Composition based on the painting "Three Women" by Lutfullin. Description of the picture Lutfullin three women Lutfullin painting farewell

The Bashkir artist Akhmat Fatkullovich Lutfullin painted one of his most famous works, the symbolic canvas “Three Women”, imbued with national color, in 1969. It is possible that the plot of A. Lutfullin's painting was based on his own memories of his childhood spent among ordinary workers in the village of Askarovo.

The central semantic element of the picture is the image of three women of different ages, signifying the great power of the connection between generations. According to the Bashkir national traditions, the woman in the picture is presented as a symbol of motherhood and the keeper of the hearth.

Three members of the fair sex have just had a quick bite of simple peasant food and are going to drink a cup of tea before returning to hard, tedious work until the evening. A small, low table covered with a tablecloth with geometric patterns exudes a kind, simple aroma of homemade bread and milk, three neat, fragile-looking cups are waiting for portions of a fragrant herbal drink.

The women are depicted in almost identical poses, they are all sitting with their left leg tucked under them, and their right leg tiredly bent at the knee. The skin on the hands of the elders looks somewhat rough from the harsh conditions of field work. The young girl is dressed in lighter clothing than the other women in her family. The absence of a scarf and the veil thrown somewhat coquettishly over tight long braids speaks of youth and, perhaps, a cheerful and somewhat romantic nature. Her gaze is light and direct, her cheeks bloom with a blush, which cannot be said about the representatives of the older generation. Silent severity and seriousness slips in their clear, similar silhouettes.

On the hands of a young woman, one can notice uncomplicated jewelry, there is a feeling that she wants to hide a blossoming smile in her palm raised to her face so that other women do not notice her girlish mischievous joy.

Behind the three resting women, behind two windows, Akhmat Fatkullovich Lutfullin, beloved since childhood, stretches out the boundless mountain landscape. At lunchtime, everything is calm and leisurely, it seems that the world surrounding the three women seems to freeze, enjoying every moment of a well-deserved rest.

"Three Women" is far from the only picture of the chairman of the Bashkir Union of Artists, in which a talented painter sings of the beauty, tenderness and amazing fortitude of the fair sex. “Portrait of a mother”, “Mother-heroine Ishmurzin”, “Portrait of an old collective farm girl”, “Portrait of a Bashkir woman”, “Maginur Khasanova”, “Girl in black” and many other wonderful, expressive canvases were painted by the artist with the aim of glorifying the external and internal the beauty of such different and amazing women. Each canvas calls to protect those who connect generations for centuries, prolong the life of a whole family and take care of everyone in the family, sometimes forgetting about their own well-being in their great love.

international and Russian exhibitions. The best works of the artist are in the Bashkir State Art Museum. M. V. Nesterov, in the Tretyakov Gallery, the Russian Museum. The talent of the Bashkir artist manifested itself with the greatest completeness in paintings dedicated to his beloved homeland, its people, especially in such complex forms of painting as a triptych and a compositional portrait. These, first of all, include "Family" (1963), "Golden Autumn" (1968), "Three Women" (1969), "Holiday in the village. 30s” (1969), “Waiting. Year 1941" (1970), "The Old Woman at the Window" (1974) and, of course, the triptych "The Family of the Collective Farmer Razhap" (1974). It should be noted that most of Lutfullin's thematic paintings are devoted to the history of the Bashkir people. In his canvases, history does not live by itself, but closely echoes the present day. “The past never dies,” says the artist, “it continues to live in the present. It is impossible to understand modernity without thinking about the history of the Motherland. A. Lutfullin is one of the few artists whose paintings are filled with inspired love for his Motherland - Bashkortostan. They are always distinguished by a bright national identity. He is a true Bashkir artist.

