Eduard Georgievich Bragovsky was a Soviet and Russian painter. He became the People’s Artist of the Russian Federation in 2010, the laureate of the State Prize of Russia in 2000, and a Corresponding Member of the Russian Academy of Arts in 2001.
Bragovsky was born October 6, 1923 in Tiflis. In 1927, the family moved to Moscow. He studied at the State Art Institute in Vilnius, and then at the Moscow State Art Institute named after V.I. Surikov. After graduating from the institute, Bragovsky left for Tarusa.
The artist made trips to Altai, Central Asia, and the Caucasus.
Eduard Bragovsky painted landscapes, genre compositions, portraits, and still lifes. His landscapes are characterized by non-specific pictorial solutions, impasto technique, expressionism, and saturated colors.
At the end of the 1950s, as the country was experiencing rapid industrial development and people were increasingly settling in new remote territories, a “severe style” appeared in painting. Pictures that illustrated a plot or a theme, as well as industrial landscape paintings became the main genres of that time. The art of the 1950s was characterized by scale, contrast, expressiveness, clarity, and a dryish, often “severe” manner of painting.
Bragovsky created his own system of creative self-expression that had a lot in common with the aesthetics of the “severe style” of the 1960s and the monumental and decorative searches of the 1970s and 1980s.
The landscape painting “Red House” is distinguished by its unusual angle. The composition is a top view of a fragment of a bank with buildings and a river reflecting the buildings the buildings. The artist accentuates colors in a curious way. The depiction of water occupies most of the pictorial space, and yet, despite the abundance of blue, the picture remains “warm”. The artist managed to achieve this effect by using warm colors. Bragovsky deliberately shifted the semantic center of the composition to the lower right corner. This was his way of inviting the viewers to appreciate the composition as a whole. The artist drew an invisible line between the red house, a typical urban building with its inhabitants and their lives, and a bright white spot in the opposite corner of the picture — a meticulously drawn white church that symbolized the constant presence of faith and spirituality in human life.
Bragovsky was born October 6, 1923 in Tiflis. In 1927, the family moved to Moscow. He studied at the State Art Institute in Vilnius, and then at the Moscow State Art Institute named after V.I. Surikov. After graduating from the institute, Bragovsky left for Tarusa.
The artist made trips to Altai, Central Asia, and the Caucasus.
Eduard Bragovsky painted landscapes, genre compositions, portraits, and still lifes. His landscapes are characterized by non-specific pictorial solutions, impasto technique, expressionism, and saturated colors.
At the end of the 1950s, as the country was experiencing rapid industrial development and people were increasingly settling in new remote territories, a “severe style” appeared in painting. Pictures that illustrated a plot or a theme, as well as industrial landscape paintings became the main genres of that time. The art of the 1950s was characterized by scale, contrast, expressiveness, clarity, and a dryish, often “severe” manner of painting.
Bragovsky created his own system of creative self-expression that had a lot in common with the aesthetics of the “severe style” of the 1960s and the monumental and decorative searches of the 1970s and 1980s.
The landscape painting “Red House” is distinguished by its unusual angle. The composition is a top view of a fragment of a bank with buildings and a river reflecting the buildings the buildings. The artist accentuates colors in a curious way. The depiction of water occupies most of the pictorial space, and yet, despite the abundance of blue, the picture remains “warm”. The artist managed to achieve this effect by using warm colors. Bragovsky deliberately shifted the semantic center of the composition to the lower right corner. This was his way of inviting the viewers to appreciate the composition as a whole. The artist drew an invisible line between the red house, a typical urban building with its inhabitants and their lives, and a bright white spot in the opposite corner of the picture — a meticulously drawn white church that symbolized the constant presence of faith and spirituality in human life.
