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Рудзите, Илзе Рихардовна. Илзе рудзите картины

Мир Культуры » РУДЗИТЕ ИЛЗЕ РИХАРДОВНА

Ильзе Рудзите на выставке своих картин

Родилась в Риге 24 января 1937 года в семье известного латышского поэта, философа и общественного деятеля Рихарда Рудзитиса. С 1956 по 1963 год училась в Академии художеств Латвийской ССР на отделении станковой живописи.

Верность идеалам Живой Этики, пристрастие к «западным» методам художественного творчества Илзе не вписывались в рамки требований Академии. Её обвиняли в идеализме, несоответствии общепринятым взглядам на жизнь. Не раз она находилась на грани отчисления.

Остаться в Риге по окончанию Академии она не могла. С такой строкой в биографии, как репрессированные родители, работать ей не позволяли. С переездом в Сибирь её поддержал Юрий Николаевич Рерих, старший сын Н. К. Рериха, с которым Рихард Яковлевич был очень коротко знаком и, естественно, познакомил с ним своих старших дочерей Гунту и Илзе.

Илзе Рудзите долгое время преподавала в Новоалтайском художественном училище (1984 – 1991), вела авторский лекторий, принимала сотни экскурсий в своей мастерской в Барнауле, но при этом сама не переставала писать.

Занималась канонической иконописью. Совместно с художником Лавриновым Владимиром Григорьевичем и отдельно ею написано около 40 икон, распятий и росписей для большого числа храмов и монастырей Алтайского края и несколько для Усть-Коксинской церкви. Её портреты и пейзажи, и особенно цикл созданных икон, неизменно восхищали зрителей во всем мире.

Однако писать на заказ она всегда отказывалась — считала это ремесленничеством. В связи с успешным участием на выставках уже в 1968 году её принимают в члены Союза Художников СССР.

Автопортрет. 1986

И.Р. Рудзите работает в жанре тематической картины, пейзажа, натюрморта, обращалась к книжной графике. На основе традиций прибалтийской живописной школы на Алтае приобрела ярко выраженную творческую индивидуальность. Её творчество пронизано светлой духовностью, тяготением к символическим образам, обращением к проблемам нравственности и общечеловеческим ценностям. В нём несколько тематических линий: Горный Алтай и его люди, история России и Алтая, современная жизнь, образы мировой художественной литературы и мирового эпоса.

Кроме отдельных картин художница пишет циклы. Из них самые яркие: «Любовь в легендах мира», «Горные этюды» (несколько сотен), «Люди горного Алтая», «Большая совесть» (посвящен В.М.Шукшину), «Восхождение к Пушкину», «Латвия», «Иисус Христос», «Россия».

В работах И. Рудзите нет привычного источника света, это всегда свет небесный, свет духовный. Помимо луча света автор применяет принцип радуги, который также традиционно применялся в иконописи для создания настроения неземной радости, атмосферы высшего счастья. Но, как символы битвы добра и зла, почти везде в работах присутствуют контрасты света и тени.

Илзе Рихардовна Рудзите немало сил отдает просветительской деятельности. На Алтае она не только преподавала, писала картины, читала лекции о теории живописи, преодолевала житейские трудности сурового сибирского быта, но также занималась практическими делами по сохранению памяти о Н. К. Рерихе.

Примером этой деятельности могут послужить её очерки, статьи, воспоминания о встречах с Юрием Николаевичем и Святославом Николаевичем Рерихами.

Совместно с мужем Л.Р. Цесюлевичем она занималась исследованием алтайского этапа Центрально — Азиатской экспедиции Николая Рериха. Благодаря им на доме В.С. Атаманова в Верх-Уймоне в 1974 году была установлена мемориальная доска, посвящённая пребыванию там экспедиции Рериха.

Художник Леопольд Романович Цесюлевич – окончил Академию художеств Латвийской ССР в 1961 году. После службы в армии по совету Ю.Н. Рериха, с которым он встречался в Москве, перебрался вместе с женой Илзе Рудзите в Барнаул. Преподавал. В 1967 году стал членом Союза художников СССР. Неоднократно избирался членом правления Алтайской организации членов Союза художников России.

