Is Tatyana Nazarenko a representative of “official” art?

Tatyana Nazarenko (*1944) - “queen of the Union of Artists” in her interview talks about the difficult fate of the “left” artist in yesterday’s official Union. More than once her works were censored by loyal art officials and removed from official exhibitions. It was believed that Nazarenko was “disfiguring the Soviet people.” Today, according to the artist, there is a danger of new lack of freedom. The art market begins to dictate to the artist “what and how to do.”

Credo:
“I do the same thing all the time, varying the same theme - the theme of loneliness. Loneliness seems to me to be one of the most significant human dramas. In different works: in large historical canvases, in portraits or genre paintings, this theme determines a lot in my canvases. Make people to think, to call them to sympathy - this is the main goal of my work."

Born, lives and works in Moscow.

1968 - graduated from the Moscow Surikov Art Institute.

1969 - 1972 - worked in the workshops of the Academy of Arts.

1969 - joined the Union of Artists of the USSR.

Since 1966, he has participated in numerous exhibitions, including foreign ones.

1976 - First prize at the international competition of young painters in Sofia.

1987 - Silver medal of the USSR Academy of Arts.

1993 - Laureate of the State Prize of the Russian Federation in the field of literature and fine arts.

My first acquaintance with the work of Tatyana Nazarenko occurred somewhere in the mid-1970s. I was then a member of the youth section of the Union of Artists. The young art historian shared with us her thoughts on new trends in Soviet painting. When the image of Nazarenko’s painting “The Partisans Came” (1975, Ministry of Culture of the RSFSR) appeared on the screen, exclamations of surprise were heard in the hall. Someone immediately began to attack and sharply criticize the work. Her decision was strikingly unusual. The scene of the removal of the tortured from the gallows was represented as the removal from the cross on the canvases of the old masters. And this is in a country of atheism. It was obvious: a bright individuality, a serious, searching artist had come to art. Very soon Nazarenko will become one of the leading artists of the generation. She will receive awards, praise, but also often criticism and rejection. First impression. How small she is. And at the same time literally radiating energy. And also the unusually bright blue of her eyes.

Am I so small? “I always considered myself so powerful,” the artist laughs.

My dad is a military man, my mom is a doctor. My grandmother raised me because my parents constantly had to live in different cities. And I lived with her in Moscow.

Grandmother will forever remain the main person in her life. When Tatyana has a son, she will help “raise” him. Nazarenko will constantly write it. In the painting “Morning. Grandmother and Nikolka” (1972, Directorate of Exhibitions of the Union of Artists) she depicts her carefully protecting her grandson’s sleep. The artist compares two worlds - the wise and kind world of old age and the carefree one, when every day is a holiday and discovery - of childhood. She carefully and lovingly writes out each of the countless wrinkles on her grandmother’s face and her sad and affectionate eyes.

Nazarenko's childhood was a normal childhood of a child from a “good” family. Music school. At the age of 11 she entered art school.

- Did your parents react calmly to your choice of being an artist?

They didn’t react at all. I entered art school, well, I study and study. True, when one of my friends said that an artist should have a rich husband or rich parents, this alarmed them. They were very worried that I would never earn money and would have to feed me all my life.

Now, after I became a State Prize Laureate, they took me seriously. But in general, my mother still sometimes says, it would be better if you graduated from a radio institute and were a normal person. It so happened that Tatyana’s class at the art school turned out to be unusually rich in talent. Natalya Nesterova, Irina Starzhenetskaya, Ksenia Nechitailo became her classmates and friends. Each of them will subsequently find its own unique style, a world of images. Today they are all recognized “masters” of art of the 1970s - 1980s.

For Nazarenko and the artists of her generation, the period of formation and maturation coincided with a wonderful, unforgettable time - the period of the “thaw.” It was a time of hope. A time of genuine revival and exploration in culture and art. I will forever remember my first encounters with modern Western art. In the late 1950s - early 1960s, exhibitions of Pablo Picasso, Fernand Léger, and contemporary American, English, French, and Belgian artists took place in Moscow and Leningrad. Crowds of thousands besieged museums. People have been queuing since night.

One of the most powerful impressions of those years, Nazarenko recalls, was the exhibition “30 years of Moscow Union of Artists”. On it, next to the well-known one, we saw such Soviet art, the existence of which we had not even suspected.

The works of young left-wing members of the Union were also shown there: Andronov, the Nikonov brothers, etc. Subsequently, they would be called masters of the “severe style.” Then she, an aspiring artist, and her friends could not even imagine that they would have to continue the struggle begun by the “sixties” for the further renewal and humanization of Soviet art.

Then he will study at the Art Institute. Surikov. Already during my studies, I realized that defending myself and my understanding of art would not be easy.

- “At school, and then at the institute, there was a certain ambivalence in relation to our work. We were required to live like the Wanderers. [...] Here is the story of how I wrote my diploma. I took the topic of motherhood. I knew for sure that I wanted: in a yurt there are two women - a young one and an old one - at a cradle with a child. Illuminated figures, a black background. The idea of ​​​​"The Adoration of the Magi." life, you don’t know the happiness of motherhood. A black background is not possible when solving such a theme. Darkness is denial. You have a lot of natural materials - follow nature." I obeyed - the result was work that I would not have done differently if I had not been convinced."

In her quest to create “real” art, Nazarenko, like many seeking artists of her generation, turns to the traditions of classical art. Its main “teachers” are the masters of the Northern Dutch Renaissance. No matter how far the young members of the Union went in their searches, there was always a certain limit, a limit of permissibility: they had to remain within the framework of realistic figurative painting.

- You received an academic education. Is realistic art truly yours?

Maybe it wasn't mine. At the time I was studying, we didn’t know that we could work differently.

- Some artists found the courage to break with the Academy and its system. (I cite the example of Leningrader Elena Gritsenko, who successfully graduated from the Academy and then abandoned her career as an “official” artist and linked her fate with the underground).

This requires character. I had a main person - my grandmother, whom I did not want to upset. And some things - leaving the institute and something else - could not even occur to me, because this would be the collapse of my grandmother’s foundations. I was friends with many underground artists, I was in close contact with Kabakov, Bulatov, Vasiliev, but I couldn’t afford it. Also, for realism, I had many options.

- Already your first works that appeared at exhibitions differed from the usual, traditional ones. Was there a conscious desire not to follow the beaten path?

I recently visited the Surikov Institute. I just couldn't believe my eyes. The building itself was updated and rebuilt. We are now in the mid-1990s. There are paintings and drawings from the very right wing of the Union hanging there as samples. It seemed to me that they had not existed for a long time. We learned from others. The same Zhilinsky. With his help, we discovered the Renaissance and were in awe of it. This gave rise to my passion for Bosch, Bruegel, Masaccio, Uccello. Their works are still the pinnacle of art for me. Until now, when you’re sad or something doesn’t work out, you look at how “canon” Van Eyck’s ear is painted and you immediately want to do something similar.

The masters of the “severe style” portrayed “an ordinary person in an ordinary environment.” Their characters manifested and realized themselves in everyday work and in social contacts. The hero of the seventies is less clear-cut, more prone to reflection. The pictorial structure itself is becoming more complex. The “openness” of the statement is replaced by allegory, metaphor, and allegory.

We meet the new hero and this two-dimensionality of the narrative in the group portraits created by Nazarenko in the 1970s (“My Contemporaries,” 1973, Saratov Art Museum named after Radishchev; “Moscow Evening,” 1978, Tretyakov Gallery). Their heroes are the artist herself and her circle of close friends. Her work is autobiographical and self-portrait. Her own fate, the fate of her loved ones, and the life of her generation become the artist’s leading themes.

In "Moscow Evening" Nazarenko recreates the confidential creative atmosphere of friendly gatherings of young seventies. At dusk, several artists are sitting in the studio. “The seven-string ringing of a guitar” evokes thought. Outside the window is Moscow. In the distance you can see the towers and domes of the Kremlin churches. Out of the darkness emerges the figure of a beautiful stranger in a powdered wig - a character from one of the famous Russian portraits of the 18th century.

In these works the main features of Nazarenko’s always recognizable style have already clearly emerged. A careful, loving recreation of the signs of the surrounding world, bringing her work closer to the works of the old Dutch masters. Grotesque exaggeration of characters. The lessons of Bruegel, Bosch, and Russian folk “primitive” were reflected here. Critics will accuse the artist of “disfiguring Soviet people.”

- “They tell me: the people in your paintings are some kind of grotesque. I don’t agree. We always exaggerate our strengths and downplay our shortcomings. I just see people as they are. And this is not always beautiful.” Over time, the theme of loneliness and disunity grows in Nazarenko’s work, often combined with images of general fun, the artist’s friends gathered for a feast, carnival (“Tatiana’s Day,” 1982, private collection, Germany; “Carnival,” 1979, Directorate of Exhibitions of the Union of Artists). Carnivals, masquerades, folk festivals are one of the favorite subjects of the “seventies”. This is a kind of metaphor for acting and at the same time disunity, loneliness in the crowd and the search for contact with others.

At one time, the entry of masters of the “severe style” into art was not easy and caused heated debate. Then they got used to them, their searches received “official” recognition, many of them became masters. The same thing happened again with the most courageous, talented, searching "seventies". Now attacks from criticism have become their lot. Favorite accusations were accusations of “closedness” and “obscurity” of their work.

