Airplanes fly over the fields. In paths run locomotives. Ships and yachts cut waves. The highway calls on the road. And next to the silence of a quiet fir, hangs the night sky, the sunset connects the shores of the port bay. Some paintings are romantic emotion. Others - lyrical softness, the most subtle shades of human experiences. If we consider the works of the NIS in the chronological sequence, then among the recent times you can see those in which both of these starts are closely intertwined, mutually penetrate. As a result, a completely new artistic image is created, which sounds a broad epic poem about his homeland.

Romantic, sharply feeling the beauty and greatness of labor, transforming the Lac of Earth, and at the same time the penetrated Lirik - this is one of the outstanding painters of our country Georgy Grigorievich Nissky. At the exhibitions of his work among many other webs, they learn immediately in particular, to him one inherent in the sound of sound and emphasized the modern look at the world. "Sea expanses passed on warships of all fleets among wonderful Soviet sailors, snow-covered suburban forests, skiing, spaces near Moscow, ribbons of canals, Volga expanses, Moscow and Rybinskaya seas, seeded under sails, gateway towers, yacht racing, evening romance Station, steel dual threads of ways with ruby \u200b\u200blights of signals, viaducts and flipping bridges surrounded by smokes of steam locomotives - this is all new, modified by the will of people's geography of my homeland. You need to see, reveal its beauty and show it to millions of new people with new thoughts and new feelings, with their cheerfulness, their lyrics and optimism. The landscape of the Motherland is changed, he is no longer Levitanovsky - he is happy and Majorna, and you need to see his modern artist, see him with a new feeling, new heart and new eyes and make new hands, otherwise he will not be today, "the artist writes in the autobiography, So he formulates tasks for himself, his students and fellow arts, such a world population permeates his work.

Nissky is one of the leading artists of landscape painting. In how it organizes the composition of the works, emphasizes the ratios of objects, in the very rhythm of individual parts of work and the integer stemming of a person of the middle of the XX century with its new ideas about space, scale and pace. The beauty of nature and beauty made in the nature of man merge for the artist. And the works of it, despite the fact that in them the activity of people is most often not shown directly, the dynamics of human actions are full of human conventor to the anthem.

Georgy Nissky "Moscow. Sorting", 1954

The works of the NIS generalize those impressions and reflections over what they saw, who bring him travel and hiking. He himself writes: "In the Far East," is notified from the window of the fast-reaching train. The bristles of the forest on the ridge of hills, quickly flashing the airfield with airplanes. I didn't have anything to draw anything, to do it - too. The rest is in the presentation and vision of the memory ... "Moscow spaces" was keen on skis by a whole winter, and when it felt that the thing was made in me and decided, quickly wrote it in the workshop. "

It can be attributed to the special properties of his creativity that even in the smallest landscape of a modest and at first glance, no one distinguished from a variety of other corners is perceived as part of the immense width of the native country, as a separate theme of the powerful and heroic symphony "Washing country is my own".

When they talk about Nis, most often recalls his landscapes with running railway tracks, silhouettes of semaphores, running trains. This is really one of his favorite motifs. Most likely, the roots of this attachment in the first children's impressions.

Georgy Grigorievich Nissky was born on January 21, 1903 at the Novobelitsa Nodal Railway Station, a few kilometers from the Belarusian city of Gomel. His childhood has passed at this station. He breathed the mixed, acute smell of coal smoke, machine oil and heated metal. He admired his favorite hero - a steam engine. He loved maneuver on the locomotive at the branched station paths. The interests of the family, the Father - Railway Doctor - a little worried boy. Also little worried him at the time of childhood and art. It was not at all thought about him. The Nissky's drawing faced for the first time only in the gymnasium and worked on the lessons without enthusiasm, although he was already helped in this comrades. Only in 1917, the fourteen-year-old gymnasium, he seriously began to think about the profession of the artist. Pushed him to this V. Zorin, at that time who lived near the Novobelitsa. Zorin told a teenager about Russian painters, especially those who worked at the beginning of the 20th century: about Levitan, Vrubel, Petrov-Vodkin, Roerich. Zorin first revealed the young features of Russian art with his immersion in human psychology, introduced the best Russian masters with the works of the best Russian masters, he advised to engage himself. Zorin wore a future artist his first landscapes and still lifes, he heard the first professional comments from him.

