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Эдуард Путерброт

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Фрагмент занавеса №16

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Проект Музея Махачкалы

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Эдуард

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Путерброт.

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Гений

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Автор: Борис Бергер

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Даос из Дагестана.

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Когда я уехал из Махачкалы мы изредка переписывались.

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Он писал удивительные письма. «Знаю, что Львов красивый город,
я там был, влюбился в город, и думаю, что там может жить художник. И даже знаю, что много хороших художников там живет. Это не Махачкала. Но, слава богу, и Махачкала город. Мне его хватает. У нас есть и счастливые новости. Самое большое счастье — мастерская. Светлая. С видом на море. Газ. Там. Уже пишу. Картины.
О плохом писать не буду. Только о хорошем.»

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Я был в этой мастерской. Правда всё. Это действительно прекрасно. Из окна — море и камыши. Тишина. Дзен.

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Я сидел и рассматривал альбом Хокусая, а Он показывал в окно, наливал и говорил — вот здесь моя Япония. Его письма напоминали письма самурая, которого отправили защищать границу северной провинции. Хотя жизнь его происходила на юге.

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Путерброт — человек южной культуры. Школа Юга.

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Ну а в миру: если вы смотрели фильм «Стиляги», то это про него.
Он был главным стилягой Махачкалы в юности. В нём уживались высокое чувство юмора, энциклопедические знания, удивительная доброта; озорство юноши и ответственность мастера

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Истина парадоксальна. Словами не передать.

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Дома у него всегда можно было найти лучшие альбомы
по искусству, первое издание философии супрематизма, фарфор тех времён, а в мастерской сотни картин, скульптур, рассказов, зарисовок. Это был человек ума и сердца.

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Ум позволил ему превратиться из городского принца в художника
и даже заместитель председателя союза художников Дагестана. Сердце заставляло его рисовать.

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Сильный человек может позволить себе быть добрым — это про него. Живопись Путерброта эмоциональна и философична — экспрессия и знаки.

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Он работал в театре и создавал удивительные миражи.
Театральная мистерия Эдика Путерброта была очень наполнена доброй иронией, юмором и любовью.Помню декорации
к спектаклю «Деловые люди» — две клетки с узким как для львов
в цирке переходом между клетками. И актерам, чтоб попадать
из одного пространства в другое, приходилось ползать
на четвереньках. Помню, он любил делать декоративные камни
и раскидывать их по сцене, чтоб актерам было трудно ходить
и чтобы они играли точнее и были более сосредоточены.

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Эдик культивировал вокруг себя целую диаспору дагестанских художников, бесконечно и бескорыстно помогая им. Он создавал свой круг. Дагестанскую школу Юга.

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Он очень повлиял на многих хороших известных художников дав каждому из них элемент своего знания мира и мира живописи.
В несвободное брежневское время театральная живопись была загадочным оазисом, куда не часто приходили голубые мундиры
и цензоры.

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В этом волшебном мире своих снов и фантазий жил удивительный гениальный художник Эдуард Путерброт.

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На каждой городской выставке его картины вызывали стресс
на фоне шаблонного соцреализма и прочего салонного реализма.
Но сам Эдуард был во много раз больше, чем все его картины.
И только огромное чувство юмора и сила духа помогали ему вписываться в социум — быть главой семьи, растить двоих
детей, быть членом союза художников и т.д.

