Graphics by Vladimir Meshkov in the collection of the Altai State Art Museum

Abstract

The article analyses the collection of works by the graphic artist and People’s Artist of the RSFSR Vladimir Ilyich Meshkov (1919–2012), housed in the Altai State Art Museum in Barnaul. This is the first study of the Siberian artist’s works within the museum’s holdings, as well as the first attempt to examine the history of the collection’s formation and consider it a source for understanding the evolution of the artist’s creative method. The aim of the study is to assess the significance of the collection in the context of research into the master’s artistic career. During the study, the composition of the collection was analysed in terms of technique, subject matter, and chronology, and an attempt was made to trace the stylistic evolution of the artist’s work. In addition, the dating of a number of pieces was clarified. The research also determined how fully the collection reflects the stages of V.I. Meshkov’s creative development and his technical and thematic explorations. The methodology includes historical-biographical analysis (tracing the links between stages of the artist’s biography and his creative development), formal-stylistic analysis of artistic solutions (composition, colour scheme, figurative structure), and the comparative method (juxtaposing works from different periods). For the first time, materials from the museum archive and acquisition documents have been introduced into scholarly circulation, making it possible to reconstruct the chronology of the collection’s formation. The results show that the collection covers key stages of V.I. Meshkov’s creative path (1950s–1980s) and clearly demonstrates the evolution of his graphic language — from early linocuts and lithographs executed in a realistic vein to works featuring generalised forms and saturated, contrasting colours. It was revealed that the museum collection includes works that represent the leading themes in the artist’s oeuvre, including the Northern theme (Evenkia, Taimyr), the Lenin theme, and the portrait series “My Contemporaries”. It is concluded that the V.I. Meshkov graphic collection at the Altai State Art Museum provides a reliable basis for reconstructing the artist’s creative trajectory. It allows one to trace the development of his artistic method and offers a comprehensive view of the thematic and narrative components of his work.