Valentin Galochkin: Difference between revisions
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| caption = '''sculptor''' |
| caption = '''sculptor''' |
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| birthdate = [[22 November]] [[1928]] |
| birthdate = [[22 November]], [[1928]] |
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| location = {{USSR}} [[Dnepropetrovsk]] |
| location = {{USSR}} [[Dnepropetrovsk]] |
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| deathdate = [[3 November]] [[2006]] |
| deathdate = [[3 November]], [[2006]] |
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| deathplace = {{Russia}} [[Moscow]] |
| deathplace = {{Russia}} [[Moscow]] |
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'''Valentin Andreevich Galochkin''' ([[Russian language|Russian]]: Валенти́н Андре́евич Га́лочкин) ([[ |
'''Valentin Andreevich Galochkin''' ([[Russian language|Russian]]: Валенти́н Андре́евич Га́лочкин) ([[November 22]], [[1928]] — [[November 3]], [[2006]]) was a prominent soviet (ukrainian, russian) sculptor. |
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== Biography == |
== Biography == |
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Galochkin was born in [[Dnepropetrovsk]] ([[USSR]]). His father Andrey Andreevich Galochkin (russian) came from [[Kaluga]] region and was a restaurant chief, later a modeller. Mother Olga Grigorievna Liberman (jewish) came from the town of [[Chegorin]] ([[Ukraine]]) and worked as an accountant. Honesty and decency were of high value in the family which later shaped the sculptor's position of not supporting what he didn't hold for right. |
Galochkin was born in [[Dnepropetrovsk]] ([[USSR]]) on . His father Andrey Andreevich Galochkin (russian) came from [[Kaluga]] region and was a restaurant chief, later a modeller. Mother Olga Grigorievna Liberman (jewish) came from the town of [[Chegorin]] ([[Ukraine]]) and worked as an accountant. Honesty and decency were of high value in the family which later shaped the sculptor's position of not supporting what he didn't hold for right. |
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[[Image:ValentinGalochkin_1946.jpg|thumb|left|100px|Valentin Galochkin in an art school in Dnepropetrovsk (1946)]] |
[[Image:ValentinGalochkin_1946.jpg|thumb|left|100px|Valentin Galochkin in an art school in Dnepropetrovsk (1946)]] |
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[[Image:ValentinGalochkin_1980.jpg|thumb|right|100px|Galochkin in 1980]] |
[[Image:ValentinGalochkin_1980.jpg|thumb|right|100px|Galochkin in 1980]] |
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Valentin Galochkin was 3 times |
Valentin Galochkin was married 3 times. The 1st marriage ([[1958]]) to Yulia Ukader (soviet, ukrainian sculptor). Daughter from the 1st marriage — Tatiana Ryabokon, born Galochkina (painter). The 2nd marriage ([[1978]]) to Elena Bokshitskaya (cinema-reviewer). Daughter from the 2nd marriage — Anna Bokshitskaya (journalist). The 3d marriage ([[1980]]) to Lidia Galochkina, born Abramenko (russian sculptor, graphic artist). Sons from the 3d marriage — Igor Galochkin(programmer) and Andrey Galochkin (engineer). Valentin Galochkin was a sportsman, [[Master of Sports]] in [[swimming]] and [[volleyball]], hunter and fisherman. |
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In [[1986]] after [[Chernobyl disaster]] the scultor moved with his family from [[Kiev]] to [[Moscow]]. With [[Dissolution of the USSR]] in [[1991]], as many artists, Valentin Galochkin faced financial difficulties and lived from selling his older works. In [[1999]] he emigrated to [[Germany]], to the town of [[Wismar]], and in [[2002]] moved to [[Гамбург]]. In [[2002]] he felt ill and had to undergo a few operations. He died from a [[heart attack]] on [[3 November]] [[2006]] |
In [[1986]] after [[Chernobyl disaster]] the scultor moved with his family from [[Kiev]] to [[Moscow]]. With [[Dissolution of the USSR]] in [[1991]], as many artists, Valentin Galochkin faced financial difficulties and lived from selling his older works. In [[1999]] he emigrated to [[Germany]], to the town of [[Wismar]], and in [[2002]] moved to [[Гамбург]]. In [[2002]] he felt ill and had to undergo a few operations. He died from a [[heart attack]] on [[3 November]] [[2006]] on a trip [[Russia]], in [[Moscow]]. Buried at [[Nahabino]] cemetery on [[November 8]], [[2006]]. |
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== Artistic style == |
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== Художественный стиль == |
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His early wors, icluding the graduation work "Steel smelter" ([[1956]]) follow the standards of |
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Ранние работы, в том числе выпускная дипломная работа "Сталевар" ([[1956]]) выполнены в стиле [[Социалистический реализм|социалистического реализма]], в традициях [[Мухина, Вера Игнатьевна|Мухиной]], [[Шадр, Иван Дмитриевич|Шадра]], [[Меркуров, Сергей Дмитриевич|Меркурова]]. |
