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          Suprematism (formerly) Abstraction (1921) de Aleksandr Drevin, reproducere pictură în ulei pictată manual de un maestru artist
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          Aleksandr Drevin

          Suprematism (formerly) Abstraction Reproducere pictură în ulei pictată manual

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          107.0 x 87.0cm

          A master of brutal primitivism and constructivist abstraction. Discover the evocative Soviet landscapes of Aleksandr Drevin today.
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          Pictură în ulei pe pânză, pictată manual de artiștii noștri la dimensiunea și ramele dorite de dumneavoastră, pe comandă. ( Comută pe versiunea Print Comută pe Imagine Digitală)

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          Introduceți lățimea și înălțimea necesare pentru a se potrivi ramei sau peretelui dumneavoastră. Această lucrare este pictată manual, așa că, pentru o dimensiune cu o formă diferită, artistul poate picta puțin mai mult în jurul imaginii sau poate tăia puțin din margini — dumneavoastră decideți. Vă vom trimite o simulare digitală pentru aprobare înainte de a începe pictarea. Imaginea afișată pe această pagină nu reprezintă rezultatul real — doar simularea este reprezentativă.

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          Livrare în întreaga lume () în 3-4 săptămâni, în loc de cele 5 săptămâni standard. (14 Noiembrie). Fără compromisuri în ceea ce privește calitatea.

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          Livrare expres gratuită la nivel mondial
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          Preț total

          lei 1290

          Suprematism (formerly) Abstraction

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          Dimensiune reproducere

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          Biografie artist

          The Quiet Rebellion of a Painter

          In the quiet streets of Cēsis, within the Governorate of Livonia, a life began that would eventually trace the turbulent contours of a changing century. Born in 1889, this Latvian painter first sought to capture the world through the soft, light-filled lens of impressionism, honing his craft under the guidance of Vilhelms Purvītis in Riga. By 1914, the pull of Moscow drew him into a new, more intense atmosphere of creative ferment. It was here that his brushwork began to shift, influenced by the teachings of Kuzma Petrov-Vodkin, moving away from the gentle observations of his youth toward something far more structural and profound.

          His path was never a straight line, but rather a series of departures and intense engagements with the spirit of his age. He moved through the avant-garde circles of the time, finding a temporary home within the "Green Flower" association alongside fellow artists like Konrāds Ubāns and Valdemārs Tone. Yet, the restless energy of the era often demanded a choice between the traditional and the radical. He found himself at the heart of the Inkhuk group, only to walk away from it alongside figures like Wassily Kandinsky, driven by a desire to reject the mere decoration of easel painting in favor of a more direct, constructivist approach to form.

          A Search for the Essential Form

          As the years progressed, his work underwent a profound transformation, shedding the layers of illusionism that had once defined his training. He became a professor of painting at Vkhutemas, sharing his evolving vision with a new generation of students. His travels took him across the vast expanse of the Soviet landscape, from the rugged terrain of Kazakhstan and the Ural mountains to the heights of Altai and the landscapes of Armenia. These expeditions were not merely sightseeing trips but were essential to his development as he sought to document the raw reality of the land.

          His style during this period was characterized by a certain "brutal primitivism," a term that captures his rejection of the polished and the ornamental. He sought a truth that was stripped of political messaging or decorative intent, focusing instead on the weight and presence of the subject. His evolution can be traced through several distinct phases:

          • The early impressionist studies of his Riga years.
          • A period of constructivist abstraction that challenged the traditional boundaries of the canvas.
          • A return to a progressive realism in the 1920s, where the subject matter became more grounded and tangible.

          The Shadow of History

          The personal and the political became inextricably linked in the final years of his life. In 1919, he married Nadezhda Udaltsova, a union that would link their lives through the complexities of the Soviet art world. Their son, Andrey Drevin, would eventually find his own way as a sculptor, carrying forward a legacy that had been marked by both intense creativity and profound tragedy. The very landscapes Aleksandr had traveled so far to capture were being reshaped by the heavy hand of history.

          The end came abruptly during the Great Purge. In January 1938, as part of the Latvian Operation, he was arrested by the NKVD. He was executed in February of that same year at the Butovo firing range near Moscow. It was only decades later, in 1957, that he was posthumously rehabilitated, finally allowing his name to be viewed through the lens of his art rather than the violence of his death. His work remains a record of a man who sought to strip away the unnecessary, searching for a reality that was both stark and deeply felt.

          Aleksandr Drevin

          Aleksandr Drevin

          1889 - 1938 , Latvia

          Detalii rapide

          • Artistic Movement Or Style:
            • Impressionist
            • Constructivist abstract
            • Realistic
            • Brutal primitivism
          • Artists Who Influenced This Artist:
            • Vilhelms Purvītis
            • Kuzma Petrov-Vodkin
          • Full Name: Aleksandr Davydovich Drevin
          • Nationality: Latvian and Soviet
          • Place Of Birth: Cēsis, Latvia
          • Date Of Birth: 1889
          • Date Of Death: 1938