Minaret Kalyan.

Oil on canvas.118x 97

Studied at the Kazan Art School (1895-1901), in the St. Petersburg Academy of Arts (1901-1908), then in the art studios of D. Kardovskiy and I.Repin, as well as in the Julien Academy in Paris (1909). Since 1909 was a teacher at the Kazan Art School. Since 1929 in Uzbekistan, where he was involved in creative and educational activities. Being a champion of the Russian realistic art, he produced a body of work dedicated to Bukhara, Khiva and Samarkand.

Constructing a road. 1932

Oil on canvas. 250x83

As a child he moved to Turkestan with his parents from Nagorny Karabakh. While at school he developed a passion for painting which led him to the Tashkent school of art (1918-1921). In 1921, he was enlisted in the Red Army where he spent most of his time painting. Once demobilized, Karakhan taught painting first at the Turkmen Vocational Pedagogical School (1925-1934), then at the Tashkent School of Art (1934-1941). Many of his pictures and sketches present somewhat unusual chronicle of the young artist’s development in Uzbekistan. Bright conventionalized pictures, rhythmical composition and ornamentality are distinctive features of Karakhan’s earlier works.

Irrigator.

Oil on canvas. 66,5x76

By Shir-Dor.1928

Oil on canvas.87,3x79,5

Born in Perm into a family of artists engaged in wall and icon painting. Studied in the Perm Public Art School (1920) under A.Kaplun, then in the Moscow VKHUTEMAS (Higher Art Technical Studios) - VKHUTEIN (Higher Art Technical Institute) (1921-1927) under R.Falk and S.Gerasimov. A founder-member of the artists’ association “Rost”(1928-1929) and a member of “Group-13” (1929).Participated in exhibitions since 1928. Her solo exhibitions were held in Tashkent (1957,1973), Moscow(1971), Perm(1973). Since 1930 she lived in Samarkand, Uzbekistan, then in Tashkent (1932). Her exhibited works were made during her initial trips to Samarkand. Her passion to expressionism she conveyed in her works being impressed by bright colours of Uzbekistan.

Birth of a child. 1929

Oil on canvas.67x79

In the former Ghetto, Bukhara. 1932

Oil on canvas.72,5x71,5

Korovay spent her childhood in Harbin where her father was a chief of the railway station and her mother was an actress. In 1914-1917, she studied in St.Petersburg in the Art Promotion School under K.Rerikh and I.Naumov. In 1917, she moved to her parent’s home in Barnaul, where she joined the left-leaning group of artists that were searching for and introducing new forms of art (M.Kurzin, V.Gulyaev, and later V.Markova). She worked as a teacher at the school - studio of the department of Altay Art Studios. In 1920-1923, she studied at VKHUTEMAS (Higher Art Technical Studios). She travelled a great deal around the country. In the 1920s, she settled down in Central Asia, initially in Tashkent, then in Samarkand. She worked as an artist at theatres and at the Samarkand. “Fine Arts Factory”. She wrote and designed books for children: “A Frog and a Milk”, “Two Brothers”, “Kindergarten”. Participated in establishing the Samarkand department of the Union of Artists. In 1946, upon invitation from V.Favorsky, she moved to Moscow, where initially she worked at the factory producing toys. In the 1950s, she helped Favorsky work on a mosaic panel for the building of the Soviet Embassy in Warsaw (1955). In the late 1950s, she returned to easel painting. In 1969, she joined MOSKH (Moscow Society of Soviet Artists). Her works “In the former Ghetto, Bukhara” and “Dyers” are part of Korovay’s cycle of works dedicated to the Bukharian Jews.

Dyers.1932

Oil on canvas.76x76

By the khauz (pond).

Oil on canvas. 83x83,5

Studied at the Kazan Art School (1922-1927) under Pavel Benkov. In 1943 she took an external degree at the Institute of Painting, Sculpture and Architecture named after I.Repin in Leningrad. Since 1930 in Uzbekistan. Worked as a teacher at the Samarkand Art School. The artist painted from life using a rich colour range of South.

Capital.