- “Maybe if I had been born a decade earlier, I would have been with Popkov, with Nikonov. And the sixties would have been the most wonderful years for me. They were frank... Why is it unclear with the seventies?... The pathos of the harsh everyday life had to go. This is a natural change. Spirituality, closedness, writing came... This came in contrast to the hero of the sixties with an open chest: “look what I am!”... The 70s forced us to resort to allegory: an ambiguous time. , when it seems like a lot is allowed, and at the same time again, no, everything is closed again."

Tatyana Nazarenko works in a variety of genres. And almost from the very first steps he tried himself in a historical film. Historical or thematic painting was given a leading place in the art of socialist realism, as before in academicism. It is significant that in Soviet art it remained the privilege of the male artist. Starting with “The Execution of the Narodnaya Volya” (1969-1972, Tretyakov Gallery), each subsequent painting by Nazarenko on a historical subject becomes an event. In contrast to the traditional historical paintings of socialist realism, which were an edifying example of the “heroic” past, the historical picture for Nazarenko became a dialogue-reflection addressed to the viewer-interlocutor about the past and its indissoluble connection with the present day, about history as an ever-repeating tragedy of loneliness. The artist’s heroes are individuals who acutely sensed the injustice of the surrounding reality, entered into the struggle to change it and came across a wall of misunderstanding. Her famous diptych “Pugachev” (1980) is about this.

The rebel, the leader of the peasant uprising, Emelyan Pugachev, is being taken in a cage to Moscow for execution. The artist does not seek to reconstruct the event. The central scene is reminiscent of popular prints and ancient oleographs. A simplified, toy landscape, doll figures of soldiers in bright uniforms. By resorting to this convention, she deliberately distances herself and the viewer from what is happening. This happened once upon a time, a long time ago, says the artist. The second part was written in a completely different, careful manner, reminiscent of the “tricks” of the 17th century. It presents ancient portraits, documents, tomes dating back to the era of the reign of Catherine II and the Pugachev rebellion. These are “eyewitnesses” of the event. With their help, everyone can revive the past for themselves and get closer to it.

- “My historical paintings, of course, are connected with today. “Pugachev” is a story of betrayal. It is at every turn. Pugachev’s associates abandon him, dooming him to execution. This always happens.” The life of even the most “left-wing” artist, a member of the Union, was burdened with inevitable duality. To be “visible” and to participate in exhibitions, one had to make compromises one way or another.

- How did you manage to remain yourself and still show your work?

I have always clearly distinguished between what I write for myself and what for exhibitions. What I did for myself was without any hope that I would ever be able to show it. The first exhibition where I was able to show any of this was in 1975. A commission came and removed 3 works. I decided that if they removed 5 main works, then I would refuse to participate altogether. Then maybe my life would have gone differently. But they left these 2 jobs, software for me. They started talking about this exhibition... In general, I showed all my works only in 1989, at my first personal exhibition.

For all the “closedness” of the seventies, in their works one can often feel a desire for contact, a readiness to open up to an attentive, interested viewer. One of these “confessional” paintings was Nazarenko’s triptych “Workshop” (1983, Tretyakov Gallery). The artist introduces us to the “laboratory” of her creativity. On the left side, she depicted herself sitting with her back to the viewer, immersed in work. The central part presents the very process of the birth of the painting. As if from oblivion, translucent figures of future characters appear on the canvas. They materialize before our eyes and acquire specific features. Numerous objects in the studio tell about the artist, her world, her passions. On the wall hang a cast of Pushkin’s death mask, a female portrait of Cranach, and, of course, a reproduction of a portrait of “canon” Van Eyck, Nazarenko’s “main” teacher. On the desk there are old books, a candle, an icon. The right side shows an open workshop window. On the windowsill there is a guitar, tubes of paint, a bottle of solvent. Outside the window, the evening Moscow is clearly visible.

- You have a family, children. It must have been difficult to combine both of these roles?

- Of course, it's difficult. I broke up with my first husband because he gave me a choice. It was just then that I gave birth to my first child... (here she sighs, then laughs) This is very difficult to remember. At that time I was studying in the workshops of the Academy of Arts. I had to either sit with the child or move in with my grandmother, who was looking after him. It's always more difficult for a woman. All my life I have been torn between creativity and children. More than once, the children of famous writers, actresses, and artists subsequently, in their memoirs about them, settle scores with their mothers for their deprived childhood, reproaching them for their selfish concentration on their creativity. In “Self-Portrait with Son” (1977, Ministry of Culture), next to the artist sketching something in a notebook, completely absorbed in her work, stands her eldest son Nikolka. The boy watches carefully, with curiosity, as a blank sheet of paper comes to life under her hand, turning into a landscape. But jealousy also creeps into the son’s gaze. Perhaps the artist’s eye involuntarily recorded the first shoots of a brewing conflict.

- Did your children feel disadvantaged?

Terrible. About two weeks ago there was a program on television in which my children were interviewed. It always seemed to me that I was torn between work and children, that I was devoting a lot of time to them. The eldest is already 24 years old, the youngest is 8. Both of them, independently of each other, said that I pay little attention to them. The younger one said that he was being raised by his grandmother: “And my mother is a wonderful artist, and mostly I go to her opening days.” What a nightmare. The eldest said that he did not want to be an artist because his mother spent all her time in the studio.

- It turns out that if a woman devotes herself entirely to creativity, no matter how well she treats her children, they still feel deprived

No, this is not forgiven. They suffer madly. I didn't plan my family. Children are always created by chance. She gave birth to her second one deliberately. And now I take a lot of time away from work, because I understand that many people make art, art can do without me, but he cannot do without me. But, as it turned out, this is not enough for him.

Since the late 1970s, the theme of the artist’s vulnerability, “nakedness,” and defenselessness before the judgment of a lazy and indifferent public and those in power increasingly arises in Nazarenko’s work. She already clearly sounds in one of her best self-portraits - the painting "Flowers. Self-Portrait" (1979, Tretyakov Gallery). Almost the entire space of the canvas is occupied by a bouquet of fresh, golden lilies, and on the wall is a reproduction of a painting by Van Eyck, whom she idolizes. The artist stands pressed to the edge of the canvas, with her eyes downcast and her arms outstretched limply, turning away from what usually pleases her so much and serves as a constant source of inspiration.

This theme becomes the leitmotif in "The Circus Man" (1984). At a dizzying height, above the roofs of houses, an artist dressed only in a bikini balances “without a safety net.” Below, the audience applauds her risky performance. These are officials from the Union, dressed formally: dark suits and ties. Nazarenko endows their images with recognizable portrait features. Without knowing the specific circumstances that contributed to the appearance of this work, it could well be considered among works related to feminist discourse that thematize the role of women in society.

I still don't understand this feminist movement. To me this is nonsense.

- Your “Circus Girl” could well be called a “feminist” work.

I have a happy creative destiny. So, I started traveling abroad quite early. And then, when they suddenly tell you: “You won’t go anywhere else, you won’t see anything, you won’t exhibit.” So, then I wrote “Circus Girl.” What kind of feminism is that? I was a member of some women’s clubs for some time. It’s not interesting to sit with women and discuss some matters. I have so little time at home. In the West, of course, they have their own problems, but they live much better after we bought a house in the village. I understood what the Russian people are. Before that, I didn’t know this. If we take Germany and America for comparison, this is a completely different level of life, starting from toilets, roads, televisions, rags. Western women can sit, chat, think about whether to stand up for their rights or their children, or for greening, or for the freedom of sexual minorities.

- For me, for example, the “discovery” of forgotten writers and artists, to whom we owe feminists, was very important. The feeling that women have a tradition in art gives confidence.

I believe that women's creativity is an exception. This is an abnormality.

- But any creativity, to some extent, is an abnormality.

Yes, in principle, creativity is always an abnormality. And female - to an even greater extent. Children suffer from this. It is not normal for a woman not to have children.

- If we talk about artists and writers, even today it is much more difficult for them to break through.

I have never encountered discrimination. Maybe only at the dawn of my youth, when I wanted to get into a monumental workshop. I was told that its leader, Alexander Deineka, does not want to have girls in his workshop. Then Elena Romanova studied with him. Maybe it was just a rumor, and if I had been more persistent, maybe I would have gotten there.

- Western artists are much less likely than their colleagues to be included in prestigious exhibitions; large galleries are still reluctant to exhibit works by women.

Well, what is important?

- No, rather, unconsciously.

Of course, unconsciously. Because, as a rule, female artists are worse. Because they simply do not have the opportunity to fully realize themselves. I prove that modern artists are in no way inferior to their colleagues. She agrees and comes straight to a feminist conclusion: - If you create the same conditions, women are no different from men. But this never happened. Returning to the topic of children...

- Why do you think that raising children is only your task? Why can't a man take the same part in this?

He absolutely can't. When I gave birth to my second child, it was not what I wanted. But my husband didn't have children. He wanted this child. I gave birth at 42 years old. I decided, I will give birth to a child and let my husband take care of him, teach him, put him on skis. This poor child only loves me. And so I, an unhappy 50-year-old woman, have to get up early, do exercises with him, check lessons, learn English, go skiing, which I am afraid to ski... I sit in the workshop with great pleasure, but what can I do? he has already appeared.

Still, men have advantages. They are physically much stronger and more resilient.

- But men also have a physical limit. One sets a world record in swimming, and the other plays chess.

We were brought up that we should not be worse than men, weaker. Therefore, I got used to being on an equal footing. Carrying paintings myself, filling the canvas myself... I cannot yield to a man in anything. For example, I want to sit with huge "things." But I can’t physically lift it.

- Why does it have to be huge work?

But I wanted to not feel like I was a woman. I proved that I could, like any man, do a big thing when, for example, I wrote three by three.

