I liked two key aspects: - the feeling that the leader wants to stand up and clearly give way to someone (to allow such a thing in reality...) - this is reinforced by the position of the strangely animated character here; the frozen plaster cast acquires dynamism. hence the framing choice that emphasizes these feelings:
I've shot without people several times. There are some interesting options. But I posted a shot with the cameraman. You've accurately pointed out this juxtaposition.
Your option works. But I wanted a square—it's more stable.
And it's a shame to lose the layers and the scenery.
A surreal place.)) All his sculptures, four levels high, stare at you.
It's a strange feeling, especially in the evening.
And all in the same style – 100% social realism. But he certainly had a knack for it.
I go there. And I take guests there. ))
Yakov Trembovolsky, of course, social realism, that was the time... My grandfather, the sculptor A. Glebov, worked at the same time, also social realism, of course. But here's an interesting detail about his social realism. His bas-relief on Victory Square, the one about the partisans, turns out to be based on an ancient Egyptian fresco. I saw this completely by accident two weeks ago. I was looking through art books in Svetoch and came across a fresco with the same structure. It can't be a coincidence.
By the way, I think he collaborated with Azgur a couple of times.
I think the Frunze monument (on horseback) is a joint effort. It's in the museum.
Socialist realism (as it's appropriate to say about talented artists) has one, but very significant, feature: a distinct style. Unmistakable. )) And it gets more and more vibrant every year.
Whose workshop is this?
Azgur.
A surreal place.))
All of its sculptures, four levels high, stare at you.
It's a strange feeling, especially in the evening.
And all in the same style – 100% social realism. But he certainly had a knack for it.
I go there. And I bring guests.))
Yes, the workshop is a museum.
- the feeling that the leader wants to stand up and clearly give way to someone (to allow such a thing in reality...)
- this is reinforced by the position of the strangely animated character here; the frozen plaster cast acquires dynamism.
hence the framing choice that emphasizes these feelings:
View crop
I've shot without people several times.
There are some interesting options. But I posted a shot with the cameraman.
You've accurately pointed out this juxtaposition.
Your option works. But I wanted a square—it's more stable.
And it's a shame to lose the layers and the scenery.
My grandfather, the sculptor A. Glebov, worked at the same time, also social realism, of course. But here's an interesting detail about his social realism. His bas-relief on Victory Square, the one about the partisans, turns out to be based on an ancient Egyptian fresco. I saw this completely by accident two weeks ago. I was looking through art books in Svetoch and came across a fresco with the same structure. It can't be a coincidence.
I know your grandfather's work. Of course.
By the way, I think he collaborated with Azgur a couple of times.
I think the Frunze monument (on horseback) is a joint effort.
It's in the museum.
Socialist realism (as it's appropriate to say about talented artists) has one, but very significant, feature: a distinct style.
Unmistakable. )) And it gets more and more vibrant every year.