Britov biography

Kim Nikolaevich Britov. People's Artist of Russia. Painting of recent years. His formation as an artist falls on the post -war season. In the fifties, he stubbornly seeks his way in painting, and in the next decades it acquires and develops his bright original handwriting, which leads him into a number of leading masters of modern Russian landscape. Living, it would seem, in the province, the artist finds himself at the center of all the latest problems and currents of his time and always creates without any discounts on provinciality.

The British art entered temperamentally, formed quickly, worked frantically, as if trying to catch up and give his art to his art, which was taken from him by a war, a participant in which he was three difficult years. Only three or four of the first years fall into short apprenticeship and entering art. Immediately after the wound and return from the front, he enters the Moscow Art School, and has been put up at regional from a year, and C - at republican exhibitions.

The rapid creative growth was apparently facilitated by the time of pre -war childhood and youth, which originated in it a huge craving for art, as well as the maturity of the early human personality and its deep rooting on his own Vladimir land. Here he was born in the year. He lived first in Sobinka, then in Kovrov. Thanks to the attention and concerns of the wonderful Kovrov artist and teacher S.

Chesnokov, who studied in Kazan with famous masters N. Feshin and P. Benkov, came to a firm conviction to become a professional painter. The war violated plans, but did not kill the dream, which brought it to Mr.. The first impressions gleaned in the Mstera left an indelible trace in the soul of Britov. His teachers were talented people. Among them was Konstantin Ivanovich Mazin, who was educated at the St.

Petersburg Academy of Arts in the landscape workshop of Professor A. Much engaged in pedagogical work in an art school, K. Mazin introduced his students to understand the originality of the Central Russian nature, its semantic and color wealth. This contributed to the development of future miniaturists of an extensive sense of subtle mood and the colorfulness of the landscape.

But perhaps the very atmosphere of the famous center of art crafts, filled with creative burning and constant search for a new expressiveness of the image, had an even greater influence. When Britov studied in Mr., such large masters of lacquer miniature lived and worked there as N. Bryagin, A. Kotyan, A. Merkuryev, I. Morozov, I. Fomichev, E. From their work, a completely original, original style of the Mr.

miniature painting, which was not only a novice student, but also a mature master could not pass by. It laid the greatest synthesis, perhaps not only of Russian, but also in European artistic experience. On the paths from the icon to miniature, a almost huge centuries -old layer of visual culture was raised. Working with miniature, the artists plunged into the great secrets of world art.

As a painter and a landscape painter, he was born in Mr.. The secret of this phenomenon lies in the internal preparedness of Britov for such a decisive step. But the even deeper and decisive effect of Msters on the early Britov manifested itself in gaining his bright individual handwriting. Today, when we are talking about this, we imagine that behind the half-century creative era, which the artist lived, there is a certain community of formal stylistic features and techniques accumulated by him, fastened with a thin, sometimes elusive, emotionally full-mindedly, having a completely unique nature.

The lyrical beginning of the traditional Russian landscape merged in his work with high national symbolism and epic folklore, which has always been the main means of folk aesthetic expression. The modern landscape did not yet know such an emancipation of form and deep penetration into the ancient historical layers of Russian folk culture. But such an understanding of the landscape image could only be born on the soil that had in the alloy, both one and another beginning, where a thin penetrating realism found a bright picturesque form of expression.

In this regard, Mr. provided an invaluable service to Britov. It is here, as in the origins, we see amazing samples of the lyrical landscape of mood, which so brightly showed themselves in the work of N. Klykov, one of the founders of the Mr. miniature. But along with this, a more decorative and distracted flat-related direction, represented by A. Kotyan, was widespread in Master's painting, the plasticity of the form, its materiality, the depth of space, the lyrical penetration of the image characteristic of the Klykovsky direction, are inferior to its disclosure, the enthusiasm of pure color, the wealth of coloring, and the ornamental presentation of the image, its ornamental presentation, it stylization.

A powerful creative impulse obtained by Britov in Mr. brought it in the fifties, when he already lived in Vladimir, to a deeper study of Russian landscape painting.In museums and exhibitions, he gets acquainted with the work of almost all of its most prominent representatives, starting from the founders and ending with his contemporaries. Of particular interest was the artists who were actively engaged in the development of a play -rendered letter.

