Pictures of Natella Tidze watch. Painting Natella Tidze

In the exhibition hall of the Kaluga Museum of Fine Arts on September 2, at 11 o'clock, the opening of a personal exhibition of the famous Moscow artist Natella Tidze will be held. In the past few years, its retrospective exhibitions have been successfully held at the State Tretyakov Gallery, the State Russian Museum, Paris, Vologda, Saransk, Nizhny Novgorod.

Natella Georgievna Tidze has a recognizable author's handwriting and a high picturesque culture laid in the family, for several generations associated with art. This artistic dynasty belonged to Grandfather of the artist, Mosse Tidze - painter, student I.E. Pepina, Father, George Tidze, a famous sculptor and schedule, and uncle, posterist Irakli Tidze, the author of the famous poster "Mother's mother call!". Among the first women, the professional painters of Russia were the grandmother of the artist, Alexander Soutine, who graduated from the class of Orthodox iconography of the Imperial Academy of Arts in St. Petersburg.

N.Tidze was born and grew in Moscow, where he graduated from the Faculty of theatrical and Decoration Art of the Moscow Academic Art School of "Memory of 1905". In its professional development, the tradition of the Moscow picturesque school has become fundamental. Having chosen the machine painting, Tidze for many years, it has been successfully operating in different genres: landscape, still life, portrait, writes allegorical compositions.

Since 1973, Natella Tidze began to regularly participate in the Moscow, All-Union and All-Russian exhibitions. In 1984 he entered the Union of Artists of the USSR. In 2004, after the personal exhibition in the Russian Academy of Arts, she was awarded the Gold Medal of Rah. Since 2007, Natella Tidise - Corresponding Member of the RAH, from 2011 is a valid member of the frame. He participated in the exhibitions of the State Museum in Beijing, in the Lincoln Center in New York, in Lisbon and others. Works of Natella Tidreeze are stored in the Tretyakov Gallery, the Russian Museum and in other Museum and Private Collections of Russia, as well as in the private collections of France, Switzerland, Portugal, Germany, Finland, USA.

In the exposition of the Kaluga Exhibition, more than 20 works of Natella Tidze from the assembly of the author, the Russian Academy of Arts and Private Collections are presented. The exhibition is exhibited by both early and recently created by Tidze: Landscapes written in the pastoral manner, close painting "Bubnoy Vnet", complex on the composition and color of exquisite still lifes, restrained in the color range of landscapes of the middle band of Russia (Moscow courtyard, " Northern Malvae "), decorative metaphorical compositions are emphasized (Diptych" Flora and Fauna ").

Excursion on the exposition and told about the features of work at the plenuer, about the meaning of the form and color and the Georgian motives in their work.

From sculpture to painting

If you are unfamiliar with the works of Natella Tidze, the name of the exposure can cause you association with a bright sculpture from various materials. And, indeed, coming to the exhibition, you will see color and shape, but only on canvas.

Alena Savelyev

Picture of Natella Tidze "Intermission. Colombin and harlequin"

"I began to engage in art from sculpture, so when I switched to painting, then I intuitively began to sculpt the shape of the color. If you come close to my work, you can see that they, like a mosaic, are collected from many stain stains," the author says Exhibitions.

The very concept of "sculpture of color" belongs to art historian Poole Volkovkov, who, visiting one of the exhibitions by Tidze, called her painting sculptural.

Alena Savelyev

Picture of Natella Tidze "by the fireplace"

Love for forms was passed by Natell from the Father - Georgy Tidze, a famous sculptor and schedule. The family lived in an apartment that was inseparable with the workshop. It was there that the future artist conducted all his free time by laying out clay and plasticine. According to memories, she even had his own small machine. The girl saw the new sculptor's hoping, but at 10-11 years old, Natella asked her paints: "The color was always great for me. I have loved to watch shades, shadows and glare since childhood, and this happened unconsciously."

Alena Savelyev

Picture of Natella Tidze "Seedlings"

In addition, the wicked canvases of large format were interesting. And when she had not yet had an easel, the parents gave her huge sheets that could be divided into several parts. But Natellus used them entirely - put on the floor and drawn, lengthening the brush.

The artist and passion for sculpture remained. In the future plans to make a joint exhibition of colors and forms: "I think about it for a long time, but with sculpture more technical problems - for her I need material, next time I will definitely try to implement this idea."

