Description of the painting by Lutfullin three women. Essay on the painting “Three Women” by Lutfullin Analysis of the painting “Holiday in the Village”

Key dates of life and work
1928 - born on February 4 in the village of Askarovo, Abzelilovsky district, Bashkir Autonomous Soviet Socialist Republic
1943-1945 – studied at Magnitogorsk vocational school
1945-1948 – studied at the Leningrad Architectural and Art School No. 9
1949-1951 – studied at the Bashkir Theater and Art School under A.E. Tyulkina, B.F. Laletina
1951-1954 - studied at the State Art Institute of the Lithuanian SSR
1957 - first personal exhibition in Ufa
1957-1998 - participated in numerous exhibitions of international, all-Russian and republican significance
1966 - awarded the title “Honored Artist of the BASSR”

1967 - awarded a diploma from the Council of Ministers of the RSFSR for participation in the III Republican Exhibition “Soviet Russia”

1970 - awarded the Certificate of Honor of the Supreme Council and the Council of Ministers of the RSFSR for creative achievements
1971 - awarded a diploma from the USSR Academy of Arts for the painting “Holiday in the village. 1930s."
1976 - creative trip to France. Personal exhibition, Moscow.
1977 - awarded the Certificate of Honor of the Supreme Council and the Council of Ministers of the RSFSR for creative achievements

1978 - awarded the title “Honored Artist of the RSFSR”. Personal exhibition. Ufa, Magnitogorsk, Kazan
1980 - creative trip to Vietnam

1982 - awarded the title "People's Artist of the RSFSR". Awarded the title of laureate of the State Prize named after Salavat Yulaev

1987 - awarded the Certificate of Honor of the Central Committee of the CPSU, the Council of Ministers of the USSR, the All-Union Central Council of Trade Unions and the Central Committee of the Komsomol for high creative achievements

1988 - elected to corresponding member of the USSR Academy of Arts
1989 - awarded the title "People's Artist of the USSR"
1992 - elected honorary member of the Academy of Sciences of the Republic of Bashkortostan
1997 - elected full member of the Russian Academy of Arts
1998 - personal exhibition at the Bashkir State Art Museum named after. M.V. Nesterova city

Died February 10, 2007 in Ufa. He was buried in the village of Abzakovo, Beloretsk district of the Republic of Belarus in the artist’s homeland.

“... An exhibition of the master’s works, organized by the Ufa gallery “Miras”, presents his portraits, landscapes, sketches of compositions, and still lifes. The value of the exhibition lies in the fact that it presents, along with other works, works from the early period of the artist’s work, little known to the viewer,
which is distinguished by special emotionality and spontaneity. Many of them left the workshop for the first time. These are portraits of his compatriots - “Chairman of the Village Council” 1961, “Grandmother from the Village of Ursuk” 1972, “Veteran” 1982 - people wise by the experience of years and a difficult life; “Bashkir Woman in a White Dress” 1960, “Mayaryam” 1963 - girls with a youthful blush, charming in their sincerity. These works reveal the essence of the master’s creativity, for whom people who have passed the test of suffering and happiness, who have preserved modesty, mental fortitude, and hard work remain of eternal value. That is why there is so much charm and dignity in his heroes, full of spiritual purity and nobility.

... It is wonderful that this highly artistic world was presented in the exhibition of works by the leading Russian painter Akhmat Lutfullin, deployed in the Miras gallery, which, by organizing such exhibitions, contributes to the preservation of the best traditions of our art, the education of patriotic feelings and the aesthetic taste of viewers and art connoisseurs.”

Valentina Sorokina
Art critic, deputy director of the Belarusian State Art Museum named after. M.V. Nesterova, Honored Worker of Culture of the Russian Federation and the Republic of Belarus, laureate of the P.M. Tretyakov.

Analysis of the painting “Holiday in the Village”

Painting material: Oil on canvas.

Genre of the film: Historical.

