(Українська) Пейзаж і натюрморт завжди займав чільне місце в творчості художника.
Картина “Редис” належить до пізнього періоду творчості майстра. Після недовгого захоплення П. Сезанном, що позначилося на характерній для М. Кислінга любові до підкресленої кольором рельєфності зображень, художник перейшов до пошуків індивідуальної манери письма.
Вироблений їм ліричний експресіонізм відрізнявся меншою узагальненістю образу, а пізніше, під впливом “неоенгрізму” (аналог течій “нова речовинність” в Німеччині, “регіоналізм” в США, “метафізична живопис” в Італії в 20-30-х) в значній мірі втратив характерні риси стилю, перероджуючись, часом, в перебільшений натуралізм. Саме такою експресією і насиченістю кольору володіли полотна художника 40-х років.
In the history of art at the beginning of the 20th century there is such a thing as a “Paris school”, which refers not only to the French, but mainly to artists from different countries who worked in Paris in the years after the First World War. Among the famous representatives of the Paris school were A. Modigliani, M. Chagall, X. Soutine, A. Arkhipenko, M. Kisling and others.
Moses Kisling (1891-1953) was born in Krakow. Since 1906 he studied at the School of Fine Arts with impressionist Yu. Pankevich. His teacher, noting the great talent of the young man, advised him to go to Paris. There, in 1910, M. Kisling arrived, where he rented a studio in Montparnasse, in the quarter that soon became Mecca for hundreds of visiting artists. A. Modigliani also moved here, maintaining contact with the older art quarter of Paris – Montmartre, where there was a house called “Bateau-Lavoir” (refuge of P. Picasso and his friends).
M. Kisling received French citizenship and lived all his life in France, with the exception of the period 1940-46, when he lived in America, escaping from German occupation.
A. Modigliani, M. Kisling, J. Pascen, X. Sutin, M. Chagall, as well as P. Kremen, J. Lipschitz, O. Tsadkin, L. Survage, L. Fujita and others who joined them various art historians, now narrowing, then expanding it, are called the “Paris school”. All of them, one way or another, survived and mastered the experience of French painting from the Impressionists to Cubists, but their inner culture – the memories of their childhood spent in Russia, Bulgaria, Poland, Lithuania and other countries from which they came – did not allow them to so immersed into the stream of successive pictorial movements, as was characteristic of many French artists. They looked at Paris as if from the outside, and their cosmopolitan community was welded together by the bonds of a difficult emigrant life, a complex process of adaptation in a new culture. From the memoirs of contemporaries, despite the fact that M. Kisling was by nature a cheerful, cheerful person, many of his works are imbued with a feeling of undisguised sadness.
The work of M. Kisling, in which the main role was played by the harmony between the mood of the artist and his models, is associated with the expressionistic tendency in the art of the masters of the “Paris school”. But if in his comrades, such as, for example, in X. Soutine, the features of expressionism were manifested in the almost grotesque sharpening of images, then in M. Kiesling they acquire a lyrical, poetic interpretation. His penchant for a certain idealization of the model subsequently helped him become a fashionable portrait painter, writing secular ladies and actresses.
Landscape and still life always occupied a prominent place in the artist’s work. painting “Radish” belongs to the late period of the master. After a short hobby by P. Cezanne, which affected M. Kiesling’s characteristic love for the color-emphasized relief of images, the artist proceeded to search for an individual style of writing. The lyric expressionism he developed was less generalized in the image, and later, under the influence of “neoengism” (an analogue of the trends “new materiality” in Germany, “regionalism” in the USA, “metaphysical painting” in Italy in the 20-30s) least lost the characteristic features of the style, being reborn, at times, into exaggerated naturalism. It was this expression and color saturation that the canvases of the artist of the 40s possessed.
The name of Mois Kisling is always mentioned among such prominent artists as A. Modigliani, M. Chagall, X. Soutine, Mane-Katz, J. Pascen and many others who worked in Paris between the two world wars.
The legacy of M. Kiesling is not only portraits and images of the so-called “lost” generation, but also landscapes, still lifes and book illustrations stored in various museums and private collections in the world.