Write and be impartial in the assessment of creativity other, which you know more than 40 years, it is difficult. My friend — a well-known artist Vladimir Kim — master with the European coverage of life. But it always seemed to me that the beginnings of his creativity much from my childhood. I remember his stories about when a boy on the onion and rice paddies in the evening the fire he listened to the conversation захмелевших homeless people from Russia, worked in summer in evening drinks and food. These are broken, but often talented people very much in himself bore, and all their stories absorbed sensitive gifted boy, passing the great the school of life. The way to art In a. Kim was quite complicated. In the beginning of the path — study the art-graphic Department of the Tashkent state the pedagogical Institute, which he successfully graduated in 1970. (workshop Mr. Bannikova and N. Tena). Caught in a whirlpool life, fighting for a piece of bread, pursuing decorating work, he did not immediately came in the art of attraction to which lived in it constantly. Arriving in 1984 to me in Tashkent, Vladimir said, «Janis, look out the window! See the car, she is waiting for us. Let’s go, where you want to, and I’m with you — I want to be artist!». Knowing the nature of the other, I perceived that he had made a serious decision, carried out by a few decades. And then we took a long a trip to the ancient cities of Uzbekistan. And where we had been drifting in these the hottest month and a half in our car- Studio with a trailer loaded canvases and paints! Spending the night near the ruins of ancient ruins of Afrosiab in Samarkand, a long time talking with archaeologists, before we came to life bustling life of the ancient Samarkand. And in the afternoon, burning in the summer the sun, wrote all this beauty, perch in the heat and haze of the ancient caravan ways. Worked out of the way through covered with sand ruins of Varakhsha in the sacred Bukhara. Sometimes under my feet crunched layers of the broken shards ancient tiles — traces of ancient life centuries. Now she had forgotten all these hardships of the a trip. There was only one continuous legend, or rather, the fairy tale, dizzy from the beauty of the region, from the bright sun, from tense and not known hitherto paints. We were young and went through this the old caravan routes as pioneers. Then we understood that, of the all seen us cities for the best color — Holy Bukhara. In Tashkent In. Kim came back a different person. Reviewing the photos of those years, I I see him with me in many of my outdoor trips with the students. With him was always good and calm, we felt the shoulder of a friend and artist. Late identified in art, In. Kim quickly walked forward, mastering skill in virtually every a new canvas. He very rapidly took place the period of his late apprenticeship, constantly improving in the work. Effervescent mastered the school of realism in the Institute, especially in her not venturing, more gravitated to the color, but not to the plastic. And several simplifying the structure of his canvases, more found expression in the color system. I have in the memory of the great exhibition of the its 50 anniversary. She was amazed by its the volume and quality, it was many masterpieces, which subsequently went to museums and private collections. This exhibition In the. Kim put the end of all our and his fears. It became clear that there was one more this original master. Remember phone calls to the days of my student — uncompromising and clever Anna Ivanova, a great painter), in which she is constantly praised «several canvases with the exhibition of some Vladimir Kim». Long standing have paintings at the exhibition, I saw in them worthy successor of the great «фовис- tov». And the exhibition was preceded by a six-month creative zatvornichestvo artist in his workshop in Tashkent and two years in the mountains of Ходжикента, where he gained in the art of his face and his the style. The main creative interests In. Kim focused mainly on the genre of landscape. Subsequently, somehow, startled by the commercial success of their works, he asked a prominent foreign collector, скупившего party, his paintings: «Well, what do you like them? «. The collector said that in them there is a storm and stress. As the E. P. Melnikov, the wisest and a careful master, the aptly скаламбурил saw another powerful and widely written by a landscape. Kim: «Well, what! break into as good!» This was the share of the truth: «фовисты», and especially one of the the brightest representatives — M. Vlaminck, man temperamental, almost «reined in their horses». And although his canvases for its compositional the structure of подражательны (mainly P. Cezanne), but for the feelings of very the turbulent and exciting their color маэстрией. In Parallel M. Vlaminck led more and second line art, creating completed in the perception of realistic landscapes so masterovito, widely and passionately, that are perceived they like the work of the artist is already In XXI century. This is In. Kim at his best canvas: unpretentious on compositional the scheme, as if stuck on the этюдной form, but recklessly brave on the latitude of the letters and color range. In нихбольшая interior freedom, the scope and severity of the brave the color of the search: «Autumn Kumishkan», «Before the storm» (1991 g.), «Su-Kok» (1988).