- So, you had one way or another a feeling of being secondary?

Yes, sure. I was very interested in weapons. I wrote pictures with weapons. I really didn’t want to give in on anything.

I remember that when I was a member of the exhibition committee, as a rule, it was possible to guess that it was women’s work. Maybe when the artist did not set out to hide it. It wasn't worse or better. This was different. As a rule, small works, portraits of children, or something related to toys, or still lifes. Something a little more tender.

- Probably because the lives of female artists are somewhat different compared to their male colleagues. A man can afford to completely abandon everyday worries, the responsibility of raising his children and devote himself entirely to creativity. Thus, all this falls on women's shoulders. And the artist’s social situation to some extent determines the range of her themes. As you have already said, “everyday life determines consciousness.”

Yes, sure.

- Today the artist has freedom, although absolute freedom, of course, does not exist. You can do whatever you want.

To some extent, I always felt free. I had a lot of works that I knew for sure that they would never leave the walls of the studio. Now everything is dictated by the amount of money. From one lack of freedom you find yourself in another. If you have money, you can rent any room and exhibit whatever you want. If they are not there, you won’t post anything. I can do whatever I want in the workshop, but no one needs it. I completely lost interest in art. Maybe it wasn’t there before, but there was some kind of appearance. If now my child wanted to become an artist, I would beat him with a stick, saying: don’t become an artist... But with my first child, I really wanted him to become an artist. Now we have turned into servants. I personally feel like serving the rich at presentations and parties. For some time in our society we were placed in such an abnormal situation that we are the elite, that we are able to influence something. Poets read their poems to audiences of thousands. In the cab of the truck you could see some pictures pinned up.

- Previously, a good book, film, painting was a breath of freedom. And now people have other values ​​and opportunities. They can travel, shop. It turned out that everyone doesn’t need art; on the contrary, few people need it. But maybe these are only temporary processes.

I'm a bad philosopher, I don't know how long it will take for people to be interested in art and how interesting it will be. Now the gallery owner dictates. They advise what and how to do. In any contract, even the sizes of the paintings are specified. Because the burghers have walls of this size. It should be something pleasing to the eye. My husband tells me that I need something bright and marketable.

- You and I were contemporaries of the “thaw”. We grew up at this time. Today we have the privilege of witnessing perestroika. Is it possible to somehow compare the atmosphere and sensations of that time with what is happening before our eyes today?

Many people did not pass this test: everything was allowed, travel and something else. We used to communicate more, were more frank. After the temptations that perestroika brought, people changed. And, in general, to some extent I think that they were better before. The artist's personal exhibition (1989) was shown not only in Russia, but also in the West: in Germany, America. It was greeted with great interest by foreign audiences and critics. The artist gained the reputation of “Queen of the Union of Artists.” For some “new” Russian critics, ready to clear everything out again and destroy “to the ground” in the struggle for “contemporary” art, Nazarenko’s exhibition was one of the reasons to settle scores with the seventies. One of them stated: “In general, the exhibition demonstrated the historical exhaustion of the painting of the “seventies”, and became a kind of departure from their bright, but transient creativity.”

- “I don’t feel like a lost generation. We managed to taste freedom during the “thaw”. And in Brezhnev’s timelessness we tried to show at exhibitions what we thought: either directly or through allegories. My paintings were removed from exhibitions more than once. “Pugacheva” three times..."

Excessive concentration on her grievances and misunderstandings was one of the reasons for the crisis of the artist’s creativity, which lasted for several years. One after another, paintings began to appear, more and more reminiscent of Bosch’s phantasmogoria. In them, officials from the Union and the “indifferent public” turned into ugly creatures, half-human, half-animal, tormenting the artist. However, Nazarenko has never been an indifferent person, focused on herself. Before her eyes, the hopes associated with perestroika turned into inflation and impoverishment. Old women appeared on the streets, selling their last belongings, beggars, and homeless people. She responded to what was happening around her with her “Transition”.

The underground passage in the metro is today's shelter for homeless people and refugees. Newspaper and flower sellers, musicians, beggars, and disabled people live here. The artist “transported” him to the halls of the Central House of Artists and confronted the viewer with the less fortunate, the disadvantaged, and forced him to peer into the faces of those whom he had more than once hurried to slip past in “the impatience of his heart.” And of course, as in many of her works, among the other characters there is the artist herself.

The transition is both the state of today's post-Soviet society, going to no one knows where, and it is also a new interesting stage in Nazarenko's creative development.

Before us is sculptural painting - the second reality, the reality of art. The artist maintains the necessary measure of convention and distance. Upon closer inspection, the figures turn out to be rough, painted plywood. Their reverse side is left untreated. The characters themselves are depicted with grotesque sharpness. “Transitional figures,” according to the apt definition of one of the critics.

“The Transition” aroused keen interest among the public and among the “initiates” and undoubtedly became one of the most important cultural events of recent years. The artist once again confirmed her place in art and clearly “proved” that it was too early to bury the seventies.

In her "Transition" the eternal Russian question again clearly sounded: "Rus', where are you rushing...", the artist's pain and her hope were expressed...

1 Cnt. by: Lebedeva, V. Tatyana Nazarenko, M., 1991.
2 Quote. by: Efimovich, N. “They say I’m disfiguring the Soviet people...” V; "Komsomolskaya Pravda," December 21, 1991.
3 Quoted. by: Lebedeva, V. Decree. op.
4 Quoted from: Efimovich, N. ibid.
5 "Art," 1989, L" 8, 76.
6 Quoted. from: Efimovich, N. ibid.

Tatyana Nazarenko has more than enough regalia: laureate of the State Prize, full member of the Academy of Arts, member of the presidium of this academy. In addition, this socialite defended her dissertation, and her paintings are in the most prestigious museums in New York, London, Paris, Berlin, in our Tretyakov Gallery, in the Russian Museum in St. Petersburg...

E e art has become a classic. Tatyana Nazarenko's works are deservedly expensive. But on the eve of her recent anniversary, Tatyana... decided to talk not about art, but about her destiny, events and very personal feelings.

“As a child, I was an angular, shy, awkward girl,” the artist recalls. “Mom was always afraid that I would never get married. That's why I was given such an upbringing: dancing, music, drawing...

— How did you become an artist?

— At first there was a music school. And only then I entered the art school at the Surikov Institute. Children entering there had special training and studied with teachers for several years. I didn’t even know the meaning of the words “still life”, “landscape”, “watercolor”, “oil paints”. Before the painting exam, the teacher explained everything to me in a simple manner. Then I went to college. After graduating in 1969 with “excellent” marks, she entered the workshop of the Academy of Arts. After some time, among very few senior colleagues, she was awarded a month-long trip to Italy.

- Compare yourself now with that in the 70s. What would you like to bring back from the past? Maybe I'm thirsty for life?

- Nothing! I am already full of thirst for life. I feel like I’m 30, even 25! Although we discovered a lot about ourselves when we were young. They wandered around like living creatures through all the museums and exhibitions. Tired, we went to the vending machine, drank a couple of portveshka drinks for 40 kopecks, laughed, returned to Surikov’s workshops and wrote like animals. After the “red one” my thoughts became bolder and sharpened.

Later, I began to worry about many things, for example, the contradiction between man and power. Among those sentenced to hanging was Sofya Perovskaya, whom I painted from a photograph of Natalya Gorbanevskaya, and the wise and bearded man next to her on the scaffold is Andrei Sinyavsky, a writer and philosopher expelled from the USSR. Nobody knew about it then. I couldn’t openly oppose the system; I didn’t want to bring another grief into the house. My grandmother's husband, my grandfather, was shot in 1937...

“People's Will” spent a long time visiting various exhibitions: from the Moscow city exhibition to the All-Union exhibition. I received a Komsomol prize for it. Before I even took the money in my hands, I decided to drink it away. I invited friends to help do this. “Komsomol - never!” And all the friends, together with the teacher Dmitry Zhilinsky, unanimously refused to drink with this money. “Well then, come to my birthday, June 24,” I was not at a loss. We gorged ourselves on grandma's pies. I remember this Komsomol prize as a slap in the face from friends.

— What kind of incident happened with the painting “The Partisans Came,” which was removed from the exhibition because Lenin was seen lying dead next to the gallows?

— In fact, the artist Viktor Popkov was lying there, who posed for me. So the commission’s claims were absurd, although Victor wore a mustache and beard to resemble the leader of the revolution. I had to cover my face with a scarf in the picture. I did and I regret it. After this incident, almost immediately Popkov was accidentally killed on the street during an attack by bandits on collectors. Some kind of mysticism. My “Partisans” are now in the Tretyakov Gallery. I’m thinking, shouldn’t I return the artist’s face to its place, since this happened?!

—Have you had many advisors in your life?

— I had a very wise grandmother. She advised me a lot, but I got married against her advice, although I adored her. “If you marry him, I will die,” this is how my grandmother reacted when she recognized my first groom. “Okay, grandma, I won’t go out, just don’t die.” And then, looking at the night, my grandmother said: “I won’t die, do what you want.”

— She seemed to like her second husband?

- Yes, grandma loved handsome and businesslike men. Alexander had his own business and, in addition, helped me a lot in my work. Designed and sold paintings. Sasha cut out thick plywood outlines of 130 paintings. These were silhouettes that I spied in the passages; these were people of different characters, a direct social cross-section of society. The people of the 90s in transition are intellectuals, office workers, pensioners who suddenly became beggars. They were united by concern, instability, they found themselves overboard. This was a transitional period in our society.

