Exhibition of December
«The poet's prose»
2 - 24 December 2014
Painting and drawing exhibition for the 90th anniversary of Nikolay Sergeevich Salnikov
BRIEF CURRICULUM VITAE
1924 December 6 - was born in the town of Primorsko-Akhtarsk in Primorsko-Akhtarsk region of the
1942-1945 - Participated in the Great Patriotic War
since 1946 - lives in Krasnoyarsk
1955 - the first time participated in the Regional Art Exhibition
1957-1959 - Study in the Krasnoyarsk art school named after Vasily Surikov
1957-1984 - Participant of regional, Republican, All-Union exhibitions
1963 - member of the Union of Artists of the USSR
1968 - participant of international exhibition of drawing in Italy, where UNESCO awarded him the bronze medal in Rome
1972 - participant of the Soviet prints. Cuba
1974 - participant of the exhibition "Graphic of Siberia." France
In 1975-1980. - Member of the zonal vystavkom "Socialist Siberia"
1977 - participant of the Soviet bookplate. Czechoslovakia
1981 - Member of the Board of the Union of the Krasnoyarsk artists of the RSFSR
1982 March 6 - died in Krasnoyarsk
In the late 50-ies in the exhibitions of the city of Krasnoyarsk appeared drawings, watercolors, and then linocuts, whose was signed - N. Sal’nikov. Gradually, the name is more often founds in the exhibition halls of the city, region, area...
The fate of this man has not been easy, although external lifetime did not remind of its tumultuous turns. Calm, strong, confident, he inspired infinite respect and it seemed that his art is born free and easy. Like any work, creativity of Nikolay Sal'nikov perceived in his final result, doubts and searches were unknown to the audience. In memory remained courageous and kind world of the artist, the ability to find in the inconspicuous appearance the essence and by the creative will to realize in the art form the time, rapid and transient. There are no details; here it is important all that builds man’s life. Therefore, if we try to characterize the main thing that captivated the imagination of the master, it can be described as simple and clear concept as weekdays. Yes, everyday simple daily tasks. Seemingly prosaic events. But the task of art consists in adding poesy to prose, revealing in the ordinary romantic beginning. Because in everyday automatism of businesses we are not used to see what notes keen and observant eye of an artist. It is as he put away all the non-important and forced us to look around by the living and direct gaze.
But a vision only not sufficient, if by appropriate means knowledge is not embodied in the material. Each creative gift and memory inherent with individual characteristics. But the problem is just to be able to identify them. Nikolay Sal'nikov was born to draw. He felt material fine. His works are characteristic by laconism, clarity of shape and of color stain. He did not have to get rid of the fractional composition that quite often have to do by beginners-artists, he immediately saw the whole and generally, encompassing by sight all the compositional space.
Mastering the material by N. Sal'nikov developed in two directions: the black-and-white linocut and color one. Both types of techniques were very popular in the art of the 60s, and taking into account the fact that they large number of drawers worked in this area to express own individuality was very difficult. But he, nevertheless, was able to achieve recognition, thanks mainly colored linocut. When you look attentively through sheets by drawer cannot stop wondering integrity of composite thinking, sensitivity, his artistic perception, a sense of plane unity plastic form and image. But he was not able to receive vocational education, art school year - all of his studies.
But how free and easy he builds his compositions. His works attract the attention not by spectacular tricks, but some inner significance ("Loggers", "Memories", "Thirst", "Roundtable", "Old Friend"). Despite the seeming simplicity they different proportionality details, patches of color and rhythms. Drawer often uses the device of a close-up as bringing the action to the audience, quietly pulling view in depth of the sheet, thus, as it were an introduction to the events depicted. Hence, there is a feeling of active, dynamic development of the composition, although its external building features simple, almost classical poise. Captivates the artist's ability to talk about the simple things clearly and accessible. He does not complicate the subject, putting it in a hidden meaning, but confidence and ingeniously tells the story of the hard work of the builders, explorers, hunters, dockers. In an effort to reflect its heroics fully manifested the modern understanding of the tasks of art.
Creativity of Sal'nikov belongs entirely to 1960-70 time period. Time of vigorous industrial development of Siberia. Therefore, his circle of themes affected by the most acute problems of this rich region (the series "On Khantaiskaya HPP", "By Sayano-Shushenskaya HPP"). But the artist admires of Siberian landscape. That's where fully revealed his penchant for lyrical imagery. The landscape takes on a bright graphic language of emotionality. Plastic form overcomes routine, transforming into a poetically rich motif. Not accidentally linocut "Siberian fields" received a bronze medal of «UNESCO". Of course, this is one of his best-sheet saturated with harmony, movement, plasticity. Beautiful golden-brown tone, the lack of sharp contrasts gives you the feeling of infinite space filled with light and air. Modest motif acquires sound of monumental metaphoric image. The artist is like a pioneer, in love with the world, in every piece of his native land.
If we carefully analyze Sal'nikov’s creativity - and the exhibition gives the opportunity - we can found fairly steady development, without abrupt jumps and throwing in search of form. Drawer is always himself - calm and wise. Maybe because he entered in the art as a mature man. There was no time to experiment; he wanted to speak better - calm, clear and strict. By the mid-60s the artist has proven itself a distinctive prevailing master. His linocuts have found their individual appearance.
Article of E. Khudonogova, Krasnoyarsk art critic, was written in the 1985 catalogue at the Moscow exhibition.