2003.12.02Article Study on “Pavel Nikolaevich Filonov “: An Analysis of His Paintings ( Abstract )
Study on “Pavel Nikolaevich Filonov “: An Analysis of His Paintings ( Abstract )
Toshiaki SHIBATA
During May 15, 2002 to June 3, 2002, I was invited by an artist, Oleg Kotlnikov of Saint-Petersburg, Russian Federation, to hold an exhibition of my work at the art gallery “Navicula Artis” in Saint Petersburg. At that occasion, by the courtesy of Kotlnikov and the State Russian Museum, I was especially able to view the works of Pavel Nikolaevich Filonov (1883-1941), one of the essential artists of the Russian Avant-garde, that were collected by the Russian museum.
In 1994, at Tokyo National University of Fine Arts and Music Graduate School, I conducted a study on Filonov’s painting theory as my master’s thesis. At the time, I analyzed mainly manifestos that Filonov had left. Regarding Filonov’s painting theory: “Analytical Art”, I first elucidated the problems in the preceding Filonov research by John E. Bowlt, then I analyzed Filonov’s four main manifestos, revealing the main concept of Filonov’s “Analytical Art” as well as verifying that Filonov’s philosophical basis was dialectal materialism. Also, in the analysis of Filonov’s works, I looked into how the main concept shown in the manifestos were actually expressed in the works. However, what could be read from the analysis of material such as pictorial records was insufficient. In the preceding researches, there were some parts referring to the production, but from a painter’s point of view, there were some points that prompted questions. In this study, in order to give a clear answer to those questions, as a painter, I try to analyze how Filonov’s works were produced, with a painter’s particular view.
One of the strongest characteristics shown in Filonov’s paintings is high quality of creation. From his early works to his last works, he always used an applied classical painting technique and composed the picture with utmost planning. In this study, Filonov’s “Analytical Art” is first examined considering the relationship to Russian-Soviet fine arts and society. Nine of Filonov’s most important works are then taken up in chronological order and the analysis focuses predominantly on techniques that can be assumed from the texture. The changes of his paintings, the originality of his expression, and the connection with the painting theory shown in his manifestos are also analyzed. The valuable views on his paintings obtained from the Saint-Petersburg art sector are added and examined.
Issues and Researches in Art Education No.9 / 2003
Society for Art Education Studies ( Tokyo National University of Arts and Music )