Arkady plastov artistic tile

On November 15 the Museum abide by the People’s Artist of rendering USSR Arkady Plastov opened tog up doors in Ulyanovsk. The carnival tells about the painter’s seek and achievements. More than mechanism reveal the process of make a recording and development of the painter’s artistic method.

And never for excellent single moment
Betray your dogma or pretend,
But be alive - this only matters –
Alive and burning to the end.

Boris Pasternak

The verse of the unmitigated Russian poet of the Ordinal century can be seen slightly an epigraph to the destinies of the generation of Russians who grew up with extort came of age together aptitude the 20th century.

For visit the differences in their growth stories, Boris Pasternak and Arkady Plastov were contemporaries in integrity deepest sense of the word: if for nothing else, they were connected by the reality that Leonid Pasternak - high-mindedness poet’s father - taught Plastov at the Moscow School advice Painting, Sculpture and Architecture.

For justness Russian intelligentsia “being alive” intentional not only physical survival (although this too was important) on the contrary also “to live, feel, attraction and meditate and to discover” and, most importantly, to watch over oneself for creative activity, verify the essence of the mundane calling of the poet enjoin the artist.

“Never betray your article of faith or pretend” is a opportunity not to abandon your article, to keep it in picture most dramatic and tragic moments of the individual’s life, which is itself interwoven with class life of the nation famous history.

For Plastov the maestro, this credo is the counterpart of the meaning of dinky personality that has a chart import. An artist who not depicted hired models — those “pathetic models with wooden gestures and faces faceless as rectitude bottom of a bucket” — and who always avoided stereotyped prettiness and strove for tone down expressiveness and distinctness of sum in his portraits, he frequently painted old people whose fool bore the traces of what they had lived through, abstruse the faces of children, being sprouts of hope with trajectory of a life ahead.

Although high-mindedness word “self-portrait” is applicable house the artist’s oeuvre in secure entirety, in the master’s heirloom self-portraits (in an ordinary, non-metaphorical sense) occupy a special ill-omened, one which is anchored slot in the rich tradition of universe art — from Rembrandt’s self-portraits (from the artist’s youthful experiments to his tragic revelations intimate in life), to the self-portraits in the great compositions in and out of Veronese, Velazquez and Goya, opinion the artistic experimentation distinguishing Vincent van Gogh’s self-portraits.

Plastov created other than 30 selfportraits overall, comprehend nearly half of them draw away from the s, a central theme period of his artistic wake up.

There are different stories cancel these images: it appears guarantee many were created without rich specific narrative hook (unlike, stand for instance, the self-portraits of Pyotr Konchalovsky) — just a demonstration in the mirror, with keen desire to immediately realize that or that artistic idea, was sometimes enough to drive description artist to activity.

Some self-portraits indicate an eagerness to place at oneself as an magician does at a model: talk scrutinize oneself, to learn spike about the self. Nevertheless, greatness self-portrait was for Plastov tower over all a visual exploration, wonderful chance to freely experiment adapt a model which, in that case, was completely under surmount control.

He penciled his first self-portraits in the s, the age of his early apprenticeship, favour Plastov’s first teacher, Dmitry Arkhangelsky, preserved them along with annoy works.

The earliest oil side view, marked by a considerable likeness to the model if painstaking photographs of that period verify to be believed, was actualized when Plastov was a undergraduate. It can be considered rendering first in a series matching experimental portraits, exploratory pieces. Like that which he came from the native land to the capital to glance at, Plastov eagerly absorbed all put off artistic Moscow had to offer: “The World of Art [Mir Iskusstva], Western art at Sergei Shchukin’s, which we would come to see every Sunday, the Jack assiduousness Diamond, all kinds of ‘ists’, the Rumyantsev Museum and rank Tretyakov Gallery — all became grotesquely rolled into one previously my bewildered eyes.

Everyone was drumming up visitors as bazaar traders drum up buyers — you had to look withdraw at, appreciate, learn about all single thing, you had have knowledge of listen to your own self.”¹ At that period the graphic designer entirely devoted himself to honourableness search for an individual seeable language.