— Has this topic exhausted itself?

— Partially, of course, yes, although people have become different, less rude. The generation has changed in 10-12 years. Sasha and I broke up, and I learned to cut it myself, although “cheating” is already a passed stage.

-What do you think is love? Habit, internal movement, illness?

- No no. I don't know what love is. Perhaps this is an addiction to one man. I loved both my first and second husbands and I don’t understand how you can live with a man without love. Although I always wait for love, I look forward to it. For me, the concept of “arranged marriage” is impossible. I don't do anything by calculation.

“You don’t paint pictures about carnal love at all, although I suspect romantic relationships with men are part of your life.”

“I don’t know the real truth about love and sex.” Everything just goes by itself. But the longer I live, the less I know how to start novels, how to end them harmlessly for both. Contrary to the advice of glossy women's magazines, I like to call men first, especially handsome ones. I often blame myself for this. The lack of romance in youth affects. I had an affair with a man who was many years younger than me. I just returned from Germany, bought a lot of clothes - fashionable and different, and, without unpacking my suitcases, rushed to Pitsunda. I met a young guy on the train. So during the entire vacation I never unpacked this suitcase. There was no time for fashionable clothes.

- Well, if love happens again, are you ready for it? What if a man wants to have a child together?

“I myself dream of a girl.” Now anything can happen to me. I am a healthy strong woman. There are many ladies in the world who easily give birth at my age. I just recently had a test, and my body is like that of a 30-year-old woman. Do you know how old I am now? I'm many years old...

— To raise a child, you need health and money. Imagine that painting is not in demand. How would you make money?

- You never know. I am not afraid of anything and have a normal attitude towards physical work. I can do anything: grow vegetables in a greenhouse and sell them to neighbors. I can sing, after all, in nightclubs owned by friends.

-Are you a good housewife? Do you love your home?

— I am very attached to certain things, I adore old furniture. I love white and blue dishes. I bring sets from Germany, Italy and the Czech Republic. I only buy antiques. I like to treat guests to good plates. After leaving, I understand the pointlessness of the idea - they break the dishes. I’m not accustomed to having cooks come, so I can quickly prepare dinner, I like to bake pies. This is done quickly, since my family and I are indifferent to food, although I recognize cooking as an art form, but I don’t go beyond a chop with onions and potatoes. I like to pickle Norwegian salmon myself; I simply put a piece of fish in brine (salt and sugar) for exactly three hours - and off to the table. I can preserve cucumbers with garlic, tomatoes and zucchini. I am happy when my production is appreciated by guests. And on major holidays I can bake a Napoleon cake according to my grandmother’s recipe. Seven cake layers are filled with custard - and under load for one and a half to two days.

— On Sundays, your whole family sits down at the table, do you have a drink?

- No, neither my first husband, nor my second, nor my children are completely non-drinkers. And I love it myself! But you won’t drink alone.

- They say about you that you are made of strong steel - you can break through anything you want.

- This is just an appearance!

Interviewed by Anatoly MELIKHOV

Photos used in the material: ANATOLIYA MELIKHOVA

She worked under the leadership of Korzhev.

Of great interest to the researcher are genre

paintings with self-portraits by T. Nazarenko. There is a lot of controversy about this artist. Some see rationality, sober calculation in her works, others see ardent obsession, a living creative passion.

Flowers. Self-portrait. 1979

It seems to us that they contain both. And this is especially clearly and acutely manifested in Nazarenko’s paintings, which include a self-portrait. And almost all of her paintings include it, including historical ones (“Execution of Narodnaya Volya”, “The Partisans Have Came”). The role of self-portrait seems especially active and effective in the paintings “My Contemporaries”, “Conversation”, “Young Artists”, “Grandma and Nikolka”, “New Year’s Eve”, “Tea Party in Polenov”. Each of them reveals, or at least poses, very important problems of human existence. There are difficult thoughts here about the meaning of life and creativity, the change of generations, the inevitability of death, etc. We believe that in each case Nazarenko presented some intimate piece of her personal life, her own biography (yes, this is apparently the case) . We believe that every situation is not only well thought out, but also deeply experienced and endured. And therefore, the self-portraits included in her paintings are taken for granted, as an integral part of the composition. The inclusion of a self-portrait in the painting became a necessary creative need for Nazarenko. “In one of my... paintings “After the Exams”, I, fearing that my self-portrait was somewhat tired, or, rather, it simply did not fit the given situation (a group of students), although I felt in place there, tried to paint another character . It was a painful and very unsatisfying replacement,” the artist recalls.

With all this, however, it is noteworthy that each of the self-portraits included in Nazarenko’s paintings lives in a special psychological space, isolated from other characters. We feel in them not so much a direct participant in the depicted event, but rather a special character looking at their partners, although not with indifference, but still with an outside glance. The heroine, endowed with the portrait features of an artist, is always thinking. Sometimes her gaze is turned to us. Exactly as in the above-mentioned compositions of the Renaissance masters. And he expresses the same eternal question: “What do you think about this?”

Pugachev. Diptych.

In the diptych “Pugachev”, an acute conflict, dramatic moment is chosen: Emelyan Pugachev is being taken in a cage to the place of execution in Moscow. And it’s not just anyone who’s lucky, but young Suvorov. But what is this strange spectacle unfolding before our eyes? The smartly dressed faceless soldiers are like motley toys. And Suvorov on a white horse resembles a doll; his whole appearance is so similar to his countless images that he seems to be deprived of individual features and becomes a sign, a scheme. And his horse does not walk, but seems to float through the air, and his fragile, lifeless hands do not hold the toy reins... And immediately this whole story takes on the features of a phantasmagoria, and it is no longer people who commit certain actions, but some puppets participating in some kind of not a game they invented.

The pictorial structure of this canvas is also deliberate, reminiscent of painted oleography. The floating clouds are very plump, and the golden color of the hills and distant buildings is extremely thick, and the blue-red-white costumes of the soldiers and the figure of Pugachev in a red shirt soaring above their heads are written in open, extremely contrasting tones...

And the second part of the diptych, enclosed in the same frame, looks completely different. This is a long vertical panel, painted in the tradition of the 18th century trompe l’oeil. Dark “museum” coloring, carefully written papers tucked behind a ribbon, several portraits dating back to the time of the Pugachev rebellion, a piece of old brocade, several books, a melted candle in a candlestick... Everything is very serious, carefully written, everything seems to carry fine dust of past eras, traces of the touch of the people who created these things.

Decembrists. Uprising of the Chernigov regiment. 1976

There is no momentary experience in Nazarenko’s historical paintings. We look at long-standing events through time, and everything that happens seems to light up, freeze, break away from everyday adversity and acquire the clarity and completeness of a symbol.

The same duality is present in her group portraits. Their characters are recognizable portraits, the collisions are believable:

First summer. 1987

youth holidays, conversations in the workshop... And at the same time, there is something mysterious in them, turning everyday scenes into romantic fantasies. Thus, the past and the present come together closely in the triptych “Life” (1983).

And again, the artist materializes thoughts and feelings, depicts the objects that evoke these thoughts. In all three canvases that make up the composition of the triptych, there is a grandmother, already very old, wrinkled, supporting her gray head with her closed hands. And her life passes before her mind's eye. But T. Nazarenko would not have been true to herself if tangible and physical realities had not converged in the world she depicted. which are visible only to the spiritual gaze, if the line between the past and the present were not unsteady...

Anna Semyonovna Abramova died in Moscow at the age of 89, having lived to see Tanya’s work recognized, having seen her photographs on the covers of magazines, reproductions of her works in books.

T. Nazarenko’s works contain the power of persuasion and the ability to translate his ideas into full-fledged images. Here is a keen eye and a flight of imagination, the reflections of our contemporary and the eternal desire for love and mutual understanding. And there is also the idea in her works that these contacts are not so simple for a modern person. And that is why so often in Nazarenko’s paintings close people are so far from each other and outstretched hands hang in the air.

Whatever she writes - and the range of her subjects is unusually wide, she works with equal intensity on a historical painting, and on scenes of youth holidays, on a portrait, landscape, still life - she brings into her works something elusive and undoubtedly making them the product of ours days, the way of thinking of our contemporary. The viewer feels time pulsating in her art.

T. Nazarenko is one of the artists whose talent was revealed in the seventies. Bright creative individuals developed and matured during these years. Difficulties broke the weak and strengthened the strong. Tatyana Nazarenko is one of the strong ones.

Large window. 1985

The painting “Big Window” (1985) by the Moscow artist T. Nazarenko is significant, raising serious moral problems associated with the present day of our lives. Here the problem of self-awareness, the well-being of modern man in the world around him, emotional contact with reality, with nature, with the objective world is solved as if by contradiction: instead of silence, peace, clarity, harmony that ennobles the soul - cold tension, rigidity, disharmony of contrasts, eye-catching incompatibility spiritual and material, emphasized by the image of a hollow mannequin on the windowsill, the frightening emptiness of the objective world, the discomfort of human existence in this environment. In the harsh naked impartiality of a self-portrait (a tired, pale face reflected in the mirror, a look without a spark of inspiration), in the cold colors and dry lines of the landscape opening outside the window, in the indifferent collision of Moscow factory, industrial newness and Kremlin antiquity, in the multiple accessories of everyday artistic labor.

One day Tatyana Nazarenko - and every summer she lives in a village near Tula - came across an abandoned grain dryer. I asked my husband to take a photo: you couldn’t imagine a brighter symbol of the Soviet era! I decided to definitely use the grain dryer in the installation on canvas.

