Artists of Dagestan Biography

From the life of the expedition of G. Portraits of the Red Partisans, we also represent works united by topics: portraits of poets and folk singers -kazesi Portrait of Dagestanis, participants in the Great Patriotic War Mahmud from Kohab - Rosso 4. Historical heroes “Makhach Dahadaev”, “Haji Murat” 6. Historical genre, battal painting and schedule 7. Satira 8. Caricature and cartoon 9.

Book illustration of the famous Islamic ban on the image of living creatures broke more than one hundred Dagestanis, who were attracted by drawing, scraping. Someone gave up, someone rebelled, and someone was just lucky-their youth and passion for drawing coincided in time and place. Many were eliminated by time, some turned out to be persistent and consistent.

The new Soviet government needed visual propaganda, which was attracted by both artists from the center and their local novice personnel. They grew up, showed the result and the Soviet government sent them to study in Moscow, Leningrad, Tbilisi. Upon returning, they worked hard and hard, created work, made holidays, trained, went on expeditions. It was the expedition, starting from the year, they tempered their creative spirit, strengthened their hand, exacerbated their eyes.

The most high -profile and productive expedition of the year made it possible not only to enrich the Dagestan Museum with ethnographic and artistic material, but also launched a new stage of art in the republic. Having formed their author’s style, they all stood steadily on the principles of realism, and the display of reality became the main leitmotif of that time.

In the art of history literature on the history of the fine art of Dagestan, the name of Magomed Yunusilau is inscribed as a founder, one of the pioneers of secular professional art. But in a few general publications to his work and fate are all lines unforgivably. The last personal exhibition of the artist was held in and was one of the two in the artist’s life the first - the work of Yunusilau seemed to be only a few works of painting and graphics in museum expositions, and was involved in one or two works in thematic exhibitions.

But in general, as an artist, he was not disclosed by either museums, or the Union of Artists, or art critics. And the whole bibliography also stopped about him in the X years. The huge layer of work of Magomed Yunusilau is his pedagogical activity. Starting from the year, M. Yunusilau gave a lot of time to pedagogical work, classes with amateur artists, drove them to the mountains to the open air, and led an art studio.

He prepared students for admission to artistic institutions and himself drove them for admission to the Academy of Arts in Tbilisi. With his recommender letters of characteristics, the studios also entered Moscow, Leningrad and Rostov. With great employment, as a man of advanced years, he found time for everyone who turned to him for advice. It is difficult to find in Dagestan an artist who would not go to the M.

Studio in childhood, his students - Salavat Salavatov, K. The task of the current exhibition “rehabilitate” the artist’s name is to study the collection, make it a complete and detailed inventory, attribute portraits and not signed work, systematize the topics and, on this basis, perform an analysis of creativity, expand the biography and bibliography, and form a scientific archive.

And the main thing is to widely show creativity, to show the time of the formation of a new culture. The retrospective exhibition and the album publication will become for us not just the next exhibition event, but a large research project that will allow us and subsequent researchers to analyze new issues and cross -country topics in the work of Magomed Yunusilau. What time has fallen on the formation of their art, how the circle of the first five artists was formed, how they interacted with each other, what topics chose and how they understood the role of art.

It was Yunusilau and colleagues who put the seed and breathed life into a new phenomenon for the Goro Republic, where ten years ago there was a ban on the image of living beings. Work on the study of the life and work of the artist is in the active phase today and it poses not only new issues, it opens up new, not studied topics and phenomena in the professional art of Dagestan, in the history of the Republic of the first half of the twentieth century.

We still have to study topics that, in addition to directly drawing, are important in the understanding of the life and work of Yunusilau: the formation of the artist is an original gift, the role of Isabek Abdullaev, a Rabfak. The role and achievement of Yunusilau in the museum case of Yunusilau Satyr as a red thread of worldview and its creative embodiment, a newspaper illustration of Dagestan literature and a book illustration of the poetry of Irchi Cossack and Mahmud in the work of Yunusilau, the pedagogical activity of Yunulayu in the exhibition presents the works of the son of Magomed Yunusilau, a famous artist and the teacher- Kairi- Kairi- Cairo Yunusilau, as well as the two most famous picturesque works by Magomed Cairo-Magoma-“Mahmud in Sakle” and “Irchie Cossack on the way to Siberia” from the funds of Damia named afterIn the year, it will be the years since the birth of Magomed Yunusilau, and we really hope to approach the anniversary with new and interesting achievements.

Jamila Dagirova Deputy. Alibeka Tahie-Hoody. "