КНІГІ ОНЛАЙН
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For many years Arlen Kashkurevich remained faithful to his creative programme philosophical musing on eternal problems of being, reflection on man and time, spiritual search for truth. But the art of Kashkurevich is not a declaration or discussion. It has ever contained some definite or categorical answer, on the contrary, it is a complex polyphonic phenomenon that demands hard work from intellect and feelings, empathy, associative perception of aesthetic information suggested by the artist and always addressed to the spiritual world of the audience. In a large cycle of drawings Concerto Grosso (Big Concert) created in 2003—2006 the artist embodied metaphorically a tragic collision between a musician and his instrument, a creator and his art, brave confrontation of an artist to the impossibility of reaching ideal. Various spiritual conditions that accompany creative process, such as deep thoughtfulness, melancholy, sorrow, inspiration, catharsis and wrath, are embodied in the drawings of the series. It is no coincidence that in musical themes of the sheets prevail terms «con affizione» (mournfully, sadly), «desolato» (sorrowfully, vainly) together with «selvaggio» (courageously), «sdegnosamento con resoluto» (angrily and resolutely). Common emotional atmosphere unites works of the series This Sweet City Life... (1987—2004), which is full of thoughts about the millennium problem: the problem of individuality in the society, human existence in a complicated modern world. The main theme of the cycle is an image of a person who is lost in a metropolis, the one who is alienated from the city, society and himself. Existential accents are clearly seen in a dramatic contrast of etchings (Person in an Elevator, 1988; Crossroads, 1993) and in a strict calm of the lines of pen drawings (Leaf Fall, 1994; Person in the Rain, 2004; Old Musician and His Dog, 2001; Expectation, 2002). Esentially, the hero of the Kashkurevich’s works is a tragic person. Minor intonations and sometimes tragic notes pierce all works of the master in which dominate various hues of sadness, bitter thoughts, sorrow, despair, anger and, at the same time, of commiseration and sympathy. Here moral and aesthetic credo of the artist found its full embodiment. Origins of this credo are in the best traditions of European humanism and Slavic culture. This is a different side of humanism devoid of any illusions or complacence. Recreation of scenes and images from Gospel and the Old Testament became of no little interest to the artist in the 1990—2000s. A large series of drawings in Indian ink Sublime Song of Solomon (1994—1996) after The Song of Songs is full of flavour of the Middle East (sheets Dance with a Tambourine, Dance with Swords, Hunt of the Pharaoh). Distinctively and in not a traditional way the artist interpreted evangelic stories Temptation of Christ in the Desert, Angel and Shepherds and The Return of the Prodigal Son (1992). In these works the artist attempted modern interpretation of the classics through the prism of the solution of complex moral and ethical issues of our civilization. Natural desire to communicate constantly with his audience was implemented in frequent participation of Kashkurevich in all republican, all-union and foreign exhibitions. It is impossible to imagine at least one of the exhibitions without works of this prominent master. His personal exhibitions were held in Yugoslavia (1965), Japan (1970), Moscow (1975), Germany (1977), Lithuania (1981), Estonia (1983), Poland (1988), Iceland (1989), Taiwan (1995), France (1996) and also in the USA, Syria, Algeria, Mongolia, Finland, China, etc. In 1991, Arlen Kashkurevich was awarded the title of the Peoples Artist of Belarus. The creative work of the Peoples Artist of Belarus, the laureate of the BSSR State Prize, professor Arlen Mikhailavich Kashkurevich is one of the brightest phenomena of contemporary Belarusian art. His name is widely known among connoisseurs of visual arts in our country and abroad. Leading art museums consider having works of Arlen Kashkurevich in their funds as a great honour. His works are kept in the collection of the National Art Museum of the Republic of Belarus, in the funds of the Artists’ Union of Belarus, in the Museum of Contemporary Belarusian Art (Minsk), the National Museum of Belarusian History and Art, the State Tretiakov Gallery (Moscow), the Directorate of Exhibitions of the Artists’ Union of the Russian Federation (Moscow), the Museum of Contemporary Art (Skopje, Macedonia), the Picture Gallery of Bender (Moldova), the Goethe and Schiller Museum (Weimar, Germany), in the museums of Polotsk, Grodno, Kiev, and private collections in Belarus, Iceland, Poland, Germany, the USA, etc. The Kashkurevich family is a true conglomerate of talents. The sons Igar and Fiodar fruitfully work in various spheres of visual arts. They are famous Belarusian artists, whose works are kept in the collections of the National Art Museum of the Republic of Belarus, the Directorate of Art Exhibitions of the Artists’ Union of Belarus and also in many private Belarusian and foreign collections. The wife of the artist Ludmila Alyaksandrauna does not stay away from the artistic creativity. Her watercolours and works in the field of decorative and applied arts tell about a genuinely talented person. For our contemporaries the personality of Arlen Kashkurevich, the intellectual artist, is inseparable from his art which always evokes recognition and genuine interest in the society due to its actuality, difficulty and dramatic character. Kanstantsin Barabanau Гурзуф. Лесвіца. 