Georgy Nissky "Flooded Country", 1958-1959.

And before that time, the technique occupied the boy's imagination - passionate, in childish, fervently passionateness to the creation of human hands. However, this did not interfere with the love of a nonsense, but sincere beauty of Belarusian forests, robusts, fields. "Until now, unintelligent love of childhood love his native landscape," the artist writes. - Semaphore, running rails, leaving the turn of the forest, a slurry boron with mast pines and the abstract of Belarusian fields with gym. Wheel, everything was mine: hot robal rails on bindings of ways, long commercial compounds, waterproofs and warehouses, maneuver steam locomotives, overgrown of swamps, golden forest streams, spring spills, rafting flooring on the mirror of the lake, squeal saws, gold cubes sawn The forests, the smell of sawdust, the fever of July in Forest silence and thoughtful transfer under the tablecloth of the January snow ... "From these words, written by a mature master, it can be seen that even from children's impressions, firmly cut into memory, there is a connection in his work of the romantic start, Founded on the admiration of the power of a man-creator, with lyric, inspired by love for native places.

Systematic studies began for the Nis in Gomel, in the studio of the visual arts named after M. Vrubel, who was led by the artist A. Bykhovsky. Studying combined with work in warehouses, on the railway branch. The talent of the Nissky showed up very soon, and in 1921 he was sent to Moscow to study at the preparatory department of Vhowemas (senior artistic workshops). In 1923, he moved to the picturesque faculty.

Georgy Nissky "Airfield", 1961

Vhutemas was in those years not only a kind of university of fine arts, but also by production workshops. Here they taught the famous archups, Mashkov, Konchalovsky, Falileev.

VhuTemas students were presented to the right and possibility of free choice of any workshop and any profession. "It was why to confuse or even go crazy in this incredible kaleidoscopic mixing of forms and trends, schools and disciplines that wrapped in our young, hot and inquisitive heads that were erused from museums of new arts, literary rallies, conversations and appearances of the apostles Right and left art. But I perfectly remember that many of us, before which all these paths were discovered and all the roads in the art of painting, chose a living life as the basis of creativity, painting as a means of expression and revolution as the main topic, "wrote the old Vhowemasovian Yu. Merkulov.

Vhutamas met the young Nis boiling political and aesthetic passions. In the early years after October, artists feverishly sought ways to reflect the new life. We needed new forms to express the content of those who did not exist. Teachers and disciples were engaged in experimental, investigated different ways. With enthusiasm, works of representatives of new Western art were discussed: Picasso, Cesanna, Matisse - and Russians: Tatlin, Malevich, Konchalovsky.

The young, hot enthusiasm, who reigned in the walls of this new Academy of Soviet visual and applied art, threw her students for the design of agitospaces, mass festivals, theatrical performances. "Streets are our brushes. Square is our palettes, "these words of V. Mayakovsky were the practice of life of Vhowemas 20s, where every future artist clearly imagined political importance, the role and place of art" in the work system ". No wonder the great proletarian poet Mayakovsky was a favorite poet of Vhowemasov. Love for painting was combined with students with love for sports, which was cultivated in VhuTemas as an element of raising a harmonious personality, and it is difficult to say what young Nissky preferences. In any case, at first he spent most of the time in the gym, and the tests handed over the umpshots.

In painting, he did not immediately find his way, rushed from the sample to the sample. However, through the passion for various modern masters and various creative manners, he stubbornly searched for his own ways in art, and the fact that these searches were inconsistent, already from the graduation picture "The uprising of French sailors in Odessa" (1928). Sincere excitedness of feelings, passionate and rapid battles, his own, deeply personal, alien to any intentionativity, the attitude was characterized by this first job of a novice painter. All this, despite the insufficiency of skill, imitativeness, bribed and forced to believe in the future of the artist.

