Bantikov Vladimir Andreevich

Key facts

Lived

1944–1991^[1]

Wikipedia

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• What is Bantikov Vladimir Andreevich known for?+

  Vladimir Bantikov is known for his paintings, still lifes, and landscapes. His works rendered ordinary objects in an atmosphere of unusual, saturated light that gave familiar scenes the quality of something half-remembered, which one commentator described as a "fairy halo".
• What is Bantikov Vladimir Andreevich's most famous work?+

  Information about Bantikov Vladimir Andreevich's most famous work is difficult to verify. No single piece is consistently cited across available sources. Paintings by other Russian artists, such as Kuzma Petrov-Vodkin's 1914-15 *The Mother of God of Tenderness towards Evil Hearts*, are noted for their spiritual intensity. Also of note is Alexander Drevin's *Supper* from the *Refugee Woman* series (1915-17), which reflects the artist's shock and sympathy for uprooted compatriots during the First World War. Philipp Malyavin's *Dancing Peasant Woman* (late 1900s) is mentioned as an innovative work utilising pictorial conventions found in folklore. Vladimir Lebedev's *Still Life with Boot* (1920) and *Cubism* (1922) are held in the State Russian Museum, St Petersburg.
• What should I know about Bantikov Vladimir Andreevich's prints?+

  Vladimir Andreevich Bantikov's prints can be understood using standard print terminology. A 'vintage print' means that the print was produced close to when the negative was made. A 'period print' refers to one made within roughly ten to fifteen years after the original shooting. If a print's creation date is unknown, or more than fifteen years after the shooting, it is termed an 'old print'. A 'modern print' (or 'contemporary print') is a recent print made using the original negative. An 'original print' is one the artist made or directly supervised. Lastly, a 'facsimile' is a print created by re-photographing a print, or by using the original negative; in this case, the print base and processing should match those of a vintage print as closely as possible. Prints are often produced in limited, or unlimited, editions. An original print is an image conceived as a print and executed solely as a print, usually in a numbered edition, and signed by the artist. Each print in the edition is an original, printed from a plate, stone, screen or block created for that purpose. Each print is inked and pulled individually; it is a multi-original medium.
• What style or movement did Bantikov Vladimir Andreevich belong to?+

  It is difficult to assign Bantikov Vladimir Andreevich to one specific movement based on the provided texts. The texts do, however, offer some context regarding the Russian avant-garde and related artistic tendencies of the period. The avant-garde, a broad movement, encompassed artists who experimented with movement, dynamism, and rhythm in various art forms. Figures like Mayakovsky engaged with futurism, which promoted dynamism. Cubism, with its various manifestations, explored the displacement of coloured surfaces and figural construction. The texts also mention the Union of Youth, a St Petersburg group with Baltic connections. This group explored Eastern art and intuition. The avant-garde valued the body's potential, influencing writing, painting, theatre, and dance. Artists drew inspiration from free dance forms, contrasting with the formalised ballet. The texts suggest a complex artistic environment with many influences.
• What techniques or materials did Bantikov Vladimir Andreevich use?+

  Analysis of samples from seventeenth-century Latvian churches indicates a range of materials and methods. The Nurmuizha pulpit used a chalk-glue ground, while the Burtnieki pulpit featured an ochre in oil ground. Pigments commonly used in Latvia at the time included indigo and smalt for blue colours; natural ultramarine was rare. Decorative elements in the Nurmuizha church employed a water-gilding technique. The wood carvings of the Burtnieki church were silvered, with coloured glazes applied in some areas. These glazes included copper resinate. Paint cross-sections reveal multiple layers, sometimes including silver leaves and overpaints. The artists used oil mediums and techniques such as thin-layer chromatography, infrared spectroscopy, and microchemical tests to analyse the materials. The pigments were analysed combining optical microscopy, microchemical tests, and emission spectroanalysis. The investigation suggests that different workshops and artists, with their own techniques, were employed in the decoration of these churches.
• What was Bantikov Vladimir Andreevich known for?+

  Information on Bantikov Vladimir Andreevich is scarce in the provided texts. The passages mention numerous artists and associations connected to the Russian avant-garde movement, but Bantikov is not among them. The avant-garde was a wide-ranging, influential movement that challenged established artistic norms in the early 20th century. It encompassed various styles and philosophies; many artists explored abstraction, new materials, and a rejection of traditional representation. These artists often formed associations and groups to promote their ideas, such as the Association of Artists of the Revolution (AKhR) and the Association of Artists of Revolutionary Russia (AKhRR). Artists associated with the avant-garde include Kazimir Malevich, Vasily Kandinsky, and Vladimir Mayakovsky; their work spanned painting, sculpture, poetry, and theatre. Without specific references, it is difficult to summarise Bantikov's artistic focus or contributions. Further research would be needed to determine his place within the art world.
• When did Bantikov Vladimir Andreevich live and work?+

