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David
Petrovich Shterenberg

Russia 
1881−1948
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In 1907-17 he lived in Vienna and Paris, where he studied at the Academy of arts and at the Academy Vitti. Head of the Department of fine arts Narcompros (1918-20). One of the organizers and Chairman of the arts Association of the EAST (1925-30). He taught at the State free arts. workshops VHUTEMAS, Vhuteine in Moscow (1920-30). As an active supporter of the Western modernist movements, sh unilaterally approached the task of rethinking the artistic heritage in the context of the new revolutionary reality. The works of sh inherent in the pointed expressiveness of images, concise composition, clarity and generality of drawing stressed planar structure of the space.

In 1906 he studied at the art studios of Odessa. In the same year went to Vienna, and soon to Paris where he studied at the School of fine arts and then at the Academy Vitti under the guidance of A. Martin, K. van Dongen and E. Anglada. He lived in Paris until 1917, in the artist colony "La Ruche" (the Hive). Its creative aspirations were close to representatives of the "Paris" school (A. Modigliani, H. Soutine and others). Own style formed by 1916, After the February revolution, returned to Russia, where he immediately actively involved in the implementation of the new cultural policy. Appointed Commissar for the arts in Petrograd, and after moving to Moscow in 1918-head of the Department of IZO Narkompros (up to 1920).

After a moderately early avant-garde experiments has developed a special type of planar still life, sometimes decorative, sometimes astroklimaticheskih (Herring, 1917-1918, Tretyakov gallery, Moscow). As an administrator, actively supported the "left" - wing futuristic at the same time defending (in defiance of the same "left") the intrinsic value of easel painting. Acted as master of portrait and symbolically-generalized figure compositions, expressive expressed their tragic faults time (Old (Old), 1925-1926; Aniska, 1926; both work the same). His expressionism took on a more intimate, lyrical and contemplative in nature (scenic loop Herbs, 1929; a series of children's books-pictures 1930-1931; still lifes and landscapes 1930-1940-ies). In his painting, etchings and wood engravings of these years, the master was in fact one of the founders of the lonely-Studio "quiet art", opposing the official "theme" of the social order.

In 1925 participated in the International exhibition of modern decorative and industrial arts in Paris, where he headed the "Russian section"[1].

Special psychological force this is a lyrical contemplation achieves in a series of Biblical stories (1947-1948), where Shterenberg, referring mainly to the Crucifixion and related themes, has sought to revive the fragile, colour visions — a nondenominational religious art in the spirit of N. N. GE. Worked as a teacher at the Higher art and technical studios — Higher art and technical Institute (VHUTEMAS — VHUTEIN) (1920-1930).

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