<\/p>\n
Kostyukhin, Grigory Vasilievich<\/p>\n
(b. 1907 Moscow \u2013 d. 1991 Moscow)<\/p>\n
Painter and graphic artist<\/p>\n
<\/p>\n
1920\u20131925<\/span> – Studied at the State Typography School attached to the First Model Printshop under S. Gerasimov, M. Dobrov, L. Zhegin, M. Rodionov, and N. Chernyshov in Moscow.<\/p>\n 1925<\/span> – Chromolithograph artist at the same printshop.<\/p>\n 1926\u20131930<\/span> – Member of the Path of Painting group.<\/p>\n Took part in exhibitions beginning in 1927<\/span>, including: 1927 \u2013 1st Exhibition of Paintings and Drawings by Path of Painting in Moscow; 1928 \u2013 Path of Painting exhibition in Paris; 1930 \u20132nd Exhibition of Paintings and Drawings by Path of Painting, Moscow.<\/p>\n \u201cOur exhibition is the first stage of establishing the image created by painting. We establish the formal execution of the idea of an object as the content of such art, in contrast to the formalists who speak of the idea of the form.<\/p>\n We find equally alien the abstract constructions of formalists and the vague search of artists who call themselves symbolists. The way of the first ones led to the analytical decomposition of the object of painting; the way of the others \u2014 to symbolization and eclecticism, because in trying to substitute the object with a symbol, both stepped over the boundaries of painting and broke the living image.<\/p>\n We analyze the form and don\u2019t substitute the object with a sign. We want to create an image that lives a life of its own, parallel to the object that exists in the real world.<\/p>\n We are looking for art that is realistic in its form as well as in its content and theme.<\/p>\n We see the way to achieve such art in the balance of form and content or even in the complete inseparability of these notions.<\/p>\n Form is a means of visual perception of the image and is ifinctionally dependent on the content of the painting.<\/p>\n A painting is a small world built according to laws that are similar to the laws of reality, and that is why it is so connected to reality. An image, a series of images, their composition and interaction \u2014 this is the content of a painting like that. An image must be internally justified, organic and whole, just hke in the real world, which results from its essence. It refers both to living and dead nature. All formal constructions are connected to the frame as a tentative designation of space, as the boundary of the small world of a painting.<\/p>\n It creates the balance of volume and space and re-establishes the connection with forgotten traditions.\u201d<\/p>\n Manifesto of the Path of Painting Group. (First published in 1928 in the catalogue of the Paris exhibition of The Path of Painting Group)<\/p>\n Exhibition of the Path of Painting group 1927\u20141930. M., 1995.<\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" (1907 Moscow \u2013 1991 Moscow)
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