May 22, 2017

Konstantin Ekshibarov, Музей скопирована картины/Museum of copied paintings

Ekshibarov with two of his paintings
.
In Chudovo, a Russian town some 100 km south-east of St Petersburg. self-taught artist Konstantin Ekshibarov transformed his house into a museum by filling its rooms with a large variety of copies of paintings by Europe's leading classical painters.

Life and works

Born in 1926 in Barnaoel, a town in the south-west of Siberia. Konstantin Sergeyevich Ekshibarov already at a young age was very interested in visual art. Going to an art school however wasn't an issue since in 1944 at age 18 he was immediately drafted into the army which was engaged in the war with Germany.

During the war he witnessed that soldiers destroyed valuable artistic items in a library and at that moment he decided to devote his life to the copying of paintings by classical painters.

this picture and the next ones (2005):
screenprints from the TV1 video (see documentation)

After the war Ekshibarov went to the Military Medical Academy, although he later regretted he had not followed his calling to go to an art academy. After the academy he stayed in the army as a medical dcotor.

In 1956 he left the military for a job as biochemist-toxicologist at the Russian Institute for Toxicology in Leningrad (named St Petersburg from 1991), where he worked until he retired in 1984.

During all the years in the army and at the institute, in his spare time he was active in making copies of classical paintings.


In doing so, he focused in particular on copying paintings of famous classic masters, such as Rubens, Goya, Velazquez, Titian.... 

He has created hundreds of copies, with a certain preference for portraits of women and the female nude, working by means of illustrations of paintings in magazines and books about visual art.

During most of his professional life Ekshibarov was not allowed to make trips abroad to see paintings of his beloved masters in Europen museums, but of course the Hermitage was at his fingertips.



Once retired, Ekshibaro and his wife Anna Vasilyevna decided to go outside the big city. In 1985 they settled in Chudovo, a town of some 15000 inhabitants in the Novgorod region, where they had acquired an old two-storey house. 

Ekshibarov single-handedly transformed this property into a building with some fifteen rooms, which came in very handy to exhibit Ekshibarov's already extensive collection of copies of paintings. 

So the couple went to live in two of the rooms and all other rooms were intended for exhibiting the paintings. That is to say, a selection of the paintings, because the collection was so extensive that a large part of it had to be kept stored.



Some rooms were dedicated to a particular country or region, for example Italy, France, Russia, Germany, Flanders......

By adding attributes Ekshibarov and his wife have tried to give each room the atmosphere that fits the paintings and the era they were created. 



Ekshibarov was not a man who sought publicity with regard to his artistic work. He performed his artwork in isolation and had no contact with others about his artistic activities. The local committee on culture did not know about his museum.

This situation lasted about twenty years, until in october 2003 a first article about his creations appeared in the Russian newspaper Izvestia, followed by articles in other newspapers in the same month and in 2005 and 2007 (see documentation).



At that time the artist was around age 80, so in these articles also the question was raised what should happen with his legacy of over 450 paintings.

Ekshibarov himself on principle never considered to sell separate items of his artwork, neither would he consider to donate seperate items to a museum. His ideal was that his entire oeuvre would be exhibited in a separate museum, preferably in a building in Chudovo and maybe under the auspices of an already existing museum. In such an arrangement he would gladly donate the complete collection to a foundation or a museum.

It is a pity to have to end this post in 2017 by concluding that after 2007 no further news has appeared on the internet, neither about Ekshibarov himself, nor about the status of the collection. Documentation
* Article (october 2003) in Konsomolskaya Pravda


Konstantin Sergeyevich Ekshibarov
Museum of copied paintings
Chudovo, Novgorod region, Russia
no information available about the actual situation



May 16, 2017

Alexander Forýtek, Velký betlém/Nativity scene



At first sight the nativity scene in above picture looks like so many others in Europe, but on closer consideration the scene has something very special. The manger as such has its traditional scene, but around it one sees scenes of daily life in the community, depicted in a large variety of sculptures of ordinary village people.

Life and work

This is the work of Alexander Forýtek, who was born in 1953 in the city of Zlín in the Czech Republic.

After his primary education he studied pedagogy and got a job as an educator. He went to live in Turovice, a small community of some 200 inhabitants just outside the city of Dřevohostice which has some 1600 inhabitants.


