Painting as a prayer of the spirit

Abstract

The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.