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This article is an analysis of a plethora of I. I. Mashkov’s still lifes. A member of the avant-garde art association 'Jack of Diamonds', one of the largest art groups that existed from 1910 to 1917, Mashkov abandoned the traditions of academicians and wanderers, opting instead for emerging artistic trends such as primitivism, Fauvism and Cezannism. Mashkov, whose focus was primitivism, used aesthetic elements of Russian popular prints 'lubok', painted trays, the backdrop of a provincial photographic gallery or signboard. Unlike other associates of the 'Jack of Diamonds', Mashkov experienced a meager and ill-fated adolescence as an errand boy, and thus could be considered a literal 'jack’. 'Jack-Mashkov' in his works attempted an aesthetic combination of the gaudy, rude tastes of the lower classes which he identified with in youth, and the techniques of French primitivism. As a ‘Russian cezannist’ Mashkov was looking for a fixed, eternal and unchanging form of nature, not a fleeting and malleable one. To achieve this, the artist went much further than Cezanne. He sometimes replaced natural things with papier-mache replicas, which achieved the effects of isolation and materiality of objects. This approach of the artist is reduced to the search for a geometric form of nature like a diamond. As a gambler of 'jack of diamonds', Mashkov deployed a daring 'artistic game' on his canvases. Overhauling the existing artistic vernacular, he involved a serious spectator in a game where the living and the inanimate, the mobile and the stationary could readily swap places. The artist used 'trays of Zhostovo' most often for this deception and game.
키워드열기/닫기 버튼
Jack of Diamonds, Trays of Zhostovo, Russian Cezannism, Artistic game