Already as a young man, Forýtek was quite interested in visual art. He liked to make paintings, such as landscapes, portraits and still lifes, but he also tried sculpting and carving.

In the 1970's his illustrations were published in various Czech magazines.

The story of the nativity scene begins in 2001. In that year for the first time a nativity scene created by Forýtek, was installed on Dřevohostice's main square, just a traditional arrangement of a manger with the holy family, three kings and a couple of lambs. 


But in the following years this arrangement was gradually supplemented by a number of new sculptures, depicting many ordinary people from the city.

The municipal website says this was an idea of Ladislava Sigmunda, the mayor of the city.

The characters depicted in the sculptures include a village band and other musicians, a horse pulling a car, a miller carrying a sack of flour, a mother and her son on their way with a milk can, various small animals, and so on .... in general scenes from daily life in the community in the 1930's.


Forýtek made his sculptures in a realistic style, even so realistic that some residents of the community recognized themselves in the depicted characters.

The sculptures have a core of wood on which blocks of polystyrene are attached, which are subsequently cut into model and finished with a paint that is especially composed of glue, polychrome and paint to defy the weather. 

The sculptures are very solid, even so solid that, for example, children can sit on the horse pulling the car.


Since the first start in 2001, the site has grown in size. Every year Forýtek would make a number of new sculptures to enlarge the scene.

Currently (2017) it has reached its maximum size with an area of 200 square meters, where about forty sculptures can be installed. Forýtek does not make any new sculptures. He fell ill and lives in a retirement home in Radkov Lhota.


Forýtek's nativity scene will be built in early December and will remain on the main square of the city until Epiphany.


Documentation
Pavel Konečný, Šimon Kadlčák, Atlas spontánního umění (Atlas of spontaneous art), Prague (Ed Art Map), 2016 (ISBN 978-80-906599-1-9). p. 236-247
* Article (december 2016) in regional journal Prerovskýy Deník, with a large series of pictures of the site by Petra Poláková - Uvírová
* Video Betlem ve Dřevohosticích by 13Handan (3'23", Youtube, downloaded jan 2013)


Alexander Forýtka
Nativity scene
Dřevohostice, Olomouc region, Czech Republic
can be seen in december on the city's main square


May 03, 2017

Sergey Federovich Pankratov, Хрустальный дом/Crystal house



The singular architecture in above picture is no longer extant. The picture shows the house, located in a small community east of Moscow, Russia, as it was in its most complete appearance in the 1980's, the 1990's and the early years of the 21th century.

Life and works

This house was single-handedly built by Sergey Federovich Pankratov, who was born in the early 1920's (1921 or 1922) and became associate professor in the Department of Philosophy of the.Moscow Institute of Instrument Engineering. When people asked him about his profession he would say that he was a philosopher.

In 1964, when he was in his early forties, he acquired an ordinary wooden house in the small community of Kuznetsy, a neigbourhood in the city of Pavlovsky Posad in the Moscow region. A year later he got permission to rebuild the property into a stone house.

So in 1965 Pankratov began to rebuild the house, mainly using scrap metal items he bought at a discount at Electrostal (a metal factory in the epynomous city located near Kuznetsy) and bricks from a nearby landfill where stones from waste baking ovens were dumped.

The project would take 16 years, due to the special building style and the various specific elements and decorations he added.


These various elements included a wind turbine supplying electricity, a rotating decorated globe on the roof, an upper floor made and functioning as a greenhouse, a facade decorated with a metal column crowned with a huge rotating flower-pot, all visible from the street.

At the backside of the house there was a rotating pavillion.

Located along the M7/E22 highroad, an important link between Moscow and Russia's eastern regions, Pankratov's singular architecture attracted much interest from passing drivers.

More about Pankratov's various constructions

The wind turbine, constructed from fiberglass, epoxy resin, wood and metal, could generate 3.5 kilowatt. In 1991 Pankratov was interviewd on Moscow TV about this for these years rather unusual and very innovative facility in a private setting.

early picture of Pankratov
the wind turbine is extant, 
but the globe and the vase still have to be constructed

Located on the top of the roof, the globe was held in a gilded metal radius. Pankratov not only had painted the various continents on the globe, but he had also decorated these with pieces of mirror glass that shimmered in the sun while the globe rotated.