For a long time, the landscapes by A. Vasiliev, and then V. Polenov, on the contrary, in the work of I. Levitan, was picked up for a long time, the art and to a certain extent composedly selected landscape, depicting the quiet, but full of vitality, nature, so characteristic of the previous time, is enriched with the new techniques of developed player writing with its instantaneous improvisation, close to impressionistic reflection of nature.

Already at this stage, Britov completely absorbs interest in the reflection of the transition states of nature. Motives with the image of the morning and evening, spring and autumn, concentrating in themselves, who suddenly revived and came up with temporary peace of nature, are always illusoryly variable and unstable, become favorite. Under the influence of these trends, Britov addresses Russian impressionism, which most fully expressed in the work of K.

Korovin, and then I. Grabar, in connection with this, increases the luminosity of the palette, pure colors appear, complemented by color reflexes that give a special coloristic effect. In the same years, P. Petrovichev and L. Turzhansky luminous plenary sketchy and the immediacy of living nature work in a close picturesque way become a genuine discovery in the landscape work of the early twentieth century.

The lessons obtained by Britov from the great masters of the past were very fruitful, but not exhaustive. Modern artists of the older generation did not pass by his attention, whose work significantly enriched the picturesque searches in the landscape. Among the other genres of painting, the landscape in the fifties received not only a wide, but also a multifaceted expression. The philosophical-epic, industrial and lyrical directions developed original and vividly.

Britova attracted the last most. Gerasimova, the landscape fabrics of M. In them, the image of nature is even more deepened, individualized, enriched with new playful and picturesque conquests, which leads to the activation of expressive means. Britov subtly captures all this and tries to develop this trend further, starting even more actively working with color, with a texture of a colorful surface, with the nature of the smear.

Here he was not lonely. His like -minded people were Vladimir painters Vladimir Yukin R. In the same years and in the same direction, such artists of his generation as Ephraim of the animals of the river were looking for themselves and in the same direction. But the creative fate of each of them developed in their own way.

By the beginning of the sixties, the perennial artistic searches of Britov finally find their expression in the addition of his characteristic handwriting that allowed him to soon take a prominent place in the landscape painting of Russia. Essentially, the fifties formed both the general artistic views of Britov and his very creative method. The associativity of the image embedded in this approach led to the metaphoricality of the picturesque language and an increase in its poetic principle.

Britov is actively looking for his picturesque and plastic equivalent to this method, making his manner of letters completely unique. In them, the artist conveys the variety of shades of the lyrical mood of nature, the wealth of its color variations, the complexity of the game of light and color, expressed by juicy and free painting. The rich knowledge made by Britov in those years from historical experience allowed him to take a significant step forward.

Departing from the narrative of the mobile landscape, British, given the achievements of I. Levitan and K. Korovin, went to the immediacy of the image of nature in his own way, trying to develop and improve the sketch principles of the picture. That fleeting freedom of perception of nature in the study and its collective organization in a finished picture, which had previously clearly expressed characteristic independence, receive a more complex synthesized basis from Britov.

The type of landscape has a wide genre range develops. The study receives the character of an independent picture, and the picture acquires the immediacy of the study. In an effort to gain the unity of the picture and the picturesque freedom that went from field sketches, the Britas embark on the path of a conscious introduction to the picture of a fleetingly captured state of nature, almost almost not modifying nature and without introducing additional elements to it.

The sketch and picture unites a single coverage of everything at once, and not in parts. In his works there is no longer the analytical construct of compositions and the development of plans that distinguished the classic version of the XIX century landscape. On the contrary, now these structural elements of the picture receive a greater freedom of interpretation coming from the reality of nature, and affirm not so much the spatiality of the composition as its flatness, leading to the solution of the problems of the scene in the field of picturesque and decorative problems.In close terms, a semantic reorientation of the picture occurs.

From the point of view of genres, it carries a variety of substantive loads, most often rafting them in a single image multifaceted in sensation. Even a cursory gaze is enough to admit that British reports have first of all all the classic signs of the landscape genre itself. The artist, as it were, in pristine purity and intimacy, paints the eternal cycle of nature: its rapid spring awakening, and tense heat of hot summer, and the sonorous gold of autumn, and frosty transparency of winter.

The color structure of the picture is gradually reached the maximum intensity. At the same time, the plot context of the picture, which gives it a certain genre, is almost always preserved in Brritov's landscapes.