) I will try to put thematic entries about the Bashkir artists participating in the competition. Of course, let's start with the nomination LEGENDS about those who are no longer with us. The first, by right, will be the outstanding Bashkir artist, People's Artist of the USSR, Akhmat Fatkullovich Lutfullin.
I use the material of the agency BASHINFORM

In the summer of 1957, the VI World Festival of Youth and Students was held in Moscow. And on the eve of this event, an exhibition of young artists of the USSR dedicated to the festival was opened. It aroused great interest among Muscovites and guests of the capital. Among the works that attracted the special attention of visitors was a series of portraits, surprisingly fresh in perception and expressive in color - "Bashkir Girl in the Interior", "Portrait of a Bashkir", "Portrait of a Mother", "Portrait of an Old Man" and others. In the guest book, these works received the highest marks. Their essence boiled down to the fact that in the captured characters the artist conveyed to the viewer the industriousness, kindness, severity and restraint of the feelings of these people, managed to express the deep sources of the national character of his people. This is how the 29-year-old painter from Ufa Akhmat Lutfullin made his debut before the mass audience. By this time, he had already found his hero, found the theme that would become the main one over the next 50 years of his intense work - this is the life of his people, the originality, beauty and nobility of the national character in all its diversity of manifestations. Among the characters in his paintings are workers, residents of his native Abzelilovsky district, representatives of the creative intelligentsia of the republic.

The paintings "Farewell" and "Expectation" were conceived by him as a triptych-poem about the fate of the people in one of the most dramatic periods in the history of our country - during the Great Patriotic War. The artist found expressive means, the language of genuine monumentality, asserting the greatness of the feelings of his heroes. Large thematic canvases "Festival in the Trans-Urals. Sabantuy", "Festival in the village", "Kubyz Melodies", "White Yurt", "Prayer for Rain" give an idea of ​​the faith and national traditions of the Bashkir people.

Akhmat Lutfullin's "Three Women" became a classic of Bashkir painting. The composition of this picture is strikingly laconic, strict and solemn, and its symbolic and allegorical context is also obvious. Three women are depicted at the traditional tea party. It seems to be a typical domestic scene. But it is worth peering into the faces of these women, immersed in their thoughts, and we will see representatives of three generations, united naturally and simply, perhaps this is one family, but each of them has their own difficult fate. And behind the three specific living destinies is the fate of the entire people, the deep foundations of being. The poet Yevgeny Yevtushenko stood by this painting for a long time during his visit to Ufa. A person who knows a lot about painting, a friend of many famous masters of brush in different directions.

“A brilliant artist,” he said in shock, unable to tear himself away from the canvas.

With great love and deep comprehension of the character, the personality of the characters, the artist painted portraits of figures of the Bashkir culture - the writer Khadiya Davletshina, the poets Mustai Karim and Ravil Bikbaev, the composer Khusain Akhmetov, the artist Aliya Sitdikova and others.

Akhmat Fatkullovich was the first artist of Bashkortostan to become a corresponding member of the USSR Academy of Arts and a full member of the Russian Academy of Arts. His works are kept in the collections of the largest museums in the country. One of the albums of his paintings, the artist titled "I am the son of my land." He selflessly loved her, his land, and this love of his led him with a brush, making him an inspired singer of his native land. He would have turned 80 these days.

Self portrait 1959

Girl with a mandolin 1978


Seeing off to the front 1979

White Horse 1986


Girl - Bashkir 1957


Portrait of a mother 1989

The old woman at the window 1974


Portrait of a father 1991


On Sabantuy 1964


Waiting 1941 (1970)


Farewell 1973


From mowing 1996


Rally at the mosque 1980


Three women 1969


Portrait of a Bashkir 1958


A family. People of my collective farm 1974


Destiny 1998


Sabantuy 1977

Bashkir from Burangulovo 1980


White yurt 1989

I am the son of my land. This line, rendered in the title of this article, reflects the true essence of the master's work, who gave his great talent, depth and wisdom of mind, breadth and warmth of the soul to his native Bashkir land, its people. These words can serve as an epigraph to any work of the artist, be it a painting, a portrait, a landscape. Here, in the Bashkir land, are the life roots of Akhmat Lutfullin, the origins of his philosophical and poetic searches.

Akhmat Fatkullovich Lutfullin- a happy person. Fate endowed him with a rare talent as a thinker, poet, painter and worker, which he managed to embody in his extensive, diverse work. He received the highest recognition in our country that an artist can have - the recognition of the leaders of the country, the republic and the people, his countrymen and numerous spectators. On the eve of 1998, Akhmat Lutfullin, the only Ural artist, was elected a full member of the Russian Academy of Arts. This happiness was not woven easily - in tireless work, in doubts and uncompromising judgments, in spiritual participation, which is given to each hero of his works, to their fate.