The vase in front of the house also could rotate. It could be provided with flowers, or with a christmans tree in winter. On its side pots with flowers could be placed in twelve holders.

The loft of the house resembled a greenhouse. It had a glass roof and its 104 square meters large floor was covered with 25 cm high layer of earth in which all kinds of vegetables could grow. Via a hydraulic ststem the plants could be watered and to transport the harvest of cucumbers, tomatoes and so on downwards  there was something like a train of crates riding over a rails

In the garden behind the house was a gazebo, kind of a garden house. It had twelve seats and this structure could also rotate, one full turn in a minute. Eppur si muove (And yet she moves)

In the 1980's and 1990's, when the site was in good condition, buses with tourists from Moscow would drive past the house, which was also included in touristic guides. Pankratov would welcome them if they wanted to see the thouse and he liked to talk to them about all kind of philosophical topics, all the more when he had retired in 1989.

Perhaps in these talks Copernicus came up too and maybe his alleged remark Eppur si muove was jokingly related to Pankratov's preference for all that rotates....

Pankratov never married. The women he loved married someone else. He lived alone and around 1998 it has been reported that the house as such was not equipped for a comfortable life, as it lacked furniture and had a desolate appearance.

Pankratov wouldn't care about this, since all his energy was directed upon developping his installations.

A reporter who wrote an article in the Rossiyskaya Gazeta (october 2014) says that he "finally realized: everything here is the fruit of the restless imagination and tireless imagination of the author, everything is interesting, unusual, original. Everything is outlandish for a visiting guest, like me, all for the astonished look of an outsider. But not for normal human life"


In the new century the site began to fall in decline

Above picture of the house was made in april 2008 and it shows that at that time the wind turbine and the globe had disappeared. In the early years of the 21th century Pankratov reached the age of 80 and as he grew older and lived alone, he more and more got problems with the maintenance of the house and the remaining installations.

The reporter who visited him in 2014, wrote: "The house gave the impression of being abandoned long ago and looted" and he described Pankratov as an old man dressed in old clothes.

In the course of 2015 he must have died ¹, after which the heirs have "normalized" the house.

Currently seen from the outside nothing reminds of Pankratov's singular architecture.

Documentation
* Article (around 1998) on website Goths.ru
* Article (august 2001) in Moskovsky Konsomolets
* Article (july 2014) in Rossiyskaya Gazeta
* Article (november 2015) in Novaya Gazeta

note
¹ This is based upon a commentary on imgsrc.ru (aug 2015) where it is said  that Pankratov sadly had passed away. The visit reported in the Novava Gazeta in november 2015 may have taken place earlier that year

Sergey Federovich Pankatov
Crystal House
along the M7 highroad
Kuznetsy, Moscow region, Russia
no longer extant
streetview (june 2013)

April 23, 2017

Dmitry Tanchev, парк скульптур в Алексине Bor лесу/Sculpture park in Aleksin Bor forest


 all pictures courtesy of Dmitry Tanchev
.
Over thirty wooden sculptures created by a selftaught artist, more or less randomly spread over a forest area near a district of a city, it is rather rare phenomenon in the field of art evironments in Europe ¹.

Such a scattered art environment ² exists in the forest in the Bor district in the north-western area of the Russian city Aleksin (Tula region), loctated some 130 kms south of Moscow.

 


Life and works

Dmitry Tanchev, who created this specific art environment, was born on august 6, 1975 in Aleksin, a city of some 68.000 inhabitants in the Russian region Tula. 

In the 19th and early 20th century the town was a centre of forestry and metallurgy. It included wooded areas with pine trees and summer cottages (Anton Tsejechov would regularly stay there).

In the 1970's the city flourished because of the growth of the chemical industry, but in the 1990's due to the major changes in Russia (perestrojka) orders were off and decay of the local economy occurred, which also was evident in the lesser maintenance of streets and parks.

Лес не помойка (The wood is not a dump)

Tanchev who grew up in these years, as a young boy already was quite interested in visual art. He could draw well, but as he became older his interest in three-dimensional art grew.