Sketch for the painting: "Village Festival" Paper, tempera. 17.5x36.5 cm.

Storage location: State Tretyakov Gallery, Moscow.

Size: 93 x 108.

Date of creation: 1917.

Kustodiev painted the painting “Holiday in the Village” (see appendix 2) in just five days - this is exactly the amount of time the artist spent on his country estate.

In the painting “Village Holiday,” the artist conveys the fun and breadth of Russian holiday festivities against the backdrop of cozy village huts and bright autumn foliage. As always with Kustodiev, the color of the painting is very decorative: it is based on a combination of red, yellow, orange, ocher and white colors.

Collecting material for the program film, Kustodiev in the summer of 1903 undertook a long trip along the Volga from Rybinsk to Astrakhan. The colorful pictures of the Volga bazaars, quiet provincial streets and noisy piers will forever be remembered by the artist. He later used many Volga impressions in the film “Holiday in the Village.”

In the ordinariness of the plot, in the seeming randomness of what is depicted, there is deep thoughtfulness and compositional clarity. Bold combinations of bright colors give the painting a decorative quality, bringing it closer to a popular print.

The theme of cheerful and lively village holidays and festivities, with rough folk humor, with brightness, richness and spontaneity, especially attracted the artist. The painting "Holiday in the Village" was a great success at exhibitions both in Russia and abroad.

Analysis of the painting “Trinity Day”

Material: Canvas, oil.

Painting genre: Impressionism.

Storage location: Saratov State Museum named after. A.N. Radishcheva.

Size: 110 x110.

Date of creation: 1920.

In the painting “Trinity Day” (see appendix 3), an idealistic image of the Russian holiday is created. The holiday of early summer, the Holy Trinity. We see the outskirts of the city, a wide clearing, domes of churches, elegant, leisurely people walking. Festive excitement is felt everywhere, peddlers are scurrying around with flowers and sweets. People ride on troikas, walk, have conversations, and have fun in fair booths. In the foreground of the painting, Kustodiev placed a sedate merchant family as a symbol of patriarchal Rus'.

The painting shines with all shades of blue and green, while white clouds and bright red and yellow details complement the festive mood of the picture.

The foreground is given to the main characters of the Kustodiev festivities. This is a merchant's wife, her daughter, young and slightly embarrassed, the father is a merchant in classic clothes, and a young man in whom one can easily guess a possible groom. It should be noted that Kustodiev writes people using templates. He even has characters representing different types of professions - a baker, a nun, a cab driver - who became characters in separate paintings. In the picture, everyone is smart, cheerful, in abundance, talking and rejoicing. There is contentment and prosperity everywhere.

Everything happens in a clearing, apparently on the outskirts of this city. This is not a park, since strollers can ride freely anywhere, and the circus tent is visible. The trees are scattered, and this plays into the artist’s hands - this way more people can fit in.

Everything in the painting is placed in the space created by the tall church on the right and the tree on the left. Next is another bell tower. This helps emphasize the theme - the holiday of Trinity. Artists of those times considered the church such an important element that not a single picture about Russian life could do without it. Even in his self-portrait, the artist places himself against the background of the Trinity-Sergius Lavra.

Bright colors help you feel the atmosphere of joy and relaxation. Bright colors of clothes for the merchant's wife, a bouquet of flowers for the girl and the seller. The artist always loved and respected folk tradition. And art depicting it should bring joy. He carried this faith through all his work.

Analysis of the painting “Walking on the Volga”

Material: Host, oil.

Genre of the painting: genre scene.

Storage location: State Russian Museum, St. Petersburg.

Size: 100 x 125.

Date of creation: 1909.

The painting “Walking on the Volga” (see appendix 4) shows an embankment with people walking, the Volga, and the picturesque opposite bank of the river. The high point of view allowed the master to capture a wide festive panorama.

