Valery Alexandrovich Volkov (Russian:[vʲalʲerʲialʲeksánʲdrovʲtɕvʲólkov]; 1 May 1928 - 6 April 2020) was a Soviet-Russian painter and art historian who lived and worked in Central Asia and in Russia. Intercultural experiences and knowledge gleaned from the art history of two different cultures was reflected in a distinctive fusion of influences in his paintings. His painting style is associated with abstract expressionism and merges a sensual world of colour of the Orient and the gestural brush technique of European modernism.[1]
Born in Fergana, in the Uzbek SSR (now Uzbekistan), he spent his childhood traveling with the parents to explore the mountains and deserts surrounded the Fergana Valley. He was educated in Tashkent and undertook formal training in fine arts. He was an active participant in exhibitions as a young artist and became a member of the Artists’ Union of Uzbekistan in 1949. While working as an artist, he studied and graduated in art history at the National University of Uzbekistan, Tashkent, in 1952.[2]
In 1966 an earthquake struck Uzbekistan, devastating the city of Tashkent. Destroying most of the city’s buildings, the disaster left hundreds of thousands of residents homeless.[3] As a result of the earthquake and the loss of their home, Volkov moved with his wife and five years old son to Moscow.
In 1969 his solo exhibition in Moscow was rejected by the Party Bureau of the Union of Artists which censored art on behalf of the Communist Party.[4] Volkov’s artworks were condemned as not following the mandated “socialist realism” style of Soviet art and therefore a danger to public morality. He was excluded from official exhibitions for the next ten years. The same year his son, Nikolay died.
Frequently returning to his native land, Volkov joined with Igor Savitsky in art preservation projects and the establishment of the Nukus Museum of Art (also known as the ‘Desert of Forbidden Art’) in Karakalpakstan. The mission was to collect avant-garde artworks saving them from a disposal by the Soviet authorities and build a collection of the antiquities of Khorezm’s ancient civilization (Khwarazm).[5] The region had a rich cultural heritage of historical narratives and live traditions. He employed his art as a visual vehicle to interpret these experiences. Travel and observation stimulated his interest in mechanisms of colour perception, which thereafter become a foundation of his artworks.[6]
^Ramaley 1994, p. 20.
^Ganichev 2012, p. 7.
^Raab 2014, p. 290.
^Otdelnova 2017, p. 638.
^Babanazarova 2015, p. 42.
^Volkov 2011, p. 11.
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