Ulyanov, Nikolai Pavlovich (1875-1949)

In the history of Russian art figure N. Ulyanov - like in the shade. He did not join the artistic groups and kept away from the innovative ways in the painting. His gift - the gift is not the discoverer, but a successor and guardian; this role, he met with the same dignity.

His first teacher at the Moscow School of Painting (1889-1900) was N. Ge , who predicted the future of the student historical painter (it came to pass in 1930-40's. "Pushkin series" and the painting "Lauriston in the rate of Kutuzov").

But the more powerful was the influence B. Serov : Ulyanov became his friend and assistant (in teaching at the Free workshop at the school and in the studio of E. Zvantseva, 1900-07), took the style of drawing and compositional "Formularity" portraits (AS Glagol'eva, 1911; VI Ivanov, 1920 - until the portrait "Stanislavsky at Work", 1947).

However, the color saturation painting Ulyanov 1910-20-ies. and its rhythmic acuity is far from Serov covenants. The artist finds metaphorical thinking - he is interested in compressed symbols of modern civilization, its transience and phantom ("Paris showcase", 1909-11, "Cafe", 1917, "Carousel" and "Swing" 1909-20-ies.). Addicted to sharp angles, to the spatial intrigue - for example, to repeat the mirror motif forms ("Self-portrait with the hairdresser," 1919; "Alexander Pushkin and his wife at the court ball", 1937) - is associated with an important topic for him reality of discrimination and visibility, real and imaginary. Attention to these issues brings Ulyanov with the painters of the Symbolist circle.

Ulyanov inherent connection symbolist iconic image of the natural realism of the program was akin to the Moscow Art Theater, hence the artist's long association with Stanislavski - from the "Drama of Life" K. Hamsun (1907) to the plays of Mikhail Bulgakov "Days of Turbin" (1925 - 26) and "Moliere" (1933-36). In Soviet times, it was the theater and work on the image of Alexander Pushkin (painting and graphic cycles, 1935-49) helped the artist to retain skills and cultural organics.