yama tsikava ўsyo, gata і nastaўnіki. last year, philip started sitting at his desk, just a month ago, a special certification was sent to other classes. it was easy for me because i knew everything.

people's artist of belarus leonid dmitrievich shimelev is a legendary figure for belarusian and soviet fine arts. shchemelev's paintings are in the collections of the national art museum of the republic of belarus, the funds of the belarusian union of artists, the museum of the history of the city of minsk, and many. another was able to create

a refined at the same time eric poem about human life in all its complexity. his works intertwine modernity and the history of the country, love, sadness, hope, the pain of war and the joy of victory, the beauty of the earth and nostalgic memories of youth. still lifes, portraits, landscapes, the artist worked in all genres of easel painting , created many graphic works, being a participant in the great patriotic war, he was wounded in the artist of belarus can be seen in the city's

largest collection of works of folk art gallery of works by leonid shchemeleva. theme of native land, nature and traditions. for the artist, the landscape exists in an inextricable connection with a person, be it people walking in a field, girls talking to each other, or a lonely woman in a pasture. the basis for leonid shchemelev’s creativity has always been nature. he was a master of depicting real life, constantly looking for the right angle, composition, and filling the plot with meaning. especially bright. this was expressed in drawings; even a small sketch always became not only a finished work, but a reason for realizing an idea and in painting he always shares with special trepidation his memories of the creative and life path of leonid dmitrievich and his daughter margarita leonidovna shchemeleva. margarita leonidovna,

good afternoon, good afternoon. in one of your interviews , you mentioned that when you asked your father why he became an artist, he replied: “i was born in vitebsk, who can i be?”

people, beautifully dressed people, not himself . he really loved beautiful women, beautiful ones allowed no untidiness, for him there was a white shirt with short sleeves necessarily. perfume, a good haircut , a neat haircut and, of course, discipline , this shaped him, he was a disciplined person, in the studio at eleven, then at lunch, then again finishing something, that is, this system may have given him such longevity creative, because he wrote for a long time until he was almost 90 years old, and then when he could not stand, he drew, drew with felt-tip pens, pencils, colored pencils, he loved flowers very much, he loved nature very much, and of course, horses, horses - that was his love since childhood and not only because he he was a cavalryman, everything was very interesting with him , he was a consistent person , he remembered, he, for example, uh, he made a comment to me about how you draw, why do you

draw like that, i draw winter, some kind of crooked ebony tree, he says , there is such beauty in this white snow, i say, well, the snow is white , he says, and there are all seven colors, he knew how to turn on, he had some such properties, he made you look at the world differently, but he i somehow saw this, thanks to his talent, apparently, i think that he is still very improved a lot, he loved music very much, about music and love for music , perhaps your mother contributed and yes, as a child, i remember that i was waiting for them, they came from the concert and very heatedly told each other what they liked, what they didn’t i liked it, these were very bright moments of life, he was life-loving, absolutely , he loved it very much, i know how he always waited for journalists, how he prepared for the day, why he always received people in the workshop, because feedback was important to him, when this gallery appeared, he said so

it’s a blessing that my works won’t be gathering dust on the shelves, but they will be there, people will see them, i write for people, it’s not that he wanted to hear a compliment, he... i wanted to hear how a person felt this or that and as i understood, and as i understood this work, it seems to me that everyone, everyone who came across him, was charged, when you left dad, i immediately wanted that... there was a question of 87 years, some journalist , why have you been going to the workshop to work for 87 years, he

answers him, why? because i haven’t done everything yet, there are still moments that needs to be completed, my father’s work for me is such a pill of health, it is such art therapy, because he broadcast what he loved people, he broadcast what he loved... nature, everything that surrounds him, and this is transmitted in his work, that is , he always has this feedback in his work, he knew that people would see it, and so it happened, he had art in everything, art, invite people, accept people, in the workshop, teach too, teach, tell, suggest something, well spy too, he had a manner, you came to his workshop, he had a camera, he took pictures of you for some of his moments, then he used creative ones

