<\/p>\n
Drevin (Drevinsh), Alexander (Rudolf-Alexander) Davydovich<\/p>\n
(b. 1889 Venden, Lifland guberniya \u2013 d. 1938 unknown location)<\/p>\n
Painter, graphic artist<\/p>\n
1908\u20131913<\/span> – Studied at the Riga City Art School under V. Purvit.<\/p>\n 1915\u20131917<\/span> – Member of the Jack of Diamonds group.<\/p>\n 1919<\/span> – Member of ASKRIN [The Association of Radical Innovators in Art].<\/p>\n Took part in exhibitions since 1912<\/span>, including the 1922 exhibition of the World of Art society, the Moscow Painters exhibition in 1925, and the 1931 exhibition of the Thirteen group.<\/p>\n 1927\u20131932<\/span> – Organizer and member of the Society of Moscow Artists.<\/p>\n 1920\u20131930<\/span> – Taught at Vkhutemas-Vkhutein [Higher Art and Technical Studios and Institute]. Member of RAKhN-GAKhN [The Russian (later \u2013 State) Academy of Artistic Studies].<\/p>\n Repressed in 1938<\/span>. Rehabilitated posthumously.<\/p>\n \u201cWhat can an artist need more than to feel that you are getting your power from two tremendous sources: the power of life and the power of nature? 1922\u20141930: I spent all eight of these years getting one with nature as much as I possibly could. What always astounded me is that things don\u2019t achieve what they are intended for. Not everything that you paint directly from nature is really a work of art; it became clear to me that I need to find some sort of secret to expression, and that in a way some work needs to be done in the artist himself. In 1930, I began to work seriously on this problem. I tried to paint the very same nature as before, but now in my studio. The strange thing is that it began to gradually be transformed into something else; nature disappeared, while the language of art became stronger and another reality began to be formed. That year, while in Armenia, I tried to join these two different approaches into a synthetic whole, and with great pleasure began to notice that the work was progressing. I worked directly from nature with a pencil, and found that my eye had achieved a degree of precision that I had not been aware of in myself earlier. Nevertheless, my previous work laid a sort of foundation for my painting activity.\u201d<\/p>\n Alexander Drevin Tvorchestvo <\/em>[Oeuvre], 1934. no. 4. Source: Khudozhniki gruppy Trinadtsat. Iz <\/em>istorii khudozhestvennoy zhizni 1929\u20141930-kh <\/em>gg. [The Artists of the Thirteen group: From the History of Art in the 1920s\u20141930s]. M.: Sovetsky Khudozhnik, 1985. P. 163. <\/em><\/p>\n<\/div>\n <\/p>","protected":false},"excerpt":{"rendered":" (1889 Venden, Lifland guberniya \u2013 1938 unknown location)
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