This youthful self-portrait shows unmistakable traces of the region of the new trends unthinkable discoveries that were informing State art at the turn catch the fancy of the 20th century. The evident influences include Valentin Serov (“Portrait of Nadezhda Derviz with capital Child”, , Tretyakov Gallery) because well as Edouard Manet plus Eugene Delacroix (with the latter’s famous “Self-portrait” from the Louver, ).

It took Plastov distinct sittings to create the ribbon — the layer of paints was partly scraped off, come first the picture remained unfinished. Honourableness artist appears to have accompany that he failed to total the bold grand goals flair set for himself. The lush Plastov is featured in first-class focused mood, his lips intractably shut, the and Valentin Serov.

Plastov believed that copying was the surest way to commander the fine points of strength and drawing. “We copied chomp through different prints, paintings, portraits (but we made graphic copies). Sustenance instance, we very carefully imitative Millet — ‘The Gleaners’ (Des glaneuses), ‘The Sower’ (Le Semeur) — Van Dyck, Jean-Baptiste Greuze’s ‘Cupid’, Valentin Serov.

He through us copy almost every day.”²

Later Plastov would write to consummate year-old son Nikolai: “I old hat your letter with the self-portrait. I like the drawing development much. The only thing Comical would suggest is to select more sharply the form, character volume Just look at authority pictures of Holbein, or Serov, or Repin, and it come to blows will become clearer to prickly.

It’s good that you mock-up Hals. Try copying Velasquez thoughtprovoking one paint, from the characterization that I brought you. Fix a brown paint.” (here pointer below all references to depiction correspondence are to the contemporary letters from the Arkady Plastov’s family archive — TP.) Picture “Self-portrait in a Hat”, conceived in the late s — early s³, was gifted space Dmitry Arkhangelsky.

The piece demonstrates Plastov’s concentration on volume, monitor an express, almost exaggerated area of interest on form-generating elements of both the face and the location. Combining the traditional classical-style approaches (Caravaggio, Georges de La Tour) with more recent discoveries, yes came up with an different image.

The lighting in rectitude style of Caravaggio, the hang on of a dandyish hat permeate the head, and a decided conventionality of the complexion earnings together to produce the concept of a game, a function the young artist has undeclared, perhaps guided by the grasp that he is using far-out painting style that is unfamiliar for him.

The interest betwixt Russian artists in French painters, most of all Cezanne, externally can be traced in their resolution to shift emphasis posture the pictorial core of carveds figure, bringing out in objects their structure — a framework claim shapes and planes (including wits planes). Other artists working imprison this vein included Alexander Poet, Alexander Kuprin, Nathan Altman, challenging Boris Grigoriev.

In the self-portraits stray followed, the artist remained compassionate in conventional lighting and tidy predetermined colour scheme.

When he came to Moscow in to cease his study at the Grammar, the young Plastov “was half-baked to walk into barricades paramount gun shots on the streets”.

“It ultimately sank in entertaining me,” he remembered later, “that revolution in a country much as Russia then was grand process which, in terms depart its size and importance, was akin to a transition do too much one geological period to option on our planet”⁴. For echelon years in a row position artist lived in Prislonikha left out leaving it, “plowing, mowing, harvesting.”, and as the village’s peak literate person he was to a Poor Peasants Commission (the Kombed) and a Voracity appetence Relief Organization (the Pomgol).

Sovereignty ties with Moscow were domesticated, and his fate took him far away from his right calling as an artist dumbfound these years.

The self-portrait on bundle made in the first bisection of the s undoubtedly confidential a special meaning for rendering artist; before a fire of great magnitude , it had hung down his home in Prislonikha.

That portrait is an attempt put in plain words look into oneself and march answer some painful questions. Decency look in the eyes deference open, ingenuous — there testing even something pleading in make for. Long in the making, position piece is loaded with cultured references to Rembrandt and bespeaks an obvious resolution to admission artistic challenges gradually and ably, yet without a freedom round perfect knowledge.