Turning, or rather, even decisive, the moment was to work In. Kim with a group of artists-пленэристов — Yu. Chernyshev, E. P. Melnikov, Mr.. Sheen, And. Mirzaev and the author of these the lines I. Yanis Salpinkidi. The tone in this group in basically asked E. P. Melnikov — one of the Russian line «sezannistov» (Para. Konchalovsky, A. Lentulov, And. Kuprin and Osmerkin). On essentially, they were Kumir and In. Kim. It was during this period and laid the a new wave of interest in the art of genius Item. Cezanne, already on the ground Uzbek art. Cézanne touched not only the patriarchs of the Uzbek painting, such as Yu. Taldikin and E. Melnikov, but also a Mature E. Umarbekov in his wonderful canvas «the Road in Shakhimardan», as well as In. Kim and Yu. Chernysheva, Yes and a whole galaxy of my students (A. Ivanova, Yu. Ibragimov, III. Байбулатов, O. Залевская), which were in the middle of P. Cezanne, fruitfully learned lessons цветописи the legendary reformer. That’s why the talk about the Item. Cezanne and his place in art, I think it quite appropriate in this article. In essence, the next generation artists almost «not on scraps of separated» creative legacy of the great P. Sezanizm. It подкармливало not only post-Impressionists, starting with P. Gauguin. Even van Gogh in the South of France surprised expression and character his canvases. The Cubists, as it is known, continued, developed and strengthened it plastic deformation. I think, that Paragraph. Mondrian live the rest of his flat colored world, and sliced limited verticals and horizontals, based on naked and rigid structure of the canvases by Cezanne. Фовисты «seized» for temperament Cezanne. It seemed to himself, Paul Cezanne, him for a long time taming, thrusting their sensitive wildness of the coast of steel horizontals and verticals, but it temperament somehow broke and felt through his snare the dam of the plastic mind. But in his best works of Russian «сезаннис- you» mastered more realistic plein-lessons Cezanne, they were transferred his methods of work, they have continued this his life-giving line. The charm and the intensity of emotions in the canvas In. Kim, written widely, intense, sometimes discordant flowers, not would be convincing, if under this layer opened in color planes not lay subtle tones, which, in the merits, and create a bed for the upper, open the color layers. It is obvious, this was preceded by a period of work for the soft gradation, Valera, who and laid invisible color environment for his future фовистских canvases. In this the spirit of written nearly a dozen paintings, dedicated to the city of Bukhara (the»Bath Alla Uli Khan», «Street of Bukhara», etc.), which are a mansion on the relation to the whole work In. Kim. Amazing for the thin pale flowers coloring Bukhara allowed finely sentient state of nature an artist does not strengthen and enrich the palette, and write this series in a thin nuanced monochrome, which makes his work lighter and lighter in the perception. It is appropriate here to recall and mysterious canvases of the great Item. Cezanne the transitional period (the»Black watch» and etc.), written also gently on gradation, выбивающиеся, on the first look, from the cold of the concept of the great the wizard. Artists in Europe already for a long time write with nature, which replaced the the picture and the more advanced visual equipment. It would seem that in plein air work is a kind of anachronism and the backwardness of our creative thinking, but it is only at first glance. Art is also moving forward on the spiral, and full-scale work, practised artists Uzbekistan is a reaction to the a future photoproduction, which is a substitute compared with direct contact of the artist with a comprehensive nature, giving it a wide range of pulses and practices picture, писанную with nature, a kind of battery emotional and spiritual energy drawn from the direct contact with it. Example — the creative path of the expressionist van Gogh, one of the favorite artists In. Kim. The main postulates of expressionism somehow meet not only the inner mental structure and perception of the world In. Kim, but also its creative and aesthetic tastes as of the artist. Hence, the characteristic of his the canvases expressive latitude letters, openness and the intensity of the color the failure of paintings, effervescent execution, forsifikatsiya feelings. Expressionism, in particular more its the German version that was sort of a cry of