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Как-то я спросил его после выставки: почему так много у вас доброты и почему всё так ласково и несмело? Он заулыбался
и ответил:

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Эдуард Путерброт

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Фрагмент занавеса №16

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Проект Музея Махачкалы

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«Эдуард Путерброт. Гений»

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Автор: Борис Бергер

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Экспериментальная образовательная музейно-театральная лаборатория
«Фрагмент занавеса №16»

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Другие статьи

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Биография Эдуарда Путерброта

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Подробнее о проекте

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Проект реализован при поддержке Благотворительного фонда
Владимира Потанина

","column_count":1,"column_gap":16,"bg_color":"ffffff","bg_opacity":0,"version":2,"z":314,"animation":[],"autosize":false,"name":"","is_above":false,"sticked":"","sticked_margin":9,"viewport_phone_portrait":{"hidden":true,"z":314},"viewport_tablet_portrait":{},"__v":0},{"_id":"5f5e35b0cb678c0a7979d98a","wid":"5f5e35b0cb678c0a7979d98a","mag_num_id":2155536,"type":"text","x":212,"y":1918,"w":396,"h":172.5,"text":"

После этого на одной из последних выставок он представил
работы предельно минималистичные, чёрно-белый схематичный пуантилизм, на грани концептуализма и авангарда начала 20 века, что вызвало шок уже у всех «любителей дагестанского искусства».

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15 ноября 1993 года он трагически погиб в схватке с бандитами.

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Погиб, но не пустил их в свой дом и защитил свою семью. Вечная ему память.

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Аминь.

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«Не смело? Возможно. Посмотрим на вашу смелость, когда придёт время.»

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0, 0, 0.6)","scale":0.611226611226611,"viewport_phone_portrait":{"hidden":true,"z":321},"animation":[{"steps":[{"speed":0.1,"dx":0,"dy":-10,"opacity":100,"start_point":"center","start_offset":-100,"from_opacity":0,"use_move":true,"use_opacity":true},{"speed":0.5,"delay_px":150,"opacity":0,"use_opacity":true}],"UUID":"c1de9fdc-c949-4977-b0ff-05db20f3248f","type":"scroll"}],"viewport_tablet_portrait":{},"__v":0},{"_id":"5f64bb5ae3ed040087df3a1c","wid":"5f64bb5ae3ed040087df3a1c","mag_num_id":2155536,"type":"text","x":222,"y":620,"w":396,"h":1132.5,"text":"

Даос из Дагестана.

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Когда я уехал из Махачкалы мы изредка переписывались.

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Он писал удивительные письма. «Знаю, что Львов красивый город, я там был, влюбился в город,
и думаю, что там может жить художник. И даже знаю, что много хороших художников там живет. Это не Махачкала. Но, слава богу, и Махачкала город. Мне его хватает. У нас есть и счастливые новости. Самое большое счастье — мастерская. Светлая.
С видом на море. Газ. Там. Уже пишу. Картины.
О плохом писать не буду. Только о хорошем.»

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Я был в этой мастерской. Правда всё. Это действительно прекрасно. Из окна — море
и камыши. Тишина. Дзен.

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Я сидел и рассматривал альбом Хокусая,
а Он показывал в окно, наливал и говорил — вот здесь моя Япония. Его письма напоминали письма самурая, которого отправили защищать границу северной провинции. Хотя жизнь его происходила на юге.

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Путерброт — человек южной культуры. Школа Юга.

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Ну а в миру: если вы смотрели фильм «Стиляги»,
то это про него. Он был главным стилягой Махачкалы в юности. В нём уживались высокое чувство юмора, энциклопедические знания, удивительная доброта; озорство юноши и ответственность мастера

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Истина парадоксальна. Словами не передать.

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Дома у него всегда можно было найти лучшие альбомы по искусству, первое издание философии супрематизма, фарфор тех времён, а в мастерской сотни картин, скульптур, рассказов, зарисовок.
Это был человек ума и сердца.

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Ум позволил ему превратиться из городского принца в художника и даже заместитель председателя союза художников Дагестана.
Сердце заставляло его рисовать.

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Сильный человек может позволить себе быть добрым — это про него. Живопись Путерброта эмоциональна и философична — экспрессия
и знаки.

