Yastrzhembsky (Yastrzhemsky), Anton Stanislavovich
(b. 1884 Moscow — d. 1960 Moscow) Painter and graphic artist
1905—1913: Studied at the Moscow School of Painting, Sculpture and Architecture under A. Vasnetsov.
Took part in exhibitions beginning in 1910, including: 1910 — Union of Youth, Moscow; 1912 — Spring Salon; 1912 — Donkey’s Tail; 1913 — Target; 1916 — World of Art, Moscow; 1917 — World of Art, Petrograd.
1922 —1925: Member of the Makovets group.
1929: Member of the Society of Moscow Artists.
1933 — Member of the Russian Union of Artists.
Taught at Moscow Pedagogical Institute in 1910;
in 1919 — at the Studio of Painting and Drawing in Sokolniki, Moscow;
in 1921—1937 — at the State Free Art Studios in Nizhny Novgorod.
1922—1934: Director of the art department at the Museum of the Revolution and History.
1934—1937: Director of the Museum of Fine Arts in Nizhny Novgorod.
1938—1941 and 1943—1958: Taught at the Moscow Textile Institute (MTI).
“Art keeps the people’s wisdom that comes from ancient times and gives an artist the opportunity of expressing his personality creatively. Art should lead people to the high culture of knowledge and feeling, to participation in the creative process and the ability to evaluate and form an opinion. Art must fill life, giving it harmony and overall grace.
Therefore the most significant result that human actions are worth demand objective artistic creativity. If life and science study separate sources of existence, only art that is synthetically objective, takes from its full cup.
We objectively transfer the relations and the connection between things, representing them in exactly the same way people can understand them, and knowing that only by retaining its great objectivity an image will not lose its power despite all the variations of dark wanderings of individual feeling. By objectivity we do not mean impersonality or an impassive copy from nature, but the art that has passed through the creative crucible of its author. Our art originates from the passionate need of the soul that has to gather separate rays of sunshine, dispersed by the reflexive brain of contemporary life. We are witnessing the end of analytical art, and our task is to gather its separate elements into a powerful synthesis.
Vasily Chekrygin, “Our prologue (1921—1926)”
Makovets. 1922—1926. Sbornik materilov po istorii obiyedineniya [collection of Materials on the History of the Makovets Society: 1922—1926]. M., 1994. p. 55