Он – один из основателей Государственного музея истории литературы, искусства и культуры Алтая, инициатор создания картинной галереи в Алтайском государственном университете. Перевел с латышского языка автобиографические книги поэта и философа, председателя Латвийского общества Рериха Р. Я. Рудзитиса.

Полотнам художника (см. ниже) присуще чувство современности, соединенное с обращением к историческому прошлому, стремление к эпичности и монументальности. Опираясь на реалистические и постимпрессионистические тенденции, часто переплетающиеся с символизмом, он создает обобщенный, романтически окрашенный образ мира, в котором ведущее место принадлежит человеку, его духовному и физическому началу.

Одиночество	Искушение	Око Сергия
Неопалимая (триптих)	Неопалимая (триптих)	Неопалимая (триптих)
Вера	Огненный Ангел	Магдалина
Пустыня	Единение. Мать и сын	Звёздные знаки
	Совесть
Небесная битва (л)	Воскресение	Небесная битва (п)
Голубая Мадонна	Когда расцветут розы.Святой Франциски Святая Клара	Когда расцветут розы.Святой Франциски Святая Клара

Работы Леопольда Романовича Цесюлевича

Урусвати (Е.И. Рерих)	С. Н. Рерих	Н.К. Рерих
Возвращение алтайской принцессы	Храм Великой Царицы Алтая	Зов Преподобного

Источник: НОВЫЙ МИР

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Илзе Рудзите

Илзе Рихардовна Рудзите родилась в Риге 24 января 1937 года в семье известного латышского поэта, философа и общественного деятеля Рихарда Рудзитиса. С 1956 по 1963 год училась в Академии художеств Латвийской ССР на отделении станковой живописи.

Илзе Рихардовна Рудзите немало сил отдавет просветительской деятельности. На Алтае она не только преподавала, писала картины, читала лекции о теории живописи, преодолевала житейские трудности сурового сибирского быта, но также занималась практическими делами по сохранению памяти о Н. К. Рерихе.

Совместно с мужем Л.Р. Цесюлевичем она занималась исследованием алтайского этапа Центрально - Азиатской экспедиции Николая Рериха. Благодаря им на доме В.С. Атаманова в Верх-Уймоне в 1974 году была установлена мемориальная доска, посвящённая пребыванию там экспедиции Рериха.

Алтайское краевое рериховское общество "Устремление"

ustremlenie1.ru

СПБ:Выставка одной картины: «Портрет Е.И.Рерих» Илзе Рудзите

Выставка одной картины – «Портрет Е. И. Рерих» Илзе Рудзите

И. Р. Рудзите. Портрет Е. И. Рерих. Холст, акрил. 2010–2015. Частное собрание, Уфа.

В Санкт-Петербургском государственном Музее-институте семьи Рерихов начнёт работу выставка одной картины – «Портрет Е. И. Рерих» Илзе Рудзите. Выставка приурочена к празднованию дня рождения Елены Ивановны Рерих (31 января по старому стилю, по новому стилю Рерихи отмечали этот день 13 февраля).«Другиней, спутницей, вдохновительницей» называл Николай Константинович Рерих свою жену. Елена Ивановна Рерих была философом, писателем. Уже в петербургский период жизни Елена Ивановна проявляла интерес к восточной мысли. В сотрудничестве с Учителями Востока ею была создана философско-этическая серия книг Учения Живой Этики (Агни-Йоги).Илзе Рихардовна Рудзите (род. 1937) – живописец, график, преподаватель. Родилась в Риге в семье известного латышского поэта, философа и общественного деятеля Р. Я. Рудзитиса, одного из лидеров Латвийского Общества Рериха. С 1956 по 1963 год училась в Латвийской Академии художеств на отделении станковой живописи. Вместе с супругом Л. Р. Цесюлевичем посвятила себя изучению алтайского этапа Центральноазиатской экспедиции Рерихов. В настоящее время живёт на Алтае.В творчестве И. Р. Рудзите интерес к духовным исканиям выражается через символизм образов и религиозные темы. В декоративности произведений художницы прослеживается связь со школой А. И. Куинджи через её учителя А. Грикиса, учившегося, в свою очередь, у «куинджиста» В. К. Пурвита, который вместе с Н. К. Рерихом посещал мастерскую знаменитого мастера.Выставка продлится до 16 апреля 2017 года.