A dark, basically monochrome black background is divergent with the face, with efficient classic light-toned highlight on nobleness collar (obviously borrowed from loftiness old masters’ portraits) producing organized visual tenseness, a certain solicitude, which, it seems, echoed significance artist’s frame of mind. In case we follow the theories be worthwhile for Nikolai Gogol or Oscar Author, the artist left a summit of his soul in that portrait.

In , quitting all ruler “secretarial functions” and having vigorous some money from commissioned paintings and sculptures in Ulyanovsk, filth moved to Moscow — position city for which he abstruse long had “an overpowering yearning”.

“Here it is — Moscow!

Anew it is in front perfect example me, now again I sketch at the Tretyakov Gallery by the same token if these seven years own acquire not gone by. But representation more I looked at position countless treasures, the more Hilarious realized how little I knew about my craft. How trusting were my dreams that Raving would up and fulfill what I’d been dreaming all legislature — become an artist.

Do faster my heart suddenly frozen, Unrestrained saw for myself how undue, how awfully much work prickly have to put in and over that your youthful plans become apparent true. A verse came make a victim of mind: ‘Friends, ply the oars in concert, against the run, for beauty’s sake’.”⁵

His strength prolonged to be tested: “For orderly whole ten years I was barely making ends meet translation a poster artist in Moscow in winter, and in summertime — as a grain smallholder in Prislonikha until, finally, Mad became a free painter”.⁶ On the other hand the work on posters, govern with simultaneous initial forays insert graphics (in the s Plastov worked for the Mirimanov bruiting about house and “Znanie” publishers, illustrating the works of Anton Dramatist, Maxim Gorky, and Gleb Uspensky), brought out in him ethics capability of a universal visible artist with versatile faculties.

In primacy summer of a fire make out Prislonikha destroyed nearly all pan the artist’s works: “All focus I painted, all that Uncontrollable drew previously — all was gone up in smoke nurture the sweltering sky”.

But dominion despair was short-lived — rulership mastery of the craft, title his energy remained. “From give it some thought year on, I was pollex all thumbs butte longer an agricultural labourer What was lost had to mistrust brought back at an astonishing pace. That was a day when I was slowly anticipated the goal of becoming require artist at last.”⁷

The decade admire the s were marked offspring significant changes in Plastov’s people.

In February for the final time he was offered dinky commission in Moscow — keep contribute to the creation remove large-sized paintings themed around haymaking and animal husbandry. “Just muse of it, Nalya: painting handing over a vast area the carbons copy of haymaking and animals, peasants — men and women, jumble, the glistening noon sky, significance swelter and haze of magnanimity magic days of summer.

Lapse was more than my slack heart could take in. Rabid was hurrying up along a- street nearly weeping with rejoicing accomplishmen. Just think. after the scorned, measly posters, after those themes bricked up in the fatal cement of conventions and inutile techniques, suddenly — painting update the full sense of nobleness word, such a training begin for me I could sole dream about as one dreams about castles in the air..” (Arkady Plastov to his better half Natalya Plastova, February-March ) Near all of the self-portraits actualized in the s (more stun 17 in all) are conspicuous by artistic experimentation, and stage show that his distinctive artistic language was developing.

For all their diversity and lack of group to one another (sometimes they appear to represent not ventilate and the same, but inconsistent persons), these portraits share determine common artistic techniques and lex scripta \'statute law\' reflecting the artist’s creative quest.

First of all, this includes (as in the s) a assembly of different traditions and styles of portraiture — now regularly Western European, both old courier more recent.

Secondly, there run through a wilful limitation of picture basic colour scheme, with three or four — quint at the most — paints used. And lastly, there deference a certain consistency in greatness progress from a warm nearby vibrant (sienna, umber) undercoat persuade cold form-generating strokes, from solve internal abstract invariable to essential plein air imagery (reflexes, inadequate shadows), with numerous highlights 1 a light spot on top-hole hand, a book, or a-one white collar.

It was tidy combination of the techniques put forward patterns of the “old” rendering (Caravaggio, Jose de Ribera, Georges de La Tour, Velasquez, Hals, Rembrandt) with the discoveries fall for the Impressionists.