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[[soviet realism]] set up by [[Vera Mukhina]], [[Ivan Shadr]], [[Sergey Merkurov]]. |
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The first significant work "Hiroshima" ([[1957]]) which made Galochkin well-known in the [[USSR]] is devoted to the victims of [[Atomic_bombings_of_Hiroshima_and_Nagasaki|atomic bombing of Hiroshima]] in [[WWII]]. "Hiroshima" expresses the scultors protest against [[nuclear weapons]], a call for humanness. |
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Первая крупная работа "Хиросима" ([[1957]]), принесшая Галочкину известность в [[СССР]], посвящена жертвам [[Атомные_бомбардировки_Хиросимы_и_Нагасаки|атомной бомбардировки города Хиросима]] во [[Вторая мировая война|Второй мировой войне]]. "Хиросима" выражает протест скульптора против атомного оружия и войны, призыв к человечности. |
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<gallery> |
<gallery> |
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Image:ValentinGalochkin_1956_SteelSmelter.jpg|" |
Image:ValentinGalochkin_1956_SteelSmelter.jpg|"Steel-smelter", 1956 |
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Image:ValentinGalochkin_1957_Hiroshima.jpg|" |
Image:ValentinGalochkin_1957_Hiroshima.jpg|"Hiroshima", 1957 |
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Image:ValentinGalochkin_1960_Lenin.jpg|" |
Image:ValentinGalochkin_1960_Lenin.jpg|"V.Lenin", 1960 |
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</gallery> |
</gallery> |
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From [[1957]] till [[1991]] Galochkin produced dozens of state-ordered parage monuments and busts to [[Vladimir Lenin]] and other soviet leaders. However the sculptor never treated these works as art. Already as a young artists he became disillusioned with the principles of [[soviet realism]]. He studied European and American art, especially [[Henry Moore]], [[Ossip Zadkine]], [[Amedeo Modigliani]] and others. |
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C [[1957]] по [[1991]] гг. Галочкин выполняет десятки парадных памятников и бюстов [[Ленин|В.И.Ленина]] и других политических деятелей СССР. Однако скульптор никогда не воспринимал эти государственные заказы, служащие целям пропаганды, как творческую работу. Галочкин в самом начале своего творческого пути разочаровался и в художественных принципах [[Социалистический реализм|социалистического реализма]]. В своем творческом поиске он ориентируется на искусство Западной Европы и США, изучает творчество [[Генри Мур|Генри Мура]], [[Цадкин|Цадкина]], [[Модильяни]], [[Бурдель|Бурделя]], [[Майоль|Майоля]] и др. |
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A series of monuments by Galochkin is devoted to [[WWII]]. His view of war is however very far from the one of the [[soviet propaganda]]. Having survived the war as a child, he portrais the suffering of common people instead of youthfully marching soldiers or triumphant military leaders. |
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Ряд монументальных работ Галочкина посвящен теме [[Вторая мировая война|Второй мировой войны]]. Однако видение войны художником, пережившим эвакуацию и смерть родных и близких, было далеко от официальной коммунистической пропаганды. Вместо бодро шагающих солдат и вождей в парадных позах скульптор изображал страдания и скорбь, которые приносит война народу, каждому человеку. |
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His work "Leaving for the front" [[1957]], carved from a whole piece of wood shows the last passionate kiss of a solder leaving his wife. In memorial "Victim" [[1964]] a shape of a human appears as a breach in solid stone, as if formed by expoding shell. The disappeared human being has left a trace, a [[silhouette]] in the air. The memorial to the victims of [[Babi Yar]] (working title "Violence") [[1964]] - a pregnant woman, cut in half, a terrible symbol for the mass executions of jews. Monument "Widows" [[1975]] depicts an old and a young women (mother and wife) eternally holding the soldier's helmet. In the work "Gate of sorrow" [[1976]] two "women are mourning over a heavy loss, like atlants". "Memorial to the burnt village" [[1979]] - a girl standing in the flame. |
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Работа "Уходящий на фронт" [[1957]] г., вырубленная из куска дерева, показывает последний страстный поцелуй солдата, прощающегося с женой. В памятнике «Жертва» [[1964]] г. фигуру человека образует разлом в камне, как будто образовавшийся от взрыва снаряда. Исчезнувшего человека показывает его след, [[Силуэт|силуэт]] в воздухе. Памятник жертвам [[Бабий Яр|Бабьего Яра]] (рабочее название - "Насилие") [[1964]] г. - беременная женщина, рассеченная надвое, страшный символ массовых расстрелов евреев. Памятник "Вдовы" [[1975]] г. изображает старую и молодую женщину (мать и жену), вечно держащих каску погибшего солдата. В работе "Врата скорби" [[1976]] г. две "женщины оплакивают тяжкую потерю, подобно атлантам". "Памятник сожженному селу" [[1979]] г. - девочка, стоящая в языках пламени. |