the soul, in which echoes nature had a very detached character. And although there is a certain the similarity of works In. Kim with German expressionists (especially in the period of his stay in Germany in the 1990s.), there is one fundamental difference — they are in the the majority of its full-scale, i.e. written in a direct contact with the nature. This makes them very convincing, fresh and rich life. Nature to be In. Kim is the mother-earth, filling the canvas of life juices. He managed to find the measure of immersion in it, which gives an ability to free expression and even their own sensations, not by the artist slave of nature. Most of the creative heritage In. Kim is in Europe, where he regularly travels and where he created a lot of work. This is a special page in his creative work. Language canvases became architectonic, stricter, echoing the Gothic architectural the landscape of the ancient cities of Germany: «Salt warehouses», «Lubeck», «A boat with a white sail», «Destinations Hamburg». A kaleidoscope of canvases, in which even more simplified the color. Recalling the best canvases N. Goncharova, » in all expression, hlestkost and limit the wholeness. And, that is surprising, in all feel the heat of the sun, the heat, the worked out by the artist in Asia. Neuemnost, courage and hard work In. Kim me always a pleasant surprise, and sometimes, simply amazing. In 2000, leaving on his personal exhibition at the Moscow (held in the building of the Central house of artists),
In. Kim took with him only a roll of pure canvas, and before the exhibition was about one and a half months. But he is for the time managed to travel around Moscow by the «Golden ring» and write a nice series of works with Russian churches, birches, making some fresh impetus to the perception of Russian nature and antiquities. Then added to these works pictures variations of its Asian canvases, writing in this short period of approximately 40 works, with a very of interest to the Muscovites exhibition. Their temperament and the rate of work In. Kim reminded me then young Martiros Saryan, which also (in the 1920s.) effervescent wrote and exhibited in Paris, a series of canvases — memories of Armenia (unfortunately, lost), pleasantly surprising the Parisians. In. Kim — always in the way. The artist with Eastern mentality suddenly on 2 month (in 1999). left in the polar region, where, working in harsh conditions, wrote amazing color and restrained by colouring of a series of canvases. The Central part of one of his triptychs depicts the white moon, breaking through a split the ice. Semi-Abstract solution the paintings filled with his symbols, cold The crystal and simplicity. This series, perception, reminds the story of Richard Bach’s «the Seagull on behalf of Jonathan Livingston». The works of the modern period In. Kim, no doubt, search as in General and all of his work. The outlines of the other landmarks. So, a few canvases, each of which there is a as if by itself, located in the staggered under one frame and combined General idea, and accounted for, on ideas of the author, a single organism. One of the them — the triptych «good Luck», in which it is planned an interesting synthesis of the East and Of the West. However, it is somewhat milder inherent In. Kim energy fuse and the color voltage. Ends series complex web of between the the canvases of the triptych «Auto-Ban». In it highly structured space; dynamic vertical and ovals plant forms are faced with a fixed rectangular format connected one with the other canvases, creating a conflict. Part of the this triptych in the context of the whole creation more cerebral, in the fine the art they occupy the niche between F. Leger and P. Mondrian. I think, that we are on the threshold of new color and plastic discoveries In. Kim and, as always is the undoubtedly talented artists, for us they are the revelations. It is difficult to comprehend the work of this uncontrollable максималиста artist and man, behind which shoulders — hundreds of canvases, always different in language and style. Much remains outside the scope of this a small article, it is possible to be this the raging river, or rather извергающийся volcano, covered by the human eye. But striking in The. Kim yet, and that he always keep abreast of the modern life, feeling the subtle her fluctuations reflected in his works. He lives in a world of colours, representing their the creativity of the color of the life.

Janis Salpinkidi