstzentren des Landes.

Abseits der hauptstädtischen Begehrlichkeiten mit ihrem regen Ausstellungsleben, verwandelte sich Puterbrot allerdings keinesfalls in einen provinziellen, mit kleinkarierten Eigeninteressen beschäftigten Außenseiter. Er schaffte es, für sich und Andere Entdeckungen sogar dort zu machen, wo sich scheinbar alles gut kontrolliert in museale Rahmen oder auch in sich unveränderlich gebende nationale Traditionen eingepasst hatte.

1977 publizierte er in der Zeitschrift „ Sowjetisches Daghestan“ den Artikel „Die Zeugen eines großen Experimentes“, wo er eine breite Analyse einiger Kunstwerke aus daghestanischen musealischen Sammlungen vorlegte. Unter anderem lenkte er dabei die Aufmerksamkeit auf halb vergessene oder in die Magazine verbannte Bilder von A. Lentulov, N. Udaltsova, P. Kusnjetsov, A. Ekster, A. Rodtschenko und einiger anderer Meister, die als Repräsentanten russischer und sowjetischer Kunst auf den ersten nachrevolutionären Auslandsausstellungen in Deutschland und Italien zu sehen waren und anschließend (1925) aus den Beständen der Staatlichen Museen Moskaus und Leningrads an das Heimatmuseum der Republik Daghestan, (danach umgewandelt in das Museum für Bildende Kunst) weitergereicht wurden.

Selbstverständlich erlebte der Künstler die allergrößten Entdeckungen

bei der Arbeit in seinem eigenen Atelier, als Jahr für Jahr Malerei und Graphik als Serien in verschiedener Anzahl oder auch als Einzelwerke schuf.

In den 1960-er und Anfang der 1970-er Jahre waren es in der Regel figurative Arbeiten. Allmählich kristallisierte sich bei ihm die Neigung zu

gestalterischer Symbolik und Zeichenhaftigkeit ebenso heraus wie zu gesteigerten Farbfülle und Expressivität.

Der endgültige Übergang zur Abstraktion fand dabei damals noch nicht statt. Es verstärkte sich jedoch der gewissermaßen „orientalische“ Akzent und jener spezifische Zug, den Eduard selbst als „Märchenhaftigkeit“ bezeichnet hat.

In einem Brief an den bekannten Kunsthistoriker Wladimir Iwanowitsch Kostin schrieb er im Oktober 1981: „Die Motive meiner „Motivbilder“

sind alle frei erfunden, ihnen liegen Märchen (die es nicht gibt) oder vielmehr ihre Bruchstücke, Splitter, die in meinem Kopf stecken geblieben sind, zu Grunde. Sie liefern den Impuls für mein Malen, zum Modellieren mit Farben. Natürlich handelt es hier sich um einen gewissen Traditionalismus, eine Form von „Östlichkeit“, aber dies ist meine Welt. Ich bin nun mal im Osten, in meinem Daghestan, geboren und hier lebe ich auch. Derauthentische Osten ist natürlich anders, aber ich lebe gern in meinem eigenen. “

Dieses grundlegende Bekenntnis macht einiges klar. Der Künstler hatte tatsächlich seine eigene Kunst nie außerhalb der Grenzen Daghestans sehen können

Nichtsdestotrotz handelte es sich aber nicht um eine blinde, biologisch begründete Treue seiner „kleinen Heimat“ gegenüber. Vielmehr offenbart sich bei ihm ein tiefer künstlerischer Instinkt, die Verbindung mit den eigenen Wurzeln, ohne die jegliche experimentelle Aufbrüche sonst zu bloßer plastischer Demagogie und leeren Deklarationen verkämen.

Eduard wünschte sich die Entstehung einer neuen kulturell bedingten Schicht. Er strebte zusammen mit einem Kollektiv von Freunden und Gleichgesinnten den gemeinsamen Durchbruch an, hinein in den großen globalen Kulturraum. Unter der interessantesten Künstler der älteren und mittleren Generationen erwähnt Puterbrot namentlich Aleksej Iwanovitsch Avgustovitsch und Galina Pavlovna Konopatskaja, die alle eine solide Schule realistischer Kunst durchlaufen hatten. Hohe Wertschätzung genossen bei Eduard viele Arbeiten des Bildhauers Anatolij Jagudajev, Aquarelle von Omar Gussejnov, Bühnenbild-Skizzen und Kostümentwürfe von Tatjana Mun, Walentina Kondascheva, Nabjula Bamatow. Unter den vielen Namen gleichgesinnter Künstler treffen wir in seinen Tagebüchern und Briefen am häufigsten Magomed Kaschlajev, Ibragim Supjanov,

Jurij Avgustovitsch, Shanna Kolesnikova und Ruslan Zrimov aus Naltschik. Eduard hoffte dabei sehr auf künstlerische Entwicklung, gegenseitige Unterstützung und gemeinsames Wirken in Machatschkala und nicht nur dort. Die eine oder andere Hoffnung erfüllte sich, manch eine aber blieb in der puterbrot’schen Welt seiner Wunschträume unerreicht. Nichtsdestotrotz baute er stets auf Freundschaft zu anderen, war immer ein visionärer Optimist, jederzeit bereit jedem zu helfen, bei dem er nur ein Quäntchen Talent und Originalität zu verspüren meinte.