The choice of "marine" subjects is not accidental. Another student, in 1928, the Nissky went to the Black Sea, which since then firmly entered his life. From this trip, he brought watercolors and guashas who showed at one of the exhibitions. The sea has become more than once in his paintings by the main place of action or even the main acting person. Although Marinist in his own sense of the word Nis has never been.

During this period, the artist became close to the Ust grouping (Society of Stankovist Artists).

The Society of Stankovists, which arose in 1924 was the first to truly serious artistic association of young people. The coolers set their task to create the modern and most economical forms of painting, in which you can depict a synthetically modern city with its primacy of technology: plants, mines, radio installations, etc. Searches for LAKONISM, striving for the dynamic composition, focus on professional skills, revival of the machine With its completion, "making" was a consequence of new requirements for art with life.

The cozers considered the artist by a participant in socialist construction, which is obliged to create pictures of scenery and modern not only in visual means, but also in content. Formulating your art platform, they wrote: "In the era of the construction of socialism, the active forces of art must be parties to this construction and one of the factors of the cultural revolution in the field of reorganization and design of the new life and the creation of a new, socialist culture. Considering that only the art of high quality can have such tasks, it is necessary in the context of modern art development to put forward the main lines for which work in the field of visual art should go. " The organizers and active participants in this art group were A. Daineka, P. Villama, Yu. Pimenov, A. Goncharov and others.

Despite the passion for the outside of the industry, the gradation of technology, artistic manner of Western, especially German expressionism, the Group as a whole played a positive role in the history of Soviet Fine Arts. Serious passion for the young Nissky aesthetic concepts of the coolers can be traced in one of the early works "shipyramont".

The beginning of the serious creative activity of the NIS is 1932, a year, when the Central Committee of the CPSU (b) was published decisive for the further development of Soviet art. Resolution "On the restructuring of literary and art organizations".

Resolution of 1932 not only eliminated the organizational confusion. The most important thing is that it called for the creation of truly artistic works, assigned art workers an important role in the construction of a new society culture. During the first five years, artists had to reflect the achievements of the country in their works. They had to see themselves and show people in small, barely notifiable, a particle of general patterns. They had to help in the formation of the spiritual appearance of the people.

This was played a certain positive role in the formation of artist's creativity, which made the first steps in great art. Party Requirements were responsible for creative tasks that the young Nissky set themselves.

1932 was the stage in the work of the Nissky also because it was at that time he found those major, principal features of artistic vision and the path to express this vision, which will remain in his art, will develop and become defining.

"Fall. Semaphores "(1932). This picture of the artist makes an application and a new hero of landscape painting, and on a new way of poetry. Desert. Drozoglo. Fucking sparrows, Zyabko clung to each other, sat on the wires. But, despite the leaning notes of a gray autumn day, the viewer does not have a feeling of sadness, because the sky is huge, cheerfully runs, caking the smoke, the locomotive, along the long strip of the railway track, which seems to have no beginning and there is no end. Work semaphores. Everywhere life, everything feels human activity.

Georgy Nissky "Autumn. Semaphores", 1932

"Autumn" is an industrial landscape, compositely well built. But as a sharply excellent attitude of the artist to the industry here, compared to his earlier picture "Sudor Repair". If the main thing is - the car, despite the fact that there is a person in the picture, then here a person is invisible, in the creation of his hands. From this they look animated. Both the steam locomotive, and semaphores, and the threads of the telegraph wires carry particles of human energy and strength, act precisely as animated objects. In this new poetic, born by socialist construction, and in the first place, the innovation of the Nissky-landscapeist, the artist himself seemed to be "non-party" genre.