— Unfortunately, I began to understand the same Ilya, who has been making his installations for a long time. It's much more interesting than just drawing. I come to this now.

To devote yourself to real painting, you need a different state of mind and country. Recently I was in a large European museum. And I caught myself thinking: I’ll come to the village now, take a canvas and write with pleasure between watering the beds. And then I pulled myself together: well, I’ll write, but what next? Wait for a buyer?

- But what about inspiration, the kind when it’s impossible to breathe?

— Oh, I don’t like the word “inspiration.” I can’t say that it’s impossible to live without touching the canvas. Maybe. But the creative process is always a little different from what they say and write.

— Judging by your plywood “Portrait of Catherine II,” recently presented at the New Manege, have you completely changed traditional painting?

- This is not about treason. The artist must abandon his perception of the world. And this is exactly how I perceive our reality at the end of the 90s. That’s why I don’t paint portraits of “new Russians.” It’s only interesting to write there
silk dresses. The faces do not express anything. Therefore, even if I am now writing something specifically for sale—it won’t hurt to live on an academician’s pension of a few hundred rubles—then these are still lifes. Flowers. It happens that I sell my old favorite works. But not “Pugachev,” which Soviet officials removed from exhibitions.

Circus girl. 1984

— Why then did you sell your famous “Circus Girl”?

- This is my husband. I was in America then. And when he called and told me about this, I was ready to kill him. In general, I have a very hard time parting with my works. Especially if a crowd of chirping modern aunties comes, rummaging through the works and trying to bring down prices. The feeling of a bazaar remains. Although it seems inconvenient to refuse, they come because they know each other.

One day I had to sell a work against my wishes. When I said that this was my favorite still life, a home one, one of the gentlemen who came said: “But Pyotr Ivanovich can make it so that you don’t fly anywhere.” And I had to go to Paris. I laughed: now I’m free, I’ll fly through Ukraine. And they answered me: “But Pyotr Ivanovich can make sure that the plane doesn’t make it.” I was truly horrified, my God, who was brought to me, a mafioso?! So, to my chagrin, I had to sell this work. The high price didn't even stop them.

- And this is how you celebrate your anniversary - with some kind of confusion in your soul?

- I live like this all the time. And in the early nineties, when the country collapsed and there was a feeling of uselessness, and in ’85, when I was not allowed to go abroad and it seemed that life was over. I also remember the morning despair at the beginning of this year, when I learned that, by order of officials, my harmless plywood monument “Worker and Peasant,” which stood at the entrance to the Manege during my exhibition, was removed. Some people thought that there was no place for him near the Kremlin. I felt like I did many years ago when my paintings were removed from the exhibition. I recently met one of these arts officials. I didn’t expect to meet me as an academician. He is thriving...

Nikolai EFIMOVICH.

Artist Tatyana Nazarenko has created her own tradition: for the fifth year she celebrates her name day - Tatyana's Day, January 25 - with an exhibition of new works. The first took place in the Tretyakov Gallery, the current one - “My Paris” opens in the Manege gallery, in the Central Exhibition Hall.

Nazarenko’s talent covers all genres of painting. And you expect surprises from each of her exhibitions.

Last year, Nazarenko created the illusion of an underground passage at her exhibition, populating it with a crowd of painfully familiar faces. Her heroes seem to have stepped out of paintings, becoming plywood “fake” figures, like those that street photographers place next to them. Plywood sculptures can be moved and swapped. The reception only superficially reminds us of street kitsch. Each figure became a kind of social portrait, reflecting the exact signs of the time. The exhibition “Transition” has already visited the USA, and now continues its journey through Germany.

Tatiana Nazarenko lived in Paris last year in the spring. Without the tourist rush, with family, in the normal rhythm of city life. And, as she says, she felt calm and at ease there. The new exhibition is the result of this trip and the continuation of the experiment with plywood painting and sculpture.

The artist among his Parisian characters.

Everyone has their own Paris. Nazarenko was interested in the Parisians. Its current characters are students, bourgeois, young fashionistas in little black dresses, waiters, merchants, prostitutes, nuns, an organ grinder... Before us are a variety of types of city streets: day and evening, in a cafe, in a park, at a second-hand bookseller. And among these plywood sculptures, as you can see in the photograph, the artist herself is very naturally positioned.
If in last year’s “Transition” you were oppressed by the gray background, here bright colors play on colored planes. But the roll call of exhibitions is not at all reduced to opposition. Nazarenko is not inclined to be straightforward. She likes the Parisians, but she doesn't flatter them.

Inga PRELOVSKAYA

It is generally accepted that she is the brightest star among contemporary Russian artists. Paintings are in the collections of the Russian Museum and the Tretyakov Gallery and famous private collections. State Prize laureate, corresponding member of the Academy of Arts and professor at the Surikov Institute. This is all Tatyana Nazarenko.

Plywood figures of unsympathetic inhabitants of Moscow underground passages, “fake” monuments to LUZHK0VU with a shovel, Kirkorov and other installations. causing outrage among aesthetic critics. This is also Tatyana Nazarenko,

Saint Peter on the project “12 good works”.

The XIV Moscow Art Fair “Art Manege” was held in the Central Exhibition Hall “Manege”. Fourteen years ago it was started as a very ambitious project, evidence of the viability of the Russian art market. But initially, the idea was planted with an omnivorous bomb: salon art here coexisted with the stands of high-brow galleries. The kitsch brilliance and intellectual poverty that Art Manege combined helped the rise of the star of “Art-Moscow: peer-to-peer competitors, held at the Central House of Artists. Art Manege tried to save its reputation - either with the approval of an expert council, headed by an expert with a worldwide reputation, Viktor Misiano, or
by inviting curators (which is nonsense for a fair) from the artist Alexander Yakut to the gallery owner Vladimir Ovcharenko. It didn't help. And “Manege” has been renouncing claims to elevation for several years now, representing everything that exists (more precisely, those who paid money to rent the site). Just a few years ago, Art Moscow exhibitors entered the Manezh to ascertain the incompetence of their opponents, parading with an arrogant look. However, due to the financial crisis and customs problems, it turned out to be unsuccessful. So at the current vernissage one could meet activists of contemporary art who, with hidden embarrassment, asked each other: “And you
What are you doing here? That is, Art Manege, in essence, did not become any better, but it remained a potential platform for the market.

And this time there was something to see even for an expert. However, the best is represented here not by pseudo-modern art, but by modernism and the “second avant-garde” of nonconformists. Best project “The Art of Three Decades. 1910 - 1930s" is generally non-commercial. The “Fine Art Collectors Club” presented items from artists of the first third of the last century from private collections. The exposition was made by the chairman of the club, Valery Dudakov, one of the best experts on the antique market. Nadezhda Lermontova,
Vera, Mikhail... The names are impressive, although the things are not so much. And the “SHPENGLER Gallery” (in a past life known as “Old Years”), known for its constant collaboration with the Tretyakov Gallery, showed its favorites - from Burliuk’s student, the repentant Ural futurist Viktor Ufimtsev, to the underground abstractionist of the 60s Valentin Okorokov. As always, “Pan Dan” - with its own, Yakovlev and. The newly formed “Gallery on Vspolny”, belonging to the “Society for the Encouragement of Arts”, also affiliated with the State Tretyakov Gallery, presented Plavinsky, of quite museum quality. At the New Manege stand, Lev Melikhov, a chronicler of the underground, exhibited his textbook photographs.

Well, two hits of the fair: the exhibition “InArtis” with silk-screen prints of Andy Warhol (circulated and unsigned, but made with the blessing of the author) and “Zebra Bliss: formerly known as the “Museum of Bookplates” - these are not bookplates, but magnificent objects of the classic French “new realism” "Armand, graffiti artist Criqui and even Keith Haring, the famous American “new waver.”

In general, it turned out not to be embarrassing. And living Russian artists were represented by worthy names and worthy works: Tatyana Nazarenko, Klara Golitsyna, Konstantin Sutyagin, Alexander Shevchenko...
But God have mercy, this is what we had to look for
in a total area of ​​5000 square meters.

Well, if you want discoveries and new impressions, you’ll get all the price tags and price tags. A fair is like a fair. By the way, as predicted, our nonconformists were selling more and more. Most galleries unknown to the enlightened public did not pay for their stands. But, unlike Art Moscow: the Art Manege fair, its commercial results are not made public. He's shy, isn't he?

Fedor Romer.

Dozens of canvases, obscuring each other, were piled up against one of the walls of the studio. And before the artist had time to turn her next work towards me, I read its title, as if I was looking through the table of contents of an unfamiliar book.

“Uzbek wedding” - I read on a stretcher. And while Tatyana Nazarenko slowly unfolds the canvas, I have time to rejoice at the theme, as it seems to me, created for our women's magazine. But here is the picture in front of me. I look, and some kind of incomprehensible anxiety overcomes me. Why? Where? After all, there seems to be nothing tragic on the canvas: near a low blower, musicians painted somewhat parodically are calling people to a family holiday, next to a thin, pale boy covering the road to the house with flowers. On the left, in the corner of the picture, are the guests. People of different ages, different temperaments, perceive the upcoming celebration differently: some are openly happy, others are simply curious. And all this is authentic and colorful. So what's the matter? Where does this persistent premonition of trouble come from? Maybe it’s all to do with the alarming red background of the picture or the sad face of the boy. scattering flowers? Or maybe guests? It’s as if they are deliberately slow to cross the threshold of a house prepared for the holiday.

