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The American Journal of Social Science and Education Innovations
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8.106
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ABSTRACT
The article discusses the creative and stylistic features of the painter, academician of Art Academy of Uzbekistan,
People's Artist of Uzbekistan R. Akhmedov. There are given examples of the development of his genre, coloristic and
compositional methods of work with a brief description of techniques and ideas in different periods of his life.
KEYWORDS
Plasticity of the line, graphics, composition, drawing, pastel, psychological image.
INTRODUCTION
"The drawing is always a pole and a compass that
guides, lest we sink in the ocean colors, where many
drown, wishing to find salvation."- The French artist
Charles Le Brun asserted.
And Jean Dominique Ingres wrote on the door of his
studio: "Here will come the pupils whom I will teach
drawing, and painters will come out of here. The
outstanding teacher P.P. Chistyakov also spoke about
the role of drawing: "who is not being able to draw, will
not paint as it should".
Research Article
GRAPHICS OF AN OUTSTANDING MASTER RAKHIM AHMEDOV
Submission Date:
February 18, 2022,
Accepted Date:
March 02, 2022,
Published Date:
March 13, 2022 |
Crossref doi:
https://doi.org/10.37547/tajssei/Volume04Issue03-01
Farida Maksumova
Assistant Professor, Department “Theory And History Of Art” Of National Institute Of Art And Design
Named After Kamoliddin Behzad, Uzbekistan
Journal
Website:
https://theamericanjou
rnals.com/index.php/ta
jssei
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 04 Issue 03-2022
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The American Journal of Social Science and Education Innovations
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Publisher:
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These words as precisely as possible reflect the
creative work of Rakhim Akhmedov, a teacher and an
artist.
THE MAIN RESULTS AND FINDINGS
The works of outstanding artist R. Akhmedov are
remarkable, first of all, for their extraordinary skill of
drawing, a combination of plasticity of forms and
fidelity of tone and color. It is known that most great
painters, first of all, are great draughtsmеn. Their
plastic idea, the general idea of the composition always
arises at the stage of drawing.
Rakhim Akhmedov began teaching at the Institute in
1955 and many of his students remember the
importance the master attached to daily work on
sketches. He believed that it was necessary so that
students could acquire lightness and freedom of line,
so that they could "take" the form at once and transfer
it without corrections and the use of eraser.
Working on the sketches develops not the handicraft
habit of copying nature, but meticulousness of the
eye, the ability to set a plastic goal (from the memories
of Nigora Akhmedova).As the analysis of R.
Akhmedov's graphics shows, he had his own method:
in order to correct a line or make some adjustments
without leaving any streaks or traces, he drew a second
line next to it, a little further or closer, but then left
both without touching them with the eraser.
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Publisher:
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The subtle emotional and very personal side of the
artist's work are his childlike images: wonderful
portraits "Elmira in a fur coat", "Nigora with a badge",
"Khasan" and "Khusan in a red T-shirt".
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Numerous sketches, charcoal or sanguine drawings,
watercolors, bright and delicate pastel drawings
represent the artist's children. Here they are - October
Children with a badge on their chests, or students,
diligently doing their homework, reading something.
Over the years, the children appear mature, sometimes
thoughtful, a little sad, then active and independent.
R. Akhmedov, who could sketch quickly and
masterfully, managed to "capture" and sketch children
who were moving, never posing. In his drawings, he did
it easily, confidently, but always psychologically
expressive (1).
Rakhim Akhmedov said that in painting it is important
to have a plastic form, its volume, proportions, spatial
qualities. When a painter conveys these qualities of
nature, he is said to have a good drawing. If he doesn't
these qualities, the image will be evidence of extremely
carelessly executed painting, of the author's inability
to draw. This is what distinguishes Rakhim Akhmedov's
works, and creates his inimitable style.
P. P. Konchalovsky, considering the importance of
drawing and painting techniques, wrote: "A real
technique in painting is a brushstroke which accurately
and exhaustively conveys the form".