And one more very essential feature is manifested in this landscape: in clear rhythms and the energetic tension of the brass of the industry, there is no coldness at all. The artist finds in them deeply lyrical notes close to everyone, paints the whole scene a very personal mood, which is most likely, from the affectionate memories of childhood.

The painting "Autumn" was the first creative application of the artist to his own place in great art. And the next year he wrote the second most painting in this style - "on the paths", full of special, spring cheerful, spring bells of joyfulness.

Again there is no end to the rafts. However, in contrast to the previous picture, the viewer sees not only the length, but also shirms. In the foreground - already once found semaphore. In the depth - the iron structures of the bridge, the smoke of the factory. And among all this "working" large industry, a woman is going in a white dress, which is swept on it from fresh spring wind, and the whole image is immediately warmed, sounds a joyful motive. The construction of the picture is that the background looks like theatrical scenes, and a huge steel canvas of the road - a scenic platform. Somewhat naive convention, some superficiality does not even curl up earlier a line of combing the beauty of the technical genius of a person with the lyrical color of the creation of this genius.

When comparing these two paintings ("Autumn" and "on the paths"), their compositional similarity is striking, the same artistic techniques, a convention that comes from the lack of real skills. Having developed a certain composition, Nissky was afraid to retreat from it. Therefore, the artistic embodiment of his audacious plans was significantly paler than them. Principles were found. Now it was to learn to implement them.

Georgy Nissky "On the way. May", 1933

"Study, work - working, learn." These words artist made his motto for almost four years. He saw that "real skills, traditions and cultures should be incentive, and a source of new." Junior negativism disappeared, the rejection of the authorities of the art of the departed eras. It gave way to a attentive study of old masters. Nissky tried to apply their technique in his works, but not blindly, and he seduce in it only what answered his creative search, which could organically enter his own art manner.

Sources for study were many. Pussen and Delacroix, Van Gogh and Cezanne and other major masters of Europe of different centuries and styles. That is why the works written in 1933-1936 were made in a wide variety of manners, go from a variety of samples and are more fruits of student experimenting, rather than independent artworks. These quest were not at all late reaction of the graduate of an art university on various schools of world art. Vhutemas in the 20s, in order to seek and think, did not give enough professional learning. And to become a real master, I had to seek her own.

Nevertheless, in the works of these years, so different in a manner, with traces of studying different masters, found at the beginning of the 30s line does not disappear. It was especially clearly stated in the picture of 1935 "Yacht", full freshness and dynamics, with an accurate and fine development of color shades of a windy day.

The picture "Yacht" also appears something new compared to the first works of this plan. It lies in the desire of the artist to get closer to nature, not limited to one author's fantasy. This is significant. The artist goes to the second stage of "self-education" - work in nature.

The need for this stage logically flowed out of its creative aspirations, because artificiality, which comes from inability to convey nature, dried the work, froze the emotionality of the plan.

At this time, Nis worked on the "meeting" picture with a large number of actors, with the image of human relations. Its action takes place in the Black Sea Bay in the summer. In the foreground, the girl happily stretches the flowers to the young sailor. It was necessary to show the mutual relationships of the heroes, the feelings that they were tested at this meeting, to transfer subtle psychological shades, on the one hand, and the rust of the Summer South paints - on the other. It was not possible to reflect all this for a long time, first of all, due to the lack of sufficient luggage of life impressions. The artist understood it. He left the work on the picture and in the society of F. Bogorodsky and G. Ryazhsky went to Sevastopol to work on nature.

The month spent the Nis in the campaigns together with the heroes of his picture. The second month persistently and stubbornly wrote etudes. Persistently sought ways to transfer the color diversity and wealth of the shades of the surrounding world. The name of his article placed in the journal "Creativity" (N 12 for 1936) is "to focus to nature." In it, he wrote: "Of all my feelings, impressions and memories, I chose the main thing and necessary, in which it seemed to me, the most faithful picturesque-plastic essence of things was concluded." And further: "In small, but the right written Etude often reveals in a new way before you and a big picture of a planned picture."

