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Russian painter (1938–2018) From Wikipedia, the free encyclopedia
Vladimir Borisovich Yankilevsky (Russian: Владимир Борисович Янкилевский) (February 15, 1938 in Moscow[1][2] – January 4, 2018 in Paris[3][4]) was a Russian artist known mostly for his participation in the Soviet Nonconformist Art movement of the 1960s through the 1980s. Perhaps his most famous works are his triptychs, works that are difficult to classify, occupying a unique middle ground between painting, and sculpture, similar in some ways to Rauschenberg's combines. On the most basic level, these works use disorienting, often nightmarish imagery to paint a picture of restrictive mental states associated with daily life in the Soviet Union, and with the human condition in general.[5] He is also known for having participated in the Manezh Art Exhibit of 1962,[6] during which Nikita Khrushchev famously chastised the Nonconformist Art Movement as degenerate. Yankilevsky last lived in Paris,[7] France with his wife Rimma.
Yankilevsky was known mostly for his work in the Soviet Nonconformist Art movement of the 1960s through the 1980s. His most famous works are his triptychs, works that are hard to classify. His works often create a nightmarish imagery to paint a picture of restrictive mental states about daily life in the Soviet Union, and with the human condition in general.
Yankilevsky was also known for having participated in the Manezh Art Exhibit of 1962, during which Nikita Khrushchevfamously chastised the Nonconformist Art Movement as degenerate.
In the vibrant art scene of 1970s Moscow, he was discorvered by Dina Vierny, a distinguished gallerist and art collector based in Paris. Vierny, after a visit in Moscow in the early 1970’s, committed to supporting artists resisting the constraints of socialist realism and discovered Yankilevskly, among others such as Ilya Kabakov and Erik Bulatov. In the challenging climate of Soviet artistic constraints, Yankilevsky, alongside other non-conformist artists, faced obstacles in expressing their creativity freely. Dina Vierny, recognizing the immense talent and the struggle these artists endured, played a pivotal role in aiding their artistic aspirations. With Vierny's assistance, Yankilevsky made the momentous decision to relocate to Paris, a city renowned for its artistic freedom and diverse creative environment.
In this new chapter of his life, Yankilevsky found himself amidst a community of like-minded artists who, despite diverse styles, shared a common goal—to break free from the confines of state-imposed artistic norms, particularly socialist realism. This relocation not only marked a geographical shift but also symbolized a profound liberation for Yankilevsky and his fellow artists.
The move to Paris facilitated an environment where Yankilevsky could further explore and exhibit his distinctive artistic vision without the constraints imposed by the Soviet regime. Dina Vierny's unwavering support and commitment to the Russian avant-garde artists played a crucial role in fostering a space where their creativity could flourish, contributing to the rich tapestry of artistic expression in the vibrant cultural landscape of Paris. Vierny's commitment culminated in the groundbreaking exhibition "Russian Avant-Garde - Moscow 1973" at her Saint-Germain-des-Prés gallery, showcasing the diverse yet united front of non-conformist artists challenging the artistic norms of their time.
Yankilevsky died in Paris of leukemia on January 4, 2018 at the age of 79.
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