There develops not the handicraft habit of copying
nature, but the aptness of eye, the ability to set a
plastic goal in sketches. Before making a drawing
Rakhim Akhmedov advised his students to have a
good idea of what and how they want to depict. His
elegant, delicate sanguine portraits, with fluent
expressiveness of lines, convey deep and excited
feelings.
Rakhim Akhmedov created many self-portraits.
However, most of them are made in the graphics, not
in painting. His self-portraits are a kind of long-term
diary, full of keen observations, experiences and
revelations. They have a special sense of perspective,
when the artist conveys the character through the
features of his face, barely noticeable turns, bends. The
master is also able to capture and convey the tension
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of the gaze in self-portraits in full-face. The artist's gaze
is often turned to himself rather than to the viewer, as
if he is engaged in an intense internal dialogue.
In the later self-portraits of 2006-2008-s the tension,
inner drama, fatigue are more vividly manifested.
Without losing precision and expressiveness, they have
become few words, understated...
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The artist was drawn to the novelty offered by the
pastel technique, which combines the possibilities of
painting and drawing, especially since, as a painter, he
could develop many shades of each color in the pastel.
And in such graphic portraits as "Shakhnoza", "The Girl
with Pigtails. Khurshida", "Tahir", the atmosphere and
mood are more important than small details.
In the portraits the artist's elaboration of subtle shades
of color, work with shading or pictorial stain can be one
noticed. For example, in the portrait "Nigora" intensity
of bright turquoise color of the
dress, free strokes and plastic outlines give a portrait a
special emotional sounding, revealing the mental state
and expression of the model.
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Using a variety of approaches - the softness of pastel
pencil, shading, playing with spots, the delicate touch
of crayons on paper, a quiet color vibration, the artist
creates images filled with tender feeling. Such, for
example, is the portrait of his daughter Elmira.
In the works "Portrait of a Friend. Ramiz" and "Portrait
of Gani" the artist focuses on the faces to draw the
viewer's attention to facial expressions, expressions of
pensive eyes, and reveal the inner psychology.
In the portraits of the master we can feel the
atmosphere of psychological revelation and trust
between the artist and the depicted character. Hence
the naturalness of the poses, gaze and expression of
the face looking from the portrait. Rakhim Akhmedov
was able to bring the psychological complexity he
found in painting into the drawings.
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Especially beautiful are the portraits of his wife Karima,
a very wise woman, beautiful not only in appearance,
but possessing a huge intellectual potential. She
played a great role in shaping the atmosphere of
creativity in the family.
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Working at the Union of Artists, I noticed that during the meetings members were drawing. Rakhim Akhmedov was
no exception, as evidenced by the drawings of his friends and artists.
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Thus, a portrait gallery of fellow artists, cultural figures
appeared. Many of these images transferred
to the canvas, becoming the basis of the pictorial
portrait gallery created by R. Akhmedov.
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R. Akhmedov traveled a lot, fixing his impressions of
creative trips abroad in the sketches. In the works of
this cycle has its own unique style - the drawing is light,
relaxed, with a special sense of space, uniqueness and
beauty of architecture.
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CONCLUSION
Working in his favorite genres - portrait, landscape, still
life - Rakhim Ahmedov constantly sought to master
new graphic techniques, used pastel and watercolor ,
tempera and gouache. He was always in search of new
forms, new understanding of plastic expressiveness.
His students continue to pass their knowledge to other
generations of artists. As the Master said, "Life is short
- art is eternal".
REFERENCES
1.
Jadova L. Modern painting of Uzbekistan. T., 1962
2.
Art of Soviet Uzbekistan. 1917-1972. M., 1972
3.
Munz M. Rakhim Akhmedov. M., 1976
4.
Shostko L. Rakhim Akhmedov. M., Soviet artist.
1988. - 144 p.
5.
Adaskina N. 30s: Contrasts and Paradoxes of Soviet
Artistic Culture. On Sat. "Soviet art history'25". M.,
1989, p. 5-38
6.
Akhmedova N. Rakhim Akhmedov. M., Marjani
Foundation, 2018. - 524 p.
7.
Rakhim Akhmedov - Man and Artist. "Star of the
East" magazine. No. 5. 2021.