1963 Гурзуф. Лестница. 1963 Gurzuf. Staircase. 1963 Ісландыя на вуліцы. 1959 Исландия на улице. 1959 Iceland on the street. 1959 Вечарынка. 1959 Вечеринка. 1959 Party. 1959 Магілальва. 1962 Могила льва. 1962 Lion’s Tomb. 1962 Бандароўна. 1962 Бондаровна. 1962 Bandarouna. 1962 Курган. 1962 Курган. 1962 Barrow. 1962 Магіла льва. 1962 Могила льва. 1962 Lions Tomb. 1962 Натхненне. 1966—1967 Вдохновение. 1966—1967 Inspiration. 1966—1967 Шкловыдзімальнік. 1966—1967 Стеклодув. 1966—1967 Glass Blower. 1966—1967 Партызанскія маці. 1970 Партизанские матери. 1970 Partisan Mothers. 1970 Смага. 1969 Жажда. 1969 Thirst. 1969 Ілюстрацыя да паэмы Янкі Купалы«Яна і я». 1969 Иллюстрация к поэме Янки Купали «Она и я». 1969 Illustrations to the poem She and I by Yanka Kupala. 1969 Ілюстрацыя да паэмы Янкі Купалы «Адвечная песня». 1969 Иллюстрация к поэме Янки Купалы «Извечная песня». 1969 Illustrations to the poem Eternal Song by Yanka Kupala. 1969 Полымя. 1978 Пламя. 1978 Fire. 1978 Ураджай вайны. 1978 Урожай войны. 1978 Harvest of War. 1978 Ілюстрацыя да паэмы М. Гусоўскага «Песня пра зубра». 1980 Иллюстрация к поэме Н. Гусовского «Песнь о зубре». 1980 Illustration to the poem The Song about Bison by M. Gusowski. 1980 Ілюстрацыя да паэмы М. Гусоўскага «Песня пра зубра». 1980 Иллюстрация к поэме Н. Гусовского «Песнь о зубре». 1980 Illustration to the poem The Song about Bison by M. Gusowski. 1980 Ілюстрацыя да паэмы М. Гусоўскага «Песня пра зубра». 1980 Иллюстрация к поэме Н. Гусовского «Песнь о зубре». 1980 Illustration to the poem The Song about Bison by M. Gusowski. 1980 Ілюстрацыя да паэмы М. Гусоўскага «Песня пра зубра». 1980 Иллюстрация к поэме Н. Гусовского «Песнь о зубре». 1980 Illustration to the poem The Song about Bison by M. Gusowski. 1980 Сад Марты. 1981 Сад Марты. 1981 Marthas Garden. 1981 Прасвятленне. 1981 Прозрение. 1981 Enlightment. 1981 Кабінет Фауста. 1981 Кабинет Фауста. 1981 The Study of Faust. 1981 Ведзьмы. 1981 Ведьмы. 1981 Witches. 1981 Ашуканцы. 1984 Обманщики. 1984 Deceivers. 1984 Кароль голы! 1984 Король голый! 1984 The King is Naked! 1984 Ілюстрацыя да аповесці А. Адамовіча «Карнікі». Супервокладка. 1982 Иллюстрация к повести А. Адамовича «Каратели». Суперобложка. 1982 Illustration to the novel Chasterners by A. Adamovich. Book cover. 1982 Ілюстрацыя да аповесці A. Адамовіча «Карнікі». 1982 Иллюстрация к повести А. Адамовича «Каратели». 1982 Illustration to the novel Chasterners by A. Adamovich. 1982 Ілюстрацыя да аповесці А. Адамовіча «Карнікі». 1982 Иллюстрация к повести А. Адамовича «Каратели». 1982 Illustration to the novel Chasterners by A. Adamovich. 1982 Ілюстрацыя да аповесці A. Адамовіча «Карнікі». 1982 Иллюстрация к повести А. Адамовича «Каратели». 1982 Illustration to the novel Chasterners by A. Adamovich. 1982 Раз’езд. 1986 Разъезд. 1986 A Crossing Loop. 1986 Манкурт. 1986 Манкурт. 1986 Mankurt. 1986 Утаймаванне Каранара. 1986 Укрощение Каранара. 1986 The taming of Karanar. 1986 Ракетадром. 1986 Ракетодром. 1986 Rocketdrome. 1986 Прага. 1993 Прага. 1993 Prague. 1993 Паляванне ў Вялікім Княстве Літоўскім. 1986 Охота в Великом Княжестве Литовском. 1986 Hunt in the Grand Duchy of Lithuania. 1986 Чалавек у ліфце. 1988 Человек в лифте. 1988 Person in an Elevator. 1988 Анёл і пастухі. 1992 Ангел и пастухи. 1992 Angel and Shepherds. 1992 Валькірыя. 1993 Валькирия. 1993 Valkirye. 1993 Плач Гудрун. 1993 Плач Гудрун. 1993 Weeping of Gudrun. 1993 Чалавек пад дажджом. 2004 Человек под дождем. 2004 Person in the Rain. 2004 Стары музыкант і яго сабака. 2001 Старый музыкант и его собака. 2001 Old Musician and His Dog. 2001 «Strenatomento selvaggio». 2004 «Strenatomento selvaggio». 2004 «Strenatomento selvaggio». 2004 «Sdegnosamento con resoluto». 2006 «Sdegnosamento con resoluto». 2006 «Sdegnosamento con resoluto». 2006 «Con affizione». 2006 «Con affizione». 2006 «Con affizione». 2006 «Stinguendo con silenzio». 2003 «Stinguendo con silenzio». 2003 «Stinguendo con silenzio». 2003 Спіс ілюстрацый Старонка Список иллюстраций СтРан^ List of illustrations 29 Гурзуф. Лесвіца. 1963. Папера, гравюра на кардоне. Гурзуф. Лестница. 1963. Бумага, гравюра на картоне. Gurzuf. Staircase. 1963. Engraving on cardboard, paper. 30 Ісландыя на вуліцы. 1959. Ілюстрацыя да рамана X. Лакснеса «Атамная станция». Папера, каляровая літаграфія.