Vladimir Nikolaevich Teplukhin (Russian: Владимир Николаевич Теплухин; (13 June 1957, Moscow — 19 February 2001, Moscow)) was a Russian Avant - Garde artist of the Second Wave.

1. PAINTINGS
AND DRAWINGS
BY VLADIMIR
TEPLUKHIN
T H E M Y S T E R I U M
OF A I R S C A P E S
1957 - 2001

2. THE HISTORY OF RUSSIAN AVANT-GARDE
Russian avant-garde represents an influential part of the
modernist art movement of 1900-1930 in Russia. Its first,
classic wave flourished in the 1914-1922.
Kazimir Malevich, Wassily Kandinsky, Mikhail Larionov,
Mikhail Matyushin, Vladimir Tatlin, Pavel Kuznetsov,
Georgy Yakulov, Alexandra Exter, Boris Ender and others.
The major art movements within the
Russian avant-garde are:
Abstractionism
Suprematism
Constructivism
Rayonism
Cubo-Futurizm
(the first wave 1900–1930)
(1913–1919)
(1912–1921)
(1911–1914)
(1909–1915) (cubism, futurism)
Wassily Kandinsky
Kazimir Malevich
Vladimir Tatlin, Alexander Rodchenko, Lyubov Popova
Mikhail Larionov
Vladimir Mayakovsky, Velemir Khlebnikov
Second Wave of the Russian Avant-Garde began in Moscow at 1957 year.
There were following Art-groups and their
representatives in this years:
The Official Art Pavel Nikonov, Nikolai Andronov, Igor Popov
The Leftist Art (the second wave of Russian avant-garde; 1957-1987)
Dmitri Plavinsky, Mikhail Schwartzman, Ilya Kabakov, Erik Bulatov as well as 31 other artists and their pupils.
Schwartzman’s School:
Vladimir Teplukhin is one of Mikhail Schwartzman’s greatest students, the brightest representative of the Second wave of
Russian avant-garde.
The Left MOSKh (Moscow Union of Artists)” or the New Socialist Realism was a style of realistic art developed in the
Soviet Union. Nikolai Andronov, Boris Birger, Leonid Berlin, Vladimir Weisberg, Natalia Egorshina.
The Soviet Nonconformist Art (1953–1986, from the death of Joseph Stalin until Perestroika and Glasnost), Lianozovo
Art Group established by Oscar Rabin, Ely Bielutin Group, Oleg Vassiliev.

3. THE SECOND WAVE OF THE RUSSIAN
AVANT-GARDE: THE ORIGINS
International exhibition in August-September 1957 The
All-Union Exhibition of Young Soviet Artists at the VI
World Festival of Youth and Students on the 30th of July
reflected the current trends in Western art. Accordingly,
Soviet artists chose various approaches towards a new
emerging art environment.
However certain artists didn't follow the beaten path,
preferring to find their own unique artistic voice and
expression.
By 1960 the Moscow Leftist art movement was firmly
established.
Reporters and art experts in the West noticed this
free-spirited and unconstrained art form emerging
within the stagnant pool of official Soviet art. The
Western press variously described it as underground,
unofficial and nonconformist, however these labels
did not reflect the true essence of the art itself.
In 1971 Mikhail Grobman introduced the term
"Second Wave of the Russian Avant-garde" instead
the so-called Leftists
The Second Wave of the Russian
Avant-garde:
Arts experts in the West acknowledged the Second
Russian Avant-garde early enough in a number of
articles and publications. These artists bravely exhibited
their works in their studios and workshops, as
renegades, rejecting the socialist pseudo-aesthetics of
the Soviet art establishment. They feared neither God,
nor devil, nor the secret police, and thus the second
wave of Russian Avant-garde began in earnest. From
1964 several prominent artists abandoned official
career path out and joined an integral part of the
Second Avant-Garde movement: Ilya Kabakov, Erik
Bulatov, Vladimir Yankilevsky, Mikhail Schwartzman.
Vladimir Teplukhin, a talented disciple of Ely Bielutin
and Mikhail Schwartzman, became one of the brightest
representatives of the Second Avant-garde movement.
At the time a year in life amounted to an era,
establishing a unique world, distinct and separate from
the gloom of the Soviet existence. Today we proudly
present Teplukhin’s masterpieces, celebrating the
original vision and creativity of the Second Wave of
Russian Avant-Garde.

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EXHIBITIONS
Bauer & Popov Gallery (Germany).
Private collections in Russia, the USA, Belgium and
Spain.
1989 Moscow Youth Palace (MDM)
The Logic of Paradox
May 24 – July 02, 2012. The Russian Museum, The
Stroganov Palace
Mikhail Schwartzman and His Disciples.
August 03 – 19, 2012: The National Centre for
Contemporary Arts (NCCA) jointly with the Russian
Museum, the Ludwig Collection, and the
Schwartzman Art Foundation.
Mikhail Schwartzman: Master, School, Students.
September 4, 2012: NCCA, Round table.
Mikhail Schwartzman: Master, School, Pupils.