Along the alley on the steep bank, where B.M. once stayed at the Hermitage Hotel in 1906. Kustodiev, merchants and merchantwomen, clerks, sex workers, military men, wanderers are strolling. Kustodiev's painting "Festivities on the Volga" comes to life. Festively dressed people walk to the music of a brass band. The tent sells sweets and confectionery, and there is a street teahouse where anyone can drink samovar tea. A little further on they perform Russian romances. And the ladies, and the gazebo, and the tea shop, and everything else that is typically Russian: the outfits of merchants, and empire-style houses, and the red jelly church.

Many artists worked in Tutaev, and among the most famous was Boris Kustodiev. He visited Romanov in 1906-1909, lived in the Hermitage Hotel on Volzhsky Boulevard and from the window of this hotel painted his painting “Festivities on the Volga,” which is now kept in the Russian Museum of St. Petersburg.

Kustodiev, a singer of Russian provincial life, portrays with irony and love the characters of that time: merchants and merchant women, smart bourgeois women, officials and peasants. It is not for nothing that when people now say “Kustodiev’s character,” the characteristic types of that era immediately come to mind. Embellished, presented by the artist in its ceremonial, festive form, it is now the subject of nostalgic experiences for real Orthodox Rus', with the traditions of folk holidays and customs and, dear to the heart, the artless, cozy petty-bourgeois life, the leisurely pace of that life.

The picture was painted from the second floor of the hotel, we see the boulevard as if from above. On the other side of the Volga is our beautiful Resurrection Cathedral. The pier of the Samolet shipping company is visible. On this short stretch of the boulevard there were several piers, each with its own wooden stairs down - the bank was very high. Each shipping company, and there were several of them: “Rus”, “Nadezhda”, “Brothers Lyubimov”, “Kashin”, had its own pier and its own steamships. Some arrived on schedule almost simultaneously and started racing from the river turn to Yaroslavl. The townspeople knew and came here to the boulevard to see who would overtake today.

Akhmat Lutfullin

Lutfullin’s bright, sincere, truthful art captivates us primarily with its national originality. Lutfullin is a truly Bashkir artist, not only by birth and nationality, but also by his deep attachment to his native land and his people, by his rare ability to see and feel the originality and beauty of their life, character and traditions.

Akhmat Fatkullovich Lutfullin was born on February 4, 1928 in the village of Askar, Tamyan-Katay canton (now Abzelilovsky district) of Bashkortostan. He studied at the Leningrad Architectural and Art School, the Ufa Theater and Art School, and the State Art Institute of Lithuania.

The first and very small exhibition of the artist’s works took place in the summer of 1957 in the Ufa city park. Both the audience and the press received her very warmly. Already in the first independent experiments of the young painter, they saw the desire to create portraits-images that convey the best features of the Bashkir people: physical beauty, the richness of the inner world, an open sense of national pride and dignity. “The first, but the right step” was the expressive title of the review of this exhibition in the republican newspaper. The artist passed his first exam after graduation successfully.

In 1968, Lutfullin painted one of the most powerful and complete works - the portrait-meditation “Golden Autumn”. Two elderly people, husband and wife, embody different characters: the woman is clearly marked by spiritual superiority, she has more inner integrity and strength. The man is simpler. Of course, his life was battered, too, but not to the same extent as his wife. We don’t know their fate, we don’t know what hardships befell them, but that doesn’t matter. Look how calm their faces are, there is not a trace of sad worries on them. These people lived a decent life, raised their children with dignity, and now they live a calm and happy life, in their understanding. What was most important in their lives? Honest work. Look at their hands - they are big, even somewhat ugly big. These people never cheated. They lived with dignity. Labor is the basis of their life. Thanks to such people, the present exists.