Wesentliche Veränderungen seiner Ästhetik zeigten sich zu Beginn der 1980-er Jahre, entwickelten sich dann aber kontinuierlich bis zum Ende seines kurzen Lebens. Der Übergang von der Realität zu Märchenhaftigkeit, von der figurativen zur abstrakten Kunst

ist jederzeit präsent. Er entdeckte immer wieder neue

Wahrnehmungszugänge und Varianten seines Glasperlenspiels“.

Einzelne Zyklen erwecken den Anschein, als habe er sich

verspielt und etwas hervorgebracht, das man für gewöhnlich Kunst um der Kunst willen nennt. Doch selbst bei derlei Beispielen handelte es sich nur um ein Spiel und nicht um ein unterkühltes scholastisches Vergnügen an Modetrend-Übungen.

Malerische Graphik und graphische Malerei sind kein Wortspiel, sondern sind real umgesetzt als Praxis des Künstlers Puterbrot, der genauso gut mit der Ölfarbe zu zeichnen in der Lage ist so wie er auch umgekehrt für den Bereich der Graphik spezifische Techniken beherrscht, um originäre Aufgaben der Malerei lösen zu können.

Unter seinen Arbeiten aus den 1980-er Jahren gibt es etliche, die

ein rein mechanisch wirkendes Bild zeigen, ein Geflecht etwa aus geometrischen Knoten, einer Kombination kabbalistischer Symbole und Zeichen. Dabei handelt es sich noch nicht um Kaligraphie (zu einem Zyklus mit dieser Bezeichnung kommt er erst später). Dennoch erscheint es als etwas vom alltäglichen Leben völlig Abgekoppeltes: Es ist eben ein anderes Leben, existenziell wichtig für denjenigen Künstler, dem das Leben von Farbe und Linien, die Intensität bunter Tupfer und die Rhythmik von Schattierungen wichtig sind, d.h. all das, woraus sich ein plastisches Bild zusammensetzt, Es wirkt nicht durch das Motiv und die Ähnlichkeit mit irgendetwas Materiellem und Natürlichem, sondern durch die eigentliche musikalische Struktur der Abbildung.

In seinem großen Zyklus „Predigt“, in den etwas früheren Zyklen „Kodeks“, „Reiseführer“ in den „Kaligraphischen Übungen nach Motiven aus 1001 Nacht“, in mehreren Stillleben, wo das „stille“ Leben sich in ein lebhaftes Fest der Farben und Linien verwandelt, feiert Puterbrot seine Befreiung von sämtlichen Gleisen und Schranken. Er erlaubt sich scheinbar unvereinbare Farben zu kombinieren, malt auf einem silbern- oder goldfarbenen Hintergrund, gestaltet feinste, kaum sichtbare farbige

Schattenwürfe. Es fehlt an Worten, um seine phantastischen linearen Konstruktionen zu beschreiben, die durch einen imaginären Raum oszillieren oder nicht weniger imaginäre Flächen markieren. Dies sind Träume eines Künstlers. Hier artikuliert sich eigenes Unbewusstes, das durch Willenskraft ins Sichtbare geformt wird.

Als Eduard 1988 endlich sein langersehntes Atelier bekam, mit einem Blick auf den Sandstrand des Kaspischen Meer, erschuf er in kurzer Zeit eine große Anzahl von Arbeiten mit verschiedenen Motiven und unterschiedlichen Techniken. Als ob er gespürt hätte, dass ihm vom Schicksal nur noch eine kurze Zeit gegönnt würde, arbeitete er besonders intensiv und produktiv.

Unter den späteren Eintragungen in seinem Tagebuch findet sich eine kurze, aber bedeutsame Überlegung: „Es ist mir klar geworden, dass Ausweglosigkeit den Surrealismus erzeugt, der Glaube – die Abstraktion“.

Mit jedem Jahr zunehmend zeigte sich durch den vollkommenen Rhythmus seiner Plastik, frei von jedweder materiellen Schwere und Fülle immer stärker die Neigung des Künstlers hin zu den lichten Ursprüngen des Glaubens. Die bedrückende Ästhetik des Surrealismus samt seiner Hoffnungslosigkeit schwoll indes an und verdichtete sich im Herbst 1993 zur vollkommenen Dunkelheit.

Das Format einer künstlerischen Persönlichkeit wird an seinen Werken

sowie an seiner Stellung innerhalb der Gesellschaft gemessen.

Wenn wir in seinen Tagebüchern lesen, wird uns klar, wie organisch sich seine Weltanschauung entwickelt hat, wie vielfältig seine Interessen waren, mit welcher inneren Leidenschaft dieser nach außen so ruhig und ausgeglichen wirkende Mann alles, was in Daghestan und in seiner direkten Umgebung geschah, erlebt hat.

In seinem leeren, verlassenen Atelier stand auf der Staffelei

seine letzte Arbeit mit dem vielsagenden Titel „Erleuchtung“ .

Sie scheint unvollendet zu sein. Allerdings ist sie bereits signiert. Und das spricht dagegen. Alles, was der Künstler auf der Leinwand sagen wollte, hat er mithin auch gesagt.

Gleich nachdem er dieses Bildes vollendet hatte, hat man ihn erschossen.

Meinen Edik.

Was blieb, sind seine Zeichnungen, Bilder, Skizzen für das Theater, Briefe und Tagebücher. Wir können jederzeit darauf zurückgreifen.

Die Familie des Künstlers brachte sein gesamtes Archiv und all das von ihm Erschaffene nach Moskau.

Künstler zu sein bedeutet mehrmals zu leben.

Wiliam Meiland, Mitglied des Internationalen Kunsthistorikerverbandes

 

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