Georgy Nissky "A meeting"

His creativity has been enriched with direct life observations. In the best etudes of this time made on the Black Sea, it is clearly visible to achieve it, especially in color. The eye of the artist is sharper responding to the color, and outlines outlined artificial "Building".

Sevastopol taught the artist to see not only brighter, but also deeper. Returning to Moscow, he quickly rewrote the "Meeting" picture. It turned out to be very young cheerful and beautiful and brought the artist a bronze medal at the World Exhibition in Paris in 1937, where he was exhibited among the best achievements of Soviet art. Indeed, it is no longer only the brightness of the plan, but also artistic skills.

The picture "Meeting" Nissky showed that the period of the "second apprenticeship" is completed. He proved his right to be called a master. "The Nissky attracts the viewer with the making and finishes of his paintings, sharply contrasting with the negligent sketch of the majority of his neighbors on exhibition stands," Soviet criticism wrote in 1937, summing up his work.

(1903, Novobelitsa (Gomel) - 1987, Moscow) - Russian, Soviet artist, founder of the so-called. harsh style.

Nissky Georgy Grigorievich was born on January 21, 1903 on a small Novobelitsa Station near Gomel, in the family of a station doctor.
His first teacher was Vladimir icon painter Petrov. Local student artist Zorin introduced George Nissky with works by artists of the "World Peace".
In 1919, the Nissky entered the Gomel Art Studio of the Gubolitzproste. M. Vrubel, where under the leadership of A. Ya. Bykhovsky for the first time "encountered the concepts of color, the form and composition."
In 1921, he was sent to Moscow and entered the preparatory courses under the highest artistic workshops (Vhowemas, 1923-1930).
He moved to the painting department in 1923, where Robert Falk and Alexander Treet became his teachers.
In parallel, he worked in the printing house, paid a lot of attention to sports, in particular - volleyball.
In 1926 he met Alexander Dainekoy. At this time, under the influence of the stylistics of the OST, as well as the work of Alexander Deneki and Alber Mark, there is a unique picturesque style of George Nissky, whose features are conciseness, dynamics and heartfelt lyrism of his landscapes.
In 1928, he made the first trip to the Black Sea to Novorossiysk to collect material to the graduation work.
In 1930 he graduated from Vhutemas, the ace work - "Internationale on" Gilles-Bart ". The uprising of French sailors in Odessa "(GTG).
The end of 1930 and 1931 spent in a special red-known Far Eastern army, decorated the wall newsnets, made posters and panels.
In 1936, together with A. A. Dainekova, G.G. Ryazhsky and F. S. Bogorodsky traveled to Sevastopol and Balaklava on the etudes, flew at airplanes, walked on the high-speed boat and on a submarine.
The plots of the first well-known works of the Nissky, written in the early 1930s, apparently, are inspired by the memories of childhood held at the station, railway topics prevails in them: "Autumn. Semaphores "(1932)," On the ways "(1933)," October "(1933).
However, in the second half of the 1930s, the artist addresses the sea theme.
The Nissky writes marine landscapes (marina), and in the 1940s - marine battle compositions ("Menules of the ships of the Black Sea Fleet", 1937; "Sweating of fascist transport", 1942; "On the raid", 1949).
In addition to painting, the Nissky illustrates a lot and the marine topic remains true in the illustration: (Tsushima Novikov-Surboy, Sobolev's Sea Soul).
In the post-war years, Nissky appeals to the landscape landscape, he writes snow-covered forests, returns to the theme of railways. In his landscapes, stations, trains are increasingly appearing: ("Belarusian landscape", 1947; "Moscow region. February", 1957) However, being a passionate yachtsman (Nisky owned a small trophy yacht), he still writes water spaces, but this Place of the sea occupy suburban reservoirs.
Nissky travels a lot in the country; The impressions received by the artist on trips are bright and vividly embodied in his canvases. For example, a picture marked from the window of a rapidly carrying train, reflected in the composition "In the Far East" (1963), for which the artist received in 1964. Silver Medal of the Academy of Arts, Triptych "Port in North", (1956-1957).
George Nissky is considered the founder of the T.N. harsh style. Georgy Grigorievich was seriously ill.
He died in Moscow on June 18, 1987. Buried on the Kuntsevsky cemetery.

