РУССКАЯ ПРОВИНЦИЯ В ТВОРЧЕСТВЕ Т.А. МАВРИНОЙ (1900–1996)

Abstract

Tatyana Alekseyevna Mavrina (1900-1996) was by nature generously endowed not only with the ability to fine art, but, above all, with love and interest in life, understood as a great good and great happiness. This feeling colored the artist's work in such unique colors, determined her Hobbies and allowed her to find her own, always recognizable painting "Mavrin" style. Among the easel works of the master's extensive creative heritage, one can distinguish still-lifes and landscapes, images of ancient Russian cities and portraits. The book graphics include numerous illustrations to Russian folk tales and the highly successful design of Pushkin's fairy tales. Like many other major masters of the XX century, T.A. Mavrina early felt the need for a deep study of Russian folk art. Children's impressions, seemingly forgotten, came to life after many years and, supported by an active collection of folk art, helped T.A. Mavrina to preserve her identity and originality in her art. The originality of the artist's creative handwriting was formed gradually, and it was not immediately found their own pictorial and plastic language, based on a deep knowledge of the laws of decorative folk art, understanding, national identity and beauty, enclosed in large and small forms, from the old monastery walls to a painted spoon or button. T.A. Mavrina perfectly mastered the techniques that distinguish the folk primitive – expressive decorativeness, flatness, brightness and juiciness of local color. Such were her splints, spinning wheels, and trays. A professional artist has mastered the secrets of artisanal craftsmen not for imitation, not for rough and vulgar forgery, but for creating his own colorful and joyful world. The tradition of her works is organic and natural and can be considered as an example of an extremely subtle and deep understanding of the peculiarities of national visual culture. In the early 1940-ies, T.A. Mavrina turned to a new motif – a complex architectural landscape, which was followed by a change in the method of work – not from nature, but from memory. The first were images of ancient monuments of Zagorsk (Sergiev Posad) and Moscow. After Sergiev Posad (Zagorsk), the first of the old Russian towns that T.A. Mavrina loved, many others followed. In the post-war decades, a series of drawings, watercolors and gouaches appeared dedicated to Suzdal and Zvenigorod, Rostov the Great and Vologda, Dmitrov and Kasimov, Uglich and Borisoglebsk. T.A. Mavrina was in a hurry to stop the beauty of the moment, sought, in her words, to portray "life itself", as it flows and will flow without a trace if it is not drawn".