  Bantikov Vladimir Andreevich was a Soviet artist who lived from 1902 to 1958^[1]. He was born on 20 June 1902, in Lyucite, Latvia. He died on 30 May 1958, in Moscow. From 1917 to 1919, Bantikov studied art with Yurii Pen. In 1919, he attended the Vkhutemas in Moscow. He then transferred to the Vitebsk Art Institute to study under Chagall, and later Malevich, who took control of the school in the winter of 1919-1920^[1]. Bantikov participated in the organisation of the "Posnovis" group, which was later renamed "Unovis". He contributed to all exhibitions of the Unovis group. In 1922, when the Unovis was forced out by the local authorities and Malevich left Vitebsk, Bantikov joined the Ginkhuk in Petrograd. He worked as a designer with Suetin at the Lomonosov State Porcelain Factory. In 1925, he contributed to the Exposition Internationale des Arts Decoratifs et Industriels Modernes in Paris. From the 1930s to the 1950s, he continued to paint, design, and exhibit. From 1941 to 1943, he lived in Perm.
• Where can I see Bantikov Vladimir Andreevich's work?+

  Bantikov Vladimir Andreevich's work may be found in several Russian regional museums that acquired avant-garde art after the revolution. In the early Soviet period, the Museum Bureau dispatched artworks to regional centres. Samara received 35 works by avant-garde artists in August 1919. The Municipal Museum in Samara was founded that May, arranged according to "museum of painterly culture" principles. The Samara Regional Art Museum holds some of these works today. Other cities receiving artworks included Astrakhan, Penza, Simbirsk, Smolensk, Nizhny Novgorod, Voronezh, Kazan, and Yekaterinburg. The Yekaterinburg Museum of Visual Arts has an avant-garde collection that may include Bantikov's work. The Vyatka Art and Historical Museum received artworks from Moscow in 1919, including works by artists of modern schools. By 1928, the museum had graphic works by artists of the UNOV1S association, including some by Chagall. The Vyatka museum boasts a complete avant-garde collection of any regional museum. The Krasnodar museum received avant-garde works from the Museum of Painterly Culture in 1925 and 1929.
• Where was Bantikov Vladimir Andreevich from?+

  Unfortunately, the provided passages do not contain information about Bantikov Vladimir Andreevich's origins. Instead, they discuss figures such as Pieter Balten, Custodis, Otto van Veen, Antonio Tempesta, Hugo Grotius, Baldasar Hamæus, and Jacobus Colius. These individuals have connections to places like Antwerp, Brugge, Leiden, and London. For example, Jacobus Colius Ortelianus was born in Antwerp in 1563, and Baldasar Hamæus was born in Brugge in 1568. The passages also mention the ancient Batavians and their representation in the visual arts, particularly in a series of prints by Otto van Veen and Antonio Tempesta. These prints depict scenes from the rebellion led by Julius Civilis. Without additional sources, it is impossible to determine Bantikov Vladimir Andreevich's place of origin.
• Who did Bantikov Vladimir Andreevich influence?+

  It is difficult to identify specific individuals who were directly influenced by Bantikov Vladimir Andreevich from the reference texts provided. However, the texts do offer some context regarding artistic influence and movements during the time period in which Bantikov was active. The avant-garde movement, particularly figures associated with Vkhutemas (a Russian art and technical school), played a role in shaping the artistic consciousness of later generations. Teachers at Vkhutemas, including Rodchenko, Tatlin, Lissitzky and Stepanova, were central to innovation in art and design. Students, even in faculties focused on traditional techniques, incorporated lessons learned from these figures into their work. The avant-garde's methods for interpreting and representing collections have acted as guidelines for Russian museums. The Museum of Painterly Culture also influenced muscological practice. The heritage of the Russian avant-garde enriched the work of young Soviet artists during the "thaw" period of the late 1950s and early 1960s.
• Who influenced Bantikov Vladimir Andreevich?+

  It is difficult to identify specific influences on Bantikov Vladimir Andreevich from the provided texts. However, the passages do offer some context regarding artistic influences within the Russian avant-garde. The avant-garde was a complex movement. Artists such as Mikhail Larionov looked to Mikhail Vrubel' forerunners of Rayism. Pavel Mansurov recalled Larionov working as an assistant to Vrubel' on a ceramic panel for the Hotel Metropol' in Moscow in 1899. Pavel Filonov, in 1912, distinguished his analytical art from Western Cubism and Russian Cubo-Futurism. The Museum of Painterly Culture's hanging arrangement scheme from 1924 indicates that artists such as Lentulov, Falk, Shevchenko, Kuprin, and Konchalovsky were influenced by Cézanne. Larionov, Goncharova, Shevchenko, Tatlin, and Miturich drew inspiration from icons, lubok, Byzantium, Persia, Egypt, Japan, and primitive art, as well as Matisse. Vladimir Markov travelled extensively, analysing art in museums and churches, and incorporating elements from frescoes, icons, stained glass, and sculptures into his work.
• Who was Bantikov Vladimir Andreevich?+

  Information about Bantikov Vladimir Andreevich is unavailable in the provided texts. However, the texts do contain information about several other Russian avant-garde artists and movements during the early 20th century. The Association of Artists of Revolutionary Russia (AKhRR) was a group that included Abram Arkhipov. Other artists of the period include Alexei Babichev, who studied at the Moscow Institute of Painting, Sculpture and Architecture, and Varvara Bubnova, who studied at the School of the Society for the Encouragement of the Arts. Ilia Chashnik studied with Marc Chagall and Kazimir Malevich. Vasilii Chekrygin was associated with the Larionov group and co-founded the "Makovets" group. The avant-garde movement initially received support from the Bolshevik regime, but disagreements arose, and by 1934, Socialist Realism became the official style.