Krasil Makar. The appearance of the artist

According to biographic legend the artist Krasil Makar was born in 1889 in the village of Nizhnyaya Sinyachikha, Sverdlovsk Region. His parents were peasants.  From 1901 to 1939 when he had a spare time from seasonal field employment, he worked as a dyer, painting peasant's log huts and household utensils. The works of that time were not preserved.  In 2017 Krasil Makar removed in Ekaterinburg and declared himself with help the first street projects demonstrating a free interpretation of the Ural-Siberian house painting technique.  The artist animates losing tradition “dyeing trade”, developing in XVIII – XIX centuries, in his practice of recent years. The Ural-Siberian painting on wood is a craft that did not become the widespread industry of the co-operative craft societies and large manufactures, and thus, surviving forever its exclusive and hand-made character.  Updating and adapting the practice of folk art was become the program choice of Krasil Makar, who used the expressive language of unique traditional craft.


In the paintings Krasil Makar uses effective technique “bleaching” when the paintbrush takes simultaneously two pains - the main and the white. This technique allows reaching the vibrating transition from one color to another with help only one stroke of the paintbrush. The bleaching avivages and the black adscripts emphasize the sound of basic pure colors: green, red, blue, yellow, dark brown. These specific visual quotes closely link Krasil Makar’s works with house painting. Freedom and flexibility of their using let us to consider the development potential of traditional technology in modern and latest contexts.


The composition in the Ural-Siberian painting technique was organized either centrally either with the sections, where the free composition is acceptable. Krasil Makar makes use of the improvisational capabilities of the most picturesque technique and breaks down the geometry of the traditional pattern into universal constituent elements. Finding themselves literally “scattered” across the surface and devoid of gravity, these parts-fragments are deformed and rearranged. The previously enclosed image space, as if under the action of centrifugal forces, is moved apart, overcoming conditional compositional boundaries.


First of all, The appearance of the artist, is the first wide presentation of the works of Krasil Makar to the audience. The exhibition convincingly represents the diversity of the author’s interpretation of the traditional folk painting technique: from early street projects where dynamic multi-layer compositions were used to more generalized, balanced and laconic images in monumental works; from attempts to revive the practice of “dyers” in private homes and interiors to minimalistic easel paintings and painting utilitarian objects (toys); from works intended for little personal spaces to large forms of public art.


The exhibition title is also dictated by the understanding of Krasil Makar’s creative strategy related to the personalization of the folk tradition, which often existed anonymously (or did not preserve the names of the masters). The contemporary artist “re-recording” the language of the painting, thereby brings the unique author’s style into the technique itself.


The exhibition of Krasil Makar in the museum looks like a deliberate decision.  The installation filled with the works of the author is at the heart of the project at the Ekaterinburg museum of Fine Arts. It is inspired by the nature of the art museum and its “non-dress up" side hidden from the visitor’s eyes – the museum’s depository. In this work, one feels not so much an attempt to recreate the real atmosphere of museum storerooms, but rather what appears before the viewer is a fantasy about the idea of ​​a museum that preserves a whole “artist's world”. Getting into the installation space, the viewer can imagine that this is the territory of an imaginary museum’s depository created by the author himself for a meditative immersion in the dyer’s experience, which went from painting peasant huts to an exhibition in a modern museum.

Irina Kudryavtseva

Exhibition Curator  

31 January 2020 - 15 March 2020

Voyevodina str., 5

250 RUB