The artist has created a huge number of works over more than 40 years of creative activity. His famous painting "Seeing Off to the Front" (1978) is in the collection of the Tretyakov Gallery, and "Farewell" (1970) is in the Russian Museum. Many of the works were distributed to the country's museums and private collections. But the exposition of the State Art Museum named after M.V. Nesterov of the Republic of Bashkortostan and the artist's studio gives an exhaustive idea of ​​the fertility, character, integrity of A.F. Lutfullin, because the museum has collected much of the best that he wrote.

With all his work, Akhmat Fatkullovich convinces us that there was and is nothing dearer to him, closer than his native land, his native people, the chronicle of whose life appears in his canvases.

The artist finds his hero already in early works created in the late 50s and early 60s. These are his compatriots - "Safa", "Mustafa-agai", his mother - people who are wise with the experience of years and a difficult life; Bashkir girls with a young blush, charming in their spontaneity. And already in these works, the artist reveals the essence of his creative quest, where the main thing for him is the disclosure of the spiritual content of a person, the features of the national character. Therefore, there is so much charm and dignity in his heroes, filled with spiritual purity and nobility.

Akhmat Lutfullin. Holiday in the Urals. Sabantuy. 1964. Canvas. Oil. Dimensions: 220 X 300.

In this, Akhmat Lutfullin became a direct follower of the traditions of the first national artist Kasim Saliaskarovich Devletkildeev, but Lutfullin had to live in a different era, have a different worldview in tune with it, therefore Gazim Shafikov, who wrote about the artist, is absolutely right: “Lutfullin does not just inherit - he himself creates tradition."

The portrait invariably attracts the artist throughout his career.. How many of them were created in painting and graphics! In the active seventies, in the mature eighties, and in the last as well. The heroes of many of his portraits are ordinary people who live and work on the land, they raise children and grandchildren, they had a chance to survive the war and loss. The new time has also formed new features in them - greater self-confidence, inner freedom, but the eternal value for the artist will be people who have passed the test of suffering and happiness, who have preserved modesty, mental stamina, hard work. How much warmth is invested in each portrait, filled with sincere empathy of the author with the life of his hero!

The depth of the artist's philosophical reflections on the value, spirituality of a person is filled with portraits of people of creative work, created by him in different years, - the writer H. Davletshina (1958), the conductor G. Mutalov (1959), the poets Mustai Karim (1978) and Ravil Bikbaev (1995), composer H. Akhmetov (1977) and many others. Despite the individuality of the psychological characteristics and appearance of the characters, the portraits are united by the author's ability, avoiding idealization, to convey in their images the common principle that characterizes them - the breath of creative, spiritualized thought, the ability to empathize, deep feeling.

Lutfullin's works are not designed speculatively, he does not strive for their "madeness", reaching a convincing solution by the completeness of the artistic image. Therefore, for example, in the portrait of Mustai Karim, carefully modeling the face and hands of the poet, he leaves almost unrecorded the background of the portrait, lined with nervous, restless lines, emphasizing the hero’s inner tension, his spiritual restlessness.

Portrait painting by Akhmat Lutfullin reflects the poetics of his work, focused on a generalized idea of ​​the beauty and strength of the human spirit, aimed at conveying the features of the national character in the images portrayed. This poetics is embedded in the structure of his works with their laconic accuracy of details, expressive plasticity of faces and hands. Everything in them is simple and significant, because it comes from knowledge, from one's own experience.

The poetics of the master is embodied with the greatest force in his genre painting - "A Holiday in the Urals" (1964), "Three Women" (1969), "Sabantuy" (1977) and other paintings. Their distinctive qualities lie in the fact that the plot is more often used by the artist to create a special atmosphere, a state in which the features of his characters stand out more clearly. The essence of his paintings is in the philosophical, poetic orientation of the idea, capable of conveying the moral foundations, the depth of folk characters and destinies.

The most striking embodiment of these principles was the painting “Three Women”, which affects us not with its plot, but with the great figurative power that its heroines breathe. There are three ages, three generations in it - this is how the artist builds a bridge from the past to the present. Women appear before the viewer at the moment of concentrated reflection. Looking into their faces, figures, we read their fate, thoughts. The laconic composition of the canvas, the accuracy of every detail, the ascetic strictness of the color solution and the ultimate expressiveness of each image take it beyond the scope of a specific plot.

