Most of Ernst Neizvestny’s works presented at the Museum of his name in Sverdlovsk were donated by private individuals. The plaster model of the sculpture Formation of a Man that adorned the museum’s collection was previously owned by National artist of Russia Vitaly Mikhailovich Volovich. It was Volovich in summer of 2012 who addressed the leadership of the Sverdlovsk region with a proposal to open a museum of the great sculptor.
The region supported this initiative, and the first exhibits were transferred to the gallery not only by the master himself, but also by friends, relatives, collectors, in whose private collections the works of Ernst Neizvestny were kept. Representatives of the museum note with satisfaction that among the presented exhibits there are no copies, all of them are originals. The exhibits include the most diverse items: drawings, plaster models, photographs, engravings, books. In total, the museum has more than a hundred exhibits.
Vitaly Volovich recalled that for the first time he met Ernst very young, in the post-war 1946. Their mothers were close friends, and both chose a literary path for themselves. Sons, on the other hand, devoted their lives to artistic creation. The first book of poetry by the sculptor’s mother, poetess Bella Dizhur, was illustrated by Vitaly Volovich.
According to a friend, Ernst Neizvestny had fantastic energy that helped him generate outstanding ideas day and night. Volovich considered his friend a brilliant man and genius, in his work is an artistic talent guided by intellectual power. When Ernst Neizvestny settled in the capital, Vitaly Volovich visited his Moscow workshops.
The artist recalls that in the sculptor’s workshop there was at the same time a huge number of sketches and drafts. It was hard to believe that the room was occupied only by one person, and not by a whole team of artists. The master spoke so contagiously about his work that the audience listened to him with bated breath.
The sculpture Construction of Man was part of the Totem series and was created by the author in the first half of the 60s. Like many subsequent works, the plot is closely interwoven with biblical Old Testament teachings. The human body in sculpture is as if mounted from many different parts - diligently, methodically, scrupulously.
Vitaly Volovich survived his great friend by only two years, he died a few weeks after the 90th anniversary. Throughout his life, Volovich created a large number of illustrations for works of medieval literature. He did not ignore the works of Gorky, Shakespeare, Goethe and other great poets and writers. Volovich left behind magnificent engravings and etchings that attract attention with the bright emotionality of the plot and the expressiveness of the lines. Member of the Academy of Arts of the Russian Federation, honorary citizen of Yekaterinburg, People’s Artist of the Russian Federation, twice the winner of the prize of the of the Sverdlovsk region governor – all Vitaly Volovich’s regalia cannot be counted. The artist often came to Ernst Neizvestny Museum and was a member of the board of the Museum Friends Club.
The region supported this initiative, and the first exhibits were transferred to the gallery not only by the master himself, but also by friends, relatives, collectors, in whose private collections the works of Ernst Neizvestny were kept. Representatives of the museum note with satisfaction that among the presented exhibits there are no copies, all of them are originals. The exhibits include the most diverse items: drawings, plaster models, photographs, engravings, books. In total, the museum has more than a hundred exhibits.
Vitaly Volovich recalled that for the first time he met Ernst very young, in the post-war 1946. Their mothers were close friends, and both chose a literary path for themselves. Sons, on the other hand, devoted their lives to artistic creation. The first book of poetry by the sculptor’s mother, poetess Bella Dizhur, was illustrated by Vitaly Volovich.
According to a friend, Ernst Neizvestny had fantastic energy that helped him generate outstanding ideas day and night. Volovich considered his friend a brilliant man and genius, in his work is an artistic talent guided by intellectual power. When Ernst Neizvestny settled in the capital, Vitaly Volovich visited his Moscow workshops.
The artist recalls that in the sculptor’s workshop there was at the same time a huge number of sketches and drafts. It was hard to believe that the room was occupied only by one person, and not by a whole team of artists. The master spoke so contagiously about his work that the audience listened to him with bated breath.
The sculpture Construction of Man was part of the Totem series and was created by the author in the first half of the 60s. Like many subsequent works, the plot is closely interwoven with biblical Old Testament teachings. The human body in sculpture is as if mounted from many different parts - diligently, methodically, scrupulously.
Vitaly Volovich survived his great friend by only two years, he died a few weeks after the 90th anniversary. Throughout his life, Volovich created a large number of illustrations for works of medieval literature. He did not ignore the works of Gorky, Shakespeare, Goethe and other great poets and writers. Volovich left behind magnificent engravings and etchings that attract attention with the bright emotionality of the plot and the expressiveness of the lines. Member of the Academy of Arts of the Russian Federation, honorary citizen of Yekaterinburg, People’s Artist of the Russian Federation, twice the winner of the prize of the of the Sverdlovsk region governor – all Vitaly Volovich’s regalia cannot be counted. The artist often came to Ernst Neizvestny Museum and was a member of the board of the Museum Friends Club.
