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Russian Soviet landscape painter, Honored Artist of the RSFSR (1987), a member of the St. Petersburg Union of Artists of the RSFSR. He studied at the Rostov Art College (1927-1930). In 1939 he graduated from the LISSHA workshop in II. Brodsky. Member of the LSSH since 1943. Master of landscape painting, one of the leading artists of the Leningrad school. Participated in exhibitions since 1929. Personal exhibitions N.E. Timkov was held in Leningrad-St Petersburg (1947, 1976, 1993), Moscow (1982), Rostov-on-Don (1957), San Francisco (1998, 2000, 2001), Aspen (1999), New York 1999, 2001), Scottsdale (2000), Palm Beach (2000), Wayle (2001), Washington (2001). Repeatedly exhibited at the All-Union art exhibitions. His works are in the State Russian Museum, the State Tretyakov Gallery, in museums and private collections in Russia and abroad. Full biography: Timkov Nikolai Efimovich was born August 12, 1912 in the village Nakhichevan dachas in the suburbs of Rostov-on-Don (in 1928 was abolished in connection with the inclusion in Rostov-on-Don). His parents, Yefim Yegorovich Timkov and Vasilisa Timofeevna Ablyazova, the Saratov peasants, moved to Rostov-on-Don in 1892. Father worked as a handyman, the family had four older children. Parents died in 1924, when Timkov was in his twelfth year. Care for him took over the elder sisters. In 1927, Timkov graduated from the 8th grade of secondary school and entered the Rostov Art College, which was headed by the landscape painter A. S. Chinenov, a pupil of V. Polenov and a great admirer of I. Levitan. In 1930 NE Timkov, PS Keller and AI Laktionov went to Moscow, where they met IE Grabar, MV Nesterov, and SV Malyutin. Famous artists and teachers, after reviewing student work, gave recommendations for continuing their studies in the Leningrad State IZHSA them. I.E. Repin, (Academy of Arts of the USSR), where friends went. In Leningrad they came to I. I. Brodsky. It turned out that they were late, the recruitment of students was already completed. However, Brodsky, over the set, took Alexander Laktionov to his studio, and advised Nikolai Timkov and Peter Keller to come next year. In 1931 Timkov goes to Moscow, where he soon gets acquainted with P. Radimov and other Moscow artists of the Akhr. He works as an unskilled laborer in Izogiz, later he joins the association Vsekohudozhnik as an artist-designer. At the same time he is engaged in self-education in the Tretyakov Gallery and with persistence works in the open-air, from time to time using the benevolent advice of M. Nesterov and S. Malyutin. At Radimov’s apartment, Timkov meets with I. Brodsky, who played a major role in the fate of the artist. After watching the work of Timkov, I. Brodsky advised him to go to Leningrad to continue his studies. In 1933, Timkov, together with A. Laktionov, came to Leningrad and was accepted for the first year of the painting faculty of the IZHSA VAH. Engaged in M. Bernstein, A. Rylov, A. Lyubimov, V. Serov. In 1939 he graduated from the Institute in the workshop of I. Brodsky with conferring the title of the artist of painting. Thesis work – the picture “A day off from the city.” Nikolay Andretsov, Petr Belousov, Gleb Werner, Alexei Gritsay, Eugene Zhukov, Mikhail Kozell, Lev Orekhov, Leah Ostrov, Elena Skuin, Boris Shcherbakov and other young artists who later became famous Soviet painters graduated from the same institute with Timkov Institute. After graduating from the institute, Timkov is called up for military service in the Baltic Fleet, which continues until 1946. During the Great Patriotic War and the blockade, Timkov was among the defenders of Leningrad. He served in the Political Department of the Leningrad Military District, on an armored train, on gunboats. He worked on a series of landscapes “Leningrad in blockade”. Creates a series of graphic works (gouache, watercolor) that captured the blockade of Leningrad, among them “On the Neva for water”, “Winter”, “Spring” (both 1942), “Leningrad on the day of the breakthrough of the blockade”, “On the Neva”, “Oreshek “,” Trophies “(all 1943),” Barges on the Neva “,” Naberezhnye Neva “(both 1944) and others (now in the collection of the State Russian Museum and the Museum of the History of the City). Timkov participated in all the exhibitions of the artists of the besieged city and defenders of Leningrad, in the exhibition “The Heroic Front and Rear” in Moscow in the Teretyakov Gallery (1943) [and also in creating the largest during the war exhibition “Heroic Defense of Leningrad” opened in 1944 in Solyan Lane and laid the foundation of the Museum of Defense of Leningrad. Awarded with medals “For the Defense of Leningrad”, “For the victory over Germany”. Many years later in the early 1960s Timkov served as a prototype of one of the heroes of the painting “The Sailors. 