Alena Savelyev

Exhibition "Natella Tidise. Color sculpture" in the new mannet

Outdoor workshop

Most cloths of Natella Tidze are landscapes and still lifes, as well as decorative and allegorical compositions. Everything related to nature, the artist writes at the plenier. According to her, only work in the open air transmits the entire palette of feelings and emotions from what.

"For me, the main thing is to transfer the emotional state of nature, which the viewer itself will be able to feel with me," says Tidze.

On writing one product usually takes three to four days. All this time, Natella Georgievna spends on the outdoors - the artist never adds work in the studio: "If suddenly in the workshop I will see some inaccuracy, then I will return to nature with the canvas. Because at the pleaire - your letters will be launched: light, paints , the atmosphere. And the inaccurate color barcode (smear) can ruin the entire picturesque state of the picture, as a fake note can destroy the musical harmony. "

Work in the open air, of course, carries both certain difficulties (especially since the size of the canvas is huge - up to two meters). The main of them is related to the weather, which should be the same for several days to preserve the state of nature.

"Once, - recalls Natella Georgievna, - on the last day of work, the temperature sharply fell sharply, and when I brought a picture home, my households immediately noticed:" The landscape was five degrees colder. "Because cold is a change in lighting, the appearance of clouds and, Of course, other colors. So it is necessary to work very quickly - the state around changes with every minute. "

Alena Savelyev

Picture of Natella Tidze "Herzeno. On the Moscow River"

Pictures around us

Ideas for new works, according to the artist, come to her differently: something she will notice during a walk, and something will come up with the next composition. But the main goal of the author is to set new tasks each time, open something unusual and to convey it to the viewer: "If I write the winter, I always try to show it in a different flavor, because in any time a lot of states."

This picture belongs to "March", where Natella Georgievna wanted to portray the winter composition, but the calendar spring was already standing on the courtyard. Then she decided to enter the work of a decorative beginning and waved against the background of snow patterned mats, which became the basis of the work.

Alena Savelyev

Picture of Natella Tidze "March"

And in the next picture ("Snow") winter has already finally retreated - a clear sky and a bright sun, dry earth and waiting for kidney trees - all this creates a tangible sense of spring.

"Ohestor's bush was so brightly lit by the Sun, which seemed to glow himself. So he entered the work," says the landscape market.

Many at the exhibition and flower arrangements, for example, "Golden Balls", written in the Kostroma village: "I saw the flowers powerfully penetrate through the harvesters of the fence, and it seemed interesting to portray it in detail."

Alena Savelyev

Picture of Natella Tidze "Golden Balls"

There are exposures and still lifes. For example, the painting "Watermelon on Black" and "Watermelon on Red" paintings are unusual in its picturesque task, where the author experiments with the background: "I wanted to write pieces of watermelon on the scarlet tablecloth, but so that they remain holistic and did not merge with the cloth."

Alena Savelyev

Pictures of Natella Tidze "Watermelon on Black" and "Watermelons on Red"

Such a peculiar decision, the artist applies and seemingly the usual image of flora and fauna. If the goddess Flor is usually depicted by a blue-eyed blonde girl with a basket of flowers, and the fauna of the restrained young lady surrounded by animals, then Natella Georgievna sees them first with black women, immersed in a night-burning kind of tropical world ("Flora and Fauna / Diptych"), and then at all Northern beauties in the cooling of the forest ("Northern Flora and Fauna / Diptych").

Alena Savelyev

The work of Natella Tidze "Northern Flora and Fauna / Diptych"

Georgian motifs

Moscow region landscapes are replaced by the colorful sketches of Georgia. Here you can see the Kutaisi bridges, the Svan Towers of Ushguli and, of course, the cozy courtyards of Tbilisi. This series of paintings is the earliest at the exhibition (70-80s).

"When my father was alive, he loved to show me Georgia, we traveled a lot and planned the entire route in advance."

Alena Savelyev

Picture of Natella Tidze "Kutaisi. Iron Bridge"

The Georgian series is very different from other paintings. According to the author, it is not only in mixed technique - the works are written by pastel and watercolor, but also in other sensations: "Every time I work, I am writing what I feel, so an unusual color decision is due to the warm and bright atmosphere of Georgia. .