So when he was in his early thirties he began to focus on sculpture, in particular creating wooden sculptures. On the internet he had seen a video that showed someone making a wooden sculpture with a chain saw and this deeply impressed him

 

By watching videos on the internet he taught himself how to handle a chain saw and as he said in an interview with a newspaper: "I realized that this was a business that I had been looking for all my life. Before that, I tried a lot of things, but nothing was right. And then I came to the right way of life, stopped drinking and smoking".

In order to get on with working with a chain saw, he worked for a year and a half with the unit that was engaged in the maintenance and pruning of trees in Aleksin.

 

Tanchet is a religious person. Because of his reversion and his work in the field of sculpture he feels rewarded by God. In his sculpture the religious aspect is reflected in his depictions of saints and angels.

But his sculpture also has a social dimension. By embelleshing  the town's forest with sculptures its beauty is accentuated, which may increase its appreciation and might counter the pollution of the forest, a neglect that occurred. 


Tanchev began this project in 2012. The forest in the northeasts of the city is a protected area of some 400 ha named Aleksin Bor with a lot of pine trees, partly over a hundred years old.

Selecting dead trees as his basic material, Tanchev began transforming these on the spot into sculptures with a variety of depictions:  holy persons, knights, indians, characters from fairytales, folk stories and comic books, but also a varety of animals, such as bears, a tiger, a lion and dragons.


He did this project entirely at his own power and with his own financial means, without any assistance from others or support from the authorities.

Within a few years he had created over thirty sculptures, located on various places in the forest, just where he found trees suitable for carving.

This did not go unnoticed. In the course of 2015 various local and regional newspapers (see documentation) reported about Tanchev's collection of sculptures in the Aleksin Bor forest..

At the end of 2015 the local newspaper Sloboda organized a contest Man of the year 2015 where Tanchev with a record of 8000 votes was chosen as the winner in the category "heroes of the people".


In addition to the sculptures for the setting in the forest, in the course of the years Tanchez has created a large number of stand alone sculptures, both large and small ones.

His oeuvre currently includes over a hundred various items.


Documentation
Article by Dmitri Borisov on the news site Tula.AIF.ru, july 2015
* Article by Maria Kucherov on the website of newspaper Myslo, august 2015
Article by Tatiana Gamulina in webjournal Aleksin Vesti sept 2015
* Video by evgenytny (3'05", Youtube, uploaded october 2014)


¹ Other art environments in a forest setting include;
   - Pierre Rapeau, le bois aux creatures, France
   - Ben Wilson, Wooden structures, England
   - Frank Bruce, Sculpture trail, Scotland
   - Edvin Hevonkoski, Edvin's path, Finland
² A "scattered art environment" refers to the totality of related creations located in a rather extensive territory near the artist's living place

Dmitry Tanchev
Sculpture park in Aleksin Bor
Aleksin, Tula region, Russia
can be seen in the local forest

April 17, 2017

Beniamin Petrovich Tabakov, Decorated house


Benjamin Petrovich Tabakov, a self-taught artist who decorated his house in Staropysjminsk in the Russian region Sverdlovsk, was inspired by another self-taught artist, blacksmith Viktor Nikolaevich Volkhin, who lived in the neighbouring community of Berjozovski.

Tabakov began decorating his house in 1981. At that time Volkhin, who died in 1982, already had completed the decoration of his house.


Life and works

The biographical information about Tabakov is limited. He probably was born in the 1950's and he became a truckdriver with a transport company. He married -probably in the late 1970's- and looked around in Staropysjminsk for a house to live in with his wife Augusta Dmitrievna and appropriate to eventually share with children and grandchildren..

That house, he thought, had to have something specific.

When he had seen Volkhin's house in Berjovski decorated with pictures of fairy tale, he knew that something like that would be suitable for his own house. And so in 1981 he began. It would become a lifetime project.


Just as Volkhin did, he painted the facade of his house with scenes derived from familiar fairy tales and folk stories.

He also referred to scenes from a popular Russian TV-series named Ну, погоди! (Wait a minute!).


Tabakov has been active in decorating his house for over 30 years, regularly adding new scenes. 

He made photographs of all stages of the development of the facade, in black and white as it was at the time he bought the house, later on capturing each new scene in color.


From an interview with Tabakov in 2015 it appears that at that time he still was engaged in making new decorations. Meanwhile three generations live in the house and a granddaughter occasionaly helps her grandfather, as the video from 2010 (below) shows.