1942 »artist G. Savinov, who served in the war with Timkov in the Baltic crew. In 1943, Timkov was admitted to the Leningrad Union of Soviet Artists. The first participation of Timkov in the exhibition belongs to 1929 (Rostov-on-Don). In 1947, the first personal exhibition of the artist’s works was opened in the halls of the LSSH, shown later in the Leningrad House of Cinema and the House of Arts. Since the late 1940s, Timkov has been constantly involved in the Leningrad, republicanand all-Union exhibitions, exhibiting their works together with the works of the leading masters of fine arts of Leningrad. The formation of Timkov’s individual style progressed gradually, with the accumulation and generalization of experience, in the process of communicating with colleagues and numerous creative trips to the Volga and the Don, to Staraya Ladoga, to the Urals, to work in Vyr and Rozhdestveno near Leningrad, at the Academic Dacha. Later, already a mature master, he visited Italy (1969), England (1974), France (1977), Yugoslavia (1981). In the first postwar decade, Timkov’s picturesque manner developed and improved in the direction outlined in his student years. He was entirely under the influence of Russian landscape painters of the 19th century. The real space in his works was transmitted almost with illusory accuracy, the color characteristic is restrained, the colors are muffled. In the Don and Volga landscapes Timkov tried to cover as much space as possible, to the image of a set of clearly readable plans that lay in line with the general tendency of the development of the genre of these years. Among the famous works of the artist of this period, shown at exhibitions, were “Harvesting” (1950), “The Lights of the Collective Farm”, “Soon Harvest” (both 1951), “Winter Landscape” (1952), “Don Distances” (1953) “Evening on the Don,” “On the Don” (both 1954), “Quiet Autumn, On the Don”, “The Last Snow”, “By the Spring” (all 1955), “Windy Day”, “Evening” (both 1956), “Ice goes,” “Evening on the Volga” (both 1957), etc. The most interesting in the opinion of critics are sketches: “Landscape” (1954), “Spring Landscape” (1955) “Vyr”, “Zimka” (both 1956) “White Night” (1957), “The Last Ray”, “By the Spring”, “Osinki” (all 1958) and others. The skull often succeeds in preserving impressions from the direct perception of nature, but the sketch in those years was considered only as an auxiliary material for a landscape picture, with its considerable dimensions, an indispensable genre-narrative beginning, with careful selection and scrupulous elaboration of details and composition of the composition.It is not surprising, therefore, that at the personal exhibition of 1957 in the Leningrad Union of Artists, which was later shown in his homeland in Rostov-on-Don, Timkov appears as a gifted and serious professional, creativity but still did not go beyond the postulates and techniques that existed in the Soviet landscape painting of 1940-1950. But there was already something in the works that distinguished them from the general series. They show outstanding talent for the artist, a rare natural sense of color, a sincere and confident voice of his own choosing the theme and revealing the image was heard. Attention was drawn to the increased decorative of painting, the generality of drawing and form, the propensity to build a composition around large volumes and planes. His quest Timkov did not stop until the last years of his life, critically referring to much of what he had done earlier. He finds his own recognizable handwriting by the mid-1960s, as he is convinced by his acquaintance with the works of this period, including those shown at personal exhibitions in 1964 in Leningrad, Moscow, Yaroslavl, Krasnodar, Stavropol, Kislovodsk, Rostov-on-Don, Ordzhonikidze, Nalchik, and 1976 in Leningrad. They show the obvious development of the manner of the artist from the traditional open-air letter towards impressionistic enrichment and refinement of color, enhance decorative, stylized and some conventional drawing. “Timkov’s landscapes,” wrote the artist A. Yar-Kravchenko in the Soviet culture, “are always painted with a lyrical feeling. He knows how to find such colors, such light, such emotions that give his canvases a special poetic mood. When I look at Timkov’s landscapes, I always feel with what excitement of the artist-poet he creates them. ” The colorful range of works becomes extremely wide in the 1960s, their color is sonorous, decorative-planar, but not local, but subtly connected with relief, with expressive capabilities