I’m talking about this to Tatyana Grigorievna

Yes, at this wedding,” she says, “a tragic event occurred - the bride’s stepfather died. A wonderful man who raised and educated her. Apparently, this painful impression, which I tried not to think about while working on the painting, did have an effect...

Well, apparently, for every true artist, the truth of life and the truth of art are inseparable.

Tatyana Nazarenko, a graduate of the Surikov Institute, made her debut at exhibitions during her student years with the painting “Mother with Child” (1966) and “Motherhood”. This second painting, painted in 1968, was also the artist’s diploma work. In the same year, “Uzbek Wedding” was created.

Students.

In later works, such as “Young Artists”, “Students”, “My Contemporaries”, “After the Exam”, “Guests in the Dorm”, the author was attracted not so much by the plot as by the depth of psychological characteristics.

After the exam.

And yet, Nazarenko’s work “The Execution of Narodnaya Volya” received the greatest fame. The young artist managed in her own way to comprehend the tragic theme of the Narodnaya Volya, whose moral height she always admired.

This picture, to some extent, summed up the years of study at the institute, where the young artist’s teachers were famous painters A. Gritsay and D. Zhilinsky. But at the same time she studied with Italian and German masters of the early Renaissance. Isn’t this where the sky in “The Execution of Narodnaya Volya” is the color of a faded Renaissance fresco - light, light blue? And in the portraits of Nazarenko’s contemporaries, no, no, and he will surround his face with a collar. reminiscent of a Spanish frill.

The artist is attracted to both the genre, the portrait, and the historical composition. But she has paintings that you perceive as poetry, as music. The main thing in them is the mood. One of these paintings is “Evening in Tarusa”. Loneliness and lostness lurk in tiny houses far apart from each other, surrounded by austere pine trees; the dim yellow light of a lantern swayed by the wind is restless. This picture was painted in the Tarusa House of Artists, apparently on one of the days when the longing for the abandoned home overcomes all other feelings.

“Farewell to Winter”, “Meeting Guests at the Moldavian State Farm”, the lyrical narrative “New Year’s festivities”, the still life “Flowers in the Workshop” and “In the Workshop” were solved in a completely different, major key. For her last two works, Tatyana Nazarenko was awarded first prize at the International Competition of Young Painters in Sofia

And now her paintings are exhibited in the GDR and are highly appreciated by German viewers.

Tatyana Nazarenko, laureate of the Lenin Komsomol Prize, is constantly searching. This is the key to her success. Current and future.

Nazarenko Tatyana Grigorievna

Tatyana Nazarenko

(Born 1944)

Painter. Engaged in artistic photography. Portrait painter, landscape painter, genre painter, master of historical painting.

In 1955-1962 she studied at the Moscow Secondary Art School at the Moscow State Art Institute named after V.I. Surikov, then in 1962-1968 at the Moscow State Art Institute named after V.I. Surikov with D.D. Zhilinsky.

Currently teaching at the same institute.

Laureate of the State Prize of Russia, full member of the Russian Academy of Arts.

T.G. Nazarenko is one of the leaders of artistic life in the 1970s. The creativity of her generation is characterized by analyticity, a desire for a multifaceted reading of the meaning of a work, an emphasis on personal intonation, and irony.

The language of allegory was close to many masters of this time. Nazarenko recalls: “The 70s forced us to resort to allegory: an ambiguous time when much seemed to be allowed, and at the same time again not, closed again.”

She was especially famous for her paintings on historical themes ("Execution of Narodnaya Volya", 1969-1972; "Decembrists", 1978). In them she combines documentary, spirit of testimony, historical perspective and her own idea of ​​the event.

Interest in various stages of history and culture, elements of stylization and direct quotation of famous works - all this brings Nazarenko’s art closer to the aesthetics of postmodernism.

__________________________

Nazarenko Tatyana Grigorievna

Honored Artist of Russia, laureate of the State Prize of the Russian Federation, Prize of the Moscow Government, member of the presidium, full member of the Russian Academy of Arts, professor

Born on June 24 in Moscow. Father - Nazarenko Grigory Nikolaevich (1910-1990). Mother - Abramova Nina Nikolaevna (born 1920). Spouse: Zhigulin Alexander Anatolyevich (born 1951). Children: Nazarenko Nikolay Vasilievich (born in 1971), Zhigulin Alexander Alexandrovich (born in 1987).

Tatyana Nazarenko’s father, a front-line soldier, a career military man, after the war was assigned to the Far East, and the parents left. Tanya stayed in Moscow with her grandmother, Anna Semyonovna Abramova. She showed her first her school marks, and then her drawings and paintings.

A. S. Abramova has been a widow since 1937. Her husband, Nikolai Nikolaevich Abramov, was illegally repressed and died in custody. Left alone, she worked as a kindergarten teacher, a nurse, raised and helped her two daughters get higher education, raised her granddaughter Tatyana, and then helped raise her eldest son Nikolai. Grandmother had an endless source of love within herself, but it seems that her main love was still Tanya, who also loved her. Anna Semyonovna Abramova lived on in the paintings of the artist Tatyana Nazarenko: “Morning. Grandmother and Nikolka” (1972), “Portrait of A. S. Abramova” (1976), “Memories” (1982), “Life” (1983), “White wells. In memory of my grandmother" (1987).

At the age of 11, Tatyana entered the Moscow Art School. A circle of friends quickly formed there: Natalya Nesterova, Irina Starzhenetskaya, Lyubov Reshetnikova, Ksenia Nechitailo - future bright masters of the 1970s. It was a stormy, generous time, rich in various events of cultural life, a time of the rise of domestic art, acquaintance with outstanding works of domestic and foreign classics of the 20th century, which until then had been banned and unknown to young people.

In 1962, Tatyana Nazarenko entered the painting department of the V. I. Surikov Art Institute, where her teachers were D. D. Zhilinsky, A. M. Gritsai, S. N. Shilnikov. After graduating from the institute, from 1968 to 1972, she worked in the creative workshop of the USSR Academy of Arts under G. M. Korzhev.

Tatiana Nazarenko's art was formed under the influence of the turbulent events of the 1960s and memories of the tragic events of the 1930s. It combines a full-blooded attitude, love of life, the ability to experience everyday events as a holiday - and constant anxiety, which allows you to turn these holidays into strange and complex events, where everything is true and not true, where there is as much fun as sadness, where there are many layers of perception, many spaces superimposed on one another, where time is unsteady, the accuracy of field observations and the most unbridled imagination are intertwined.

Tatyana Nazarenko’s work has a strong analytical element. Whatever genre of painting she works in, the main content of her paintings is expressed not only and not so much through the plot, but through the general spiritual atmosphere, which determines the psychological state of the characters, and the emotional coloring of landscapes, objects, and the plastic language of her art. This spirituality of painting, combined with an analytically close approach to the depicted phenomena, constitutes the meaningful originality of the artist’s works.

Adequacy of time, deep modernity is one of the defining features of the artist’s work. Nazarenko brings something elusive into his works, but which undoubtedly makes them a product of our days, the way of thinking of our contemporary. The viewer feels time pulsating in her art.

These features began to appear already in the artist’s first independent works, in the multidirectional searches of her first postgraduate years.

At the end of her studies at the institute, in 1965-1967, Nazarenko traveled to Central Asia. Kazakhstan, Uzbekistan, and Kyrgyzstan determined the range of subjects for her works for several years. Nazarenko's Central Asian paintings ("Mother with Child", "Motherhood", "Samarkand. Courtyard", "Uzbek Wedding", "Prayer", "Boys in Bukhara") reflected her living observations. But not only that. These works seemed to contain all the baggage of her student acquisitions. But they already show another integral quality of the young artist - originality. Beneath the usual forms of “art of the sixties,” a different content emerges from them. Everything in them is much more unstable and ambiguous, they are unusually musical, primitive features appear in them: the desire to remove the representation, to introduce a smile, simplicity and play.

And it is no coincidence that immediately after the Central Asian series, Nazarenko turns to topics that are much closer to himself. She paints pictures where the main characters are herself and her friends. The life of a generation becomes the subject of her art.

The beginning of the 1970s for Nazarenko, as for most artists of her generation, was a time of searching for a genre, manner, and theme. The artist tries her hand at both the primitivist style and the system of strict neoclassicism, painting romantic, decorative and playful canvases. During these years, she wrote such diverse works as “Execution of Narodnaya Volya” (1969-1972), “Tree in New Athos” (1969), “Sunday in the Forest” (1970), “Portrait of a Circus Actress” (1970), "Farewell to Winter" (1973), "New Year's Celebration" (1973), "Morning. Grandma and Nikolka" (1972), "Young Artists" (1968), "My Contemporaries" (1973), "Lunch" (1970), "Portrait of Igor Kupryashin" (1974).

Among her heroes you can almost always find your own image - and a measure of the vigilant mercilessness of the eye, the ability to emphasize the sharp-characterized at the expense of the idyllic-prosperous, just as strongly in relation to oneself as to any other model.

Characteristic in this sense are group portraits, designed as genre paintings ("Students", 1969; "Young Artists", 1968; "My Contemporaries", 1973; "Foggy Day on Shikotan", 1976; "After the Exam", 1976). Their characters are recognizable and portrait-like, the collisions are believable: youth holidays, conversations in the workshop... And at the same time, there is something mysterious in them, turning everyday scenes into romantic fantasies.

Tatyana Nazarenko’s historical compositions reflect our contemporary’s view of the past. Her paintings simultaneously present the past and the present, a historical event - and our current understanding of it. The very approach to solving the topic is already characteristic: in historical paintings - “Execution of the Narodnaya Volya”, “Partisans Came” (1975), “Decembrists. Uprising of the Chernigov Regiment” (1978), “Pugachev” (1980) - the artist chooses tragic, climactic moments, requiring the highest tension of the spiritual forces of the participants in the action. Silence and silence are significant here.