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<gallery> |
<gallery> |
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Image:ValentinGalochkin_1957_Parting.jpg|" |
Image:ValentinGalochkin_1957_Parting.jpg|"Leaving for the front", 1957 |
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Image:ValentinGalochkin_1964_Victim.jpg|" |
Image:ValentinGalochkin_1964_Victim.jpg|"Victim", 1964 |
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Image:ValentinGalochkin_1964_Violence.jpg|" |
Image:ValentinGalochkin_1964_Violence.jpg|"Babi Yar", 1964 |
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</gallery> |
</gallery> |
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<gallery> |
<gallery> |
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Image:ValentinGalochkin_1975_Widows.jpg|" |
Image:ValentinGalochkin_1975_Widows.jpg|"Widows", 1975 |
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Image:ValentinGalochkin_1976_SorrowGate.jpg|" |
Image:ValentinGalochkin_1976_SorrowGate.jpg|"Gate of sorrow", 1976 |
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Image:ValentinGalochkin_1979_BurntVillageMonument.jpg|" |
Image:ValentinGalochkin_1979_BurntVillageMonument.jpg|"Memorial to the burnt village", 1976 |
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</gallery> |
</gallery> |
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Revision as of 22:41, 21 November 2008
Valentin Galochkin | |
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 sculptor |
Valentin Andreevich Galochkin (Russian: Валенти́н Андре́евич Га́лочкин) (November 22, 1928 — November 3, 2006) was a prominent soviet (ukrainian, russian) sculptor.
Biography
Galochkin was born in Dnepropetrovsk (USSR) on . His father Andrey Andreevich Galochkin (russian) came from Kaluga region and was a restaurant chief, later a modeller. Mother Olga Grigorievna Liberman (jewish) came from the town of Chegorin (Ukraine) and worked as an accountant. Honesty and decency were of high value in the family which later shaped the sculptor's position of not supporting what he didn't hold for right.
When WWII began in 1941 the family was evacuated to Krasnodar region, then to Uzbekistan to return in 1944 to Dnepropetrovsk. From 1944 till 1949 Valentin Galochkin attended an art school in Dnepropetrovsk and learned from prof. Zhiradkov. From 1949 till 1955 he studied sculpture at Kiev Institute of Fine Arts. His favorite professor was Max Isaevich Gelmann.
Galochkin's graduation work "Steel smelter" (1956) was such a success, that the insitute casted it in bronze and sold to the USSR Ministry for Culture to exibit in Lvov State Art Museum (Ukraine). Galochkin was immediately appointed head artists of Kiev sculture works and remained at this post till 1959.
For his work "Hiroshima" (1957) Galochkin was in the age of 29 nominated for Lenin Prize, at that time the highest award in the USSR, however the 1957 prize went to 83 y.o. Sergey Konenkov.
Very soon the young Galochkin's career came to a halt due to conflicts with the communist authorities. The scultor refused to join the Communist Party of the USSR and actively support the soviet propaganda seeing his mission as an artist in achieving recognition regardless of his personal connections with the party leaders. Although he had to accept government's orders until 1991 for propaganda-serving monuments in Russia and the Ukraine (in USSR private orders were rare and came also from party bosses) he did his best to express general Human values and reduce communistic pathos.
In 1968 Valentin Galochkin won a prize in a Festival of young artists in Vienna. In 1960s and 1970s he visits the UK, France, Egypt и Greece. He was impressed by Louvre. As he later recalled, he had so much waited to see this "temple of art" that right at the entrance, after he saw the statue of Nike of Samothrace, he couldn't help crying and for two hours didn't dare to enter the museum.
Valentin Galochkin was married 3 times. The 1st marriage (1958) to Yulia Ukader (soviet, ukrainian sculptor). Daughter from the 1st marriage — Tatiana Ryabokon, born Galochkina (painter). The 2nd marriage (1978) to Elena Bokshitskaya (cinema-reviewer). Daughter from the 2nd marriage — Anna Bokshitskaya (journalist). The 3d marriage (1980) to Lidia Galochkina, born Abramenko (russian sculptor, graphic artist). Sons from the 3d marriage — Igor Galochkin(programmer) and Andrey Galochkin (engineer). Valentin Galochkin was a sportsman, Master of Sports in swimming and volleyball, hunter and fisherman.