Akhmat Lutfullin's life experience began during the war years. The memory of that harsh time, full of deprivation and suffering, is inescapable. She colors the paintings, many of the artist’s portrait works with dramatic notes, which sound to one degree or another in almost all of his works, and with special power in such as “Farewell to the Motherland. Salavat "(1990)," Waiting "(1970). And in the last work of the master "Fate" (1998) - the cry of the soul of the artist, with pain perceiving human tragedies.

But here is another canvas - "White Yurt" (1989), tense and dramatic in Lutfullin's way, where he sees the world in conjunction with the cosmic universe. It is as if the shadows of years and epochs are swirling in the disturbing dark sky, the planets are rushing by, and a leisurely life is taking place on earth with its traditional plots and rituals. These scenes take on the meaning of a symbol. Overcoming all hardships and times, a person rises above them by the power of his spirit, tradition, faith. This is the main thing that Akhmat Fatkullovich Lutfullin speaks about powerfully and beautifully in his art.

It is necessary to note the high pictorial culture of the master. In his works, first of all, there is something that is given from God - a subtle sense of color, as well as something that can only be absorbed with mother's milk - such a color palette in which the colors of the native land come to life. Being always very critical and demanding of himself, Lutfullin was able to develop the natural gift inherent in him, relying on the traditions of the Russian, Bashkir schools, the experience of world art, and create his own expressive pictorial manner that could embody the spirit of his work.

V. Sorokina

• Conversation Conversation
• Grandmother from the village of Burangulovo
• Portrait of a young girl in a Bashkir dress
• father portrait father portrait
• father portrait father portrait
• old stove old stove
• Portrait of an old woman Portrait of an old woman
• giants giants
• Portrait of a man Portrait of a man
• Portrait of A. E. Tyulkin Portrait of A. E. Tyulkin
• Forester's wife Forester's wife
• Indian Indian
• Mother-heroine Ishmurzina Mother-heroine Ishmurzina
• Mustafa-agai Mustafa-agai
• Portrait of G. Kruglov Portrait of G. Kruglov
• The old woman in blue The old woman in blue
• Salavat Yulaev Salavat Yulaev
• Portrait of Khabunisa Portrait of Khabunisa
• Portrait of a woman in red Portrait of a woman in red
• Portrait of Shamsikamer from the village of Amangildino
• Portrait of Louise Portrait of Louise
• Landscape of my village Landscape of my village
• Landscape of the village Ravilovo Landscape of the village Ravilovo
• Portrait of R. Bikbaev Portrait of R. Bikbaev
• Portrait of Anvar Kashapov Portrait of Anvar Kashapov
• Portrait of Galina Morozova Portrait of Galina Morozova
• Portrait of Mansura Portrait of Mansura
• Portrait of Louise Portrait of Louise
• Portrait of a Bashkir Portrait of a Bashkir
• Female portrait Female portrait
• Portrait of Ural Sultanov Portrait of Ural Sultanov

Akhmat Lutfullin

The bright, sincere, truthful art of Lutfullin conquers us, first of all, with its national identity. Lutfullin is a truly Bashkir artist not only by birth and nationality, but also by his deep attachment to his native land and his people, by his rare ability to see and feel the originality and beauty of his life, character and traditions.

Akhmat Fatkullovich Lutfullin was born on February 4, 1928 in the village of Askar in the Tamyan-Katay canton (now the Abzelilovsky district) of Bashkortostan. He studied at the Leningrad Architecture and Art School, the Ufa Theater and Art School, and the State Art Institute of Lithuania.

The first and very small exhibition of the artist's works took place in the summer of 1957 in the Ufa city park. Both the audience and the press received her very warmly. Already in the first independent experiments of the young painter, they saw the desire to create portraits-images that convey the best features of the Bashkir people: physical beauty, wealth of the inner world, an open sense of national pride and dignity. “The first but sure step” was the expressive title of the review of this exhibition in the republican newspaper. The artist successfully passed his first exam after graduation.