Nissky Georgy Grigorievich (list of works):

1. Night of 1941. 1958
2. Sevastopol. 1933
3. Black Sea Fleet.
4. Lighthouse in Pestovo. 1953
5. On the bench.
6. Landscape with sailing boat. 1930
7. Warship.
8. On the Pest Mland. 1947
9. Films. 1958
10. Morning on the Volga. 1954
11. At the grave of a friend.
12. Bobbies. 1933
13. Evening in the bay. 1956
14. Before departure. 1964
15. Rainbow. 1950
16.

Georgy Grigorievich Nissky (1903-1987) - a famous Soviet painter, schedule, a valid member of the AH USSR, People's Artist of the RSFSR, Honored Artist of the Arts of the RSFSR, Illustrator, artist in the "TASS windows". Georgy Nissky is a bright person and a tireless seeker of a new one. This is spoken by not only deep paintings, but also the life path of this person.

On September 14, at the Institute of Russian Realistic Art, the largest exhibition dedicated to the work of the artist "Nissky. Horizon". IRRI - a unique museum in his openness, his art director and curator of the exhibition Hope Stepanova answered our questions.

Institute of Russian Realistic Art, Photo Apelsinka.pro

Art Director Irry and Curator of the exhibition Hope Stepanova

Why did you decide to make a personal exhibition that is precisely George Nis?

First, it was not yet in our time, in modern Russia, and the artist is quite extraordinary and for us a sign. The most expensive picture in the IRRI meeting is his work "over snow", bought at the Sotheby's auction in 2014.

"Over snow"

Secondly, this is our personal love, because it is not only a wonderful painting, but also a very interesting person. Preparing for the exhibition, we read the archives, took interviews from those who were familiar with the Nis person. It became clear that he was an amazing person, completely reckless. For example, while studying, in addition to classes, such Matrov, like Robert Falk and Alexander Tree, he loved to be on his hands on Parapet in Vhowema, play volleyball. At etudes in Novorossiysk and other maritime cities, he got acquainted with the sailors, asked them on board, traveled a lot, engaged in yachting and even won a few regatta.

Photo Certificate Yachtsman

Gramist George Nissky, issued at first place in sailing competitions

He was one of the few who knew how to drive a car, which undoubtedly gave him a huge space for creativity. He drove in the suburbs, in small towns near Moscow, everything sketched and returned to the workshop to write magnificent landscapes. Personality is definitely interesting. He, in fact, little on whom it looks like. We were looking for someone he focused on, but the Nissky is a distinctive artist, he will not confuse him with anyone. In addition, in 2018, it turns 115 years since the artist's birth. It so happened that everything coincided. In general, we love personal exhibitions, because for us it is another reason to explore the collection and collect materials on those artists who are presented in our museum.

Why did you choose the name of the exhibition "Nissky. Horizon"?

Of course, this is a game of words. In all pictures, the horizon is very important for the artist. He specially made it either low or, in rare cases, very high, thus creating a certain geometry of the composition. The artist was brilliantly worked with space: as soon as prescribed figures, trees and other details appeared, the picture was losing her charm. It can be seen that he thoroughly "cleaned" his work. We recently made X-ray and 3D scanning a picture "On the way" and saw how Nis worked with the composition: moved the drive of the sun, painted the dial, reduced the number of people's figures on the bridge, moved them. It is interesting to observe how the master removed "more superfluous." The research process will be presented at the exhibition.

All this can be seen in the catalog, which will be released in October and will be the most complete edition of Nissky's paintings, both from private collections and from state museums.

