The formation of Evgeny Klimov’s creative method: based on the artist’s personal diaries (1921–1932)

Abstract

The article delves into the formative process of Russian émigré artist Eugene Klimov (1901–1990) as a painter. It focuses on his early creative development, specifically his years of study at the Art Academy of Latvia in Riga (1921–1929) and the first four years after his graduation. The primary source for this research is the artist's unpublished diaries from 1921 to 1932. These diaries provide insight into Klimov's formulation and resolution of painterly problems, experimentation, and the development of his creative method, as well as his experiences during travels and expeditions. The theoretical framework of the study is based on art historical scholarship dedicated to the concept of the “creative method.” The work includes a historical and biographical analysis, an examination of diary entries, and a comparison with collective artistic practices and the cultural context of the period.

Through this research, the article identifies key stages and objectives set by Klimov, including the study of colour and its combinations, working from nature, the search for generalization, the pursuit of poeticized imagery, and the conceptualization of the relationship between Western and Eastern principles in art. Additionally, the significance of faith and spirituality in Klimov's creativity is explored. The diaries demonstrate the artist's meticulous study of painterly techniques, his self-criticism, and his constant search for an individual path. This research highlights the value of Klimov's diaries as a historical and art historical source, shedding light not only on the artist's personal journey but also on the general processes involved in the formation of a creative method in painting. Despite the challenges of life and the lack of a proper studio, Klimov successfully resolved many artistic tasks, as evidenced by his extant paintings. Special attention is given to the influence of his trips to the Pechory region and his interpretation of Russian icon painting on the development of his visual language.