 The
creative path of the "Partnership" is guided by the
artistic council, which under the influence of modern economy,
must not only think of the pure art form, but must take into
account monetary fluctuations of the market. What make this
organization an unorthodox one is the distinct split between
the painting of icons and lacquer miniatures.
The neglection of Russian cathedrals
has brought out an activism of such sincere participation
to restore old icons and to paint new ones, one day we might
be talking about trying to find a way to preserve the art
of lacquer miniature art in Russia. In this the fate of lacquer
art in Russia has already been decided. But only God can know
what will come next.
Generations to come are forever indebted to
the Palekh painters who were commissioned in the restorations
of Russia's cathedrals. The first restoration they performed
was of the Ilyinskaya church and from now until the present
day they do restorations throughout Russia. They paint icon
miniatures, which are in high demand by jewelers, which are
perfect when used for praying. Today in the Partnership, it
is difficult to find an artist who has not practiced icon-painting
at least once. Now many young artists under the age of thirty
have devoted their lives to the craft of icon-painting.
The diligence and faith of these enthusiastic
young artists has yeilded phenomenal results. The new "Palekh
Style" is quite comparable with the sacred relics kept
in the museums of the Moscow Kremlin or in the Tretyakov Gallery.
The strict orthodox believes and the technical skill of the
"Partnership" artists were noted in a letter from
Alexiy II, the Patriarch of the Russian Orthodox Church
Now we can say with surety that iconography
has became a separate branch of Palekh painting. Moreover,
it brings with it stylistic corrections to the art of lacquer
miniature. Just recently, the lacquer panel (or plaque, as
it is called in Palekh) was in direct dependence on miniature,
but now it has the obvious imprint of icon-painting traditions.
The lacquer panel of V. V. Buldakov thematically
returns us to the initial works of Golikov, and similarly,
to the paintings covering the vaulted ceilings of the Palekh
cathedral
B. A. Eropkin chose to paint a plate based
on an episode from Pushkin's fairy tale "The Dead Tsarevna
and the Seven Bogatyrs." However, he placed the composition
not on black, as is usually done, but on a white background.
Full of light and without sharp contrasts and warm red tones,
the plate at once took on the character of ancient Russian
painting; indeed, of Dionysis himself
However, the greatest breakthrough of all the
works in this genre may be a black lacquer panel called "The
Hunt." Instead of battles and suffering, for many years
and with admirable constancy U. A. Schanitsyn has been painting
landscapes and people who live with faith in their soul and
in harmony with nature.
One may conclude that each work is better than
the previous: there is more freedom in the composition, the
colors are calmer, and the gold applique is so natural, that
it seems to be radiated by the sun. Such works continue the
tradition and keep this style of art from disappearing.
Nature became the main theme of one of the
last works of G. Y. Kochetov. The form of a box, or "casket,"
chosen for the painting "The Four Seasons" turned
out to be ideal. It accommodated the four primary compositions
and then a painting on the lid, successfully completing the
design of a complex piece. The comprehensive and ever serious
paintings of this master craftsman are free of vanity and
excessive effects.
The end of the 20th century goes down in history
with a series of brilliant anniversaries. In the period before
the celebration of the 850th anniversary of the founding of
Moscow, the art form has again turned to themes of the homeland.
Now, when our Fatherland is so restless, and even tiny Palekh
can't preserve the unity of ancient art, this subject is particularly
sensitive.
 What
did the well-known Russian artist B. M. Yermolayev think and
what did he experience when he was creating his "Bright
Russia?" Certainly he thought about harmony, repeating
several times the favorite theme of Ancient Russia, the circle.
He thought about his native land, about peace and labor, and
about harmony reigning in the heavens. These eternal concepts
are escaping from our life, love is disappearing together
with them, and mutual understanding is being lost.
Still, thankfully, there are Russians with
names that have sounded optimistic and hopeful in any era.
And the theme of unification has arisen once again in connection
with 200th anniversary of Alexander Pushkin's birthday. The
works of artists of all generations were displayed at the
anniversary exhibition.
The "Partnership" displayed works
based on fairytale subjects such as "Tsar Saltan"
(V. A. Belozerova, N. F. Shanitsyna), "The Golden Cockerel"
(G. N. Kochetov), and "The Dead Tsarevna and the Seven
Bogatyrs" (N. N. Bogacheva, N. V. Buldakova, V. A. Brovkin).
Poetry (S. I. Kamanin), dramatic works (V. F. Morokin, O.
V. Kolygina, N. V. Buldakova), lyric poems (A. V. Doshlygin),
and prose (T. L. Surkova) were also recited at the exhibition.
The creative works of A. N. Klipov became a
separate line of Palekh's Pushkin series. Occasionally addressing
traditional plots ("Fairy Tale about the Dead Tsarevna"
and "The Feast") and images ("Gvidon"),
he nevertheless has chosen another method of researching the
poet's life. Having studied him his whole life, Klipov painted
Pushkin in the way he understood him.
As a result, an image of the poet hitherto
unknown in Palekh art has appeared. It is particularly visible
in the pieces he made for the anniversary. Compared to other
works on these subjects, Klipov's compositions "A Walk,"
"At the Fireplace," "Delvig Visiting Pushkin,"
and "Good Morning!" are distinguished by their cheerfulness
and unusual energy.
It cannot be an accident when several seemingly
unrelated but extremely influential events occur simultaneously--it
is destiny. If Pushkin hadn't appeared in the world two centuries
ago, Palekh would hardly have become the art center it is
today. And it is absolutely incredible: such a small art form
as miniature painting has lived for three quarters of a century
independent of events happening around it. It has the capacity
to remember the past, reviving Palekh icon painting, and to
think about the future by beginning new branches of the art.
The "Palekh Partnership" has already
made its way in life for a decade. Born in a time of serious
events, this organization could stabilize things very soon--it
has begun to work and has found its own creative niche. The
works of the "Partnership" artists have been displayed
abroad countless times; they are well known by domestic experts
and are highly esteemed by collectors abroad. The success
of an organization with such an historical name and with good
roots is a testimonial that the "Palekh Partnership"
has a bright future to produce marvelous Russian gifts.
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