For Plastov, his self-portraits were a testing ground neighbourhood techniques and methods of work of art were born that would have reservations about later applied in other entirety.

In the selfportraits the genius demonstrated the mastery of take the part of and sculptural skills he abstruse honed in his youth.⁸ Full was in the s range Plastov progressed from his glance at of painting techniques towards rule out excellent command of the brush.

More than 17 portraits from influence s demonstrate two trends, deuce sorts of imagery that Plastov was trying to master: at the start, a continuation of the tendencies marking the “Self-portrait in unblended Hat”, with its sharp district between light and dark charge discontinuities between forms, and next, a pictorial pattern in which strokes with no clear confines between them create a spirited pictorial texture.

It can be put into words that the “Self-portrait with unadulterated Book” (s) is a band together of statement on loyalty stop by the old masters (a love of one`s country very archaic and outdated dwell in the first decades of Commie rule).

An original angle, habitual lighting, a book with swish parchment sheets — all that evokes the portraits of Velasquez, Rembrandt or Francisco de Zurbaran. The artist appears to befit keen on immersing himself pavement long gone eras, or sophisticated like a man of authority past.

The “Self-portrait in a Take away Russian Shirt” (from the mids, the Plastovs’ collection), with take the edge off refined roseate and burgundy colours and a rich cherry-colored surroundings “a la Tintoretto”, is integrity artist’s cheerful statement about emperor capabilities as a painter submit the appropriateness of his grace.

Plastov is depicted as sovereign everyday, ordinary self in Prislonikha — according to the curriculum vitae by his son Nikolai, in the past the war his father better such Russian shirts. “The shirts black, white, of subdued ultramarine dejected colour; also, my favourite — a brown and red shirt caput mortuum with violescent), trig shirt with shoulder-to-chest padding, which as far as I recall was worn thin in distinction s, its shoulders and backpiece sun-bleached to a dingily pink colour.

One of my father’s self-portraits features him in that shirt.”⁹

For all the visual abstemiousness — only five or shock wave colours are used (dark socket, ochres, ivory, burnt sienna) — the portrait is stunning look after its visual force, with rendering gradations of tones carefully crafted. Plastov the sculptor highlighted secure advantage the border between flare and dark in forms, letter each individual brushstroke by upturn having a visual importance.

By reason of in the “Self-portrait in grand Hat”, sharply distinguishable planes match the backbone of this bit. This composition can be judged as the first in fine whole series of peasants’ portraits that Plastov created in position s using the same nearing (“Fyodor Tonshin”, “Nikolai Stepanovich Sharymov (Nazarov)”, and others).

The cultivated ease that distinguishes this image matches that found in angels by Hals.

In the mids ethics artist created a self-portrait demonstrating his transition to a newfound visual repertoire — the brushstroke no longer has clear frontiers and the shadowed part be in the region of the face nearly blends weigh up the background, the two coordination a single, harmonious texture set in motion the image.

On a squat rectangular canvas (apparently randomly elite from what was at motivate at the time), the close-up of the face in Plastov’s characteristic, favourite angle — halfturned to the viewer — decay one of the artist’s stroke visual experiments. This new impend is marked by brisk become stable movements of the brush hole up form-generating areas of undercoat robust liquefied paint already slightly antecedent.

The effect of the at liberty, antique contours of the persuade is achieved not through orderly sharp, pronounced geometry of glory planes but through elaborate graduation of the brushstrokes, barely observable within the limits, which produces a vibrant fabric resembling Titian’s late works. Now Plastov concluded a perfection of workmanship bind which the movement of representation thought and the movement make known the brush were synchronised.

By ditch time Plastov had created a handful portraits featuring a palette, nifty brush and frames — carveds figure of the artist at work: “Self-portrait” (, Tretyakov Gallery), “Self-portrait with a Palette” (s), “Self-portrait in a Black Jacket” (late s), “Self-portrait against a Carpet” (s), and “Self-portrait with expert Brush” (, all in character Plastovs’ collection).

These portraits make evident the same technique that Plastov finally mastered — that admire brisk, shimmering brushstrokes.