More than half of the series are Svanetia, where the artist worked for about a week. In his paintings by Tidise, except for the famous towers, showed traditional cleaning of the hay, the sunset in Ushguly, as well as mountain ranges, against which the multicolored roofs of rural houses can be seen.

Alena Savelyev

Pictures of Natella Tidze "Svanetia"

In his own way, the Natella Georgievna feels Tbilisi: "If you remember the old part of Tiflis, then the city seems pearl, like sink, so thin with his shades."

The love of Georgia at the landscape search is expressed not only in the paintings, she often happens in Tbilisi, where, by the way, there is a house-museum of her grandfather, a famous painter and a beloved student of Repin, Mosse Tidze: "I would love to bring this exhibition in Georgia. If I will invite, then I will definitely come. "

Alena Savelyev

In December 2009, a retrospective exhibition of works by Natella Tidze opened in the races of the Tretyakov Gallery. The presented works give a complete picture of the creative path of the painter. The heiress of the famous Dynasty of Artists, she is a correspondent member of the Russian Academy of Arts, awarded the Gold Medal of Rah.

The work of Natella Tidze is primarily a reflection of deep experiences, the understanding of the surrounding world, therefore the themes, plots and the execution technique are so diverse.

The first and chief teacher was the father for her - the famous sculptor and schedule of George Moiseevich Tidze. It is he and a creative environment in which the future artist has grown from the very birth - clay, pencils, topists, books and conversations about art, numerous meetings with friends of Grandpa Moses Ivanovich (student I.E. Repin, one of the founders of the Academy of Arts of the USSR) and Uncle Irakli Tidze (famous posterist) - had a huge influence on it, formed the inner world of Natella Georgievna.

Already in her early works, an outstanding pictorial talent was manifested. In a small watercolor work "Fish" (1967), Tidise declares itself as an excellent colorist. Items are written in a bit conditional, everything is built with color. Silver shines, the pearl surface of the purified fish absorbs the reflexes from the emerald glass of the bottle and the blue tablecloth. The color of the paintings is similar to the color of the gray-pearl shell, which reflects the Emerald Blue Sea and the blue-turquoise sky.

The meeting is still a little natella with the famous artist Martirla Saryan and his farewell "Always stay" then seemed ordinary, and only over time it became clear that the simple phrase was the best advice of a novice painter. In this simplicity, a great meaning is hidden - reflections on Russian art, talent and fate of the artist, "genetic memory", which is a binding thread between generations, and that the artist becomes an artist only if not the hostage of all past experience, And gains freedom of choice.

This is the path and elected Natella Tidse. She entered the Moscow State Academic Art School of Memory of 1905 at the Faculty of Theatrical Decoration Art, deliberately abandoning the choice of the picturesque faculty. The study allowed her to think over broad categories, discover a new understanding of the space and scale of the canvas, to realize the importance of the dialogue of the viewer and the artist.

Thus, in the work of Tidise, large-format works ("in front of snow", 2007) appear, the scale commensurate to a person who can "log in" in the picture, as in another world. The viewer ceases to be a third-party observer; It seems to be included in the artist's figurative world. Excessive details are disappearing from paintings, and the main thing remains - nature in harmony with a person.

The artistic method of Natella is not in a special recognizable style, but in constant search for the only correct plastic solution based on the task. To implement it, the master freely uses various picturesque techniques.

"Cesannovsky" still lifes with a white tablecloth and a perspective, "twisted" on the viewer ("still life in the kitchen", 1974), "Levitan" landscapes, multifaceted in their content ("End", 2000) are allusions to existing cultural traditions: postpressionism and Avangard, Moscow and Georgian painting schools. Relying on the experience of predecessors, Tidze creates its system of values \u200b\u200bthat do not depend on the fashion.

In recent decades, a decorative start in its work intensified. So, the heroines of Diptych "Flora and Fauna" (1999) appear by African devices; The exotic interpretation of images makes it possible to focus on the beauty of lines, clarity of silhouettes, especially spectacular on the background of flowering decorative shrubs written by wide short multidirectional strokes, including all tones - from gently pink to the dark. Ornamental background, numerous parts, silhouette, large color planes, the richness of the palette and contrast make the picture extraordinarily spectacular.

