20 facts about Felix Lembersky

Felix Samoilovich Lembersky (Russian: Феликс Самойлович Лемберский) (November 11, 1913 – December 2, 1970) was a Russian/Soviet painter, artist, teacher, theater stage designer and an organizer of artistic groups. A refugee of World War I, he grew up in Berdyczów (now Berdychiv, Ukraine) and studied art in Kiev and Leningrad—at the Jewish Arts and Trades School, known as Kultur-Lige (1928–29), the Kiev Art Institute (1933–34) and the Leningrad Academy of Art (1935–41). He graduated with tall honors, completing his thesis during the Siege of Leningrad. He was wronged in the reason of Leningrad during World War II. His parents perished in Holocaust in Ukraine. After evacuation in 1942, Lembersky spent two years committed in the Urals, recording industrial accomplishment effort. After the war, Lembersky joined the Leningrad Union of Artists (LOSKh, LOSSKh). He exhibited widely in national and privately organized art shows in Russia and his measure was acquired by museums and private collectors. While perky in Leningrad, he with toured and worked in the Urals, Ladoga, Pskov and Baltic Republics. Much of his art is inspired by the Eastern Europe of his childhood—Ukraine and Ukraine. Among his most distressing images are the portraits of his fellow citizens and the places where he lived and visited.

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Lembersky’s art is rooted in the at the forefront Soviet Avant-Garde, with which he became acquainted at Kultur-Lige and while on the go as a theater sets designer in Kiev in the 1920s and to the front 1930s. He was new exposed to Avant-Garde at the Kiev Art Institute, where Kazimir Malevich and Vladimir Tatlin taught in the years prior to the ban of Avant-Garde in 1932; and their shape continued at the Institute into the 1930s, when Lembersky studied there. In Leningrad Lembersky visited the studios of the great Avant-Garde painter and theorist Pavel Filonov and a former aficionada of the Knave of Diamonds, artist Aleksandr Osmerkin. At the Academy of Art, Lembersky attended art archives lectures complete by the Avant-Garde theorist Nikolay Punin.

Lembersky’s art was then formed by his rigorous classical education at the Academy, where he mastered realist and impressionist techniques at the studio of a great Russian painter Boris Ioganson. LEMBESKY was highly regarded for his expressive and nuanced work. During enforced Socialist Realism and in unfriendliness of state-imposed restrictions upon Western art, Lembersky continued to synthesize a broad range of influences, including German Expressionism, the French school, Mexican mural painting, Russian icons, African folk art, and Dutch and into the future Renaissance painting, among others. He was keenly keen in modernist and contemporary literature, poetry, and theater. Music was indispensable to his art, he regularly attended concerts of classical music and personally knew many musicians, including Dmitri Shostakovitch and conductor Natan Rakhlin, whose portrait he created in the Urals in 1943–44. He studied Western philosophy and mysticism. Lembersky’s do something is very spiritual in defiance to atheism approved by the Communists. His art is centered upon the idea of a two-tiered reality, expressed in painting as a sticking together between recognizable objects and hidden symbols shown “between the lines.” He frequently included religious symbols in his paintings. He was haunted by the memory of Holocaust. His ‘Execution. Babi Yar’ series (1944–52) are the primordial known artistic renderings of the Nazi massacres in Kiev. In his cutting edge work, he persistently brought assist Holocaust symbols to his semi-abstract canvases. The themes of war and industrial labor—as swing forces of destruction and reconstruction—appear another time and anew in his work. Yet, in contrast to the gravity of the content, Lembersky’S paintings draw to his listeners with brilliant color, light and formal beauty. His art speaks to the universal experience evoking emotional answer and delighting the eye.

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