Source: https://kingsgalleryhk.com/2011/09/13/evgeny-yusov/
Timestamp: 2019-04-24 10:09:30+00:00

Document:
Now living and working in Nizhny Novgorod, Yusov was born in 1945 and graduated from the Gorky Art School in 1970. Since 1972, he began to work actively and participate in exhibitions, included the member exhibition of “Big Volga” (1991, 1998, 2003), regional exhibitions “Autumn Opening Day” (1994-2007). He was the member of Russian Union of Artists since 1993 and the Board of Nizhny Novgorod Union of Artists since 1997. Many works of him are in collections in Europe and America.
In 1960 I started my days at the Gorky Art School. That was the heyday of our school, there came the young people from literally all over the country, age of students was very different, some are fifteen as I do, some are adults or family men who are thirty. The quality of work at that time was quite high. In the late 1950’s – early 1960’s, Russia was in an influx of information about the world of art, and this had an effect on us, like a mirage and fairy tale. French painting conquered us and it was everywhere. Along with paintings, the world we face throughout the breadth and depth of Russian national art, especially iconography and the art of the nineteenth and twenty centuries. And as a matter of following paintings appeared literature and music.
When I first got to the opera, it was conquered by all this magic synthesis of arts, where music reigned. Since then, the music for me is all the things living and feed my creativity. How life is fascinating, the beauty I see, with the confluence of art and music, overflow one into another.
I remember in those days, a great impression on me by the Impressionist music (Ravel, Debussy), then paintings – Post-Impressionists, from Gauguin, Denis, Puvis de Chavannes, to the music of Scriabin, Stravinsky and Čiurlionis. Symbolists appeared (Stuck, Becklin), then back to the Russian art (Roerich – Theatre – The World of Art). Then further to Mussorgsky; deeper – German music, next to her, of course, philosophy, and then Italian music – Renaissance – The Middle Ages.
And for ideas – like the music, the endless transition of one form to another, one state to another or to many different, are transformed into sensations, dissolving in the realm of the subconscious … All this I lived with, eighteen, the year I juice and eating the big hops in this cultural city.
In 1963, a well-known event happened, after the article Il’icheva, we began a repression. One after another began to drive out, the last, the eighth, was certified was I. It was a severe blow in my life and all my friends who like me, have been subjected to the cruelest ostracized. Not all survived. Five years after the army I went back to school. Everything has changed. In 1970 I successfully graduated from the school.
There were many losses and defeats in the period from 1970 to early 1980’s. In 1983, I suddenly awoke, as Kandinsky his first abstract watercolor, I painted a picture “Barents Sea” in a new, a decorative style. It was a godsend – a way that is possible to achieve that fusion of music and art, about which I dreamed.
1998 – State Institute of Art (Moscow). Personal exhibition.
In 1998 – Gallery Interkolor “and” Lasta “(Moscow). Group exhibition “Sources” (with B. Kalinin and V. Tyrdanovym).
1999 – Jubilee Exhibition of artists of Nizhny Novgorod (Moscow).
2000 – Exhibition Centre (Nizhny Novgorod). Group exhibition “Space of Free Creativity” (with V. Tyrdanovym, V. Wrekin, Yu Pridanovym, V. Fufachevym, A. Iniutin Y. Kuzmin).
2001 – School. MV Lomonosov Moscow State University (Nizhny Novgorod). Personal exhibition.
2003 – Museum of UNN. Lobachevsky (Nizhny Novgorod). Personal exhibition “Harmonic improvisation.
2004 – Exhibition Hall “Stroganov” gallery (Nizhny Novgorod). Group Exhibition (with V. Tyrdanovym, V. Wrekin).
2005 – Exhibition “Harmonic Improvisation”, Nizhny Novgorod State Art Museum.
Baikal range. Oil on canvas. 51 × 73.
Portrait of wife. Oil on canvas. 42 × 36.
Portrait. Gouache. 42 × 36.
Portrait NV Kolesnikova. Oil on canvas. 70 × 50.
Portrait VG Kolesnikov. Oil on canvas. 70 × 50.
August. Oil on canvas. 110 × 130.
The house of my childhood. Canvas, oil. 130 × 130.
Portrait of E. Frolova. Oil on canvas. 110 × 70.
White stones. Oil on canvas. 87 × 80.
Still Life with a cow skull. Oil on canvas. 76 × 94.
Gorohovets. Triptych. Canvas, tempera. 100 × 61, 100 × 95, 100 × 61.
