POINT. LINE. FENCE.
Felix Lembersky
1913 – 1970
Paintings and Drawings
November 5 – 23,
2009
Gallery talk:
Wednesday, November 11, 3:30 – 4:30pm
Reception and
book signing: 5 – 8pm
Newbury College Art
Gallery -150 Fisher Avenue.
Brookline, MA 02445 - T. 617 730 7071
Gallery Hours:
Monday–Thursday
8am–9pm Friday 8am–5pm
Saturday
8am–4pm
Newbury College
Art Gallery is pleased to announce Point. Line. Fence., the first solo
exhibition in New England of the late Russian artist Felix Lembersky. The
exhibition coincides with the twentieth anniversary of the fall of the Berlin
Wall, which ended the cultural divide between the West and countries of the
Eastern block.
The
Work
Lembersky was first known in
Leningrad during and after World War II as a master portraitist whose
penetrating and nuanced work focused on the psychological state of his sitters.
Rooted in the classical academic tradition and influenced by Rembrandt and El
Greco, he reduced his color palette in this early work to nearly monochrome and
employed a dramatic chiaroscuro to heighten the emotional eloquence of his
subjects. His rendering of the human body diminished its materiality, suggesting
the spiritual struggle of individuals coping with war and its aftermath. A
decade later, he led the reform in Soviet art that reintroduced
non-representational pictorial devices banned by Stalin in the early 1930s.
Lembersky’s work represents
a synthesis of the theoretically antithetical elements of the Russian
avant-garde, Socialist Realism, Non-conformism, and European modernism, united
to communicate an intensely personal and spiritual vision. He brought together
elements of Cubism, Primitivism, Russian icons, folk art, stage design, and
faux–children’s drawings. Mining Judeo-Christian themes and symbols,
he created compositions that function as metaphors for human experience. He
internalized war, terror, and destruction followed by resurrection, a cycle he
understood to be inevitably repetitive through history. He gradually dissolved
the boundaries between the human body and the landscape, fusing their forms into
an integral whole. Through his expressive, non-mimetic color and pulsing shifts
of space, contour, and shadow, he created complex pictorial riddles that can be
experienced both emotionally and analytically.
The Exhibition
The present selection is
focused on Lembersky's portraits of workers and other figures he encountered in
his daily life, and the industrial and residential landscapes in which they
lived and functioned. The drawings and paintings on view show the way the artist
moved from an objective description of the world to an evocation of what he
perceived to be the inner forces that give it life. In the townscapes, he used
the motif of the fence to position the viewer on the outside while providing
controlled access through gates and paths. Perspectival rendering and
architectural details suggest the possibility of movement through an actual
place, while the smears, contours, and overlays of color on the surface of the
canvas offer an alternate, interior reality. The interplay of objectivity and
subjectivity holds Lembersky's works in dynamic tension and gives the eye and
mind ample space in which to wander.
The show features four
periods of the artist’s oeuvre. The first comprises portraits made during and
following World War II. The second includes thematic compositions such as
Execution: Babii Yar, named after the site of a massacre of Jews by the
Nazis in Kiev, Ukraine, and created during Stalin’s anti-Semitic campaign (the
Doctor’s Plot), when official rhetoric denied the Holocaust. The third period is
represented by landscapes in the Ural Mountains executed during the late 1950s.
These images are poetic and romanticized views of the land between Europe and
Asia at the Siberian border. Rich in natural resources, this region is the
birthplace of Russia’s industrialization. Lembersky showed its natural beauty
and fairytale qualities, echoing local legends that depict the mountains as a
fire serpent with bones made of iron ore, blood of oil, and scales of malachite
and diamonds. At the same time, he described industry as a relentless force in a
pristine natural setting. The fourth period is represented by non-mimetic,
symbolic compositions of the 1960s.
The show is co-curated by
Lucy Flint, an independent art consultant, and architect Yelena Lembersky, the
artist’s granddaughter. A short documentary film created by a team of Emerson
College students will be screened during the opening. The exhibition is
co-sponsored by Newbury College and the Uniterra Foundation, Cambridge,
MA.
The
Artist
Lembersky lived through a period of enormous
violence. He was born in
Poland in 1913. At the outbreak of World War I, his family evacuated to Ukraine.
He was five when the communist revolution arrived, soon escalating into civil
war. In the 1930s he was witness to the Ukrainian famine in which several
million farmers died during a state takeover of their land. When World War II erupted, he was
wounded, and lived through the Siege of Leningrad. His parents perished in the
Holocaust.
Lembersky’s art education began in the
1920s in Ukraine, where he was exposed to the Russian avant-garde, an important
later influence. He moved to Leningrad to study easel painting at the elite
Academy of Art in Leningrad in the 1930s. During his lifetime, his work was
shown in major exhibitions in Moscow and Leningrad. In recent years, solo
exhibitions of his work have been organized in New York, Michigan, and Russia.
He is represented in the holdings of the State Russian Museum in St.
Petersburg and the Jane Voorhees Zimmerli Museum at Rutgers University. In 2009,
Nizhny Tagil Museum of Fine Art was awarded a prize for the exhibition and
limited-edition catalogue Feliks
Lemberskii: Tvortsi Uzniki Sovesti at Intermuseum–2009, a national museum
convention held in Moscow.
Publication
The
Newbury College exhibition coincides with the publication of Felix Lembersky
1913 – 1970: Paintings and Drawings, a fully illustrated bilingual
(English/Russian) monograph resulting from an international collaboration. The
book is distributed by the Uniterra Foundation, MIPP International, and East
View Information Services, Inc.