<\/p>\n
Yermilova-Platova, Yefrosiniya Fedoseyevna<\/p>\n
(b. 1895 Village of Kamenka, Tavricheskaya guberniya \u2013 d. 1974 Moscow)<\/p>\n
Painter, graphic artist<\/p>\n
<\/p>\n
1914<\/span> – Entered the Moscow University (Department of History and Philology).<\/p>\n 1914\u20131916<\/span> – Studied drawing under K. Yuon and I. Dudin.<\/p>\n 1917\u20131918<\/span> – Attended I. Mashkov\u2019s workshop.<\/p>\n 1919<\/span> – Participated in the founding of an artistic studio, museum and poster workshop in Nikopol.<\/p>\n 1919\u20131921<\/span> – Worked in the art section of the Crimean National Department of Education in Simferopol under Ya. Tugendhold.<\/p>\n Took part in exhibitions beginning in 1919<\/span>, including: 1919 \u2013 exhibition of Kherson artists; 1932 \u2013 Artists of the RSFSR [Russian Soviet Federative Socialist Republic] During the Past 15 Years (Leningrad); 1934 \u2013 exhibition at the Club of Master Artists (Moscow) together with her husband, F. Platov; 1939, 1944 \u2013 personal exhibitions.<\/p>\n 1949<\/span> – Expelled from the MOSKh [Moscow Artists\u2019 Union].<\/p>\n 1992<\/span> – posthumous personal exhibition at the Kuntsevo Exhibition Hall (Moscow).<\/p>\n \u201cI don\u2019t remember the exact year, but the exhibition by Goncharova, Larionov, and Burlyuk in Kherson left an indelible impression on my artwork for the rest of my life. I always really enjoyed primitivists such as Giotto, Pieter Bruegel, and contemporary French painters.\u201d<\/p>\n The sources of her series of paintings Faces and Streets, At the Barber Shop, and Themes from Old Russian Frescoes are evident: folk painting, sign boards, popular prints, and icons. But these merely served as starting points for her work. c.> The unlimited fantasy, spontaneous self-expression, and organic primitivism of Yermilova-Platova sewed as a trustworthy antidote to the poison of stylization and even imitation. Her motto was \u201cI paint everything I love.\u201d<\/p>\n \u201cIn my childhood, I looked after flowers.\u201d Flowers in the field and in the garden, exotic flowers, later became the dominant motif of her still lifes.<\/p>\n \u201cThe beauty of the Dnieper River has left its imprint on me for my entire life: its extraordinary high waters, riding in rowboats, sailboats and other small crafts into the city of Nikopol during both stormy and calm weather.\u201d The word \u201cimprint\u201d seems to be very precise, for it is unlikely that Yermilova-Flatova painted her Kamenka-on-the-Dnieper scenes directly from life, year in, year out, in spring and in fall. It rather seems that she was traveling along the paths ingrained in her memory, again and again experiencing the feeling of being on the boundless waters or steppe, with the sky overhead. Her space is magnetic; it is made of \u201cflying matter,\u201d the condensation and dispersal of light, and is organized \u201cby lines that express the crystal clarity of the details and a slightly indistinct landscape.\u201d The artist\u2019s ideal is \u201cthe Japanese linethat can be hard like metal and soft like down. It conveys a calm balance and a swift motion. The line is maintained both on the plane and in space.\u201d<\/p>\n O. Roytenberg. Neuzheli kto-to vspomnit, chto my byli… Iz istorii khudozhestvennoy zhizni. 1925\u20141935 [Can It be that Someone Remembers that we Existed… From the History of Artistic Life: 1925\u20141935]. M.: Galart, 2004. Pp. 370, 372\u2014373.<\/p>\n<\/div>\n <\/p>","protected":false},"excerpt":{"rendered":" (1895 Village of Kamenka, Tavricheskaya guberniya \u2013 1974 Moscow)
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