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 Aleksandr Bogomazov

 

 

Aleksandr Konstantinovich Bogomazov          Pages: 1


(b Yampol, 26 March 1880; d Kiev, 3 June 1930).

Ukrainian painter. He studied at the agricultural school in Kherson (1896–1902), then at Kiev Art School (1902–05). In the summer of 1906 he painted en plein air in the Crimea, then he worked in Moscow in the studios of Fyodor Rerberg and Konstantin Yuon (1907–08). Initially, his art was influenced by Symbolism, particularly by the work of Viktor Borisov-Musatov. By 1912 Bogomazov had become involved in Futurist pictorial theory and practice, and in 1914 he wrote a treatise on painting and its elements, constituting his formulations of the new Futurist art. In that year, with Aleksandra Exter, he organized an exhibition of Ukrainian modernist art, to which he contributed 88 paintings. In 1915–17 he taught in the provincial school at Heriusy (now Nagornyy Karabakh), where his Expressionist sensibilities were aroused by the mountainous surroundings and blended with his Futurist focus on quantitative and qualitative rhythms, the core idea of his treatise of 1914. In 1916 he participated in the annual exhibition at the Kiev Museum and was commended by the critic Yakov Tugendkhol’d. In 1917 Bogomazov became professor of drawing at the Commercial School and the Jewish School in Kiev. With the political upheaval of 1918, he assumed an active role in the many newly formed artistic organizations and at the first Congress of Plastic Art in Ukraine. In 1919, together with Exter and others, he helped to decorate Kiev’s streets and agitprop trains with Futurist designs. He taught at Kiev’s first Free Studio of Easel Painting and Decorative Art and, during 1921, illustrated children’s books. In 1922 he became a professor of easel painting at the newly formed Institute of Plastic Arts in Kiev, but to combat tuberculosis he had to spend prolonged periods in the Crimea (1923–6). He continued to teach at the institute until 1930; it was the last bastion of modern art before the onslaught of SOCIALIST REALISM. By 1927 his work had become more figurative, culminating in Sawyers (Kiev, Mus. Ukrain. A.), for which he prepared a number of sketches, and in which he sought to arrive at a synthesis of figurative and Futurist art. The painting was displayed at the major retrospective of modern art in Ukraine, Ten Years of October, 1917–1927. In 1927 his 1914 treatise was accepted as a manual for artistic instruction at the Kiev institute. For many years his work was considered unacceptably ‘formalist’, and it was not until 1966 that the first retrospective of his paintings was held in Kiev.
 

 


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