Paper on carton, gouache. 42x67

Studied at the Kazan Art School from 1904 to 1907, then in 1908 moved to the Moscow School of Painting, Sculpture and Architecture. From 1910 to 1912 was a student at the private studio of M.Bernstein in St.Petersburg. In autumn 1919 he visited China. In 1921 he was a teacher at the Higher Art Technical Studios (VKHUTEMAS). In 1922 Kurzin moved to the Crimea (Simferopol) with E.Korovay, and in 1923 - to Tashkent. In Tashkent he worked at the Theatre of Opera and Ballet, in newspapers and as a teacher. In 1927, Kurzin was a founder member of the group of artists called “Masters of the New Orient”. The artist was arrested in 1936, and sentenced to five years of imprisonment and three years of exile on the charge of having a hostile attitude towards the Soviet Government and for voicing terroristic intentions against Stalin and anti- Soviet propaganda. In the 1930s critics dismissed Kurzin’s works as “formalistic” and claimed they distorted Soviet reality; the artist deliberately portrayed Soviet man as ugly. The artist served his sentence in Kolyma. In late 1945, Kurzin moved to Bukhara. In 1948 he was again arrested for his unauthorized arrival in Tashkent and was again charged with anti-Soviet activity and sentenced to exile in the Krasnoyarsk territory. In 1951, Kurzin died.

Emigrants

Oil on canvas.44,5x73,2

Bull. 1920s.

Oil on canvas. 141,5x109,5

Based on the information available in the State Museum of Art archives, Lysenko lived in Tashkent from 1918 (possibly 1919). In the 1930s he participated in the first Republican Exhibition of Fine Art Workers of Uzbekistan, presenting a large number of his paintings. In 1935, the artist was arrested. In the second half of the 1940s he participated in exhibitions held in Novorossiysk and Krasnodar. In 1951, he once again arrived in Tashkent. In 1953, he was rehabilitated.

Earth Forces.

Oil on canvas.

Self-portrait in a striped robe.

Oil on canvas. 57,5x49

In 1920-1930, she attended the private art school of the artist Nadolskaya in Barnaul. There she got to know M.Kurzin and E.Korovay. In 1926, like many other artists, she left for Central Asia where she lived for ten years. It was in Central Asia that Markova matured as an artist and found her way in art, but she still continued to search. In 1927, Markova joined “Masters of the New Orient” group. In her works, Markova always alluded to the works of the old masters of the Italian Renaissance, and French, German and English romanticism. Unfortunately, this talented artist lived a very short life. She died in the autumn of 1941 in Leningrad.

Boy in a fur-cap. 1924

Ply-wood, tempera. 26x22

Based on the information available in the State Museum of Art archives, Lysenko lived in Tashkent from 1918 (possibly 1919). In the 1930s he participated in the first Republican Exhibition of Fine Art Workers of Uzbekistan, presenting a large number of his paintings. In 1935, the artist was arrested. In the second half of the 1940s he participated in exhibitions held in Novorossiysk and Krasnodar. In 1951, he once again arrived in Tashkent. In 1953, he was rehabilitated.

Way of life. 1924

Tempera on wood. 32x30

Basmach.

Oil on canvas. 59x40

In 1918 he graduated from the teachers higher school in Aktyubinsk. In terms of art he was educated in Rozanov’s Art Studio in Tashkent (1924-1927), then in the Penza Art School where his teacher was I.Goryushkin- Sorokopudov (1927-1929). His friendship with young Uzbek artists such as N.Karakhan, U.Tansykbayev and elder and more experienced ones like A.Volkov, O.Tatevosyan played an important role in formation of his aesthetic views. Participated in many exhibitions in Tashkent, Moscow, and since 1947 in Alma-Ata.

