The artist is Bogorodsky
Sailors whom Bogorodsky called in naval jargon „Brothers", were the main characters of his works. He served during the Civil War the commissar of the Military Volga-Don Flotilla, he invariably felt like part of their rough-romantic world. Preferring „be a sailor in the ranks of artists", He even his articles about art in „Nizhny Novgorod commune" not without some shocking signed „Bogorodsky sailor". In 1931, he spent six months on warships in the Black Sea, visited Sevastopol, Odessa, Batumi. „This journey finally puts me on the path „Sea painter", And I no longer part with the idea of devoting all the main works of my beloved Red Fleet, my sincere sailors". These sincere intonations were embodied in the picture „Filmed from the photographer". Good -naturedly making fun of the naive seriousness of the brave sailor and his faithful girlfriend, posing against the background of an exotic landscape, the artist at the same time puts maximum sympathy and respect into their images. Perhaps the sailor cited his wife clearly expecting his child before distant swimming, and the photograph will warm his harsh heart on long days of separation. The images created by the artist are collective and do not have specific prototypes, although the features of self -portrait are sometimes seen in the guise of a sailor. Russian portrait. XX century: St. Petersburg, 2001. WITH. 228.
A family portrait in its pure form in Soviet times is crisis. Among the party and production elite, which could become a customer of such works, it was not accepted to appear publicly in the family environment: the leaders should belong to all the people. But the compromise genre was developed: a family portrait-type, where not a person is important, but a type representing its social, professional, cultural layer. Often in such works the position of posing itself is played. Artists stylize or parody compositional schemes of the old portrait or photographs. Families are decorously located in the frame-picture, they are simple-mindedly striving to appear in front of the viewer “in the best form”. The texture of the source involves ennobleing aging or retouching, smoothing out defects in nature. But in the course of secondary portrait, the artist is free to emphasize her too characteristic, conflicting with the laws of the genre features: rude faces, unpretentious poses, loud absurdity of the subject environment. The family of the Udenty sailor and his faithful, a girlfriend in the spirit of emblematic pairs of sickle and hammer, a sword and screaming, can be characterized as an alliance of machine -gun ribbons and a lace apron, ironically representing the front and rear of the revolution. Lyubov Shakirova. Family album of the Russian Museum // Portrait of Family. SPb, 2014. WITH. 11-12.
