Maxim Karlovich Kantor Biography

The Ludwig Museum of Ludwig, the creative biography of M. Kantor is very safe against the backdrop of the fate of other non -conformist artists. He is from a famous creative family, his father is a philosopher, his grandfather is a Spanish -language playwright, his brother is a famous literary critic. Like everything in the family, Maxim Karlovich writes prose.

In the year, his two -volume novel “Textbook of Drawing” was released, which, according to Dmitry Bykov, “designated a real, not calendar end of the 20th century and signed a sentence.” Cantor is also a very prolific publicist, and, he defends not too fashionable views - they say, the current society is not capable of complex experiences, a great and noble impulse, people are focused on the propaganda of simple pleasures; He is already talking to your generation.

In his painting, there are also a lot of journalism, especially in graphic series: caricature politicians, leaders, leads, Lenin broadcasts from an armored car, Stalin lips Trotsky, etc. However, he is not a cartoonist and not a poster-satirist. He is a painter.

Because a huge role in his works is played by a magnificent textured living art space. He has his own teachers and idols in painting - and this, of course, is expressionists. This bright, sharp, dissonant style, according to the artist, is only able to express the entire emotional inner buch not even a storm! This picture was written at a time when the camp topic only opened in our country, the “Gulag Archipelago” not only did not enter the school programs, but was not published in his homeland, was still in Samizdat, were not yet “first in the circle”, nor “Kolyma stories”, nor “steep route”.

The artist is one of the first to represent the viewer of the fate of the camp. This is the history of the country and the love story. In two central parts, the world of people who split into two colonies - male and female. Carried -haired hard faces, in which there is little human, there are no feelings, only a mask of suffering and terrible tension. On the left is a meeting of characters from two camps, their connection on barren terrible land covered only with prisons.

On the right is the scene of labor - heavy, forced, a man with a muzzle on his face. But the world has changed a bit-it is not only prisons and prisoners, but also a take-off rocket, like a wild sarcastic symbol of progress on this wild earth-prison.