Виталий Бубенцов. Живопись. Графика = Vitaly Bubentsov. Painting & graphic : [альбом]. - Мурманск : [б. и.], 2012 (Санкт- Петербург : Тип. ЗАО "ЭС-Принт"). - 175 с. : ил., портр.
GUARDIAN OF ART N. Bubentsov passed a very appropriate and respectable evolution: famous painter and acknowledged master joined pedagogical profession. His polished talent and large experience in artistic understanding of meaning of being brought him to the department of Murmansk state humanitarian university, where he shares the secrets o f workmanship with students for more than ten years. Not every artist is ready to become a teacher. As is needs patience, self- sacrificingness and moral powers . Work of Vitaliy Nikolaevich in pedagogical walk o f life greatly reflected in his students, who get an appreciation in various creativity competitions. V. N. Bubentsov fills his humanist potential not only in classroom. His world-view search he realizes in scientific texts. He became one of the pathfinders in studying the history of art of the Kola Peninsula. Murmansk schools welcomed the training aid "Art of Kola North", written by V. N. Bubentsov (in co authorship with V. U. Pluckhin), where the border land was viewed from an unpredictable side — as an millennial statue of culture, receptacle o f various artistic ideas and tendencies, synthesis of distinctive and general, interlacing o f past and present. One more landmark in the process o f creative self- expression of V. N. Bubentsov became his tretise "Plein- air painting of Russian North: history and present". Rarely an artist made up his mind on making a theoretical self-reflectiveness. Because it requires enormous effort from a master, which are directed to the harmonization of rational and common with innermost, concealed. Analyzing numerous papers ans sources on history of art, he author treats the northern plein-air as a phenomenon stipulated by the whole process of development of landscape painting from the one hand. And from another hand plein-air is treated like the artistic an aesthetic potential of North, which made possible to enrich the methodology, technology and technique of creation the images o f nature. As an art historian V. N. Bubentsov perfectly fells the connection o f times and interdependence o f different artistic processes in culture. Describing the belated origin o f northern plein-air he says that artists of XV III century, who were brught up on traditions o f academic "school" and Italian motifs, could not rearrange themselves to the lively sensation o f Kola North. "The native land was considered by dullness unworthy of realization" for a long time. Considering Savrasov and Vasiliev as forefathers of Russian landscape painting, Bubentsov demonstrates further how the interest to the North arose with participation of Kuindzhi, Polenov, Savrasov, Serov, Korovin, Roerich and other outstanding masters. Bubentsov thinks that the phenomenon of northern plein-air began to develop from the moment o f opening on the Russian North of its own art studios (beginning with Borisov, Pisahov, Pinegin and up to our contemporaries). Due to them, mainly artificial, familiar image of northern landscape painting of "academical" school had developed into more complicated, diverse art phenomenon, in the ground of which lies the "talk" of artists with the nature of Russian North. Artistic understanding of North ubentsov includes into the history of Russian culture, considering its first symbol — an endless plain —finds one of its realizations in northern arctic landscape. He thinks that the mission of northern artist was in revealing the beauty aesthetic originality of Nordic nature in contrast to the shaped opinion of dullness of its artistic colouring. His own creation of landscape painting became the part of the large artistic process, which Bubentsov thinks of entertaining adult and young audience. On his own way the artist discovers the shroud of past and signs o f future. P.V. Fedorov, Doctor of History, Vice-Rector for Science and Research of Murmansk state humanitarian university 9
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