Tatyana Nazarenko's painting "The Execution of People's Volunteers" appeared at the Moscow Youth Exhibition in 1972. The picture was noticed by everyone, although not everyone accepted it. It intricately combined adherence to the models of the Renaissance, a penchant for generalized reflections and a tragic sense of vulnerability of freedom fighters, for spiritual ideals, before the crushing faceless force of the machine of suppression. For the painting “The Execution of Narodnaya Volya” Nazarenko was awarded the Moscow Komsomol Prize. In 1976 she was awarded 1st prize at the International Competition for Young Painters in Sofia (Bulgaria).

Compassion, a sense of social responsibility - these qualities later developed and strengthened in the art of Tatyana Nazarenko, acquiring different, sometimes bizarre forms of embodiment, intertwined with motifs of carnivals, holidays, festivities, with romantic self-portraits, with artistic play. And everywhere there is invisibly and clearly present anxiety, a feeling that behind the precarious well-being of our everyday life there are the harsh destinies of other generations, their pain and suffering.

Nazarenko loves to write carnivals. One of the artist’s first “carnival” works is “New Year’s festivities” (1973), in which she strives to show the inner meaning of the carnival, the range of diverse and rather complex feelings experienced by people gathered by chance.

Over the years, the playful element intensifies in the artist’s work. Narrativeness disappears from the works, and allegory appears. In an allegorical capacity, he also uses reminiscences of the art of the past - be it almost direct quotes from classical works, historical costumes on our contemporaries, or the presence of objects from the past in compositions dedicated to the present day.

In the second half of the 1970s and early 1980s, Nazarenko painted several group portraits of friends gathered for a festive occasion. These are the paintings "New Year's Eve" (1976), "Moscow Evening" (1978), "Carnival" (1979), "Tatiana's Day" (1982), "September in Odessa" (1985) and many others, as well as those written earlier canvases "Young Artists" (1968) and "My Contemporaries" (1974).

If in Nazarenko’s early group portraits one could clearly feel silence, concentration, the desire of the characters to hear each other, to listen to the truth, then in subsequent works (“Carnival”, “Tatiana’s Day”, etc.) the unbridled element of carnival reigns. The costumes and poses are extravagant, the spirit of the festival possesses not only people, but also objects. However, this is a holiday without fun, communication without mutual understanding and spiritual closeness. The theme of loneliness, so important for the artist, is intricately combined in her work with the theme of carnival (“Portrait in a fancy dress”, 1982).

There are elements of carnivalization in both the paintings "Carousel" (1982) and the diptych "Dance" (1980).

In Nazarenko’s works there is a desire for contact with the viewer, a willingness to open oneself to an attentive, sympathetic gaze. The artist wrote several works where she almost directly talks about the confessional nature of her art, about how painful and difficult it is to show oneself unprotected, exposed before the court of universal indifference (“Flowers. Self-Portrait”, 1979; “Circus Girl”, 1984; “Spectators”, 1988; "Meal", 1992).

One of the most unusual paintings by Tatyana Nazarenko is the triptych “Workshop” (1983). The artist presents to the viewer a real workshop in which real paintings were created (“Tatiana’s Day” and “Carnival”), and at the same time the process of realizing his plan.

There is another form of “confession” in Nazarenko’s works. In such works she does not need irony, she does not require the colorful clothes of a carnival: the closest, warmest thing is embodied here... And almost always in these paintings there is an image of a grandmother: “Morning. Grandmother and Nikolka”, the triptych “Life” (1983) and others . In 1982, the painting “Memories” was painted, in which the artist seemed to materialize life associations that arose when looking at old photographs.

Among the main works of Tatyana Nazarenko are also: “Home Concert” (1986), diptych “Happy Old Age” (1988), “Little Orchestra” (1989), “Wreckage” (1990), “Monument to History” (triptych, 1992), “ Time" (triptych, 1992), "Mad World" (1992), "Spell" (1995), "Homeless" (2001).

Tatyana Nazarenko is a social artist. “I’ve always been interested in people,” she says. “I can’t turn away, I can’t brush aside other people’s misfortune. Making people think, calling them to empathy is the main goal of my work.” A clear proof of this was her exhibition “Transition” (1995-1996) - an installation of 120 painted plywood “faux-pas” made in human size. At the exhibition, visitors had to stop and look at the faces of unfortunate old women, disabled people, wandering musicians - all those whom they see every day in underground passages, but most often pass by without stopping to look. The exhibition was a great success (later it was seen by residents of Germany, the USA, and Finland), and “Transition” became for the artist a literal transition to a new stage in life, to a new art.

In 1997, her exhibition “My Paris” took place, where there were also figures made of plywood - Parisian cafe garçons in long white aprons, fish sellers... Another exhibition of Tatyana Nazarenko - “Moscow Table” was held the same year in the Marat Gelman gallery, and then was shown at the State Russian Museum of St. Petersburg in the program of the exhibition “Art versus Geography”. In May - September 2002, the Kuskovo Museum hosted an exhibition of the artist “I myself am glad to be deceived...” (The Art of Deception).

Since 1966, when Nazarenko first showed her works at the VII Moscow Youth Exhibition, she has constantly participated in city and all-Russian exhibitions, fine art exhibitions in Russia and abroad. The first personal exhibitions took place in Leverkusen (1986), Bremen, Oldenburg, Odessa, Kyiv, Lvov (all 1987). Since then, the artist's personal exhibitions have been held in Moscow (the first - 1989), Cologne, Washington, New York, Boston, Madrid, Tallinn, Helsinki and other cities. Works by Tatyana Nazarenko are kept in the collections of the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the National Museum of Women in the Arts (Washington), the National Jewish Museum (Washington), the Museum of Modern Art (Sofia), the Museum of Modern Art (Budapest) and other art museums around the world, in private collections.

Tatyana Nazarenko's creative works have been awarded high awards: the State Prize of the Russian Federation (1993), the Moscow Government Prize (1999), the silver medal of the USSR Academy of Arts (1985), the gold medal of the Russian Academy of Arts (2005).

T. G. Nazarenko - Honored Artist of Russia (2002), since 1997 - corresponding member, since 2001 - full member, member of the presidium of the Russian Academy of Arts; Professor of the Department of Painting, Head of the Easel Painting Workshop at the Moscow State Academic Art Institute named after V. I. Surikov (1998). Member of the Union of Artists since 1969.

Lives and works in Moscow.

Born on June 24 in Moscow. Father - Nazarenko Grigory Nikolaevich (1910-1990). Mother - Abramova Nina Nikolaevna (born 1920). Spouse - Zhigulin Alexander Anatolyevich (born 1951). Children: Nazarenko Nikolay Vasilievich (born in 1971), Zhigulin Alexander Alexandrovich (born in 1987).

Tatyana Nazarenko’s father, a front-line soldier, a career military man, after the war was assigned to the Far East, and the parents left. Tanya stayed in Moscow with her grandmother, Anna Semyonovna Abramova. She showed her first her school marks, and then her drawings and paintings.

A.S. Abramova has been a widow since 1937. Her husband, Nikolai Nikolaevich Abramov, was illegally repressed and died in custody. Left alone, she worked as a kindergarten teacher, a nurse, raised and helped her two daughters get higher education, raised her granddaughter Tatyana, and then helped raise her eldest son Nikolai. Grandmother had an endless source of love within herself, but it seems that her main love was still Tanya, who also loved her. Anna Semyonovna Abramova lived on in the paintings of the artist Tatyana Nazarenko: “Morning. Grandmother and Nikolka” (1972), “Portrait of A.S. Abramova” (1976), “Memories” (1982), “Life” (1983), “White wells. In memory of my grandmother" (1987).

At the age of 11, Tatyana entered the Moscow Art School. A circle of friends quickly formed there: Natalya Nesterova, Irina Starzhenetskaya, Lyubov Reshetnikova, Ksenia Nechitailo - future bright masters of the 1970s. It was a stormy, generous time, rich in various events of cultural life, a time of the rise of domestic art, acquaintance with outstanding works of domestic and foreign classics of the twentieth century, which until then had been banned and unknown to young people.

In 1962, Tatyana Nazarenko entered the painting department of the V.I. Art Institute. Surikov, where her teachers were D.D. Zhilinsky, A.M. Gritsai, S.N. Shilnikov. After graduating from the institute, from 1968 to 1972, she worked in the creative workshop of the USSR Academy of Arts under G.M. Korzheva.

Tatiana Nazarenko's art was formed under the influence of the turbulent events of the 1960s and memories of the tragic events of the 1930s. It combines a full-blooded attitude, love of life, the ability to experience everyday events as a holiday - and constant anxiety, which allows you to turn these holidays into strange and complex events, where everything is true and not true, where there is as much fun as sadness, where there are many layers of perception, many spaces superimposed on one another, where time is unsteady, the accuracy of field observations and the most unbridled imagination are intertwined.

Tatyana Nazarenko’s work has a strong analytical element. Whatever genre of painting she works in, the main content of her paintings is expressed not only and not so much through the plot, but through the general spiritual atmosphere, which determines the psychological state of the characters, the emotional coloring of landscapes, objects, and the very plastic language of her art. This spirituality of painting, combined with an analytically close approach to the depicted phenomena, constitutes the meaningful originality of the artist’s works.