5. PUBLICATIONS
May 24 – July 02,
2012: The Russian
State Museum, С
atalogue (Almanac,
326 issue) ISBN:
978-5-93332-401-0
The Russian State
Museum: Mikhail
Shvartsman and his
disciples.
2014
Catalogue of the
Third Russian
Avant-Garde,The
Zverev Center of
Contemporary Art

6. Expert Opinion
ELIZAVETA PLAVINSKY
Vladimir Teplukhin's creative genius, first manifested in
the late 1960s, stretches to the dawn of the new
millennium. He became an artist very early or, rather,
he was born to his art and was thus destined to be
simultaneously extremely mature and infinitely childlike.
His work is impossible to ascribe to any particular
generation… His ardent desire to experiment was
exceptional and is frequently mentioned in the memoirs
of various artists describing the art scene of the
1960-70s.
Teplukhin died alone, in his workshop, surrounded by
the multitude of his works. However, the life was kind to
him – not long before his death he met his estranged
daughter. The late Sergey Kuskov, a notable Russian art
critic, undertook a detailed study of Teplukhin’s vast
creative heritage. Mikhail Garutin, a friend of the artist,
rescued his works, and Vladimir Teplukhin's art remains
with us, saved by his family and his old friend.
The canvases in Teplukhin’s collection are abstract
creations employing a number of complex and highly
unusual techniques…The artist created a number of
graphic sheets using the method of coating and
washing off multiple layers of water-soluble paints so
that the luminescence and transparency of the material
makes the image and colour work jointly on both sides
of the sheet, surpassing the two-dimensional space and
transcending the obviousness of the medium.
− art critic, art historian, curator of contemporary art
exhibitions, artist.

8. “These searches…always lead to simplicity and
light, rather than the opposite.”
“He plunges down an abyss, as if intentionally getting into the
darkest pit, but always looks for a way out, establishing the
unconditionally bright and sound foundation of his work.”

9. Expert Opinion
SERGEY KUSKOV
− art curator and critic.
From Sergei Kuskov’s article The Symbol and The Script:
Alternative Spaces of Vladimir Teplukhin
"Vladimir Teplukhin created himself and his own fiercely
independent and distinct voice. He famously adhered to
“rebellious leftism” in everything and stated his desire to
move “against the current” even within his chosen circle
of close acquaintances. He found his aesthetic
inspiration through an intense spiritual quest.
His art does not focus on a particular image, does not
ascribe a dominant, suggestive role to any symbol, his
geometric form bears no traditional symbolical values,
however his works are imbued with a certain spiritual and
aesthetic alliance. “The Lines of Power” represent the
symbolic beginning, the pathways and hidden codes of
the thought itself, the thought process in action,
inseparable from an emotional state, as if beyond the
conscious and the unconscious, and its visual reflection in
art.

10. Expert Opinion
THE ARTIST’S SCRIPT (BY S.KUSKOV)
Teplukhin’s mixed technique is particularly revealing: layers
of paint applied on wet paper by dry stiff brushes.
Transparent washes and multiple layers indicate hidden
metaphysics of style, requiring immediate involvement and
participation of the viewer, uncovering hidden transparency
and shimmering resonance.
Each layer remains present even when removed, adding to
the fabric of the painting.
It almost looks like the work creates itself; the absence of
artist’s intent becomes yet another feature of the canvas.
Teplukhin’s “Adventure of Spirit” represents an
altogether different approach to space, a daring
incursion into the Unknown. There is a dynamic,
asymmetric and mobile layered fluidity in Teplukhin’s
art, an unexpected leap into the deep and an equally
expressive return to the viewer. The artist himself
explained that one should strive to view the world as if
the Good and the Evil were undivided and accept both
with equal love and understanding.

11. «The artist himself explained that one should strive
to view the world as if the Good and the Evil were
undivided and accept both with equal love and
understanding.»

12. Biography

13. 13 July 1957
Vladimir Teplukhin is born in Moscow:
"I started in painting while still in the womb… My
pregnant mother suddenly began to paint
landscapes and still-lifes after the French
Impressionists."
The Drawing Studio at the Pushkin Museum of
Fine Arts
“...Bold and beautiful, sensual, emotionally
charged emotive painting due to brilliant
knowledge of the history of Modern Art from
the French classics to the abstract paintings,
where Kandinsky's art was especially
attractive..." (S. Kuskov)
The Serov Art School, Moscow (under
tutelage of Valery Geraskevich)
Ely Bielutin’s Studio.
Independent studies
"…Characteristic bloated abstracts and bright
colourful masses explode on the canvas as if to
break through the surface and escape the frame
itself."
Meeting with Mikhail
Schwartzman
Schwartzman’s Hieratic School of Art;
developing and mastering a style of his own.
19 February 2001
Vladimir Teplukhin died
1960s 1971 - 1974
1970s 1981 1988 - 1991
2001

14. “A leap into the invisible reality"
"A rush in the invisible reality".
A fateful meeting after experiments were conceived and really was the
meeting with Mikhail Shvartsman.
Teplukhin’s apprenticeship at Schwartzman’s School was a choice that is
if not quite Mature, than a choice of a very experienced but young artist
of another generation.
Not exactly a choice ("Freedom - is when there is no choice" -
M.Shvartsman) it’s a logical-intuitive conclusion from the previous
formation and deep aspirations. Prevailed was a ritual-ceremonical
gradualness of performing process.

15. "... it’s a delight awareness of Life evolution,
a process of the genesis that paradoxically attract to
reasons, to the top of Entity."
V. Teplukhin

16. "The realities of the universal cause significant sense
of contact with ancient and new at the same time,
happiness awareness of Prime Cause"
V. Teplukhin

17. ARTIST AND MYSTIC

18. Contact information:
Telephone: +7 (965) 136 30 85
E-mail: pi@grgroup.su
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