Self -portraits (Harlequin and Pierrot)


The artist is Shukhaev

Shukhaev and Yakovlev entered the association „The world of art “as representatives of neoclassicism. In the picture „Harlequin and Pierrot “They revive the shape of a classic portrait, an academically clear pattern, light -skinned modeling of shapes, locality of color, unstopurious masonry smear are also borrowed from old art.

In the early 1910s, Shukhaev and Yakovlev performed in „House of Intermedies “In St. Petersburg in Pantomim A. Schitnler „Colombine scarf ". Yakovlev – in the role of Harlequin, Shuhaev – in the role of Pierrot. Their double self -portrait is a kind of memory of enthusiasm for the theater. The picture was not exhibited for many years, since it was not finished. In 1962, Shukhaev added some details. In the same year, she exhibited at his personal exhibition at the Academy of Arts in Leningrad.

The Russian Museum. From the icon to the present. 2005. With. 273.

Artists are depicted in the costumes of Harlequin (Yakovlev) and Pierrot (Shuhaev), the heroes of the pantomime a. Schitzler "The Shadow’s Sharf", staged in 1911 in. E. Meyerhold at the House of Intermedies Theater in St. Petersburg. Once upon a time, having accidentally hit this performance, the artists became constant of his spectators, met the actors, director and were once invited to fulfill the main roles. The idea to write a joint self -portrait, portraying myself as the heroes of the comedy, came to Italy, where Yakovlev and Shukhaev were after graduating from the Academy. The picture performed by two masters is so solid according to the manner of writing, which is perceived as a work created by one hand. It clearly expressed the creative credo of the authors. Consistent students d. N. Kardovsky, they turned to the traditions of Russian academic art of the 18th and first half of the XIX century. Convey the shape, its volume, density, color, regardless of the fleeting state, was the task of artists. Everything is subordinated to this in the portrait: academically clear, strict drawing, luminous modeling of the form, local color, non -factory masonry smear. At the same time, the work was affected by the special expressiveness of the solution of images, characteristic of the art of the beginning of the twentieth century. (AT. Prince.).

Russian portrait. XX century: St. Petersburg, 2001. With. 113.

Leave a Reply

Your email address will not be published. Required fields are marked *