The self-portrait engaged at the Tretyakov Gallery research paper one of the most inspiring paintings Plastov produced in that period. The artist penetrates character pictorial space with his image: the plane of the work of art, of a more or inconsiderate similar colour tone throughout, unifies the face and the neighbourhood, and only such highlights likewise the dark pyramid of justness clothes lend stability to depiction portrait.

An impressionist, subdued blanch design (earth pigments were used), and a special arrangement additional pictorial elements creates the squashy of a vibrant harmony atlas life and a binary vantage point when the planes seem drawback be switching places in forward movement of the viewer’s eyes. Depiction joy of pure colour perimeter the palette stands out.

The “Self-portrait in a Black Jacket” make-up a similar low-key but supposedly vibrant visual texture, implying trim similar joyful opportunity to bug out a colour scheme with unmixed, clear colours fitting in pick up again the overall design.

A range and an empty frame site the wall seem to nominate more than just accents forecast the melting space or minutiae of the interior — they indicate the unrivaled surge flash creativity, the inner freedom, decency awareness of one’s control change the elementary forces of canvas, and of an infiniteness deduction ideas and goals that decency artist experienced in the mids.

Plastov’s artistic career was on character ascent.

One evening in loftiness autumn of he presented fetch the first time his entirety “Fleecing Sheep” (Chelyabinsk Picture Gallery), “Haymaking”, “Horse Stables at far-out Collective Farm” (Private collection, UK) at a meeting of depiction artistic council of the Slavic National Union of Visual Artists Cooperatives (Vsekokhudozhnik).

The artist experienced put the lid on that time contradictory emotions: “I didn’t know where to bind myself with my poor films.

I had a feeling put off whoever saw them would brave their lip in contempt. Arena I felt great pity look after everything, but everything that was related to these pictures direct that was now laying undressed under the eyes of what I thought then was unmixed strange, indifferent and, moreover, painful crowd.” (Arkady Plastov to Natalia Plastova, October 26 ).

The people of the jury included Concentration Grabar, Ilya Mashkov, and Konstantin Yuon — and their ballot refuted Plastov’s self-doubts: “A zip of applause, hugs, an fervid speech by Igor Grabar, enthralled Mashkov’s shout: ‘Glory to support, Arkady Plastov!’”¹⁰

“Contrasted to the irritate bland pieces, my ‘Haymaking’ (for all its countless deficiencies hold up which only my laziness crucial lack of discipline are have knowledge of blame), for instance, had small air of of surprisingly stout freshness and chastity, a heart-wrenching verity that casts a enchantment on everyone right away, monkey if a crystalline wave esoteric rolled over them.

Oh out of your depth dear ‘Haymaking’, I whispered familiarly sinking into the sweet-smelling imagination of all these highlights — golden and emerald-citreous reflexes; put in the motley, sometimes poorly unregimented patchwork of the canvas. Oh, my dear ‘Haymaking’, look, they haven’t abused you, now it’s other eyes, not only manner, that caress both your imperfections and merits.” (Arkady Plastov surpass Natalya Plastova, October 26 )

“I believe,” the artist wrote feature , “that my life assessment heading to a point much the same to springtime by a obturate.

Upon a taut and powerful ridge of the external freshet, the lusterless rags of trophy are splitting. From now congregation, no one will dare dressing-down befoul with his soiled socle the elementary force swollen ring true strength and alive with self-determination. This force noiselessly and harshly advances to the barriers.

Magnanimity locks are being lifted hotfoot and obligingly, and there review a rumble, a roar, systematic flickering, and a foam major a mad, gigantic force which is suddenly vented into sustain. Now I feel inside child especially strongly the fermenting hold this wild elementary force limit the urge to physically vocalize it in some way.

Resume vehement techniques, with a description showing the human body enclosure all its frenzy, in elegant state of extreme strain esoteric verity. I have a air of forms and paints moistened with passion and rage, bellowing and howling at the nationalize of their voices near hubbub that sugary niceness.”¹¹ “Harvest Feast” (the original author’s title was “Feast at a Collective Farm”), “Bathing of the Horses” (both in the Russian Museum), extra “A Flock” were created amidst and

Plastov’s famous self-portrait (, the Plastovs’ collection) in calligraphic black overcoat and a restrict features the artist as first-class regular townsman, hurrying somewhere, trapped up in the bustle illustrate a big city.

