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Sidur Vadim Abramovich
sculptor, painter. fought on the front in 1942-1944. After a serious injury that led to the disability at age 19 (the German sniper bullet hit him in the face), Siddur arrived in the capital, where in 1953 he graduated from the Moscow Higher School of Industrial Art (former Stroganov), Faculty of monumental sculpture (he studied under G. ; I. Motovilov and S. L. Rabinowitz). Member of USSR Artists' Union since 1957. For the early period of creativity (early - mid 1950) is most common performed in a realistic manner genre ceramic sculpture. In the late 1950's leitmotif of his compositions - with "disability" voids and "stumps" form or, conversely, with monumental figures and a solid-symbols - was the personification of war as a universal evil that oppose Love, Motherhood, Family. The sculptor worked in different materials, metal and wood, generally preferring the bronze casting. «... The most famous brought Vadim Sidur sculpture from the series" Monuments "- the most typical of the artist's 60-ies. Extremely concise form, they are brought to the signs, symbols, formulas. With outward calm they all express a huge inner emotional explosion. This may explain such a strong impact on their audience. Almost all of this series set in a monumental amount during the life of Vadim Sidura in European cities, and after his death, and in Russia ... » (MV Siddur). In 1970 the sculptor created his own formal language "Coffin-art", which was the beginning of a new direction, which he called the art of the balance of terror. Collages of sewer pipes, parts of automobile engines and other wastes "second nature" - the human civilization. «... Neatly arranged in wooden crates, coffins of the similarity of human bodies - "Coffin-girl", "Self-Portrait in a coffin, in shackles and with a saxophone and others - silence warning that the entire Earth could easily turn into a flying through space coffin-planet. Perhaps it was a "coffin-art" meant Vadim Siddur, written shortly before his death in one of his poems the following words: "I predicted the Chernobyl nightmare ..." an entirely different world opens in a delicate and erotic sculptures of the cycles of "My harem" and "Neosalon", an ironic title of which is associated with exquisite Parisian salons XIXveka in watercolors on the theme "Man and woman. They overlap and a few paintings Sidura. The most significant of them - songs of "paradise in the corridor" and "Adam and Eve and the Lord God", painted by the artist door closets in his apartment. origins of his creativity Vadim Siddur seen in classical art. This archaic Greek, Egyptian and Assyrian-Babylonian art, Russian icons. Throughout his life, he worried the same eternal themes - life and death, birth, suffering, love, motherhood. The denial of death and violence in all its manifestations, nightmarish vision of "coffin-art" and the perception of life as a joyous holiday and a great miracle - the two poles in the work of Vadim Sidura, the main components of the inner world. His world view he had expressed various artistic means. In addition to sculptures, paintings and drawings Vadim Siddur left a collection of poems "The most fortunate fall" (p. 1990), a great prose piece "Monument to the present state, a genre which he defined as" a myth "and the first part of which is to reduce published in the journal Banner "(№ 8-9, 1992), shot clandestinely in 1974, a two-hour silent feature film of the same name, where he plays the main role, is the author of the script and directed ...» (MV Siddur). creation in 1987 the Museum of Vadim Sidura was a tribute to the outstanding talent of the artist of Russia (1995 - Moscow State Museum of Vadim Sidura). wizard monuments established in the United States, Germany and Russia (for instance, the sculpture "Formula of Sorrow" in Tsarskoe Selo). Perhaps his most famous work is the monument "Monu-violence", set in 1974 on money residents of the West of the city of Kassel. And in 1979 in West Berlin, a sculpture Sidura "Treblinka" - in memory of the victims of the concentration camps. Preserved evidence that the sculptor considered these major works in his work. works are in collections of the State Tretyakov Gallery (Moscow), State Russian Museum (St. Petersburg), in museum and private collections in France, Russia, the United States.
Объятие
Year: 1979
Genre:
Technique: Бумага, тушь, перо
Size: 42х29,3
Price on request
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Нежность
Year: 1973
Genre: Graphics
Technique: Бумага, фломастер
Size: 48х35
Price on request
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Купающаяся
Year: 1971
Genre: Graphics
Technique: Бумага, тушь, перо, фломастер
Size: 37,5х25
Price on request
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Семья. Кубизм
Year: 1963
Genre: Graphics
Technique: Бумага, смешанная техника
Size: 28,5х40,5
Price on request
Contacts
Силуэт Женщины
Year: 1964
Genre: Graphics
Technique: Бумага, акварель, тушь, перо
Size: 28,5х40,2
Price on request
Contacts
Семейный портрет
Year: 1966
Genre: Graphics
Technique: Бумага, фломастер
Size: 48х52
Price on request
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Композиция из цикла мужчина и женщина
Year: 1984
Genre: Graphics
Technique: Бумага, акварель, тушь, перо
Size: 35х48
Price on request
Contacts
Двое в саду
Year:
Genre: Graphics
Technique: Бумага, акварель, тушь, перо
Size: 48х36
Price on request
Contacts
Близнецы
Year: 1966
Genre:
Technique: Бумага, тушь, перо, карандаш
Size: 57х42
Price on request
Contacts
Модель надгробного памятника академику И. Тамму.
Year: 1969
Genre:
Technique: Бронза, литье
Size: 38х9,5х9
Price on request
Contacts
Красавица .Из цикла мужчина и женщина
Year: 1980
Genre: Graphics
Technique: Бумага, тушь
Size: 42х29,5
Price on request
Contacts
Любовники
Year: 1978
Genre: Graphics
Technique: Бумага, фломастер
Size: 42х29,5
Price on request
Contacts
Сидящая
Year: 1965
Genre:
Technique: Бронза, литье
Size: 28 х 15 х 13
Price on request
Contacts
Сидящая в кресле
Year: 1966
Genre:
Technique: Бронза, литье
Size: 34 x 13 x 16,5
Price on request
Contacts
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