In 1968, Lutfullin painted one of the most powerful and complete works - a portrait-meditation "Golden Autumn". Two elderly people, husband and wife, embody different characters: a woman is clearly marked by spiritual superiority, she has more inner integrity and strength. The man is simpler. Of course, his life has battered him, but not to the same extent as his wife. We do not know their fate, we do not know what hardships befell them, but it does not matter. Look how calm their faces are, there is not a trace of sad worries on them. These people have lived a worthy life, rightly raised their children with dignity, and now they live a calm and happy life, in their understanding. What was the most important thing in their life? Honest work. Look at their hands - they are big, even a little ugly big. These people never cheated. They lived with dignity. Labor is the basis of their life. It is thanks to such people that the present exists.

The biggest creative success of Lutfullin was the painting "Three Women", it was written in 1969. One of the researchers of contemporary art V. Vanslov noted: “And Lutfullin in the painting “Three Women” embodied the proud beauty and moral purity of folk characters, creating an image that rises to deep thoughts about the fate of generations, about the development of life, about the past and present in the history of the people ".

The artist himself notes that this painting is his autobiography. While working on it, he, as it were, relived his entire life and the lives of his loved ones anew. The plot of the picture is simple. Three women in national dress drink tea in a clean Bashkir hut. In front of them, according to the Bashkir custom, right on the bunk, on a white tablecloth - a tray with cups, simple village food.

But this plot is filled with great philosophical thought - we have before us a majestic story about three different biographies, three generations, three different characters, connected naturally and simply. Behind the three living concrete destinies stands the fate of the entire nation, its entire complex history, the deep foundations of its moral life. Behind their characters is the character of the entire nation, courageous, unbending.

The majestic old woman seated in the center on a red pillow is regally calm. - a living symbol of inexorable time, the inviolability of age-old customs. The patterned ends of embroidered towels crown her head. An ascetic face, dark withered hands concentrated the wisdom of centuries of developed folk experience, a difficult but worthy life lived. This image carries the main emotional and ideological load in the picture.

The figure of another woman softly emerges against the light background of the window. She has long since reached maturity. In her image, the moral features of the nation are especially fully revealed: noble restraint of feelings, stamina and inner strength of character. The years have taken away the youth and physical beauty of these two women, but generously endowed them with moral beauty.

Next to wise old age is youth. The young woman sitting on the left had more joy and happiness, she did not experience what the elders had to experience. She is the link between the past and the present, the successor and guardian of the moral values ​​of the people.

The images of women contain one thought - the theme of the fate of the people, its unbending moral strength and spiritual greatness.

Every detail is thought out in this canvas. The simplicity and artlessness of life is emphasized by a modest still life: freshly baked bread, milk in a wooden bowl, three porcelain cups and saucers, white, with a red flower. The golden ridges of the ancient Ural mountains, meeting and seeing off generations, are the theme of eternity. Figures of schoolchildren riding bicycles - the theme of youth, constant renewal of life.

The artist in his work also refers to still lifes. "Still Life with a Jug" is written with a free, confident brush.

The items are the most ordinary: a piece of black bread and a herring, a mug filled with milk and fragile white eggs, a painted wooden spoon and a dark earthenware jug. All this against the backdrop of a cleanly scraped wooden table. Why did the artist paint this still life? What thought did he express? Simple is the life of the man whose meal is presented to us. Modest food suggests that this person is not used to excesses, but purity and bright color in the picture about the honesty of a person, that there is no falsehood, moral inferiority in his life.

The artist also turns to the landscape. In 1974 he paints the landscape "The last old house in the village". This dilapidated house, which has grown into the ground, surrounded by rickety wattle fences and outbuildings, the artist once saw in his native places. There lived a lonely old woman. This is a picture of contrasts. Electric wires, an antenna on a slate-covered house in the depths side by side with a dilapidated house and a fence. The fence in the picture is the main thing. Despite the fact that she squinted and, so as not to finally fall to the ground, is propped up by pillars, there is a certain charm in her. The author carefully writes out a bizarre, complex interweaving of rods and poles. Once upon a time, it’s true, strong owners lived here, firmly standing on the ground. And this picturesque hedge is, as it were, evidence of that. Why everything fell into decay is unknown to us The question is different - is it fair? Life goes on, but is the movement that leads to destruction fair? To this question, everyone will answer in their own way.

Time will pass, and new generations of viewers, perhaps, will appreciate the success and finds of the artist differently. But one thing is certain - the painting of Akhmat Lutfullin is significant and original.

By LN Popova