Belyakova Ekaterina Mikhailovna
(b. 1892 Moscow – d. 1980 Moscow)
Painter, graphic artist
1909–1913 – Studied at the Stroganov Higher College of Art and Industry under S. Noakovsky and P. Pashkov.
1913–1917 – Studied at the Moscow School of Painting, Sculpture and Architecture under N. Kasatkin, A. Korin, S. Malyutin, and S. Miloradovich.
1915 – Artistic debut at the exhibition of the Yaroslavl Art Society.
1918–1919 – Requested by the Collegium for Museum Affairs and the Protection of Old Art to assemble a collection for the Museum of Toys in Sergiev Posad.
1921–1924 – Took painting lessons from P. Kuznetsov.
1924–1926 – Member of the Makovets group.
1930s–1940s – Worked in the Monumental Painting Workshop of the Academy of Architecture of the USSR. Co-authored a scholarly work entitled The Toys of Sergiev Posad together with Ye. Steinbach.
“We are of the opinion that the revival of art is possible only when there is a strict continuity with the great masters of the past and an unconditional resurrection of the living and eternal principle within art. Our art does not proceed from a creative fantasy, nor solely from the feeling of form, which is unavoidable for an artist. We put value on the lofty feelings that give birth to art of monumental proportions. We know that art achieves such proportions only if the artist has achieved the highest degree of artistic mastery. Thus, our task is to transform feeling into concept by finding the limits of the relationship between the material side (form) and the spirit (the feelings and sensations of the artist).
We experience nature not as a set of environmental features, but rather in its true form, which is revealed only with the aid of a deep artistic appraisal. The manifestations of nature in art are not a means of making our lives happier; they are akin to ourselves, and as we co-exist with nature, we experience its essence, which has in a way concealed itself from us. The task of our artwork is to unite nature in a single whole with its various voices, which have risen to the highest sphere of the spirit, and to encapsulate these voices in powerful, objective images that produce a synthesis of these conditions.”
Vasily Chekrygin, “Our prologue [1921—1926)” Makovets. 1922—1926. Sbornik materialov po istorii obiyedineniya [Collection of Materials on the History of the Makovets Society: 1922—1926]. M.,1994. Pp. 55—56.
(1892, Москва – 1980, Москва)
Живописец, график
1909–1913 училась в Строгановском центральном художественнопромышленном училище у С. Ноаковского и П. Пашкова.
1913– 1917 училась в Московском училище живописи, ваяния и зодчества (МУЖВЗ) у Н. Касаткина, А. Корина, С. Малютина, С. Милорадовича.
1915 дебютировала на выставке Ярославского художественного общества.
1918–1919 составляла собрание Музея игрушек в Сергиевом Посаде по поручению Коллегии по делам музеев и охраны памятников искусства и старины.
1921–1924 брала уроки живописи у П. Кузнецова.
1924–1926 член объединения «Маковец».
1930–1940-е работала в Мастерской монументальной живописи Академии архитектуры СССР. Автор исследования «Игрушки Сергиева Посада» совместно с Е. Штейнбах.
“Мы полагаем, что возрождение искусства возможно лишь при строгой преемственности с великими мастерами прошлого и при безусловном воскрешении в нем начала живого и вечного. Наше искусство выходит не из изобретательских фантазий, не из одного чувства формы, неизбежного для художника. Мы ценим то высокое чувство, которое порождает искусство монументальное. Мы знаем, что монументальным искусство становится, лишь овладев высшей степенью мастерства. Отсюда нашей задачей является обратить чувство в представление, найдя пределы взаимоотношения стороны материальной (формы) с духом (чувствованиями и переживаниями художника). Мы ощущаем природу не в виде обстановки, мы ощущаем ее в том истинном состоянии, которое открывается лишь с помощью глубокого художественного постижения. Ее творческие проявления не средство увеселять нашу жизнь, они наши общие, однородные, и мы переживаем в сосуществовании с природой ее как бы притаившееся от нас бытие. Задача нашего творчества в том, чтобы безотчетные голоса природы, поднявшиеся в высшую сферу духовной жизни, слить с нею воедино, заключить в мощных, синтезирующих эти состояния целостных объективных образах.”
Василий Чекрыгин. Наш пролог [1921–1926] Маковец. 1922–1926. Сборник материалов по истории объединения. М., 1994. С. 55–56.
Belyakova, Ekaterina Mikhailovna
(b. 1892 Moscow – d. 1980 Moscow)
Painter, graphic artist
1909–1913 – Studied at the Stroganov Higher College of Art and Industry under S. Noakovsky and P. Pashkov.
1913–1917 – Studied at the Moscow School of Painting, Sculpture and Architecture under N. Kasatkin, A. Korin, S. Malyutin, and S. Miloradovich.
1915 – Artistic debut at the exhibition of the Yaroslavl Art Society.
1918–1919 – Requested by the Collegium for Museum Affairs and the Protection of Old Art to assemble a collection for the Museum of Toys in Sergiev Posad.
1921–1924 – Took painting lessons from P. Kuznetsov.
1924–1926 – Member of the Makovets group.
1930s–1940s – Worked in the Monumental Painting Workshop of the Academy of Architecture of the USSR. Co-authored a scholarly work entitled The Toys of Sergiev Posad together with Ye. Steinbach.
“We are of the opinion that the revival of art is possible only when there is a strict continuity with the great masters of the past and an unconditional resurrection of the living and eternal principle within art. Our art does not proceed from a creative fantasy, nor solely from the feeling of form, which is unavoidable for an artist. We put value on the lofty feelings that give birth to art of monumental proportions. We know that art achieves such proportions only if the artist has achieved the highest degree of artistic mastery. Thus, our task is to transform feeling into concept by finding the limits of the relationship between the material side (form) and the spirit (the feelings and sensations of the artist).
We experience nature not as a set of environmental features, but rather in its true form, which is revealed only with the aid of a deep artistic appraisal. The manifestations of nature in art are not a means of making our lives happier; they are akin to ourselves, and as we co-exist with nature, we experience its essence, which has in a way concealed itself from us. The task of our artwork is to unite nature in a single whole with its various voices, which have risen to the highest sphere of the spirit, and to encapsulate these voices in powerful, objective images that produce a synthesis of these conditions.”
Vasily Chekrygin, “Our prologue [1921—1926)” Makovets. 1922—1926. Sbornik materialov po istorii obiyedineniya [Collection of Materials on the History of the Makovets Society: 1922—1926]. M.,1994. Pp. 55—56.
