|Биография Виталия Петровича Петрова (Праски Витти) |
(Petrov Vitali Petrovich)
An honoured artist of the Russion Federation. A national artist of the Chuvash Republic. An actual member of the National Academy of sciences and art of the Chuvash Republic. A laureate of Petr Egorov State Prize.
He was born onthe 17th of September, 1936, in the village of Algazino of Vurnarsky region in the Chuvash Republic. He got professional education in the school of art in Cheboksary in 1954-1961 and studied at Leningrad school named after Muhina V.I. during 1961-1967 at the faculty of scenery painting. From 1967 till 1972 he worked in Perm as a book illustrator in a publishing house and as an artist-monumentalist at workshops of the Artistic Fund of the USSR. Then he worked in Togliatty till 1987. Praski Vitti took part in making organizations of the Artistic Fund and the Alliance of soviet artists in a young town. He monitored the organization of the Soviet Alliance in Togliatti.
In 1987 he moved to his Motherland, Cheboksary. He was at the head of the Alliance of artists in Cheboksary, then he worked as a deputy in the Cheboksary Council.
Vitaliy Petrovich Petrov (Praski Vitti) is the author of monumenta-decorative murals on public buildings in Izhevsk, Kazan, Perm, Krasnokamsk, Novocheboksarsk, Togliatti, Cheboksary, Kungur, Syzran, Kuibyshev etc. He is the author of easal painting and drawing, made in the ething technique, black-and-white and coloured print, gouache and Indian ink.
He is famous for book illustration, relief carving, ceramic wares with underglaze murals and many other works, done on following the technique of hot enamel displayed in the International Criative Center in Kechkemet (Hungary) and in Sochi.
Praski Vitti participated and monitored repeatedly in Creative Seminars devoted to enamel art of the USSR and Russian Federation.
He worked with groups of artists from Germany, Hungary, Poland both in our country and abroad. In 1982, 1989, 1992 an 1995 he participated in international symposia on enamel in Kechkemet (Hungary), in 1986, 1988 - in Sochi, in 1991-in Cincinnaty (the USA).
Praski Vitti participated in numerous foreign exhibitions in Germany, Bulgaria, Hungary, Spain, the USA. In 1991 Praski Vitti became an exponent of the International exhibition in Yaroslavl then in St.Petersbourg and Petergoph.
In 1992 his personal exhibition of drawing and enamel art was exposed in Kechkemet, then in Budapest there was another exhibition. In 1993, 1994 and 1996 there were personal exhibitions in Germany. In 1984, 1987, 1993, 1996 he was exposed in Cheboksary, in the Chuvash State Museum of Art. In 1995 there was an exhibition in the Chuvash State Institute of Humanities - “Finding a New Motherland for Hungary”.
In 1993 Praski Vitti was honoured with the Prize of the International Creative Center in Kechkemet for the best work, was awarded with the Diploma of the third Moscow International Exhibition of enamel art, became the Chuvash Republic State Prize laureate named after Petr Egorov.
Praski Vitti’s works became a valuable part of museums, private collections in different towns - Togliatti, Sochi, Cheboksary, Moscow and such countries as Hungary, Spain, Germany, the USA, Belgium, Bulgaria, Poland.
Folk creation is a source and a very important corrector of the artist’s ideas, willing to keep national originality in his creations. This is Praski Vitti’s creed.
His creations are the alliance of the author’s energy, intellect and profound understanding of his trade. They reflect an unusual wide circle of intellectual inquiries and, at the same time, they are full of devotion to national roots and the major theme of making native people great.
Here we must mention the portraits of Chuvash representatives of creative intelligentsia from different generations – poets, composers, musicians, enlighteners and also historical events connected with Chuvash and Hungarian nations’ fates together or in touch with other nations.
We can see the infinity of his galleries with traditional images of the Chuvash poetry and folklore in unbreakable connection with national patterns as the reflection of ancient ideology. The art of Praski Vittiis intellectual, constructive and surprising both in usual means and the author’s ideas. It has no direct analogues but has its own features and the completeness of forms.
In 1966 the artist, who used to think visually, came to the idea to create graphical poems. Besides, he paid great attention to basic philosophical categories as space and time, trying to find imitative equivalents for them. Having been fascinated by the poem “Narspi” of Constantine Ivanov, Vitali Petrov, having become a painter, developed his own methods to express his world outlook through images of Chuvash classical poetry. Being in touch with achievements of world art, studying the experience of ancient thinkers and scientists, getting to know the sense of existing, the painter understood “Narspi”. Thus, this poem became a creation about kindness and evil, happiness and grief, love.
Having been embodied visually, the characters of the poem in old national costumes with colourful ancient ornaments don’t only illustrate the poem but are thought to be hieroglyphs. They are considered to be refrens in his different art creations, easel painting.
Praski Vitti prefers to work with the technique of hot enamel because of being charmed both with the originality of the material and its technical possibilities and steadfastness against the impact of time. He is also satisfied with the circumstance that in enamel art in baking completed compositions the author’s idea is often united with the cases which can cause the painter to get satisfaction or aggravation from sudden appearance of cracks. In his plastic ways the painter follows the rules of monumental decorative art.
His images, as a rule, are flat, colourful, decorative or creative in the manner of linear graphic.
The components of each composition are situated in two dimensions. Clear and bright colours are united in contrasting and sonorous spots, limited by its form. This following flatness but not illusions, let us connect numerous different subjects with the same meaning and repeat a general way in changing of situation, to show the character and events in time duration, all at once.
The artist solves the problems of space with the help of colours, excluding decorative tasks. At the same time he doesn’t forget about symbols of colour and their influence, tries to get necessary emotional sonority. He uses Chuvash tracery as sense code of his plots. It is known, that aesthetic virtues of his using tracery-an important element of traditional national costumes – according to the science are connected with ancient symbols of informational signs of runic script.
The author improves his accent on symbols of his compositions by using patterns signs of the Sun, a life-tree fire, rivers, houses.
Besides, in order to deepen into the age of “Narspi”, in his geometric showing of the background (an axis, a square, a circle, a half circle), in imitative symbols of world parts and heavenly bodies, he follows the understanding of the world of pagan ancestors.
This current feeling of uniting with native culture is the especial feature of Praski Vitti.
Everthing he has done is extraordinary, of entertainment, expressive and, of course, individual. Every time you have a look at them it is impossible to take our eyes off these creations original in their plastic forms and mysterious in their plots. They are valuable for their beauty, sonority or chromatic restraint of colours. We should underline the interests and knowledges of the artist. His creations are full of modern, historical, mythical, literature, imitative, fantastic images. These images consist of a lot of symbols, metaphors and other unexpected details of an intellectual story.
But in spite of difficulty, originality of the author’s ideas, the most important feature of these genre creations is the interest of a person, his spirit values and moral criteria.
An honoured worker in the field of culture of the Chuvash Republic.
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