Lutfullin’s greatest creative success was the painting “Three Women”, painted in 1969. One of the researchers of modern art, V. Vanslov, noted: “And Lutfullin in the painting “Three Women” embodied the proud beauty and moral purity of folk characters, creating an image that rises to deep thoughts about the fate of generations, about the development of life, about the past and present in the history of the people "

The artist himself notes that this painting is his autobiography. While working on it, he seemed to relive his entire life and the lives of his loved ones. The plot of the picture is simple. Three women in national clothes drink tea in a clean Bashkir hut. In front of them, according to Bashkir custom, right on the bunk, on a white tablecloth, is a tray with cups, simple village food.

But this plot is filled with a great philosophical thought - before us is a majestic narrative about three different biographies, three generations, three different characters, connected naturally and simply. Behind three living concrete destinies stands the fate of the entire people, its entire complex history, the deep foundations of its moral life. Behind their characters is the character of the entire nation, courageous, unbending.

The stately old woman sitting in the center on a red pillow is regally calm - a living symbol of inexorable time, the inviolability of age-old customs. The patterned ends of embroidered towels crown her head. The ascetic face, dark withered hands concentrated in themselves the wisdom of centuries of folk experience developed, a difficult but worthy life lived. This image carries the main emotional and ideological load in the picture.

The figure of another woman is softly silhouetted against the light background of the window. She has long since reached maturity. In her image, the moral traits of the nation are especially fully revealed: noble restraint of feelings, perseverance and inner strength of character. The years have taken away the youth and physical beauty of these two women, but generously endowed them with moral beauty

Next to wise old age is youth. The young woman sitting on the left experienced more joy and happiness; she did not experience what the elders experienced. She is the link between the past and the present, the successor and guardian of the moral values of the people.

The images of women contain one idea - the theme of the fate of the people, their unbending moral strength and spiritual greatness.

Everything in this canvas is thought out to the smallest detail. The simplicity and artlessness of life is emphasized by a modest still life: freshly baked bread, milk in a wooden bowl, three porcelain cups and saucers, white, with a red flower. The golden ridges of the ancient Ural mountains, welcoming and seeing off generations, are the theme of eternity. Figures of schoolchildren riding bicycles - the theme of youth, constant renewal of life.

The artist also turns to still lifes in his work. “Still Life with a Jug” was painted with a free, confident brush.

The objects are the most ordinary: a piece of black bread and a herring, a mug filled with milk and fragile white eggs, a painted wooden spoon and a dark clay jug. All this against the backdrop of a cleanly scrubbed plank table. Why did the artist paint this still life? What thought did he express? Simple is the life of the person whose meal is presented to us. Modest food suggests that this person is not accustomed to excesses, but the purity and bright color in the picture about the honesty of the person, that there is no falsehood or moral inferiority in his life.

The artist also turns to the landscape. In 1974 he painted the landscape “The Last Old House in the Village”. The artist once saw this dilapidated house, rooted in the ground, surrounded by rickety fences and outbuildings, in his native place. A lonely old woman lived in it. This is a picture of contrasts. Electrical wires and an antenna on a slate-covered house in the back are adjacent to a dilapidated house and a fence. The hedge in the picture is the main thing. Despite the fact that she was askew and that she would not finally fall to the ground, supported by pillars, there is a certain charm in her. The author carefully describes the bizarre, complex interweaving of rods and poles. Once upon a time, it is true, strong owners lived here, standing firmly on the ground. And this picturesque hedge is like evidence of that. Why everything fell into disrepair is unknown to us. The question is different - is this fair? Life moves forward, but is the movement that leads to destruction fair? Everyone will answer this question in their own way.

Time will pass, and new generations of viewers will perhaps appreciate the artist’s successes and discoveries differently. But one thing is certain - the painting of Akhmat Lutfullin is significant and original.

According to LN Popova

Akhmat Fatkullovich Lutfullin was born on February 4, 1928 in the village of Ishkulovo, Tamyan-Katay canton of the BASSR, now Abzelilovsky district of the Republic of Bashkortostan, in the family of a timber raftsman. The years of his youth were connected with the neighboring villages of Askarovo and Abzakovo.