The fail to remember of living in the townswoman of Nemchinovka, where he rented a room in a sick heated shack, and commuting quotidian on a train carrying refreshment and kerosene for his range brought the artist in open contact with the life disregard working Muscovites.

The s series introduce self-portraits includes a watercolour in the pink (, collection of the artist’s family) marked by a diverse mood, which stands apart flight the general trajectory of picture artist’s explorations.

The work, liking the others, was created play a part Nemchinovka or Moscow. The head imaged himself facing forward encroach upon an ochreous background, in shipshape and bristol fashion tightly buttoned dark shirt advocate a dark jacket. The masterfully-painted face surprises the viewer criticism its rigid, tense expression. Description portrait resembles a photograph use an official document, maybe all the more from a police file (only the profile side of justness photograph is missing).

He bearing like a person of consummate time — wary, as take as read anxious that something bad appreciation bound to happen at cockamamie minute; this self-portrait is natty remembrance of the time dilemma which it was made. Minute ranked among the nation’s get the better of painters, Plastov keenly felt honourableness suffocating atmosphere of unfreedom illustrious fear — an inevitable condemn of even relative closeness scheduled public life in Moscow.

In unquestionable was invited, together with regular group of painters, to bestow to the creation of elegant mural “Notables of the State Nation”.

A year before range Plastov produced several murals signify an agricultural exhibition. “Made sight a rush, these works second-hand goods nothing special, but they just characterize the careless, to place it mildly, policies of determined good-for-nothing organizers when they arrangement with us, artists of pleb standing”.¹²

In the Spring of , on his way back habitation from Tbilisi (a journey prowl yielded a series of capital sketches — the world subtract the Caucasus region had entranced him, as it did diverse other Russian artists), Plastov vigorous a remarkable selfportrait on out train — a reflection bring to fruition the blue nocturnal window a range of the train.

The s would kick in the teeth the artist different goals: “And now something fatally, inordinately indigenous, unspeakably cruel was afoot deed fatally drawing near all that quiet, nice, sinless life.

Boss around had to resist, to best part all your energies on grit alone, you had to knifelike at the top of your voice.”¹³

The challenging quest for arrive individual vocabulary in self-portraits seemed to be coming to trivial end. The s and relentless self-portraits are calm and fair, and from now on, grapple of the artist’s vigour with the addition of temperament would be channeled fund paintings — in the catastrophic war-themed pieces such as “The Germans Are Coming” (, Tula Museum of Fine Arts), “Defending the Homeland” (, not found),“The Fascist Plane Flew By” (, Tretyakov Gallery) , as come next as cheerful, victorious paintings much as “Harvesting”, “Haymaking” (both , Tretyakov Gallery) and peaceful, life-loving pieces such as “Tractor-drivers Dining” (, Irkutsk Regional Fine Crumbling Museum; — copy made chunk Plastov, Tretyakov Gallery), “Spring” (), “Summer” (, both in character Tretyakov Gallery), “Noon” (, Native Museum), “Wellhead” (, National Remember Gallery of Armenia, Yerevan).

Plastov’s self-portraits of the late period — there are three in visit — are stunning: “Self-portrait” (), “Selfportrait” () and the final self-portrait, from April , creep month before his death (all in the collection of nobleness artist’s family).

The traces of dexterous life lived decently and righteously, which he valued so often in the expressions of her highness models, the traces of transports of delight, love, and on the rocks reverence for life stamped dominion face and entire appearance defer marks of nobility and dignity.

“When I came to a sanctuary later than he,” the artist’s son Nikolai remembered, “I be a failure to search the crowd miserly the back of his waxen head, the broad shoulders corrupt an overcoat, also of pale, wolf-like colour.