Crimson autumn. 1931

Oil on canvas. 118x105,4

Studied in the N.Rozanov’s Art Studio of the Tashkent Museum of Art (1924-1928), then in the Penza Vocational School of Art and Pedagogy where he was admitted directly to the graduating class. Ural Tansykbayev participated in many exhibitions in Uzbekistan, Moscow and abroad. His artistic work earned him numerous government awards. He established very close ties with the museum which obtained many of his earlier works from the late 1920s and early 1930s regarded by many as the best collection of paintings and graphics of the period. The earlier works provide a vivid description of the search for descriptive means and forms of reflection of reality. They are intense and full of colour, and also decorative. During his arrival in Nukus for selecting his works in the museum to arrange a solo exhibition of Ural Tansykbayev, he died there and this fact once again testifies his close ties with the museum.

Apple picking. 1933

Oil on canvas. 125x250

Fruit tents. 1917-1955

Oil on canvas. 60x80

In 1908 he entered the Tiflis Art School. In 1910-1917 studied at the Moscow School of Painting, Sculpture and Architecture under K.Korovin, then in the VKHUTEMAS (Higher Art Technical Studios) (1921-1927). From 1917 the artist lived in Samarkand. His friends were A.Nikolayev and V. Ufimtsev. He was a member-founder of the “Samarkand commune” school(1918) and the School of Painting and Sculpture in Erevan(1921). In 1918-1919 he participated in decorating Samarkand to mark the revolutionary holidays and painted vivid propaganda panels. The artist’s works in the 1920s were distinguished by their flatness and ornamentality which caused the critics to accuse him in passion for exoticism and stylization. From 1932 Tatevosyan lived in Tashkent and in 1937 worked as art director of the Uzbek Pavilion in the All- Union Exhibition in Moscow. Participated in exhibitions since 1912. In 1966 Tatevosyan moved to Moscow.

Komsomol Brigade. 1930

Oil on canvas. 120x100

To the train. 1927

Oil on canvas. 67x58,3

Victor Ufimtsev is one of many Russian artists for whom Uzbekistan became a creative home. He was born in Barnevka village, South Urals. He studied to paint at the classes of painting and drawing in Omsk (1916-1919). In 1918, while attending A.Klementyev’s Art Studio as “just another realist”, he happened to attend David Burlyuk’s lecture on futurism. He perceived futurism to be the art of future and settled on his creative credo: “New Content needs New Form”. In 1923, in search of the new, he left for Turkestan. Initially it struck him as one big carnival: bright colours, unusual architecture, people in exotic clothes. First Tashkent, then more colourful Samarkand and Bukhara. He came to know many of artists living in Uzbekistan at that time, including A.Isupov, A.Nikolayev (Usto-Mumin), A.Volkov, L.Bure, M.Kurzin, E.Korovay. The specific features of his works of that period were reserve and traditional artistic language mingled with ornamental use of colour. The artist complements his works with collage techniques using different materials: patterns from paper, fabric, felting, reed. His work “To the Train” combined the most daring experiments of the young artist: perspective, form and mixed technique.

Musicians. 1924

Gouache on carton.35,7x38,8

Caravan. 1926

Oil on canvas 132x223

Painter, graphic and stage artist. Produced genre and narrative scenes, portraits, still lives, landscapes and abstract compositions. He is one of the founders of the Uzbek school of art. Studied at the faculty of natural sciences in the St. Petersburg University (1906-1908). From 1907 attended D.Bartinker’s private studio in St. Petersburg and later studied at the Higher Art School of the Academy of Arts (1908-1911) in Berstein’s private school (1910-1912), where his teachers were N. Rerikh and I. Shervud, and in the Kiev Art school(1912-1916) taught by F. Krichevskiy. Was influenced by M.A. Vrubel. Participated in exhibitions in 1920, and was a member of the Association of Artists of Revolutionary Russia (AKHRR) and the Association of Russian Artists (AKHR) (since 1927), “Masters of the New Orient” (since 1928). He organized “Volkov’s brigade” which brought together young artists of Uzbekistan. In 1919 he was a director of the Central Asian State Museum of Art and in 1922 - head of the “Proletkult - Theatre”. Worked as a teacher at Tashkent art colleges. In most of his works Volkov adhered to primitivism, striving for simple, but solid and expressive composition.

Arba.(cart) 1924

Oil on canvas.75,5x114