(Українська) Картина І. Машкова “Натюрморт з дичиною” відноситься до того числа “Машковських натюрмортів”, для яких характерні простір, матеріальність речей. У роботі немає підвищеної інтенсивності звучання кольору, акцентованою його декоративності, навпаки, І. Машков виділяє об’ємну і вагому форму, а слідом за нею – світло і повітря.
В даному натюрморті проявилося буйне твердження життя, земних благ, життєвих сил. Художник із захватом передає прозорість скла, щедрі дари землі, їх смак і запах. У картині поєднуються ритмічно узгоджені форми і лінії предметів, звучні і вірні колірні відносини, передані майстром за допомогою пастозного мазка. Однак тональність полотна не настільки яскрава; навіть охристі кольори І. Машков написав приглушеними, що додало натюрморту відчуття камерності і глибокого внутрішнього ліризму.
Ilya Ivanovich Mashkov (1881-1944) – one of the largest painters of the early XX century, his name is associated with the legendary art association “Jack of Diamonds”, whose activities marked the early stage of Russian artistic avant-garde. I. Mashkov was not only one of the founders of society, but also the most consistent adherent of the movement, which later became known as “Russian Cezannism.” With the external similarity of painting techniques with foreign artists I. Mashkov always maintained the national character of imagery.
I. Mashkov was born in the village of Mikhailovskaya (now Uryupinsky district of the Volgograd region) in a peasant family. In his youth, he worked as a sitter in shops, but even then, the future artist “had a vague, vague aspiration for something more exciting.” Fateful for the 18-year-old I. Mashkov was a chance meeting with a teacher of painting Borisoglebsk male gymnasium N.A. Evseev.
In September 1900, the young man entered the Moscow School of Painting, Sculpture and Architecture. Studied I. Mashkov intermittently until 1909 with K.A. Korovin, V.A. Serova, A.M. Vasnetsova. He was expelled from the school for artistic freethinking.
However, while still studying, I. Mashkov with great success taught himself – his studio existed from 1904 to 1917. (subsequently was transformed into the Central Studio of the Association of Artists of Revolutionary Russia). It was the most expensive and at the same time the most visited studio in Moscow, at different times R.R. Falk, P.P. Sokolov-Skalya, V.I. Mukhina, A.D. Goncharov and others.
A study of the paintings of old masters, whom I. Mashkov met in the Hermitage (1907) and while traveling in Europe (1908), the experience of the latest Western European painting, presented in private collections of S. Schukin and S. Morozov, as well as the beginning communication with P.P. Konchalovsky, M.F. Larionov, A.V. Lentulov, R.R. Falkom, V.V. Rozhdestvensky, A.V. Kuprin, who later became participants in the Jack of Diamonds association, led the young artist onto the path of creative experiments.
Having amazed viewers and critics with the “barbaric” pressure of his painting at the Golden Fleece and Izdebsky Salon (1909-U) exhibitions, I. Mashkov, together with his close friend P. Konchalovsky, became a founding member and then secretary of the scandalous association with the shocking name “Jack of Diamonds” (19th – 1914). Ilya Mashkov subsequently recalled: “Most people liked this name … because it aroused in the then Moscow well-fed bourgeoisie, merchants, and nobility a sense of surprise, amazement, squeamishness … Some … found youth, youth, enthusiasm in this name … I represented a prisoner with a tambourine sign on his back. It seemed to me that this tambourine prisoner should not admit anyone at that time, nor be afraid of anything. ”
The painting-symbol of the first exhibition was the painting by I. Mashkov “Self-portrait and portrait of Pyotr Konchalovsky”, in which both artists are represented as athletes. In the half-naked figures of the musing strongmen with roughly painted bodies and spherical biceps, there was a dose of shocking that the Russian public had not yet become accustomed to at that time. The Jack of Diamonds became an alternative to exquisite and sophisticated painting, which was replaced by a deliberately coarse, mundane approach, which absorbed the brightness of lubok and folk art.
In those years, the “revolutionary” in painting, Ilya Mashkov, repeatedly participated in various foreign exhibitions, including in Paris. After the exhibition of paintings “Artists – Comrade Warriors” (Moscow, 1914), the Tretyakov Gallery acquired two still lifes of the master. In 1916, I. Mashkov participated in the “Exhibition of Contemporary Russian Painting” in Petrograd, a personal section is assigned to his work.
I. Mashkov was a member of the World of Art association (since 1916), the Moscow Painters society (since 1925), the Association of Artists of Revolutionary Russia (1924-1928), one of the organizers of the Society of Moscow Artists (since 1927 g.). In the years 1918-1930.
I. Mashkov was an active teacher at the Higher Artistic and Technical Workshop and the Higher State Artistic and Technical Institute.
The artist participated in many exhibitions abroad – in Berlin (1922), New York (1924), Venice (1924 and 1932), Toronto, Los Angeles (both – 1925), Harbin (1926), Tokyo (1927) as well as Berlin, Vienna, Prague, Stockholm, Oslo, Copenhagen (mobile, 1927-1928), Cologne (1929) and others.
I. Mashkov – a wonderful master of still life, he played an outstanding role in the development of this genre at the turn of the century. He introduced the features of folk art, in particular, bench painting signs. I. Mashkov – an excellent connoisseur of nature, masterfully conveyed it in a wide variety of shapes and colors. Among his works are “Berries on a Red Tray”, “Still Life with Pineapple”, “Still Life with Brocade”, “Pineapples and Bananas”, “Strawberries and a White Jug”, “Still Life with a Samovar”, “Still Life with a Fan”. I. Mashkov’s painting “Still Life with Game” refers to the number of “Mashkov Still Life”, which are characterized by space, m