Akhmat's father, Fatkulla, was a literate man; he graduated from a madrasah even before the revolution and sang drawn-out Bashkir songs well. Mother ran the household, was an excellent storyteller, and knew many fairy tales and legends. There were seven children in the family, Akhmat was the eldest son. He began drawing in the fifth grade, when he was assigned to design a wall newspaper, and since then he has not parted with art. He had a good natural voice, musicality, and played the mandolin. Before the war, Akhmat was even accepted into the folk instruments orchestra of the Bashkir Philharmonic, performed on the radio, and was preparing to participate in the Decade of Bashkir Art in Moscow, but the war interfered.

In 1943, during difficult war times, he went on foot to Magnitogorsk and entered a vocational school to become a turner, but the dream of becoming a real artist did not leave him. At the same time, he visits the art studio at the Palace of Culture of Metallurgists.

Akhmat Lutfullin studies a lot. In 1945-1954 he graduated from the Leningrad Architectural and Art School, the Bashkir Theater and Art School and the State Art Institute of the Lithuanian SSR. During his studies in Ufa, his mentors were painters Alexander Tyulkin and Boris Laletin. In those years, there were practically no deep traditions of the Bashkir art school, since depicting people and animals in drawings was prohibited by Islam. The artist had to go through a difficult path of creative search in order to understand and express in his works the spirit, atmosphere of life, and images of the Bashkir people. It took him years of careful study of the experience of the old masters. With particular persistence, Akhmat studied the portraiture of Hans Memling, a 14th-century Dutch artist, and the work of the Armenian artist Minas Avetisyan. The art of ancient Russian icon painting aroused his deep interest. All this had to be melted down and connected with our own creative ideas and plans.

After completing his studies in Lithuania, the artist returned to his native village and began to work a lot. He creates portrait and landscape sketches “Portrait of a Mother”, “Still Life with a Picture”, “Bashkir Peasant” and others. In 1957, his first personal exhibition took place in Ufa, where Akhmat Lutfullin announced himself as a serious master working on a national theme. Already in the first works, the artist’s desire to convey on canvas the best features of the Bashkir people and the richness of the inner world of his contemporaries is clearly expressed. Gradually, the portrait theme becomes the leading one in the master’s work.

The images of women contain one idea - the theme of the fate of the people, their unbending moral strength and spiritual greatness.

The artist also turns to still lifes in his work. “Still Life with a Jug” was painted with a free, confident brush.

The objects are the most ordinary: a piece of black bread and a herring, a mug filled with milk and fragile white eggs, a painted wooden spoon and a dark clay jug. All this against the backdrop of a cleanly scrubbed plank table. Simple is the life of the person whose meal is presented to us. Modest food suggests that this person is not accustomed to excesses, but the purity and bright color in the picture about the honesty of the person, that there is no falsehood or moral inferiority in his life.

The artist actively participates in numerous exhibitions of international, all-Russian and republican significance. In the 60-70s, Akhmat Lutfullin created the paintings “Three Women”, “Holiday in the Village. 30s”, paintings “Farewell” and “Waiting”, included in the golden fund of Soviet fine art.

Behind his specific characters stands the fate of the entire people, the deep foundations of their existence. The greatness of Akhmat Lutfullin as an artist lies in the fact that on his canvases he was able to succinctly, and at the same time extremely simply, express the generalized image of representatives of his people. Lutfullin’s bright, sincere, truthful art captivates, first of all, with its national originality. Lutfullin is a truly Bashkir artist, not only by birth and nationality, but also by his deep attachment to his native land and his people, by his rare ability to see and feel the originality and beauty of their way of life, character and traditions.

All his work is marked by high pictorial culture. Possessing self-criticism and exactingness, relying on the best traditions of world art, the artist Akhmat Lutfullin was able to create his own expressive style of painting, which embodied the origins of his philosophical and poetic quests.

