Soviet artist Tatiana Nilovna Yablonskaya was born in Smolensk in 1917 in the family of artist and teacher Nil Alexandrovich Yablonsky (1888 – 1944). The mastery of the profession and the formation of the artist’s views took place at the Kiev Art Institute, where she studied from 1935 to 1941. The art of Tatyana Nilovna was greatly influenced by Ukrainian painter, artistic director Fyodor Grigoryevich Krichevsky (1879 – 1947).
The artist’s work was interrupted by the Great Patriotic War. She was evacuated from Ukraine and was able to return to work only after the liberation of Kiev in 1944. She began a new stage in her creative life with the restoration of those painting foundations to which she had previously been committed. At the time, she painted self-portraits and worked on the expressive composition The Enemy Is Coming.
The all-Union recognition came to Tatiana Nilovna Yablonskaya in the second half of the 1940s after the paintings Before the Start, Bread, In the Park. According to critics, the author accurately conveyed the mood of the characters and her fans fell in love with her work for the ease and warmth of feelings that could be traced in every canvas by the artist.
In the 1950s, Tatiana Yablonskaya created several big paintings: Spring, On the Dnieper, In Early Spring. At the same time were created lyrical and unusually picturesque canvases: Spring on the Window, At Home Reading a Book, Over the Dnieper.
When painting At a Construction Site, Tatiana Nilovna Yablonskaya was inspired by the industriousness and dedication of the young builders who re-built Kiev after the Great Patriotic War. She had been working on the canvas At a Construction Site for five years.
Later Tatiana Yablonskaya said the following about her work: ‘I wanted to show that construction is home to peppy, cheerful, young people tireless in work; here, at work, they have good, pure feelings. I wanted the construction landscape, filled with a lively movement and the sun, to merge with their images, just as the labour at the construction site became an integral part of them’.
An adherent of the monumental pictorial form, he helped the young artist develop an original style, thanks to which her paintings became recognizable and acquired artistic features peculiar to her alone.
During her student years, Tatiana Nilovna was fond of the art of the Impressionists, from whom she learned to convey the purity of resonance of colour, its airiness and took interest in the expressiveness of the painting material.
During her student years, Tatiana Nilovna was fond of the art of the Impressionists, from whom she learned to convey the purity of resonance of colour, its airiness and took interest in the expressiveness of the painting material.
The artist’s work was interrupted by the Great Patriotic War. She was evacuated from Ukraine and was able to return to work only after the liberation of Kiev in 1944. She began a new stage in her creative life with the restoration of those painting foundations to which she had previously been committed. At the time, she painted self-portraits and worked on the expressive composition The Enemy Is Coming.
The all-Union recognition came to Tatiana Nilovna Yablonskaya in the second half of the 1940s after the paintings Before the Start, Bread, In the Park. According to critics, the author accurately conveyed the mood of the characters and her fans fell in love with her work for the ease and warmth of feelings that could be traced in every canvas by the artist.
In the 1950s, Tatiana Yablonskaya created several big paintings: Spring, On the Dnieper, In Early Spring. At the same time were created lyrical and unusually picturesque canvases: Spring on the Window, At Home Reading a Book, Over the Dnieper.
When painting At a Construction Site, Tatiana Nilovna Yablonskaya was inspired by the industriousness and dedication of the young builders who re-built Kiev after the Great Patriotic War. She had been working on the canvas At a Construction Site for five years.
Later Tatiana Yablonskaya said the following about her work: ‘I wanted to show that construction is home to peppy, cheerful, young people tireless in work; here, at work, they have good, pure feelings. I wanted the construction landscape, filled with a lively movement and the sun, to merge with their images, just as the labour at the construction site became an integral part of them’.