Artist. Cardboard, tempera. 130 × 280.
White and red. Oil on canvas. 47 × 67.
Exodus. Triptych. Oil on canvas. 100 × 55, 100 × 80, 100 × 65.
Baikal. Oil on canvas. 65 × 116.
City-temple. Triptych. Oil on canvas. 100 × 60, 100 × 95, 100 × 60.
Stairs. Oil on canvas. 50 × 70.
Lamentations. Oil on canvas. 100 × 80.
Heaven and earth. Canvas, plywood, oil. 70 × 70.
Still. Oil on canvas. 59 × 80.
Women. Triptych. Canvas, oil. 135 × 75, 100 × 100 135 × 75.
Fallen. Paper, plywood, canvas. 75 × 75.
And embrace my water to my soul. Oil on canvas. 75 × 75.
May. Oil on canvas. 1993 × 108.
Sleep. Oil on canvas. 94 × 100.
June. Canvas, oil. 100 × 155.
Artist. Oil on canvas. 102 × 175.
White banners. Oil on canvas on hardboard, oil. 117 × 110.
Tale of the lake. Gouache. 25 × 55.
Lady. Oil on canvas. 75 × 75.
Triptych “golden dream”. Gesso, oil. 50 × 70, 60 × 45, 50 × 70.
1. Songs. Oil on canvas. 116 × 98.
2. Songs. Oil on canvas. 116 × 98.
3. Songs. Oil on canvas. 146 × 90.
Song of the old man. Oil on canvas. 90 × 146.
Poet. Oil on canvas. 98 × 130.
Rider. Oil on canvas. 50 × 60.
Ivan. Fiberboard, oil. 55 × 46.
Olga. Fiberboard, oil. 55 × 42.
Ilya Plekhanov. Fiberboard, oil. 60 × 45.
Gust. Fiberboard, oil. 90 × 67.
Knight. Oil on canvas. 75 × 75.
Portrait of Purihova. Fiberboard, oil. 68 × 64.
Oath. Oil on cardboard, oil. 74 × 50.
Women-II. Triptych. Oil on canvas. 75 × 50, 75 × 75, 75 × 50.
Call. Hardboard, oil. 90 × 70.
Make A temple. Oil on wood. 90 × 70.
Pink room. Oil on canvas. 77 × 88.
1. White beach. Fiberboard, oil. 70 × 100.
2. Tale of kings. Fiberboard, oil. 80 × 60.
3. Golden sunset. Fiberboard, oil. 70 × 100.
Eugene Yusov‘s works clearly fall outside the Box of “good” and “recognizable”. The principle of similarity in the relationship. “ art – man “works now, except that in the utilitarian and read only” simple “,” market “a spectator who buy now in tone, but not for the profound aesthetic experience. Transformation of the visible world in the visual arts – a serious matter. So I need it to modern audiences, and to what extent? Is it appropriate to speak here about the measure at all, because for the true artist is always tempting measureless measures, though the ancient people and were taught that “the measure – higher? All the daring avant-garde became classics. Culture, making the galactic spiral, back “to square one,” the classic portrait of the traditional landscape (this is not meant kitsch, but the work of masters) – or not closing the circle, Torit road next?
Look at some horizon paintings. The real innovators little. Originality never turned into art. In art mass satellites, and the untrained eye can easily be confused with a fake diamond. And what is innovation in the visual arts? Tried, it would seem, everything: from the nails and hoses Gunter Yukkera to sticking to the canvas documents from Ilya Kabakov. Conceptualism is the history of art, he lived through the day.
Painter Eugene Yusov, now living in Nizhniy Novgorod, knows what to say through his paintings. Spectator, side by side with his pictures, is immersed in them, as in music: layering of shapes and color spaces, scumbling and contrasts create the effect of motion and sound (hearing). At first glance, abstract colored flashes of sudden highlight, from the inside, the real picture of the world, its space integrity. What is the mystery of artistic Yusov and permissible if “razyat” her study of art terms such as surgical knives?
