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Painters of Karaganda

Painters of Karlag



The city— is a history, symbol, business everyday life, amazing show and art.

The city of Karaganda is obliged by the birth to deposits of coal being in a subsoil of the Central Kazakhstan. The status of the city of Karaganda received in February, 1934.

Shepherd Appak Bayzhanov who in 1833 found pieces of coal in the natural boundary of Karaganda (in 25 kilometers to the south of Nura's river) in the territory serving at that time as a place of a summer migration of fights of Iglik and Zhuman was the pioneer of the Karaganda coal field. This historical moment is reflected in Peter Kuzmich Antonenko's picture "Reminiscence. Appak Bayzhanov" (1981): the infinite steppe is wide, the feather grass waves, low clouds rush on same boundless, as the steppe, to the sky. The young Kazakh equestrian as a jewelry, holds in palms a piece of coal. The Kazakh female standing at a stirrup, with such excitement and expectation looks at an unprecedented stone that involuntarily there is a feeling: there has to be a miracle which will shine and will change this ancient land. The subject of origin of Karaganda peculiar refracts and in work "Appak Bayzhanov" (1982) Seytmakhans Kalmakhanovas, narrating in romantic tone about the wonderful find of the shepherd which has begun the coal basin.

Artists of Karaganda develop the best traditions of world and domestic art in interpretation of a subject of the city. The history of the city finds the embodiment in various genres of graphic creativity therefore the appeal of the Karaganda artists to subjects of work, to the industry, a narration about creative activity of the person is characteristic. Picturesque and graphic series

To Karaganda devoted: G.G. Gilevsky "Old Karaganda", Page F. Shkuratsky "History of the Karaganda coal basin", V.A.Tsimbalkzh "Karaganda — my city", V. N. Malkevich "Industrial rhythms", R.A.Grabbe "50 years to Karaganda" (decoupage), S. D. Shchegolikhin "70 years to Karaganda" and others.

The majority of artists address to a genre of a city and industrial landscape. Thus — it is not simple to imprint the purpose of the original master, and to reflect interaction between the world of environment and the world of human feelings and experiences. The city and industrial landscape turns in some kind of "historical" as in its development are directly and indirectly reflected time, its concrete lines, city "biography". The time-person-city system is present at all landscapes. Serially dominate either one, or two components, creating other than the city previous an image, but not static, but developing in time and space.

One of the first the repressed artists of KARLAGA addressed to a subject of Karaganda. Karaganda "camp", cruel and terrible, poor and sad — a plot for V.A.Eyfert's landscape compositions, water color sheets A.V. Fonvizin, L.E.Gamburgera (the 40th years).

The image of old Karaganda is reproduced by Gelyary Gratsianovich Gilevsky, more than 50 years lived in Karaganda and the heat which has given to it of the soul. G.G. Gilevsky created over hundred works — a peculiar art chronicle of the hometown with semi-dugouts, mud huts, at the mine settlements, waste heaps, with real-life corners. They storing traces of the past corners, inspired the artist. After all the city is live while we remember it: "The suburb of old Karaganda", "On the ancient earth", "Old Karaganda", "In old Karaganda", "Among waste heaps". The Panoramnost, hardish drawing, contrast of the color relations, internal dynamics and energy fill landscapes of Gilevsky — art memory of the past of the city, some kind of documents of an era.

Old Karaganda is written by Yu.G.Shabanins, the pupil of Gilevsky, - "Fall. Memory of old Karaganda", "Corner of old Karaganda" (the 70th years); P.K.Antonenko ("Old Karaganda", "The old city" 1955-1957); P.I.Rechensky ("The old city"); A.F.Sizintsev ("The old city", 1966); M. M. Abylkasov ("In the old city", "The district of the old city").

The 50th years — the beginning of big construction; the characteristic, accurate, adjusted rhythm of life of the city. The city and industrial landscape has broad development. Artists reflect on inevitability of updating of the close old city to the city of big streets and prospectuses. City landscapes of the beginning of the 50-60th years are penetrated by optimism and pleasure of creation.