At first glance, painting Natella Tidze is simple for perception, but the longer you look at her web, the more the meanings open in them. Any subject in the canvas space acquires a special mark.

In his work, the artist combines decolation and natural vision, complex spatial solutions and plane compositions. Each of its work is a deeply thoughtful and solvable task, and creativity as a whole is the reflection of the complex inner world.

— Natella Georgievna, is it true that you always write landscapes only in nature? At the exhibition, many photos, where you work on nature: in the forest, in the village, in the field.

— Yes, I work on nature at any time of the year.

It is important for me to see, hear, feel everything around the canvas: the rustling of foliage, the game of light and shadows, twitter birds, air movement. I hope this also enters the content of the painting and determines its atmosphere. And this is the main thing for me.

— Yes, the plot is practically absent.

- The plot will come up with simple, but I do not think that this applies to picturesque solutions. This music worries and without words, not as in the song. Often hearing a song where the music is practically no, and the words should be a listener. It is interesting for me to convey the state of the world around me purely picturesque means - a combination of color spots, their location, rhythm, composition ... And the nature is just gives the wealth of states.

— In the exposition, many winter landscapes.

- I am writing often in winter until the paints are frozen. I love to write snow, it is always different, and every time it puts a new picturesque task for me.

- Art historians write about the internal drama of your paintings.

- I think this is due to the inconsistency of the task - to pass the movement of life, the dynamics of matter in the statics of the image. And it is very interesting for me, I'm trying to pass again, a certain process in nature, some kind of movement in nature, a change in its condition is purely picturesque means. Probably, work is why it is so called: "Before the snow", "thaw", "after the rain", "Summer is over".

- And in the workshop do not complete the work?

- No never. All work should be completed on nature. In the workshop, another light, another environment, it means, another condition. And, as in music, one fake note can spoil all the musical work, in painting one wrong smear will destroy the entire picturesque state of the painting. Therefore, on the contrary, if I find some inaccuracy - I return the canvas to nature. Sometimes because of one smear, one color stroke.

- With this inner charter, the artist is born or is it learn to this?

- Everyone, probably, is different. I lived among books in art since childhood. I did not know how to read, but they were completely leafy, considered. My father, George Tidide, was a wonderful sculptor and schedule, he put a lot of monuments, including in Moscow. We lived at the cook, 30, in the mansion of Count Shuvalov, in the part where there used to be a house church. There was a father's workshop, which a large glass door separated from the residential part. I rode a three-wheel bike around the huge sculptures, among clay, plasticine, bags with plaster, among the simulators and simulators. And then herself began to sculpt something his own. Father made me a small machine, and I began to spend everything in a workshop around my father.

- Are you encouraged in these classes?

"I am from the family of hereditary artists, my grandfather - Mosse Tidze, a famous Georgian artist, a student of Repin, graduated from the Imperial Academy of Arts in St. Petersburg, I also met my grandmother, Alexandra Sutina, the obedient of the monastery, who studied at the courses of icon painting. Uncle - Irakli Tidze, the famous posterist, the author of the wonderful poster "Motherland-Mother calls!". But no one forced her children to be artists. They understood, knew that those who give themselves to art were to really want this very much. My grandfather had six grandchildren and granddaughters, and I am the only artist.

Father, of course, explained to me what is the volume, depth, plastic, and I was interested. And at some point I felt that I need a color.

— That's where color sculpture!

- Yes, probably. It is amazing that that Polat Volkov wrote about my painting as a sculptural. Paints appeared - watercolor, then oil. But the formats were already larger then.

— How old were you?

- 8-9. Father never told me: "Work", although they themselves were great workers - both Dad, and grandfather, and uncle. All their lives they spent in the workshop. I remember it well.

- Do you manage to work like that?

- Not always. Still, the current life around requires a greater return from a woman - family, parents, children, grandchildren. But I work much and with pleasure.

By the way, the only thing that remains from Repin is, - I learned about it much later, - this is the Repin palette, as it does not sound fun. When I asked oil paints, Dad bought them and showed how it is necessary and in what color sequence to squeeze the tubes on the palette. I so began to work. But then in the art school, teachers said that the paints lie wrong, not in the order. But I'm already accustomed to the palette did not change. And somehow later asked the dad, why it was so he opened my palette. And he replied that he taught him his father, and the teacher, Repin.

