The entire creative path of Anatoly Silov can be divided into several stages.
When trying to refer the work of Anatoly Silov to any existing (or existing before) directions, the researcher is most likely doomed to failure. With all its diversity, this art is very monolithic and self-sufficient. All kinds of experiments in drawing, in color coexist here with a powerful academic tradition, in some works being the necessary framework. The literary component, even if we have a program thing before us, does not matter much-it is so original and unique that the master presents everything that his inspiration relates to. And, at the same time, the artist is completely alien to the "experiment for the sake of experiment," and the originality of his art can only be explained by the originality of the talent, capable of surprising even the sophisticated spectator of the early twenty-first century. Similarly, this art does not fit into the framework of any of the "national schools" - again, because of its scale and diversity. Rather, it conveys a general picture of the modern world in which the boundaries of civilizations are shifted, and artistic traditions, constantly intertwining, give birth to new harmonies, which may be comprehended by the masters of the future. In this case, the art of Anatoly Silov is the beginning of a new tradition - if, of course, someone will be able to continue this tradition.
But, in the end, as Leonid Martynov says, "schools are for schoolchildren," and the art we are writing about is too new and significant to fit in some pre-de...Reade more
But, in the end, as Leonid Martynov says, "schools are for schoolchildren," and the art we are writing about is too new and significant to fit in some pre-defined framework.
Real art is always inexplicable and unpredictable. Sometimes it is tempting to turn to the artist's biography and there to find an explanation for the nature of his work - in this sense, the life of Anatoly Silov gives an abyss of material - here childhood in the Chuvash village and African adventures, work on Volga ships of the post-war years and a trip to Tibet - a whole kaleidoscope of impressions , Sometimes seeming incompatible within the framework of one biography. Under similar circumstances, another artist might lose his individuality, dissolve into the vastness of being - but in this case this does not happen. Constantly enriching, this art remains self-sufficient.
Of course, in this case, there is a great temptation to relate the artist's identity to the uniqueness of the Chuvash ethnos, one of the most mysterious in Eastern Europe, the ethnogenesis of which has not yet been finally clarified. Türkic language with a lot of not only Praturk, but also the Volga-Finnish elements, a pagan pantheon with the god Tura at the head and ancient holidays in which the ancient Iranian roots are also traced ... In this religion, Zarathustra (Saratustor) adjoins the Tor, and Mankun ( Spring new year) connected with Easter. And this paganism, perhaps with elements of archaic monotheism, if we associate the Tour with not Torah or Ugor Torum and Taara Esth, but with the Tang Tengri - is still alive, there are still sacred groves and kiremet paintings - places set for religious Rituals. Anyone who knows all this, otherwise perceives the surrounding world - maybe sees it the same way as the ancient Greeks saw, for him the nature is "not molded, not a soulless face" (Tyutchev), but the great three-heavenly temple where people and spirits live , Beasts and gods. And this temple has no boundaries, for it is all being, and the artist who feels it, is at home everywhere. Of course, all this was reflected in the art of Anatoly Silov, but only as one of the components. Silov's painting is many-sided. This is a real epic, but without deliberate archaization - or, better to say, an epic, constantly renewing, reacting to the world around it is sometimes very acute - and the reflection is in harmony with the epic height and universality.
The artist excels in the innovations that have appeared in art in the last century and a half, in the epoch of great changes: symbolism and primitivism, various forms of abstraction from Suprematists to Mondrian, experiments of Fauvists and Nolde, even a collage - all this was mastered and reworked by the artist , But in no way to the detriment of one's own style and the harmony that reigns in it, which sometimes lacks the works of the mentioned directions. Therefore, it is absolutely impossible to name one of the masters of the past the predecessor of Anatoly Silov, as well as his own someone's successor or follower.
Due to the diversity and versatility of the nature of the artist's acquaintance with his work can not be limited to several, although the most successful and characteristic works. Even such masterpieces as "Gods and people", where the Aztec-synovsadic chaos is ordered by almost Dunhuang iconography, or the painting "Mahatma Gandhi", where a very expressive classic portrait is surrounded by two main deities of the Hindu pantheon, "Hyperborea" - somewhat naive, very A dreamy and mysterious work-the artist's reflection on a mystery that has not yet been revealed, and "Moonlit Night" is an excellent landscape where five red-clad figures are not at all staff, but an essential element of the harmony of the moment, Ovimo stopped by the master. And, with all the depth and significance of the title declared in the title, the artist never immerses himself in narrative and literary work. He speaks about everything exclusively through means of painting, which is also a sign of true art.
These pictures are very good and typical for the artist, but acquaintance with his work can not be limited to several works. Even a dozen or so selected paintings will be just the tip of the iceberg, a small fraction of the wealth that the artist has already given to mankind.
The great author's exhibition of Anatoly Silov "Gods and People", held in the fall of 2015 in Cheboksary, once again convinced viewers of the enormity, originality and brightness of his gift, which, probably, in the history of civilization is destined not to be joined to any of the directions , But to remain under the proper name, for a more precise definition than "The Art of Anatoly Silov" is impossible to give to this phenomenon.