We do not like to fantasize on the topic "What the artist wanted to say." We take his memories, the materials of his researchers and draw conclusions.

Is it difficult to organize such a large-scale exhibition?

The exhibition will present the work of 25 museums, more than 100 sources of images in the catalog. It is quite difficult, especially since there are not so many people in the preparation of the exhibition, in the museum of a small state. And we ourselves have arranged a test - we work over the exhibition for less than a year. We also encountered a problem: Many regional museums, seeing that the Tretyakov Gallery, the Russian Museum, Irry and other major museums are actively represented by Soviet art, have replenished their permanent expositions by the works of George Nissky, and, of course, they do not seek them to immediately remove and transfer them to immediately For a while we.

In the preparation process, we found out that the Nissky absolutely museum artist. As soon as he wrote something, the work immediately fell into museums from Arkhangelsk, Nizhny Tagil to Sochi. That is why the exhibition is complex, expensive and logistics, and insurance. It is not easy to issue documentation: from each regional museum you need to obtain permission from the local ministry of culture and the keeper, to coordinate everything with their exhibition departments. Several works because of this do not fall to us. For example, the work will come later. "Moscow region. February "(Tretyakov Gallery), it is delayed at the exhibition in Kazan. Also does not get to us the picture "October. Semaphores, "because she is now in" Charger ", two big works for technical reasons could not bring from Sochi and from Arkhangelsk. But all the pictures will be included in the catalog.

"Moscow region. February"

"October. Semaphores »

In total, there will be more than 60 works at the exhibition: the pictures of the Nissky, his inspirers and followers.

At the exhibition will not only paintings by Nis? Tell us what will see visitors?

A huge number of documents. There will be a whole room with conditional timeline. Nis has a very interesting life. He was born in the Feldscher family at the railway station in the Belarusian Novobelitsa Place near Gomel, then moved to Moscow and studied from famous masters, was friends with Alexander Dainekoy. His work "October. Semaphores "liked the French artist Albera Mark. When he praised the painting, the Nis colleagues came up with a joke that the brand had a taste "Nissky".

The artist's bust will be represented, cartoons on himself and illustrations for books (from the literary museum), we found several copies of books with these illustrations - Jack London, Agnia Barto. I will also be different documents: letters, telegrams, a large number of very fun photos: traveling by car with a dog radish, ski rings, participation in regattas.

In the same place, we will present the model of the car of the Nissky, and we will try to put the same car from the entrance to the opening of the exhibition.

The exhibition space draws up our favorite project "The project eleven", the schedule and the catalog are responsible Andrei Sheletto and Irina Chekmarreva, world-famous designers. It will be wildly beautiful, it seems to me.

Who, in your opinion, mostly influenced the painting style of the artist?

We do not like to fantasize on the topic "What the artist wanted to say." We take his memories, the materials of its researchers and draw conclusions. Nissky did not hide that his favorite Russian artists are Arkady Flylov, the Arkhip of Queenji and Alexander Deineka, with whom they met in adolescence, were friends and influenced each other. We show the paintings by Alber Mark, Arkady Rylov, Nikolai Roerich and Alexander Deines near the works of Georgy Nisskog. The Nissky also wrote that he really likes Isaac Levitan, but he did not imagine how to write on his days, like Levitan, that is, to imagine that the plane may appear on one of the landscapes of the famous mobile phone.

Working with the archives, found an interesting thought of the artist that there are no exhibition spaces for modern artists. And if artists were, conditionally, their Luzhniki, like athletes, perhaps they would otherwise thought and developed.

We were looking for someone he focused on, but the Nissky is a distinctive artist, he will not confuse him with anyone.

Is the style of the Nis unique? Is the artist's style change with time?

I think yes. We were looking for similar artists, but did not find it. Style, of course, changed. At first, the Nissky was under the powerful influence of the unification of the Ost, where his friends were members Alexander Deinek, Sergey Luchishkin, Konstantin Vyglov. This influence is obviously in his thesis "Internationale on" Gilles-Bart ". The uprising of French sailors in Odessa in 1919. "

"Internationale on Gilles-Bart. The uprising of French sailors in Odessa in 1919 "

Then he had a period of passion for the sea, and it was already completely different paints and another manner.