Adequacy of time, deep modernity is one of the defining features of the artist’s work. Nazarenko brings something elusive into his works, but which undoubtedly makes them a product of our days, the way of thinking of our contemporary. The viewer feels time pulsating in her art.

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These features began to appear already in the artist’s first independent works, in the multidirectional searches of her first postgraduate years.

At the end of her studies at the institute, in 1965-67, Nazarenko traveled to Central Asia. Kazakhstan, Uzbekistan, and Kyrgyzstan determined the range of subjects for her works for several years. Nazarenko’s Central Asian paintings (“Mother with Child”, “Motherhood”, “Samarkand. Courtyard”, “Uzbek Wedding”, “Prayer”, “Boys in Bukhara”) reflected her living observations. But not only that. These works seemed to contain all the baggage of her student acquisitions. But they already show another integral quality of the young artist – originality. Beneath the usual forms of “art of the sixties,” a different content emerges from them. Everything in them is much more unstable and ambiguous, they are unusually musical, primitive features appear in them: the desire to remove the representation, to introduce a smile, simplicity and play.

And it is no coincidence that immediately after the Central Asian series, Nazarenko turns to topics that are much closer to himself. She paints pictures where the main characters are herself and her friends. The life of a generation becomes the subject of her art.

The beginning of the 1970s for Nazarenko, as for most artists of her generation, was a time of searching for a genre, manner, and theme. The artist tries her hand both in the “primitivist” manner and in the system of strict neoclassicism, painting romantic, decorative and playful canvases. During these years, she wrote such diverse works as “The Execution of Narodnaya Volya” (1969-1972), “Tree in New Athos” (1969), “Sunday in the Forest” (1970), “Portrait of a Circus Actress” (1970), “Farewell to Winter” (1973), “New Year’s festivities” (1973), “Morning. Grandma and Nikolka" (1972), "Young Artists" (1968), "My Contemporaries" (1973), "Lunch" (1970), "Portrait of Igor Kupryashin" (1974).

Among her heroes you can almost always find your own image - and a measure of the keen mercilessness of the eye, the ability to emphasize the sharp-characterized at the expense of the idyllic-prosperous, just as strongly in relation to oneself as to any other model.

Characteristic in this sense are group portraits, designed as genre paintings (“Students”, 1969; “Young Artists”, 1968; “My Contemporaries”, 1973; “Foggy Day on Shikotan”, 1976; “After the Exam”, 1976). Their characters are recognizable and portrait-like, the collisions are believable: youth holidays, conversations in the workshop... And at the same time, there is something mysterious in them, turning everyday scenes into romantic fantasies.

Tatyana Nazarenko’s historical compositions reflect our contemporary’s view of the past. Her paintings simultaneously present the past and the present, a historical event – ​​and our current understanding of it. The very approach to solving the topic is characteristic: in historical paintings - “The Execution of People’s Volunteers”, “The Partisans Have Came” (1975), “Decembrists. Uprising of the Chernigov Regiment" (1978), "Pugachev" (1980) - the artist chooses tragic, climactic moments that require the highest tension of the spiritual forces of the participants in the action. Silence and silence are significant here.

Tatyana Nazarenko’s painting “The Execution of Narodnaya Volya” appeared at the Moscow Youth Exhibition in 1972. The picture was noticed by everyone - although not everyone accepted it. It intricately combined adherence to the models of the Renaissance, a penchant for generalized reflections and a tragic sense of vulnerability of freedom fighters, for spiritual ideals, before the crushing faceless force of the machine of suppression. For the painting “The Execution of Narodnaya Volya” Nazarenko was awarded the Moscow Komsomol Prize. In 1976, she was awarded 1st prize at the international competition of young painters in Sofia (Bulgaria).

Compassion, a sense of social responsibility - these qualities later developed and strengthened in the art of Tatyana Nazarenko, acquiring different, sometimes bizarre forms of embodiment, intertwined with motifs of carnivals, holidays, festivities, with romantic self-portraits, with artistic play. And everywhere there is invisibly and clearly present anxiety, a feeling that behind the precarious well-being of our everyday life there are the harsh destinies of other generations, their pain and suffering.

Nazarenko loves to write carnivals. One of the artist’s first “carnival” works is “New Year’s Celebration” (1973), in which she strives to show the inner meaning of the carnival, the range of diverse and rather complex feelings experienced by people who gather by chance.

Over the years, the playful element intensifies in the artist’s work. Narrativeness disappears from the works, and allegory appears. In an allegorical capacity, he also uses reminiscences of the art of the past - be it almost direct quotes from classical works, historical costumes on our contemporaries, or the presence of objects from the past in compositions dedicated to the present day.

In the second half of the 1970s and early 1980s, Nazarenko painted several group portraits of friends gathered for a festive occasion. These are the paintings “New Year's Eve” (1976), “Moscow Evening” (1978), “Carnival” (1979), “Tatiana’s Day” (1982), “September in Odessa” (1985) and many others, as well as those written earlier canvases “Young Artists” (1968) and “My Contemporaries” (1974).

If in Nazarenko’s early group portraits one could clearly feel silence, concentration, the desire of the characters to hear each other, to listen to the truth, then in subsequent works (“Carnival”, “Tatiana’s Day”, etc.) the unbridled element of carnival reigns. The costumes and poses are extravagant, the spirit of the festival possesses not only people, but also objects. However, this is a holiday without fun, communication without mutual understanding and spiritual closeness. The theme of loneliness, so important for the artist, is intricately combined in her work with the theme of carnival (“Portrait in a Fancy Dress”, 1982).

There are elements of carnivalization in the paintings “Carousel” (1982) and the diptych “Dance” (1980).

In Nazarenko’s works there is a desire for contact with the viewer, a willingness to open oneself to an attentive, sympathetic gaze. The artist wrote several works where she almost directly talks about the confessional nature of her art, about how painful and difficult it is to show oneself unprotected, exposed before the court of universal indifference (“Flowers. Self-Portrait”, 1979; “Circus Girl”, 1984; “Spectators”, 1988; "Meal", 1992).

One of the most unusual paintings by Tatyana Nazarenko is the triptych “Workshop” (1983). The artist presents to the viewer a real workshop in which real paintings were created (“Tatiana’s Day” and “Carnival”), and at the same time the process of realizing his plan.

There is another form of “confession” in Nazarenko’s works. In such works she does not need irony, she does not require the colorful clothes of a carnival: here the closest, warmest is embodied... And almost always in these paintings there is an image of a grandmother: “Morning. Grandmother and Nikolka”, triptych “Life” (1983) and others. In 1982, the painting “Memories” was painted, in which the artist seemed to materialize life associations that arose when looking at old photographs.

Among the main works of Tatyana Nazarenko are also: “Home Concert” (1986), diptych “Happy Old Age” (1988), “Little Orchestra” (1989), “Wreckage” (1990), “Monument to History” (triptych, 1992), “ Time" (triptych, 1992), "Mad World" (1992), "Spell" (1995), "Homeless" (2001).

Tatyana Nazarenko is a social artist. “I've always been interested in people,” she says. “I can’t turn away and brush aside someone else’s misfortune.” To make people think, to encourage them to sympathize – this is the main goal of my work.” A clear proof of this was her exhibition “Transition” (1995-96) - an installation of 80 painted plywood “tricks” made in human size. At the exhibition, visitors had to stop and look at the faces of unfortunate old women, disabled people, wandering musicians - all those whom they see every day in underground passages, but most often pass by without stopping to look. The exhibition was a great success (later it was seen by residents of Germany, the USA, and Finland), and “Transition” became for the artist literally a transition to a new stage in life, to a new art.

In 1997, her exhibition “My Paris” took place, where there were also figures made of plywood - Parisian cafe garçons in long white aprons, fish sellers... Another exhibition of Tatyana Nazarenko “Moscow Table” took place the same year in the Marat Gelman gallery, and then shown at the State Russian Museum of St. Petersburg in the program of the exhibition “Art versus Geography”. In May-September 2002, the Kuskovo Museum hosted an exhibition of the artist “I am glad to be deceived myself...” (The Art of Deception).

Since 1966, when Nazarenko first showed her works at the VII Moscow Youth Exhibition, she has constantly participated in city and all-Russian exhibitions, fine art exhibitions in Russia and abroad. The first personal exhibitions took place in Leverkusen (1986), Bremen, Oldenburg, Odessa, Kyiv, Lvov (all in 1987). Since then, the artist's personal exhibitions have been held in Moscow (the first in 1989), Cologne, Washington, New York, Boston, Madrid, Tallinn, Helsinki and other cities. Works by Tatyana Nazarenko are kept in the collections of the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the National Museum of Women in the Arts (Washington), the National Jewish Museum (Washington), the Museum of Modern Art (Sofia), the Museum of Modern Art (Budapest) and other art museums around the world, in private collections.

Tatiana Nazarenko's creative works have been awarded high awards: the State Prize of the Russian Federation (1993), the Moscow Government Prize (1999), and the silver medal of the USSR Academy of Arts (1985).

T.G. Nazarenko - Honored Artist of Russia (2002), since 1997 - corresponding member, since 2001 - full member, member of the presidium of the Russian Academy of Arts; Professor of the Department of Painting, Head of the Easel Painting Workshop of the Moscow State Academic Art Institute named after V.I. Surikova (1998). Member of the Union of Artists since 1969.

Lives and works in Moscow.

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robocop 08.03.2008 01:09:26

Tatyana Nazarenko academician, professor, artist and at the same time a creature the likes of which the world has never seen, hello to you, victim of sexual harassment