World Usov is material and intangible. Materiality is glimpsed in him initially; modeling recognizable realities outside world through colored spots, gives the viewer the opportunity to stumble eye on “native” in the abyss of color associations. The game of color forms in Yusov – not gessevskaya “The Glass Bead Game”. It is subject to strong wave: not nastroenchesko, impressionistic, and directional thinking. If you have a thought, the wealth of emotions will колористически “cling” around the mental images. Yusov gives the title of work, and they are on associative thinking. In the triptych “The city-church” we consciously see the walls and towers, and the “clash” is tragically cool, green and purple, then violently, passionately warm gold, red, paint – kraplaka, cadmium red, yellow strontia – are in tension whether past, or future battles for the shrine. In “Still Life with a cow’s skull,” we will look in vain skull in the game strong, light brush strokes and patches of light, in the spaces pasty texture, the contrasts of dark swamp and soft ocher, until suddenly will not see him lying on the tablecloth, on the edge of the table in surrounded by a mysterious utensils and draperies – to a second loss in front of brilliance again and scattered on the canvas of colors! Usov’s canvases are not kaleidoscope. The image is set powerfully. This is not impressionism, happily brighten recognizable shape. Usov flashes recreate the reality of breathing, alive. He erects the impression of a strong structure with improvisation pictorial expression.
In this exhibition, unfamiliar to us the painter from Nizhny Novgorod is nothing provincial. Embodied in the broad spatial compositions of bold moves fantasy actively resist rutinerskomu equilibrium, so kindly today many of those who exhibited in the Moscow exhibition halls. Maybe somebody will not like this monumental proportions, it is the design and the pairing of free flowing, scrap and regain the integrity of forms, it is striking and elegant fading light. Yusov clearly violates accepted now, especially in the art-basis, the rules of the game. No fashion for originality, but there is really an original artist.
Whether he was late or gone forward … not the most important for this talent to stay in the current fairly standardized panorama fit in a row.
In painting Yusov is freshness, excitement, passion. He is building a huge tower like Babel. Invites to look into the unusual architecture of halls, where, after the destruction of all fanned by the cold and exclusion, and the landscapes drawn into the world of childhood, creates songs that are close popular rites. All this is not immediately covered by the eye, requires painting ideas, but a strong and credible force itself plastic. The surging rhythm of symbolic decorative panels Yusov can illuminate the space of large modern interiors, to overcome the routine, to answer the human dream.
Eugene Yusov far from any kind of sensuality. It is monumental but decorative and symbolic context, especially when it turns repetitive motion and rhythm, connection and control of different configurations of layers of color. The beautiful architecture, picturesque plastic successfully replaced by Yusov figurative design, causing the association with nature with nature, theater, music. Mergers and overflow of painting and music can be called an internal momentum of his art. In a number of plastic moves visible dynamic pairing of the sixties. By this time, tending to a large extent, the very concept Yusov – romantic movement to new horizons, enthusiastic creation.
Art Museum opens solo exhibition Eugene Yusov “Harmonic Improvisation” dedicated to the 60 anniversary of the artist, the identity of the complex and extraordinary. Painting of Usov is bright and unique, one picture seems like conglomeration of fragments flying worlds, the euphony of sounds, for every other picture sounds like a song, whose meaning is revealed to those who possess inner ear.
In “Harmonic improvisation” Yusov created the pictures of the music of Alexander Scriabin, and Sibelius. At one time, Scriabin tried to influence the audience more, through music and light, denoting the score moments of lighting the room in different colors. In addition, certain of his sonatas were preceded by a detailed introduction, entitled “State of mind”. Probably Yusov chose Scriabin as a collaborator with himself. If his music sounded in the hall of the exhibition, audience will hear through the inner ear and opens the third eye to see a conglomeration of multi-colored cone shapes, outlines of the lady, knight, age-old linden trees, women in the garden of the Magi … But even without these visions, audience can get pleasure from the harmony of color chords, then sharply contrasting with each other, then amplifying the sound of any one of the main tone in the picture.
The founder and theorist of abstract non-objective art Wassily Kandinsky believed that color masses, spots and lines can excite us without intermediaries – images or objects, as a symphonic music affects human emotions.
Usually, works of “Harmonic Improvisation” for other artists do not have names, just numbers. But differences for Usov, he tries to recast the music in pictorial images. In a sense, this work is akin to the experiments of the alchemists, who tried to recast the usual elements in gold. Only Yusov’s “experiments” are not produced in crucibles, improvisation of his paintings is difficult to call, since some of them were created over the years: nine years – “June”, six – “Dream”, for four years – “Clouds boats” … And the involvement of a number of paintings to the music shows the rhythm of the color bands and the threefold like a symphony, a form of triptychs: “City-Temple”, “ Conviction”, “Song”, “Exodus”.

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