In 1977, Akhmat Lutfullin took a creative trip to France. In the same year, a personal exhibition of his works was held in Moscow. Later, the artist makes a creative trip to Vietnam. In 1966 he was awarded the honorary title “Honored Artist of the BASSR”. For participation in the III Republican Exhibition “Soviet Russia” in 1967, he was awarded a diploma from the Council of Ministers of the RSFSR. For creative achievements he was twice awarded the Certificate of Honor of the Supreme Council of the RSFSR and the Council of Ministers of the RSFSR, the Certificate of Honor of the Central Committee of the CPSU, the Council of Ministers of the USSR, the All-Union Central Council of Trade Unions and the Central Committee of the Komsomol. He was awarded the honorary titles “Honored Artist of the RSFSR”, “People’s Artist of the RSFSR” and “People’s Artist of the USSR”. Akhmat Lutfullin was elected a full member of the Russian Academy of Arts and an honorary member of the Academy of Sciences of Bashkortostan. His personal exhibitions are held with great success in Ufa, Kazan, Magnitogorsk and Moscow. He is a participant in many international, all-Union, all-Russian and regional exhibitions. In 1982, the artist became the laureate of the Republican State Prize named after S. Yulaev, in 2004 - the laureate of the Kim Akhmedyanov Prize.

In general, the development of Bashkir painting throughout the second half of the twentieth century is firmly associated with the name of Akhmat Lutfullin.

Many of the artist’s works are kept in the storerooms of the Tretyakov Gallery in Moscow, in the Russian Museum of St. Petersburg, the Bashkir Art Museum named after M. Nesterov, other museums in the country and in private collections.

In life, Akhmat Fatkullovich was a very modest person, he preferred to listen more than to talk, he had deep knowledge in many areas, and a subtle wit. His range of interests was wide and varied. As an artist, he was, of course, very observant. His attentive gaze seemed to pierce his interlocutor right through. He did not live long enough to see his 80th birthday. Akhmat Fatkullovich Lutfullin left this world on July 10, 2007 and was buried in his native village.

Since 2008, a secondary school in the village of Abzakovo, Beloretsk district, has been named after an outstanding fellow countryman. In August 2011, a memorial plaque was installed on the school building. One of the streets in the village of Nagaevo, Oktyabrsky district of the city of Ufa, has recently been named after Akhmat Lutfullin. At house No. 7/1 on Aksakova Street in Ufa, where the artist lived for many years, there is a memorial plaque with a bas-relief.

Bas-relief is a type of relief sculpture in which the convex part of the image protrudes above the background plane by no more than half its volume.

The exhibition is a public demonstration of achievements in the field of economics, science, technology, culture, art and other areas of public life. The concept can refer to both the event itself and the location of the event.

Painting is a type of fine art, works of which are created using paints applied to any hard surface (canvas, wood, paper, cardboard, stone, glass, metal, etc., usually covered with primer).

Islam is a monotheistic world religion. The word “Islam” is translated as “surrender to God”, “submission”, “submission” (to the laws of Allah). In Arabic, the word “Islam” is a verbal noun, which means “to be prosperous”, “to be saved”, “to be preserved”, “to be free”. In Sharia terminology, Islam is complete, absolute monotheism, submission to Allah, His orders and prohibitions, and exclusion from polytheism.

Canton is a territorial-administrative unit in some countries, a military-territorial unit in the Bashkir-Meshcheryak army.

Laureate is a person who has been awarded a state or international award of merit, achievements in production, technology, science, etc., as well as the winner of competitions (mainly artistic ones).

The mandolin is a small plucked string musical instrument, a type of lute - a soprano lute, but with a shorter neck and fewer strings.

Madrasah is a Muslim educational institution that serves as a secondary school and a Muslim theological seminary. Education in the madrasah is separate and free. Madrasah graduates have the right to enter the university.