The next stage is a passion for the industrial landscape.

The style changed, but remained recognizable. Researchers write, and Georgy himself admitted that he could not depict people. At the same time, we show student drawings and book graphics - there everything is fine there. In the paintings of a large format, the artist sought minimalism.

What are the main topics of the painting of the Nissky could you allocate?

All the works of NIS is correlated with our recent exhibition "Russia on the road. By plane, train, car, "because we, indeed, conditionally can divide the creativity of the artist on the themes. This sea landscapes - Nissky was a wonderful mariny. Railway topic - the artist even wrote in his memoirs about the indelible impression that the types of railway tracks at the station were in childhood, near which he was born and grew. He drew the rails and sleepers all the time - both in notebooks and in their mature paintings. In addition, he was a very modern man, admired technical progress, traveled a lot on the aircraft and drove the car. This also affected his work. Another important topic is landscapes, the image of the Russian Nature, but with elements of modern life: ships, cars and airplanes.

Is it possible to call the lyrical hero of the pictures of the Nissky rebellion, the "hero of his time" or "singer of industrialization and the socialist construction"?

The Socialist Construction Center, Nissky, did not displaced in his paintings. And as such, the lyrical hero in the paintings is not, but the artist himself loved progress, sought to see everything, so essentially he was the "hero of his time."

Could you call the iconic, most important pictures of the Nis?

For us, the most iconic paintings are, of course, "over snow" and "on the way" from our collection. The work "Embankment", we exhibit this picture together with the work of the brand. Early work - graphics with railways. It is impossible not to mention the picture that will arrive from the Tretyakov Gallery, "February", completely extraordinary in light and color. And, based on the memories of contemporaries and researchers, we collected in different cities of his triptych "Airfield", "Kolomenskoye" and "Moscow region".

"Aerodrome"

Kolomenskoye and "Moscow Night"

We found out that these three works were exhibited on one of the exhibitions in the 1960s as triptych. The will of the artist show these pictures that way. We also consider the paintings "at the grave of a friend" (from the Tretyakov Gallery) and the "Zagor'ev" collective farm (from the Russian Museum).

"At the grave of a friend"

"Kolkhoz Zagurnie"

Is, in your opinion, the creativity of the Nissky is relevant today? For whom?

I think so. You can judge even the souvenir products that we release. Raincoats, sweatshoes, postcards with prints of the works of the Nis "jump with parachute" and "over snow" were sold out very quickly, it can be concluded that people like people. The works of Nissky very much wanted to see our Roman colleagues, because all the paintings look very modern. We have been working for a long time and are friends with the artist Paul Separate, who really likes the work of Nis. Their work, at first glance, are not similar, but if you look carefully, read the comments, the effect is obvious. We also show the work of Tair Salahov, who recognized the influence of the Nis. The style of Salakhov is called "harsh style", whose progenitatives were considered the artists of the Ost and Nis.

We know that Irri hosts many educational programs for children from 4-5 years to 18 and older. Are excursion programs for the smallest exhibition on this?

Of course, each of our educational program is associated with our temporary exhibitions. There will be a series of "Art Lanka", on which we tell about any exhibit - these are fifteen-minute weekly free lectures on Wednesdays, peculiar "cultural injections", as we call them. Since October, a new educational program "Smart Thursdays" will begin - from 19:00 to 21:00 open lectures on, including this exhibition will be held. Children's programs on Saturdays for different ages always begin with visits to the exhibition, search for inspiration, and then kids pass to independent creativity.

There will be a audio guide and quest (both children's and adult groups), for those who do not like classic excursions.

After such an exciting and detailed story, it is impossible not to visit the institute of Russian realistic art and especially the upcoming exhibition. We are already planning our September! And you?