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Tyshler Alexander G. (1898-1980)

A. Tyshler - strange, no one else like and therefore difficult for the viewer the artist. It this long and hard to reproach, making it difficult to work with. But he was still himself, because otherwise not be able to and did not want to. He is a painter and graphic artist, stage designer, sculptor, and in all these forms of art - on canvas, on paper, on the stage - and the rampant dreamer dreamer, always showing a world transformed by a kind of visible language of metaphors.

Tyshler studied at the Kiev Art School (1912-17), then in the studio of Alexandra Exter in Kiev the same (1917-19), and finally, at the Moscow Higher Art B. A. Tabor (1921-24).

Work independently began in the mid 1920's., In a close circle of young innovators to stay, but there was on his own.
Artists Association catered for all modern - technology, sports, politics, and he drew in a romantic fairy tale even the most topical and specific topic, whether drawings for geometry textbook (1925), or a series of paintings and drawings "Makhnovshchina" (1920), with violent shocks in the vast steppe space and grotesque figures Makhno drunk in huge hats. Even in these easel paintings criticism spotted lurking theatricality, the "theater of dreams", "freedom of modern theatrical approach to things" (JA Tugendhold).

In fact, Tyshler treated used in his art is very things in a modern, free, - they do not line up of some sort of environmental reality, and boldly transformed, gave them no direct and metaphorical sense. So he did both in painting and in the scene.

His first notable performance - "Sheep Well," Lope de Vega, staged in 1927 in Minsk. Metaphor of the peasant way of life here has become a wicker basket or a fence. The stage space is completely enclosed in a circular weaving, wrap the walls of the village houses with overhanging porches and stairways.
Tischler was a favorite playwright William Shakespeare, the "read" in sketches and performances of the artist is sharp and creative ("King Lear", GOSET, Moscow, "Richard III ", GBDT them. Gorky, Leningrad, both performances in 1935). World of Shakespeare is often embodied in a fantastic medieval building - palace or castle, visible from the outside and from the inside at the same time ("Hamlet", 1953, "Richard III", in 1963, the stage is not implemented). Pointed arches are based on the similarity of human figures - is not dead background and live in their own way humanized architecture, take a direct part in the dramatic action. Construction may, if necessary, turn, transformed before our eyes.
Fits this fairytale castle with its open heart on the stage the entire whole, from the base to genital tiled roofs, and so I had to, of course, to reduce ("building-triptych", as it is called A critic Bassehes). Through this upsize, monumental figures are actors, clearly gaming, theatrical spectacle of nature, not pretending to be too kind a reality.

In "King Lear" (GOSET), the artist said that, on the stage of erecting another scene, like a mobile theater truck with opening doors, is also based on the silent figures, caryatids. Tischler art peculiar to multiple variations odnoharakternyh, often symbolic images. These are his paintings and graphic series of the last years of his life, where fragile girls are on their heads and shoulders still life or scenery, strange buildings, symbolizing the theater or a holiday farce, a fortress or sea elements (series "Oceanides", "fairytale town" " Puppet Show "," Masquerade "," Clowns "and others, 1960-70th).

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