Siberian sculptor Georgy Lavrov: specific attributes of his art: УДК73.03
№ 1 (1) 2015 "Искусство Евразии", научный журнал об искусстве.
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PDF (Russian)

Keywords

sculptor, Georgy Lavrov, Siberia, Altai, Krasnoyarsk art school, Tomsk Drawing Classes of Fine Arts Lovers Society, monumental sculpture

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How to Cite

Tsareva, N.S. (2015) ‘Siberian sculptor Georgy Lavrov: specific attributes of his art: УДК73.03’, The Art of Eurasia, (1), pp. 77–91. doi:10.25712/ASTU.2518-7767.2015.01.006.

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Abstract

The art of Siberian sculptor Georgy Lavrov (1895–1991) – is a bright and unique phenomenon not only for the art scene of Siberia, but for the whole Russia. He received his first art education in Siberia in the beginning of XXth Century in the Krasnoyarsk Art School and Tomsk Drawing Classes of Fine Arts Lovers Society. After going through the crucible of civil war in Siberia, Lavrov came to Moscow to continue his education, became a member of the Revolutionary Russia Artist Association, and then went to France for further study and a pursuing his artistic career as a sculptor. He spent almost nine years in Paris. His teachers were Paul Landowsky, Anri Louis Bouchard, Antoine Bourdelle, Aristide Maillol and Charles Despiau, and Francois Pompon was his close friend and colleague. In France Lavrov turned to the one of the recognizable Art Deco style masters. In the middle of 1930-ies he returned to the USSR. In 1938 he was arrested and repressed. For 15 years George Lavrov was hold in camps and exile, but all these life struggles did not defeat him. He continued working, creating sculptures. His monumental sculptures decorate many Siberian cities, including Magadan, Krasnoyarsk and Minusinsk. His works also can be found in museums and private collections in Russia, Belarus, Ukraine, France, Belgium, USA and some others countries. The major art trends in sculpture of the XX century can be traced throughout the work of the master, which covers nearly 80 years.

DOI: https://doi.org/10.25712/ASTU.2518-7767.2015.01.006

Acknowledgments

This article was written with the support of a grant from the Russian Humanitarian Research Foundation - Ministry of Education and Science of Mongolia «Visual Arts of Siberia and Mongolia of the 20th – beginning of the 21st Centuries: Cross-Cultural Interaction and the Impact of Artistic Traditions» No. 15-24-03002

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