Rasim babayev biography templates

When I was in France visiting the Museum of Impressionist Art, I studied the trends in French art during the 18th and 19th centuries and realized that they were linked continuously in their development like a chain. There was a succession. In Russian art, it was more like an abrupt jump.

Rasim babayev biography templates: Rasim Babayev ( - ) was

The Russian school, including avant-garde artists such as Malevich and Kandinsky, was deeply influenced by these new trends. Rasim Babayev, "Refugees in their Home", 90 x 90 cm, oil on canvas, Note the artist's depiction of the refugees' isolation, anonymity and confinement in their new reduced status. The multiple feet on each figure reflect the literal translation of the word, "refugee"- which means "runner" in Azeri.

The emergence of avant-gardism appeared suddenly in Azerbaijan's art just as it did in Russia. Artists representing avant-gardism were not consciously doing it-they just did it because they liked it. There was no philosophy behind their work. Art with philosophy behind it didn't emerge in Azerbaijan until after the war. This avant-garde trend was quickly transformed into Social Realism.

New Generations My art education began in Baku in prior to my going to Moscow. Those of us artists who were against the system formed a group that included Ernest Neizvestny, Kalinovsky, Monashkina, Gorkhmaz Afandiyev, Tofig Javadov and his brother Javad Mirjavad. That was the beginning of our "dissidence". We all gathered around one single idea, it was the idea that we all disagreed with the Soviet school of art-that is, Social Realism.

At the time, we were being trained by teachers who had been educated in Russian art schools. The characteristic feature of the Russian school was "draw what you see". There was a photo effect in all of the works. Plus the themes were almost always ideologically motivated: collective farms, Oil Rocks the piers built out over the Caspian off Baku's shore to extract offshore oilplants, factories, etc.

Our generation did not agree with this ideology. We deviated from the photo effect in both form and color. The Artists' Union was suspicious of us. They wondered what we were doing, why we hung around together so closely. They wanted to disband our rasim babayev biography templates and get us to join the Union. We were considered dangerous.

We were not officially told this, but that was the rumor that was flying around. They returned to Baku during the period known as "the thaw"-Khrushchev's era, when there were not so many restrictions on artists as Stalin had imposed. These young artists came to Buzovna frequently. It was like they were being spiritually fed there. They made their living from orders by the government-doing placards and posters and such things-but that was just to earn money.

I remember that it was during this time that Togrul Narimanbeyov began his creative works. Primitivism After living in Buzovna for a while, I couldn't work with Javad and Tofig anymore because we disagreed so much about colors. I would say, "We have to put this color here," but Javad would say, "No, another. It's located in the foothills of the Caucasus, about a five-hour journey west of Baku.

Rasim Babayev, "Divs", I was very impressed by the Shaki Khans' Palace there [built in ]; it became like a new art school for me. It was there that I got to know myself-I finally understood who I was, where I had come from and why. They're vulgar, grotesque and brutish. In Azerbaijani folktales, they like to eat people, especially children.

Paintings of these ferocious divs surround the doorway to Rasim's apartment studio, from floor to ceiling. Inside there's a gentle, sensitive artist surrounded by a lifetime of art depicting the political eras he has lived through. The div, which might be called Rasim's mascot, became an apt metaphor for the repressive Soviet system. Divs are savage, callous and unconcerned about what happens to the people who get in their way.

Azerbaijani children may see the div as just another scary monster, the stuff of nightmares. But for the adults who look at Rasim's paintings, the div brings to mind the fear and suffering that the Soviet people experienced at the hands of their leaders. Admittedly, there are fewer 'divs' monsters.

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We have freedom, but so often we don't really know how to use it. I didn't really understand what the div was back then. They used to tell me that it was some kind of giant creature, a monster. It tells how a small child, Jirtdan Tinyoutwits a powerful, scary monster a "div" that loves to eat children. But he is quick, he is clever. He outwits the div.

In his paintings, the divs are shown with gnashing teeth, flared nostrils and threatening stares. Some have many heads or many arms, another sign of their power. Rasim's protest against the Soviet government made him a rarity among Azerbaijani artists.

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Others may have shared his feelings, but few dared to express them. I don't think that anyone - especially a creative person - can accept a totalitarian system. Even an ant seeks freedom. It's only natural. That's why most of the things I painted were against the system. The div itself was a symbol of that system for me. Socialist Realism in Soviet art required that the artist portray only uplifting scenes with happy, contented people.

This work by artist Rasim Babayev could be interpreted to be following the letter of the law, but in essence he may really have been trying to convey how naive and unthinking such an approach really was. Soviet leaders believed that art had the power to propagate Communist ideals. They mandated that artists paint according to the style of "Socialist Realism".

Art was supposed to glorify workers and the progress of industry. It had to be "realistic", demonstrating that life under the Soviet system was good and that workers were cheerful and contented, happy to be struggling for the welfare of the state. Paintings that depicted depressing or dismal scenes, no matter how realistic, were not allowed to be exhibited.

To encourage the artists to create this type of propaganda, the Artists' Union provided them with apartments, studios and special privileges. Often, the artists would all be housed together in a single building. While it may seem like the state was building a creative environment for the artists, Rasim thinks that this arrangement actually helped the government keep an eye on them.

Rasim babayev biography templates: Rasim Babayev (Azerbaijani: Rasim Hənifə

But if you delve deeper, you realize that something was wrong. Not just something - everything was wrong. The government controlled the artists, even on an everyday basis. Is it possible for independent art to develop under such circumstances? Left: "My Grandmother's House" Oil on canvas, x cm, s. During the early s, the Bolsheviks confiscated the homes of thousands of people.

Artist Rasim Babayev depicts the government as monsters stripping his grandmother of her property. The artists were like slaves, he adds. For the first time in my life, I felt such an incredible resistance swell up within me against the State and from that day onward my troubles began. You see, to succeed during the Soviet period as an artist, you had to depend upon jobs commissioned by the State.

I hardly ever did State Orders. I was never recognized by the Government since I didn't paint portraits of our famous party leaders or undertake projects like that. If you ask me how I used to live, I'd have to admit that I was able to sell some of my paintings but mostly I'm deeply indebted to friends. It wasn't unusual for me to be denied the opportunity to show my paintings.

For example, in Moscow inI participated in an exhibition but they rejected seven of my works, insisting my ideas would provoke and agitate the people. There was great pressure back then to paint in a classical style and reflect social realism-not abstract concepts. However, the Soviets did recognize a School of Art known as "Primitivism". And much of my work is created in that style-brilliant, saturated colors, absence of perspective and lots of non-human characters.

Simply put, in my case that meant lots of monsters fill my canvases we call them "divs" or devils. Our folktales and legends-stories so familiar from childhood-are full of these scary creatures. But the truth is, I painted these monsters as symbols of the previous regime and the oppression under which we lived. The allegories were not understood back then.

But these images came from life around me. They weren't fantasy. They existed in real life but I got away with painting them under the guise of "Primitivism". Left: Rasim Babayev in his studio in Baku surrounded by earlier works, which are characterized by Primitivism. December Biography [ edit ]. References [ edit ]. Authority control databases.

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