Главная страница «Первого сентября»Главная страница журнала «Английский язык»Содержание №8/2006

PROFILE

Awaiting Andrey Rublev

A year ago, while visiting the exhibition of Rodin in the Tretyakov Gallery, I witnessed the following conversation of two visitors:

“It’s so good that there is a chance not only to admire the works of Rodin from our museums”, said one of them, “but also to enjoy masterpieces from French and Swiss museums.”

“Yes, the display is small, but very interesting.”

“In fact you are traveling a lot abroad. Can you see works of our modern masters, I mean sculptors there?”

“Yes, certainly. You know, the building of the European Parliament in Strasbourg is decorated with ‘The Rape of Europe’.”

“And who is the sculptor?”

“Vitaly Patrov, a Russian, who lives abroad.”

Vitaly Patrov was born in 1936 in Siberia. In 1964 he graduated from the Kharkov Fine Arts School. After graduation, for 30 years he taught at the well-known Grekov Odessa Fine Arts School.

Already in his student’s years, Vitaly Patrov participated in exhibitions of the Soviet Union. And afterwards he took part in exhibitions in Moscow, Kiev, and Odessa. Then his works were presented abroad – in the USA, Italy, Japan, and Poland. For example, in 1997 he became a winner at the exhibition of the German National Society of Sculptors. Some of his works are in private collections.

In the area of sculpture, Vitaly Patrov proved to be a many-sided master. He does all types of sculpture. He is known both as a monumentalist, and as a master of small forms.

He is the creator of a series of monuments. It is necessary to mention:

  • Monument to the Fallen in World War II (Zlotoust, Russia).

  • Monument to the Aviators of the 69th Fighter Regiment (Odessa, Ukraine).

  • Memorial to Medical Researchers (Odessa, Ukraine).

  • Monument to Marshal Zhukov (Odessa, Ukraine).

Vitaly Patrov works with different materials: metal, wood, plaster, stone. His sculptural works are varied in form and subject: statues, sculptural portraits, torsos, busts, bas-reliefs. Some of them are the “Violoncellist”, sculptural portrait of Tsiolkovskiy, “Beauty as Beauty” and others.

Historical mythology and faith have become his favourite direction, as evidenced by his works of the last decade (The Rape of Europe, Cleopatra on the Lion, Andrey Rublev, sculptural images of saints).

Nowadays, Vitaly Patrov lives in New York, teaches at the Bridgeview School of Fine Art founded by Russian immigrants – the greater part of students there are Russians. School teaching is conducted in the traditions of academic art, based on the art of European masters, among whom our artists of the past feature, such as Repin, Surikov and Serov.

Presently along with teaching activity, Vitaly Patrov continues to sculpt and takes part in exhibitions and competitions. He participated in the competition for a memorial to the September 11 victims in New York. People say that he is always full of creative plans and novel ideas. New York gallery owners value his talent highly, considering him one of the great sculptors.

It is unfortunate, but in recent times some representatives of the creative intelligentsia were forced to leave Russia for reasons unrelated to artistic ones. Times have changed, fortunately; some have already come back home, others work and live in two homes: there and here. Yet others are still outside Russia.

There are different reasons for this. It is remarkable that those who are related to literature and the arts return from emigration first of all, and they return not because they’re not praised there. They do it for different reasons. The people of artistic professions more than others need native sources, native environment, not only for living and working, but for creating.

It has already been mentioned that there is a theme of faith in Vitaly Patrov’s works. Nostalgic notes began to sound in the sculptures related to this country. His bronze figure of Andrey Rublev was displayed at one of New York’s exhibitions in 2002. It is senseless to attempt to describe works of art. It is certainly possible to say: talented, unique, delightful; but it is necessary not only to see with the eyes, but also to probe with the soul and heart. And nevertheless, the heart is touched, when one is looking at the bronze figure of Andrey Rublev: his head is thrown back, there is an impression of aloofness in the look. This sculpture magically revives, before our mental glance, icons, frescoes and pictures of the great icon painter. The work makes one wish to stand quietly, light a candle, and pray.

Soon there came a chance to interview Vitaly Patrov over the phone. And certainly the first question was about his creative work.

Where do the ideas of your works come from?

“At first glance it is just by chance. But it is only at first glance, because a chain of circumstances occurs … that already forms a tendency. And it is intuitively necessary to be ready to face such a moment.”

How did you start “The Rape of Europe”?

“With weather,” he began to laugh. “Once there was bad weather with a strong wind. A few trees fell and were burnt. I found a large burnt snag, brought it home, and put it in a corner. And in the morning I looked closely and saw the contour of the snout of a bull. It was a kind of inspiration; a sign, if you will.”

Different artists referred to this theme at different times: Veroneze, Tintoretto and our Serov. Did everybody find something of their own?

“For me personally, the myth of Zeus appearing as a bull and raping Europe, contains the beauty-will-rescue-the-world idea. But another ‘chance’ was my admiration of ancient Greek culture.”

Will you lose your connection with Russia?

“Certainly not. I am Russian, born in Siberia, work in Ukraine, teach in New York. My present students are not only Russians, but of different backgrounds. You should see how they absorb our culture, especially now. You know, you caught me here by phone quite by chance. I am leaving.”

And where to?

“To Odessa.”

To stay?

“No. My studio is there and I work there.”

You are renting a studio?

“No. It is my own studio. Sometimes I work there.”

Your works are authentically Russian. For example, Andrey Rublev. Near this sculpture one wants to be quiet and pray. Why not exhibit it here?

“I would like not only to exhibit, but to give it to Moscow.”

What are your current creative plans?

“To begin to work on the sculpture of Feofan Grek and set it, as well as the sculpture of Andrey Rublev, anywhere in a quiet place in Moscow.”

Thank you for your generous talent. We are looking forward to seeing your works in Moscow.

“See you in Moscow.”

By Nora Garkunova