It was renewed by creative searches of artists of an academic style: R. Akhmedov, N. Kuzybaev, A. Abdullaev, M. Saidov, T. Oganesov, V. Zhmakin and Y. Elizarov. Their works, presented in the collection, reflect the spiritual search of that era and make up the golden collection of the history of Uzbek painting. According to these artists, national identity is identified with national portrait types, genre scenes, and national landscapes. It was this interpretation that was defined by official aesthetics, embodied in various national schools.
In the 1960s, there is a search for new forms of artistic generalization, the establishment of completely different plastic ideas. This period opens an era of a certain pluralism of various artistic trends in Uzbekistan’s painting. It is indicated by the works of artists of the older generation: Ch. Akhmarov, Sh. Khasanova, as well as the young artist R. Charyev.
Whereas in the paintings of the great master Akhmarova “Girl”, “Nadira”, “Dancer” and “Youth”, we can see the artist’s creative comprehension of such an important part of the historical and cultural heritage as the art of miniature, then in the works of R. Charyev “Requiem”, “Portrait of R. Gamzatov” and “The Bride”, we can feel a completely different breath of the creative search, more liberated spiritually and stylistically, in the worldview and figuratively, plastically.
You can learn more about this topic in the book-album “The Collection of the State Museum of Arts of Uzbekistan” (Volume XIII) from the series “Cultural legacy of Uzbekistan in the world collections”.
The general sponsor of the project is the oilfield services company Eriell-Group.