Big Karaganda is born, building of the New city is carried out. Successfully found scale of warm colors in coloring of buildings gives big integrity to the architectural shape which is favourably distinguishing the new city from the old. Karaganda New restricts mud huts, one-storeyed settlements of founders of industrial Karaganda of the 30-40th years. On the Karaganda landscapes it is possible to track as gradually grew, changed the shape, our city changed: V.I.Krylov "Karaganda is under construction", "Karaganda. Mira Boulevard" (1956, 1958), P.K.Antonenko "Karaganda" (1958), "Karaganda is under construction" (1961-1964). In works of artists the city silhouette, its main streets appears: P.K.Antonenko "Sunny day. Tchkalov Street" (1956), "Karaganda. Lenin Avenue" (1962), "Silovaya Street" (1964).

Interest to an everyday life of the city becomes a keynote of works of artists of the second half of 60 beginnings of the 70th years. Cozy quarters of low houses, city everyday life become objects of attention of painters. The present lives in the attitude of painters of these years who updated traditional plots. Daily occurrence, dullness, simplicity of motive are erected in degree of social and esthetic credo. The feeling of time is transferred by the atmosphere of life, is unostentatious also several details. P.K.Antonenko's city landscapes "Winter. Karaganda", "Loboda Street", "the Corner of Karaganda", "Dry day in Karaganda", "Lenin Street", "Spring. Amanzholov Street", "Sovetsky Avenue" (1964-1969), P. S. Andriyuks, is a lot of writing the hometown — "Amanzholov Street. Sunny day", "Karaganda. 60th years. 32nd quarter"; A.F.Sizintsevs "Morning of Karaganda", "Evening Karaganda", "Winter in Karaganda", "Winter Karaganda" (1964-1969) differ reliability, a choice of characteristic places, transfer impressions of nature and mood.

In Page F works. Shkuratsky, executed in the mixed equipment and a water color, Karaganda appears as the beautiful creation filled with an emotional condition of the person living in it: "Palace of culture of miners", "Yu. Gagarin Square", "Summer theater in the winter", "Sovetsky Avenue", "The lake coast in park". The artist remained true to the city in which lived and worked. Views of Karaganda in works of the called artists are written in the best traditions of realistic art.

At the same time the 60-80th years — top of a miner's feat of Karaganda inhabitants. Image of Karaganda as Saryarka's miner's heart — the independent line accenting various options of display of the mine country. Miner's works of known masters of V. V. Shamshin "Mine Maykuduk", Accusative of Shulga "Mine No. 38", and also P. Kosarev's talented amateur painters "Mine No. 37", I.Ya.Zinkova "Kirov Mine", the "Stakhanov Mine" created in the 70th years, by right were included into annalistic fund of the Museum of the fine arts of our city.

The miner's subject in a genre of a landscape became main for painters and schedules of different generations. It is difficult to call the one who at least once did not address to it: R.E.Esirkeev "Mine 1/2 Tenteksky", P. G. Lysenko "New mine", V. V. Kim "Mine of I.A.Kostenko", M. M. Abylkasov "New mine", E.S.Aytuarov "The city of miners", Yu.V.Kamelin "A landscape with carpets", A.P.Plotnikov "The mine area", K.R.Esirkeev "New mine", "Karaganda Mine", A.I.Syrov «Verticals of Karaganda"", A.F.Sizintsev, L.N.Frolov, L.P.Smirnova, E.A.Seleznev and others.

The miner's subject takes an important place in S.M.Sanosyan's creativity. The example of that is "Coal and the city", "The miner's settlement", "Vertical Mine 1st", "Mine of S.M.Kirov", "A view of mine of the 50 anniversary of October" (the 70-80th years). A.F.Sizintsev on the talent the born landscape writer. Subject of the city which has become to it native, through in his creativity. In the 60-70th years he creates a number of the works devoted to Karaganda: "The old city", "New mine", "Karaganda. Mines", "Kazakhstan Mine". Even industrial motives distinguish softness and openness of feeling; it will transform concrete and direct visual impressions to the generalized image.