Memorial plaque is a slab, usually made of durable stone (marble, granite) or metal alloy (bronze, cast iron), perpetuating the memory of a famous person or event. They are installed on buildings in which a famous person lived or worked or in which (near which) an important event took place.

A museum is an institution engaged in collecting, studying, storing and exhibiting objects - monuments of natural history, material and spiritual culture, as well as educational and popularization activities.

Still life is a genre of fine art (mainly easel painting), which is devoted to the depiction of things surrounding a person, placed, as a rule, in a real everyday environment and compositionally organized into a single group.

Landscape is a genre of fine art (or individual works of this genre), in which the main subject of the image is wild nature or, to one degree or another, transformed by man. artist Lutfullin painting Bashkir

A character is any person, person, personality, or entity that exists in a work of art.

Portrait is an image (image) of a person or group of people who exist or existed in reality. Portrait is one of the main genres of painting, sculpture, and graphics.

Philharmonic -- in some countries: a musical society or institution engaged in organizing concerts, promoting the development and promotion of musical art.

Exhibit - in the field of fine arts: a work of art displayed for viewing at an exhibition or in a museum.

I am the son of my land. This line, included in the title of this article, reflects the true essence of the work of the master, who gave his great talent, the depth and wisdom of his mind, the breadth and warmth of his soul to his native Bashkir land and its people. These words can serve as an epigraph to any artist’s work, be it a painting, a portrait, a landscape. Here, in the Bashkir land, are the life roots of Akhmat Lutfullin, the sources of his philosophical and poetic quests.

Akhmat Fatkullovich Lutfullin- a happy person. Fate gifted him with a rare talent as a thinker, poet, painter and worker, which he was able to embody in his extensive, diverse creativity. He received the highest recognition in our country that an artist can have - recognition from the leaders of the country, the republic and the people, his fellow countrymen and numerous spectators. On the eve of 1998, Akhmat Lutfullin, the only Ural artist, was elected a full member of the Russian Academy of Arts. This happiness was not woven easily - in tireless work, in doubts and uncompromising judgments, in the spiritual participation that is given to each hero of his works, to their fate.

The artist has created a huge number of works over more than 40 years of creative activity. His famous painting “Farewell to the Front” (1978) is in the collection of the Tretyakov Gallery, and “Farewell” (1970) is in the Russian Museum. Many works were distributed to museums across the country and private collections. But the exhibition of the State Art Museum named after M.V. Nesterov of the Republic of Bashkortostan and the artist’s workshop gives a comprehensive idea of the fertility, character, and integrity of A.F.’s creativity. Lutfullin, because the museum has collected much of the best that he wrote.

With all his creativity, Akhmat Fatkullovich convinces us that there was and is nothing dearer or closer to him than his native land, his native people, the chronicle of whose life appears in his canvases.

The artist finds his hero already in his early works created in the late 50s - early 60s. These are his compatriots - “Safa”, “Mustafa-agai”, his mother - people wise by the experience of years and a difficult life; Bashkir girls with a youthful glow, charming in their spontaneity. And already in these works the artist reveals the essence of his creative quest, where the main thing for him is the disclosure of the spiritual content of man, the characteristics of the national character. That is why there is so much charm and dignity in his heroes, full of spiritual purity and nobility.

Akhmat Lutfullin. Holiday in Trans-Urals. Sabantui. 1964. Canvas. Oil. Dimensions: 220 X 300.

In this, Akhmat Lutfullin became a direct follower of the traditions of the first national artist Kasim Saliaskarovich Devletkildeev, but Lutfullin had to live in a different era, have a different worldview in harmony with it, therefore Gazim Shafikov is absolutely right when he wrote about the artist: “Lutfullin does not just inherit - he creates tradition."