in his works, and he loved to watch programs on culture, about art, he loved watching artists, watching how they were hung in the gallery, how the painting alternated , how sometimes we talked about it with him, that is , he was all interested in the details, this is how it all works, and have you ever discussed it with him, maybe be the topic... art have you thought about the future? well, he said that art, it will have to be very sincere, it should be very sincere, when you write, you think that you are writing sincerely. leonid chemelev, when making drawings, changed his style depending on the creative task. he either drew with thin, clear strokes in a quick and slightly sketchy manner, often choosing a pencil, or worked out the form in detail. modeling it with a non-contour drawing, he masterfully mastered an expressive single-contour pencil line, perfectly

used a picturesque chiaroscuro style. in interviews, he often noted that he could not imagine life without a canvas and a brush. everything that i embody in canvases is my life. this is the history of my homeland, this is memory as one of the most cherished concepts, these are the people whom i love endlessly, and nature, without which i cannot imagine my existence, so said the master. we follow the sporting life of our country. shakhtar reached the top division of the russian basketball championship 3:3. in the second stage, which took place in arkhangelsk, the candidates were in tandem.

now we are in an interesting place, this is the site of a primitive man, around our village of tyshkovicha there are seven registered sites of primitive people, once in this field a hillock was plowed, on the surface quite interesting things began to appear, these are tools of primitive people. glyadzіtse project polishuki

on tv channel belarus 24. the creative life of alexei glebov is one of the most striking pages in the history of belarusian art of the mid-20th century. during his school years he was fond of drawing and i tried to paint from life with oil paints. entering the vitebsk art college, he was attracted only by painting. during the first tests, glebov presented several, along with painting. positional works performed in clay. the sketches attracted the attention of teachers, who saw the boy’s unique thinking and extraordinary abilities. so, unexpectedly for himself, glebov moved to the sculpture department. easel composition, portrait bust, monumental relief, all these types of sculpture have their own laws that glebov comprehended, both in his

own searches and relying on the experience of his senior comrades. he worked as a prop maker at the vitebsk drama theatre. then the head of the butofor-furniture workshop at the moscow art theater. the need to independently solve complex creative questions posed by life contributed to the development of a broad professional outlook. the young sculptor's perseverance bore fruit. he was invited to take part in the sculptural decoration of the government house in minsk. in the first days of the war, he went to the front, participated in the battles near moscow, was seriously wounded and after treatment in the hospital with... the sculptor is in the national art museum of the republic of belarus. each of the works is not just related to the main ones ; he returned to his favorite business. many works mark the stages of glebov’s path in art, but also reveal the main directions of his artistic searches. for more than 10 years, glebov taught at the belarusian theater and art institute, today the belarusian state academy arts

people's artist of belarus, honored artist ivan yakimovi shares his memories of his teacher. ivan yakimovich, good afternoon, good afternoon, how do you remember alexey konstantinovich? we always wanted students to get into the workshop, to see how the master touches the clay, the frame, how he communicates with nature, and something, some extraordinary people, this was the secret, he was really very sociable, always...

to look at it better, no one has done a sculptural portrait to date, the image of francis is cut into sculpture , in wood, in bronze, in any other material, as he did, he felt it so wonderfully, i remember with what beauty, with such kindness he carved the tree, he cut this linden tree, then don’t forget that he magnificent... he was a sculptor and made a lot of sketches, so freely , what’s more, he sits like that, looks like a student, sculpting or drawing, so quietly he comes up, says: well, where is your instrument, give me, and two strokes, so it’s done and you think, it’s so simple and so easy,

what did he pay attention to, what details, what recommendations, perhaps advice, did the teacher give? no, how did you take the tool , what angle are you at, how do you use it, how to make a flower in a sculpture, he came up and said, give me the ring, i gave the ring, he says, i ’ll now show you how to make halftones in sculptures, i think, in painting i know, in graphics i know, but... like sculptures, there are a lot of creative secrets, and you can’t tell it, you need to show it with an example, how it can be done, you have to be present, when... the master sculpts how he does your first steps, how can you see the main detail in sculpture, does it exist at all, how exactly is it in sculpture?