In 1986 after Chernobyl disaster the scultor moved with his family from Kiev to Moscow. With Dissolution of the USSR in 1991, as many artists, Valentin Galochkin faced financial difficulties and lived from selling his older works. In 1999 he emigrated to Germany, to the town of Wismar, and in 2002 moved to Гамбург. In 2002 he felt ill and had to undergo a few operations. He died from a heart attack on 3 November 2006 on a trip Russia, in Moscow. Buried at Nahabino cemetery on November 8, 2006.
Artistic style
His early wors, icluding the graduation work "Steel smelter" (1956) follow the standards of soviet realism set up by Vera Mukhina, Ivan Shadr, Sergey Merkurov.
The first significant work "Hiroshima" (1957) which made Galochkin well-known in the USSR is devoted to the victims of atomic bombing of Hiroshima in WWII. "Hiroshima" expresses the scultors protest against nuclear weapons, a call for humanness.
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"Steel-smelter", 1956 -
"Hiroshima", 1957 -
"V.Lenin", 1960
From 1957 till 1991 Galochkin produced dozens of state-ordered parage monuments and busts to Vladimir Lenin and other soviet leaders. However the sculptor never treated these works as art. Already as a young artists he became disillusioned with the principles of soviet realism. He studied European and American art, especially Henry Moore, Ossip Zadkine, Amedeo Modigliani and others.
A series of monuments by Galochkin is devoted to WWII. His view of war is however very far from the one of the soviet propaganda. Having survived the war as a child, he portrais the suffering of common people instead of youthfully marching soldiers or triumphant military leaders.
His work "Leaving for the front" 1957, carved from a whole piece of wood shows the last passionate kiss of a solder leaving his wife. In memorial "Victim" 1964 a shape of a human appears as a breach in solid stone, as if formed by expoding shell. The disappeared human being has left a trace, a silhouette in the air. The memorial to the victims of Babi Yar (working title "Violence") 1964 - a pregnant woman, cut in half, a terrible symbol for the mass executions of jews. Monument "Widows" 1975 depicts an old and a young women (mother and wife) eternally holding the soldier's helmet. In the work "Gate of sorrow" 1976 two "women are mourning over a heavy loss, like atlants". "Memorial to the burnt village" 1979 - a girl standing in the flame.
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"Leaving for the front", 1957 -
"Victim", 1964 -
"Babi Yar", 1964
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"Widows", 1975 -
"Gate of sorrow", 1976 -
"Memorial to the burnt village", 1976
Основной темой станковых работ скульптора была женская фигура и женский торс. Множество этюдов и работ, изображающих женскую фигуру в реалистической манере, было утрачено. Галочкин постепенно от реалистического изображения обнаженного тела переходит ко все большей символичности. В работах "Королева" 1965 г., "Река" 1970 г., "Виолончелистка" 1975 г. женская фигура стилизуется, превращается в игру силуэтов, объемов и "рисунков воздуха". Галочкин разрабатывает свое видение скульптуры как множества силуэтов, которые образует окружающий скульпутуру воздух. С разных ракурсов скульптура, таким образом, создает многообразие силуэтов.
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"Русалка", 1975 -
Этюд ("Рабство"), 1965 -
Этюд ("Весна"), 1975
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"Королева", 1965 -
"Река", 1970 -
"Виолончелистка", 1975
Особое значение в творчестве Галочкина приобретает геометрическая фигура эллипс, в котором скульптор видит основу композиции и "стремление к гармонии". "Торсы" 1969 и 1975 гг. приближают женский торс к эллипсам, превращаются в напряженные, гармоничные и сбалансированные формы.
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"Согнутый торс", 1969 -
"Торс", 1975 -
"Торсы", 1975
Цитаты (из рабочих записей)
Даже красивые, но задуманные и потому навзячивые ритмы и ажуры — тоже ложь, придуманное и потому пустое и холодное.
Бесстрастное только может обладать качеством вечного.
Если существует объективное понятие «красота» и если красивое, в таком случае, должно оставаться красивым вечно, то творить надо по законам вселенной.
Не изощренность делает произведение вечным и великим, а его обнаженная искренняя правда и чистота, простая, как сама земля, навзничь открытая людям.
Из чего состоит эта красота предмета? Наверное, прежде всего из-за гармонии и внутреннего ритма и слаженности, рациональности и скрытой целесообразности.
Чтобы твой мир стал дорог людям, а не только тебе, он должен быть гуманным.
В произведении искусства должно быть таинство
Литература
- Галочкина Л.Н. "Валентин Галочкин: Размышления о скульптуре и искусстве. Записи скульптора" (в публикации).