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Он работал в театре и создавал удивительные миражи. Театральная мистерия Эдика Путерброта была очень наполнена доброй иронией, юмором
и любовью. Помню декорации к спектаклю «Деловые люди» — две клетки с узким как для львов в цирке переходом между клетками.
И актерам, чтоб попадать из одного пространства
в другое, приходилось ползать на четвереньках. Помню, он любил делать декоративные камни и раскидывать их по сцене, чтоб актерам было трудно ходить и чтобы они играли точнее и были более сосредоточены.

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Эдик культивировал вокруг себя целую диаспору дагестанских художников, бесконечно и бескорыстно помогая им. Он создавал свой круг. Дагестанскую школу Юга.

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Он очень повлиял на многих хороших известных художников дав каждому из них элемент своего знания мира и мира живописи.

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«Эдуард Путерброт. Гений»

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Автор: Борис Бергер

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Экспериментальная образовательная музейно-театральная лаборатория «Фрагмент занавеса №16»

","column_count":1,"column_gap":16,"bg_color":"ffffff","bg_opacity":0,"version":2,"z":330,"animation":[],"autosize":false,"name":"","sticked":"","sticked_margin":9,"viewport_phone_portrait":{"column_count":1,"column_gap":16,"bg_color":"ffffff","bg_opacity":0,"x":10,"y":3209,"w":300,"h":27.5,"z":330,"hidden":false,"sticked":"","sticked_margin":9,"animation":[]},"hidden":true,"viewport_tablet_portrait":{},"__v":0},{"_id":"5f64bb6eeaeee200666a4555","wid":"5f64bb6eeaeee200666a4555","mag_num_id":2155536,"type":"text","x":425,"y":4084,"w":192,"h":38.5,"text":"

Другие статьи

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Биография Эдуарда Путерброта

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Подробнее о проекте

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Проект реализован при поддержке Благотворительного фонда Владимира Потанина

","column_count":1,"column_gap":16,"bg_color":"ffffff","bg_opacity":0,"version":2,"z":335,"animation":[],"autosize":false,"name":"","sticked":"","sticked_margin":9,"viewport_phone_portrait":{"column_count":1,"column_gap":16,"bg_color":"ffffff","bg_opacity":0,"x":10,"y":3256,"w":300,"h":27.5,"z":335,"hidden":false,"sticked":"","sticked_margin":9,"animation":[]},"hidden":true,"viewport_tablet_portrait":{},"__v":0},{"_id":"5f64bb7deaeee200666a455d","wid":"5f64bb7deaeee200666a455d","mag_num_id":2155536,"type":"text","text":"

После этого на одной из последних выставок
он представил работы предельно минималистичные, чёрно-белый схематичный пуантилизм, на грани концептуализма
и авангарда начала 20 века, что вызвало
шок уже у всех «любителей дагестанского искусства».

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15 ноября 1993 года он трагически погиб
в схватке с бандитами.

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Погиб, но не пустил их в свой дом и защитил
свою семью. Вечная ему память.

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Аминь.

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«Не смело? Возможно. Посмотрим
на вашу смелость, когда придёт время.»

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Эдуард Путерброт

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Фрагмент занавеса №16

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Проект Музея Махачкалы

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Эдуард

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Путерброт.

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Гений

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Автор: Борис Бергер

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В несвободное брежневское время театральная живопись была загадочным оазисом, куда не часто приходили голубые мундиры и цензоры.

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В этом волшебном мире своих снов и фантазий жил удивительный гениальный художник Эдуард Путерброт.

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На каждой городской выставке его картины вызывали стресс на фоне шаблонного соцреализма и прочего салонного реализма.
Но сам Эдуард был во много раз больше, чем все его картины. И только огромное чувство юмора
и сила духа помогали ему вписываться в социум — быть главой семьи, растить двоих детей, быть членом союза художников и т.д.

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Как-то я спросил его после выставки: почему так много у вас доброты и почему всё так ласково
и несмело? Он заулыбался и ответил:

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Эдуард Путерброт
Фрагмент занавеса №16

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