Industrial development of the Central Kazakhstan made decisive impact on formation of "severe" style in creativity of artists. In sight of painters entered not only mines, but also plants, factories, mines, the Kazakhstan Magnitogorsk, the Irtysh-Karaganda channel. In numerous compositions civil pathos of the artists who have imprinted in expressive images enormous scope of the Karaganda industry was shown. The industrial subject becomes one of the main in creativity of masters of the senior and average generation — S.M.Sanosyan, V.I.Krylov, M.S.Podlesnykh; to it anyway addressed P.S.Andrikzh, P.K.Antonenko, A.F.Sizintsev, K.R.Esirkeev, M.S.Baytenov and others.

One of leading places in this plan by right belongs to S.M.Sanosyan, the known author of the monumental industrial landscapes created in the 2nd half of the 70-80th years. So, the industrial giant — the Karaganda iron and steel works became considerable part of creative destiny of the painter. Pictures "Magnitogorsk. 1st blast furnace", "Magnitogorsk. the 4th blast furnace", "A blast furnace of the 9th five-years period", "A red blast furnace", "Rhythms of Magnitogorsk", "the Kazakhstan Magnitogorsk" — it really the anthem of the modern industry. Landmark became for the artist of a picture “Topar” state district power station", "Irtysh-Karaganda Channel" — the generalized image glorifying the person creator. Each picture is under construction completely, epic and full-blooded. Constructibility, emphasized rhythm, contrast of color combinations express metaphoricalness of an author's plan.

K.R.Esirkeev's industrial cloths are original. The graphics, the reserved color, answering to spirit of the present, emphasizing character of the image are inherent in this artist.

In the 70-80th years the city landscape becomes more various. The changes which have occurred in the city find reflection in works of masters. There is an interest to the image of city architecture, buildings, unique and expressive: P.K.Antonenko "Chayka Hotel, "Yubileyny Shop; P.S.Andriyuk "Nurken Abdirov Avenue is under construction"; Gilevsky "Nurken Abdirov Avenue". There is an attempt to create an image of the citizen, the contemporary of the artist, the participant of great transformations. In works the unification of the person, the city and the nature arises in harmony of paints; the person habitually and conveniently feels in an urban environment. Artists find a picturesque embodiment in the equal commonwealth of the nature, the city and the person.

In the 70th years the liropoetic beginning in creativity of the Karaganda painters amplifies. It, maybe, the nostalgia, pressing feeling of a irrecoverable of the leaving. S.M.Sanosyan's works "The thrown gate", S.K.Kalmakhanova "the Suburb of Karaganda are lyrically perceived.Dudaray", M.M.Abylkasova the "Suburb", displaying simple, modest episodes. Motives of old corners of native Karaganda, silent and lovely to heart, sound in pictures variations on a subject Twilight. Childhood court yard" L.P.Smirnova, found on color, distinguished, emotional.

Poetry of the hometown transfer Yu.V.Kamelin, M.K.Dzhunusov. The main line of their works — the present, a landscape — a source of creative inspiration. At Yu.Kamelin, more than 30 years lived in Karaganda, the vision of the city, the color plastic. For it each work goes with feeling, it has to define a subject of a picture and creativity process. He writes the city to a various season, days, seeks to transfer a state of nature. In the pictures "Spring in the City", "April. Karaganda small street", "Morning. Karaganda landscape", "January day", "Marthe. Karaganda" (the 80th years) ease of a brush, freshness and beauty of paints admire. Karaganda is peculiar imprinted by painter M. Dzhunusov. In its cloths the city "is humanized"; in city landscapes there is a lot of warmth, a spontaneity, interest to rhythms, lines in the nature and to an urban environment, light and color is shown: "Blue day", "City and village". The emotional spirit, poetic intonation are important for it. The artist lovingly peers into color combinations, accenting that is especially expensive to him. Cheerful, brisk, festive Karaganda in works of these painters is perceived: "The circus arrived" and "Circus in Karaganda". The everyday sketch becomes a reason for a narration about modern life of the city.




Zolotaryova L.R. History of the town in art of Karaganda painters, 2004.