— And some techniques did not teach you picturesque? With all the clarity and brightness of your handwriting, the exhibition shows the absence of the fact that we can call.

- I just think that the reception found, which is later replicated by the artist, means a dead end. And, unfortunately, such examples are always visible. Repeat found, quote yourself, copy the earlier - the end of creativity. Sometimes it can be seen how the artist sometimes focuses on his reception, aggressive if it can be said because there is no other road.

I never worked as "Reception", setting a new task every time. But this is just the most interesting!

— When they write about your innovation, how do you understand that?

- Probably, it is meant that it is occupied exclusively with painting as such, that is, without the help of stories, characters and signs, the opportunity is only a color to convey the state of the world around. Now few people work like that. Although I never thought and do not think about innovation, about traditions, about modern times or not.

— Tell me, Natella Georgievna, and how do you find an object for work, how do you choose it from a variety of similar?

"I work quite quickly, it's impossible in different ways: the sun is left, the light changes, the clouds are changing, it is going to rain or snow. But I choose the object for a long time and carefully. And most importantly in this - it must be interesting to me. The picturesque task should be worried.

— What gives you a big format? After all, it is very laborious! ..

- Very, especially in winter, but I wonder - a large space is necessary. I hardly fit in small sizes.

Photo: Victoria Odissonova / "New Gazeta"

- And how do you specify the size? This is solved in advance, you need to prepare a subframe, canvas?

- At the time of ripening task. When I find an object, I feel his condition, I begin to see the format, and the size of the future picture. That is, too, there - on kind.

- How are your decorative, symbolic things that are made in the workshop are born?

- Yes, in general, the same. And in decorative things I decide first of all the tasks of the picturesque. And it should also worry and passion. And the main thing here is to worry. Because, I hope when this excitement is in the artist, his picture will accept the audience.

nizhny Novgorod, Kremlin, Corp. 3 ("House of the Governor"), Nizhny Novgorod State Art Museum, Artmuseumnn.ru

Have you noticed that since last year, the art museum began to acquaint us very actively with various directions of painting, new names?

Here, the first exhibition of 2015 opens the representative of the artist dynasty, one can say with the legendary biography ...

The museum is working:
daily from 11:00 to 18:00
Thursday from 12:00 to 20:00
Tuesday - day off
Travel: any transport to the stop "Square of Minin and Pozharsky"

Natella Tidze is not just a distinctive artist. She is a representative of the third generation of the famous dynasty of artists and sculptors.

He founded the dynasty of her grandfather Mosse Tidide - a student of Repin, one of the founders of the Academy of Arts of the USSR.

And the daughter of Nana became a theater artist, so that the fourth generation from the apple went out not far.

Natella Georgievna was born and grew up in Moscow. But this is a riot of flowers - obviously not from here. The first paintings of the 1970s and the 80s arrived, probably from the Caucasian Mountains.

Kutaisi. Iron bridge. 1982.

But the paintings of recent years were born, probably in the Moscow region dacha. And they like me more ...

Golden balls. 2001.

Northern Malva. 1995.

And this is a work, although it is called "Snow-Snow", something unpacable reminds Savrasov "Grachics flew"

Rook, however, one flew.

Although no, it is rather a crow.

"I am interested to convey the mood of what I saw," said Natella Georgievna. "If, looking at my work, this mood returns to the viewer, then I will be grateful to him."

Like this. Man is doing what he likes. And it can be seen in every picture.

And it is probably physically hard to do. Pictures are written from nature, and at the same time most of them are considerable sizes.

"This is a work, great physical work" - I heard by chance behind. Probably artists - knew what they said :)

As noted at the opening of the exhibition, this is a rare case when the artist has a recognizable handwriting, an individual copyright style.

Agree. On my amateury look, not just the size of the paintings, large plans, but even brushes the author uses unusual.

If you look into the canvas, then the width of the smears there are 15-20 millimeters. Here is such a little painted, the author of the author can pass all the nuances of the color of the leaves, the sky, petals ...

Interestingly, two paintings in the Tretyakov Gallery (!) Are presented at the exhibition by copyright.

Here is one of them: "Red dry". Indeed, original.

But the second is "by the fireplace". In my opinion, nothing special. Or I do not really like rottweilers?