Tabakov in 2010 
(screenprint from the 2010 video below)

Documentation
* Entry on top-50.ru with pictures (december 2014)
* Video by Telekanal Zvezda (july 2010), as on RuTube


Beniamin Petrovich Tabakov 
 Decorated house 
 Odinarka straat, 4, 
 623718 Staropyshminsk, Sverdlovsk

April 10, 2017

Václav Rubaš, Sculpture garden


pictures courtesy of Pavel Konečný

In the outlying area of Klatovy, a town of some 22.000 inhabitants in the south-west of the Czech Republic, Vaclav Rubaš's art environment, a garden with sculptures, can be encountered: 

Life and works

Rubaš was born in 1909 in Hodéjov near Strakonice, some 50 kms east of Klatovy. After primary school he became a stone mason, a job he would have untill retired.

There are no reports that he during his working life somehow was engaged in making artworks. although he liked to craft things for daily use. However, in 1988 at age 79 he made a replica of the fountain in the center of Klatovy, the town where he meanwhile had settled and lived with his family 


And then in 1989 at age 80 he made his first sculpture, a creation which depicted Veles (also Volos), the Slavic God of earth, water and the underworld, often associated with cattle and herds. Especially made for his daughter, the creation was displayed in the garden of the family home.

This was the start of a period of creativity which lasted for the next six years and resulted in a production of all together 27 stone statues.


In general displayed on small pedestals, these sculptures are arrranged in the garden in such a way that they face eventual visitors who enter the site.

A number of Rubaš' sculptures depict famous persons, such as Tomáš Masaryk, the first president of Czechoslovakia (from 1918 till 1935) and J.A Comenius, the Czech philosopher (1592-1670).

Other works include a Venus, busts of nymphs and various animals.


Exposition

In 1996 the art gallery At The White Unicorn in Klatovy had an exposition of Rubaš' artworks, but before it was openened, the sculptor deceased (March 21, 1996).


Actual situation

After the death of Vaclav Rubaš the family continued to live in the house They take care of the maitenance of the sculpture garden.

The garden is private property and can not be visited freely. However, most of the sculptures are easy visible from the street through the garden's wired fence

Documentation
Pavel Konečný & Šimon Kadlčák, Atlas spontánního umění (Atlas of spontaneous art), Prague, 2016 (ISBN 978-80-906599-1-9). p.14-23
* A series of pictures of the site by Pavel Konečný on Facebook (july 2015)

Vaclav Rubaš
Sculpture garden
K Letišti 515
Klatovy, Pilsen region, Czech Republic
can be seen from the street

April 07, 2017

José Miguel Padrón Morales, Sculpture garden


photographs courtesy of Julia Sisi

Ferro (or El Hierro) with its 270 km² and its around 10.500 inhabitants is a small island in the south-west of the Canary Archipelago, a group of islands in the Atlantic Ocean that belongs to Spain.

Although small, El Hierro can boast its own art environment, which can be considered as the south-westernmost site of Europe.


It concerns here a sculpture garden which is still in the making, created by José Miguel Padron Moralés (born in 1962).


José Miguel Padron is the owner of a tavern in Aguadara, a hamlet located in the northern mountain area of El Hierro, some 7 kms west of the town of Valverde, the capital of the island.

The type of tavern he runs is locally also referred to as guachince.


In his free time Padron is engaged as an outsider artist, making characteristic sculptures from sheet metal, which he welds from discarded parts.

Before he began operating the guachince José Miguel worked at a quarry and here he finds the components of his sculptures.

 He creates man-sized sculptures which depict two-legged animals resembling birds, dragons or ostriches, but just as well four-legged life-size insects and other characteristic creatures.

They are lined up on the grounds of the tavern and the visitors of the taverne eat no bite less because of these neighbors, on the contrary, the meals get all the praise of the visitors.








  


Documentation
* Up to now the only information on the internet about this site is an album on Facebook by Julia Sisi

José Miguel Padrón Morales
Sculpture garden
38916 Carretera Casas del Monte 8B
Aguadara, Ferro (El Hierro), Canary Islands, Spain
sculptures can be seen from the road
streetview (2012)