Semyon faibisovich biography definition

Semyon Faibisovich is often referred as the representative of photorealism, although one can also trace the connection of his method with social realism and conceptual art. The canvases of Semyon Faibisovich are large-scale in size and often make up series united by one theme. Semyon Faibisovich participated in exhibitions of the City Committee of Graphic Artists from the second half of the s, and since the s, he has been exhibited in the galleries of contemporary art and museums around the world.

The artist is a member of many retrospective group exhibitions of unofficial art, both in Russia and abroad. Sincehe has been living and working in Tel Aviv. Have a question? Write to us! Event request. Artspace will accept a bid at the next increment, and save any excess amount as a maximum bid. If you are outbid, we will continue bid on your behalf up to your maximum bid.

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All of our frames come with picture quality. It is now considered the industry standard for artists, museums and galleries throughout the world. Skip to main content Sign Up. Log In. Semyon Faibisovich You are following. Born Hometown Moscow, Russia. Lives and Works Moscow, Russia. Moscow Architecture Institute, Russia, Permanent Collection.

Semyon faibisovich biography definition: In Faibisovich's own formulation, in the

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Semyon faibisovich biography definition: Semyon Faibisovich is known as

Sign in now. Not a member yet? Join Artspace Forgot your password? Damien Hirst, Pardon, Untitled, The paintings of Evidence represent a new direction after a decade of work during which Faibisovich established himself as the supreme painter of late Soviet life. They build on the accumulated experience of that decade and are, technically and aesthetically, entirely self-assured.

Their subjects: domestic interiors, beach scenes — are often idyllic. Yet they also embody anxiety. The anxiety embodied in Evidence seems frankly psychological and physiological. The skeins of floaters, which are literally the cellular debris of past years, presenting a barrier between the artist and the world, hint at self-absorption, withdrawal and maybe even depression.

Semyon faibisovich biography definition: Semyon Faibisovich is the

The recurrent views from inside closed eyelids, even more so. There, large in the corner of his field of vision, framed by the brim of his cap and the side of his nose, is his son. In the second canvas the father has perhaps shut his eye and re-opened it: his son is now gone. How much time has passed? In this case, the evolution of the image is particularly dramatic and unexpected and it seems, thus, to be the painting in the project most explicitly about the optical experience of sunlight.

In the single-canvas work Drops on the Eyelashesthe most straightforwardly lyrical work in the project, the sun makes haloes through drops of sea-water: pure elliptical forms, in which this writer senses a reverberation of the golden nimbuses of ancient religious art, here vibrating free from the heads of saints or deities. In the diptych Towards the Shore we have the view of a swimmer whose vision is obscured by water over his eyes first canvas and then clears second canvas.

Yet the figures on the beach, even when clearly seen, have something of the random, abstract precision of letters blown up on the photocopier: they are in this first moment of the visual encounter as much like hieroglyphs as human beings. This creates a more organic whole and also an extra layering of narrative complexity: we cannot rely on a chronology from left to right.

It hints at developments in his painting that were perhaps envisaged by Faibisovich but which never occurred. Several painting in the project depict fragment of domestic existence. The first parts of both Window of the Studio on Novoryazanskaya Street and Window of the Studio on Chaplygin Street are conventional compositions that could almost be by Soviet realists of the period, were it not for the scrupulous depiction of optical phenomena — floaters, haloes of extreme brightness — which interrupt the scene depicted.

The initial images are transformed over two more canvases into what look like abstractions. One resembles an enlarged fragment of a Rothko; the other, something closer to School of Paris abstraction of the fifties, with a touch of Lebanese restaurant art of today. In the end, of course, these paintings never deviate from the original realist terms: they do not address the fundamental concerns that arise in abstract painting, and they seek a concrete and convincing inner light, as precise in colour as the shadows in a painting by Monet.

The paintings The Cat and the Cactus and Morning in the Villageby their off-kilter composition and low viewpoint, explicitly reference the eye. We imagine he may be lying or sitting and also perhaps moving his head around. In the four-canvas work The Cat and the Cactus the first image captures the moment when the eyes open after sleep and stereoscopic vision is not quite functioning: the eyes are not seeing in unison.

In the second image, vision sorts itself out. And in the nest two panels, as it were, the artist tries to go back to sleep. The first canvas records the view of a shuttered window in a darkened room. Bars of sunlight coming through the shutters expand on the sleepy retina into something like neon-tubes; they cast bright stripes on unidentifiable objects and on the floor.

These hints at excitation or anticipation. Bars of colour criss-cross a sumptuous pink ground: we are in a kind of dream-space: the vacuity of a dark empty room is transformed into something like flesh — plump, slightly bruised and decoratively scarified, a Kustodiev-girl re-imagined as a punk. The artist looks at a fluorescent light-fitting and quickly semyon faibisovich biographies definition his gaze away: the resulting after image, burning a hole in his retina, also punches a hole in the visual unity of the perceived world.

Or, standing in the bath, he looks down at his slippers on the floor and then his gaze shifts a little closer to the body: perhaps, logically, to his penis? Faibisovich in the s did not absolutely cease to pay attention to the social-political milieu.