The portrait invariably attracts the artist throughout his career. How many of them have been created in painting and graphics! In the active seventies, in the mature eighties, and in the last ones too. The heroes of many of his portraits are ordinary people who live and work on the land, they raise children and grandchildren, they have experienced war and loss. New times have also formed new features in them - greater self-confidence, inner freedom, but the eternal value for the artist will remain people who have passed the test of suffering and happiness, who have preserved modesty, mental fortitude, and hard work. How much warmth is put into each portrait, filled with the author’s sincere empathy with the life of his hero!

The depth of the artist’s philosophical reflections on the value and spirituality of man is filled with portraits of people of creative work created by him in different years - the writer Kh. Davletshina (1958), conductor G. Mutalov (1959), poets Mustai Karim (1978), and Ravil Bikbaev (1995), composer Kh. Akhmetov (1977) and many others. Despite the individuality of the psychological characteristics and external appearance of the characters, the portraits are united by the author’s ability, avoiding idealization, to convey in their images the common principle that characterizes them - the breath of creative, spiritual thought, the ability to empathize, deep feeling.

Lutfullin’s works are not constructed speculatively, he does not strive for their “madeness”, achieving a convincing solution with the completeness of the artistic image. Therefore, for example, in the portrait of Mustai Karim, carefully modeling the poet’s face and hands, he leaves almost unrecorded the background of the portrait, lined with nervous, restless lines, emphasizing the hero’s internal tension, his spiritual restlessness.

Portrait painting by Akhmat Lutfullin reflects the poetics of his work, focused on the generalized idea of the beauty and strength of the human spirit, aimed at conveying the traits of national character in the images of those portrayed. This poetics is also embedded in the structure of his works with their laconic precision of detail, expressive plasticity of faces and hands. Everything in them is simple and significant, because it comes from knowledge, one’s own experience.

The master’s poetics are most powerfully embodied in his genre paintings - “Holiday in the Urals” (1964), “Three Women” (1969), “Sabantuy” (1977) and other paintings. Their distinctive qualities are that the plot is more often used by the artist to create a special atmosphere, a state in which the features of his characters appear more clearly. The essence of his paintings is in the philosophical, poetic orientation of the idea, capable of conveying moral foundations, the depth of national characters and destinies.

The most striking embodiment of these principles was the painting “Three Women,” which influences us not with its plot, but with the great figurative power that its heroines breathe. There are three ages, three generations in it - this is how the artist builds a bridge from the past to the present. The women appear before the viewer in a moment of concentrated thought. Peering into their faces and figures, we read their fate and thoughts. The laconic composition of the canvas, the precision of every detail, the ascetic severity of the color scheme and the utmost expressiveness of each image take it beyond the scope of a specific plot.

Akhmat Lutfullin's life experience began during the war years. The memory of that harsh time, full of hardships and suffering, is inescapable. It colors the artist’s paintings and many of the artist’s portrait works with dramatic notes, which to one degree or another are heard in almost all of his works, and with special force in such works as “Farewell to the Motherland. Salavat" (1990), "Waiting" (1970). And in the master’s last work, “Fate” (1998), there is a cry from the soul of an artist who perceives human tragedies with pain.

But here is another canvas - “White Yurt” (1989), tense and dramatic in the Lutfullin way, where he sees the world in conjunction with the cosmic universe. It’s as if the shadows of years and eras are swirling in the disturbing dark sky, planets are flying by, and leisurely life with its traditional plots and rituals is taking place on earth. These scenes take on the meaning of a symbol. Overcoming all adversities and times, a person rises above them with the strength of his spirit, tradition, and faith. This is the main thing that Akhmat Fatkullovich Lutfullin speaks powerfully and beautifully about in his art.

It is necessary to note the high artistic culture of the master. In his works, first of all, there is what is given from God - a subtle sense of color, as well as what can only be absorbed with mother's milk - a color palette in which the colors of his native land come to life. Always being very critical and demanding of himself, Lutfullin was able to develop the natural gift inherent in him, relying on the traditions of the Russian and Bashkir schools, the experience of world art, and create his own expressive visual style, capable of embodying the spirit of his work.

V. Sorokina