of the very surface of the canvas, texture, smear. In the works of this period, Timkov’s pictorial talent is revealed in all forms of creativity – from a landscape painting to full-scale sketches of small forms. “The penetrating love of nature, its poetic perception, the ability to find the beautiful in any seemingly most inconspicuous corner – that’s what is most characteristic of this master,” wrote one of the Leningrad newspapers about Timkov’s landscapes. Among them “Evening. Lilac Hour “,” Beginning of Spring “,” Green “(all 1959),” March Sun “,” October. First Snow “(both 1960),” First Snow “(1961),” On the River Tese “,” Street in Kholui “,” Autumn “cherries” (all 1962), “February Lazur” (1963), “In March” (1965), “Spring”, “Gold of Autumn”, “Volkhov. The Last Snow “(all 1967),” Sunny Day “,” Winter has come “(both 1968),” Russian winter. (1969), April, Mstinsky Lake, Early March (both 1971), June Blue, May. Bird cherry blossoms, Early Spring (all 1972), In the Snow (1973), Pereslavl-Zalessky. Danilovsky Monastery “(1974)” Snowfield “” February “(both 1975) and others. From now on and tomost of the work will be created by him in the village of Valentinovka and its environs not far from Vyshny Volochok. Here, according to M. Etkind, will be his main workshop. He will work here every year from April-May to November, sometimes in winter, to write the banks of Msta and Mstinsky Lake, the nearby villages of Kochtesh, Bolshoy and Maly Gorodok, Podol, Kisharino, Terpigorevo. After the successful exhibition in 1976, Timkov continued to work actively in Valentinovka, as well as in his Leningrad workshop in the house of artists on the Pesochnaya Embankment, made trips to the Crimea, Khost, and visited France and Yugoslavia. Among the paintings and sketches written in these years are “First Snow”, “Autumn” (both 1977), Torzhok, “It’s raining” (both 1978), “Torzhok. Winter “,” Winter Morning “,” Summer Evening “(all 1980),” Spring “(1982),” Twilight “(1983),” Crimea “(1988), Pereslavl-Zalessky (1992) and many others. In 1982 in Moscow in the halls of the Moscow House of Artists on the Kuznetsky Most the exhibition of Nikolay Timkov’s works was successfully shown, which was later shown at the Air Force Academy named after Yu. A. Gagarin and in the Star City. In 1987, he was awarded the honorary title of Honored Artist of the RSFSR. The last lifetime exhibition of Nikolai Timkov was held in 1993 in the halls of the Petersburg Union of Artists. Nikolay Timkov died on December 25, 1993 in St. Petersburg in the eighty-second year of life. He was buried at the Kovalevsky cemetery. His works are kept in the State Russian Museum, the Hermitage, the State Tretyakov Gallery, the Rostov Regional Museum of Fine Arts, in numerous museums and private collections in Russia, the United States, France, Britain, Japan and other countries. Creativity N. Timkov devoted to two monographs published in the United States. Exhibitions of his works were held in San Francisco (1998, 2000, 2001), Aspen (1999), New York (1999, 2001), Scottsdale (2000), Palm Beach (2000), Veil (2001), Washington (2001) and other cities. Known picturesque, graphic and sculptural portraits of N. Timkov, executed in different years by Leningrad artists and sculptors, including PD Buchkin (1960), N. N. Babasyuk (1963), A. A. Murzin (1964, 1978 ). In the Yaroslav-Rostov Art Museum the picture of G. Savinov “Sailors. 1942 “(1964), in which, in the image of an immersed in his thoughts, a marine infantryman wearing a black jacket and a white helmet depicting N. Timkov.
Photo: “Russian winter. Hoarfrost.” Author Nikolai Efimovich Timkov
Photo: “Field”, 1965. Painting of the artist Nikolai Efimovich Timkov
Photo: “Vyr”, 1956. Painting of the artist Nikolai Efimovich Timkov
Photo: “The time of haymaking”, 1963. The picture of the artist Nikolai Efimovich Timkov
Photo: Timkov Nikolay “In the beginning of February” 1975
Photo: Timkov Nikolay “The Winter Day” 1977
Photo: Nikolai Timkov “Ivan Tea”
Photo: Timkov N.E. “Village by the River” 1970
Photo 1: Timkov N.E. (right), Laktionov A.I. Photo of 1933. Moscow.
Photo 2: At the opening of an art exhibition in the halls of LOSH. From left to right: V.F. Zagonek, N.E. Timkov, L.P. Podlyasskaya, L.S. Reyhet, V.I. Reyhet, V.V. Sokolov, unknown, A.D. Romanik, unknown, the husband of the artist E.E. Rubina, E.E. Rubin, Yu.S. Podlyassky. 1986
Photo 3: Timkov N.E. at a personal exhibition in the halls of LOSH. Photo of 1957.
Photo 4: “Portrait of the artist NE Timkov” Hood. Buchkin P.D. 1960 Oil on canvas.
Photo 5: Timkov N.E. (third from left) in a group of students of II Brodsky. (sits extreme left) in practice in the Crimea. Photo of 1930.
Photo 6: Portrait of Timkov N.E.