His entire air, his earnest dignity in plea to God had an overstate of simplicity and strength. Again he might have felt tidy up regard — he turned well-ordered little and gave a gratified nod. What sort of gist were germinating in this attitude, which became whiter with each year, what sort of amount was made, what kind provision strength he drew in magnanimity semi-darkness of the church, diminution the sounds of old awful chants?”¹⁴

The “Self-portrait in the Pass out of a Setting Sun” (, collection of the artist’s family) was created at the aforesaid time as a painting blue-blooded “A Fragment of the Past” (, Tretyakov Gallery), in which the artist drew on authority childhood memories and unfulfilled dreams about a just universe.

Dignity picture became for him aura internal reckoning, a prayer, clean up farewell. Its rich colour programme echoes the selfportrait’s visuals. Gift the light of the time sun appears as the dusk light of a life put off is now spent.

“Perhaps until beat up age I’ll continue, as rework the days of youth, impediment recognize and feel excitement go with the sweet-smelling breath of spotlight, no matter what or who carries it.

And as before long as my soul feels that delicate, balmy waft of high-mindedness beautiful, by God, I association no longer myself, I turn impetuous as if I’m 17, and my entire life attempt ahead of me and publication soon I’ll see the Tretyakov Gallery, Moscow, St. Basil’s Duomo — all of Rus’, spirit, great and unconquerable.”¹⁵.

 

1. Plastov, Arkady. Memoirs.

   The Plastovs' archive.

2. Kiselev, Viktor. Spruce memoir. The Kiselevs' archive.
3. Here and elsewhere fragments of influence letters have been reprinted deviate original letters in Plastov's retail The “Haymaking" was lost, disloyalty whereabouts now unknown; the variation of “Haymaking" is held defer the Tretyakov Gallery.
4. Plastov, Arkady.

   Reminiscences annals. The Plastovs' archive.

5. Ibid.
6. Ibid.
7. Ibid.
8. “After spending some leave to another time studying sculpture at the Stroganov School, I decided it would be worthwhile to study break along with painting, to finalize a good conceptual grasp marvel at form". Plastov, Arkady. Autobiography.

   Dignity Plastovs' archive.

9. Plastov, Nikolai Arkadievich. Reminiscences About My Father. The Plastovs' archive.
10. Kostin, Vladimir. Among Painters. Moscow. P.
11. Plastov, Arkady. Leningrad. Proprietor. 9.
12. The Plastovsʼ archive.
13. Plastov, Arkady. Autobiography. The Plastovsʼ archive.
14. Plastov, Nikolai Arkadievich.

    Reminiscences Message My Father. The Plastovsʼ archive.

15. Plastov, Arkady. Paintings. Moscow. Possessor.

Back

Illustrations

Self-portrait with a Book. s
Oil on canvas. 48 × 36 cm. The Plastovs’ collection

Self-portrait in Youth.

s
Oil on cardboard. 37 × 40 cm

Harvesting.
Oil on coast. × cm. Tretyakov Gallery

Self-portrait. s
Oil on cardboard. 57 × cm. Collection of the artist’s family

Self-portrait.

Oil on go sailing. 79 × 61 cm. Tretyakov Gallery

Bathing of the Horses. Parody.
Oil on canvas. × cm

Self-portrait in a Pink Land Shirt. Mids
Oil on cruise. 54 × cm. Collection adequate the artist’s family

Self-portrait against unblended Carpet.

s
Watercolour on sheet. × 36 cm. Collection pray to the artist’s family

Self-portrait in fleece Overcoat.
Oil on sail. × cm. Collection of righteousness artist’s family

Self-portrait.
Watercolour shine paper. × cm.

Collection addendum the artist’s family

A Fragment countless the Past.
Oil arraignment canvas. × cm. Tretyakov Gallery

Reflection in a Train Window.
Oil on canvas, mounted hurting cardboard. × 37 cm

Self-portrait fall apart the Light of a Backdrop Sun.

Dick cheney narrative video on william

Oil on canvas, mounted on artificial. 70 × 50 cm. Group of the artist’s family

Last Self-portrait. April
Oil on inferior. × 34 cm. Collection behoove the artist’s family