Е. И. Рерих. Фотография. Дарджилинг. 1924. Музей-институт семьи Рерихов.

Е. И. Рерих. Фотография. Конец XIX века. Музей-институт семьи Рерихов.

И. Р. Рудзите

Источник: forum.roerich.info СПБ:Выставка одной картины: «Портрет Е.И.Рерих» Илзе Рудзите

roerich.info

Рудзите, Илзе Рихардовна - WikiVisually

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2. Латвия – Latvia, officially the Republic of Latvia, is a country in the Baltic region of Northern Europe, one of the three Baltic states. It is bordered by Estonia to the north, Lithuania to the south, Russia to the east, Latvia has 1,957,200 inhabitants and a territory of 64,589 km2. The country has a seasonal climate. Latvia is a parliamentary republic established in 1918. The capital city is Riga, the European Capital of Culture 2014, Latvia is a unitary state, divided into 119 administrative divisions, of which 110 are municipalities and 9 are cities. Latvians and Livs are the people of Latvia. Latvian and Lithuanian are the two surviving Baltic languages. Despite foreign rule from the 13th to 20th centuries, the Latvian nation maintained its identity throughout the generations via the language, Latvia and Estonia share a long common history. Until World War II, Latvia also had significant minorities of ethnic Germans, Latvia is historically predominantly Protestant Lutheran, except for the Latgale region in the southeast, which has historically been predominantly Roman Catholic. The Russian population has brought a significant portion of Eastern Orthodox Christians. The Republic of Latvia was founded on 18 November 1918, however, its de facto independence was interrupted at the outset of World War II. The peaceful Singing Revolution, starting in 1987, called for Baltic emancipation of Soviet rule and it ended with the Declaration on the Restoration of Independence of the Republic of Latvia on 4 May 1990, and restoring de facto independence on 21 August 1991. Latvia is a democratic and developed country and member of the European Union, NATO, the Council of Europe, the United Nations, CBSS, the IMF, NB8, NIB, OECD, OSCE, and WTO. For 2014, Latvia was listed 46th on the Human Development Index and it used the Latvian lats as its currency until it was replaced by the euro on 1 January 2014. The name Latvija is derived from the name of the ancient Latgalians, one of four Indo-European Baltic tribes, henry of Latvia coined the Latinisations of the countrys name, Lettigallia and Lethia, both derived from the Latgalians. The terms inspired the variations on the name in Romance languages from Letonia. Around 3000 BC, the ancestors of the Latvian people settled on the eastern coast of the Baltic Sea. The Balts established trade routes to Rome and Byzantium, trading local amber for precious metals, by 900 AD, four distinct Baltic tribes inhabited Latvia, Curonians, Latgalians, Selonians, Semigallians, as well as the Livonians speaking a Finnic language

3. Пейзаж – In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition, detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going well over a thousand years in both cases. Landscape views in art may be imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However the cognate term landscaef or landskipe for a patch of land had existed in Old English. The earliest pure landscapes with no figures are frescos from Minoan Greece of around 1500 BCE. The frescos from the Tomb of Nebamun, now in the British Museum, are a famous example. These were frequently used, as in the illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty, aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. They were often also poets whose lines and images illustrated each other, a revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries. The frescos of figures at work or play in front of a background of trees in the Palace of the Popes. Several frescos of gardens have survived from Roman houses like the Villa of Livia, a particular advance is shown in the less well-known Turin-Milan Hours, now largely destroyed by fire, whose developments were reflected in Early Netherlandish painting for the rest of the century. Landscape backgrounds for various types of painting became prominent and skilful during the 15th century. The Italian development of a system of graphical perspective was now known all over Europe. Indeed, certain styles were so popular that they became formulas that could be copied again and again, after the publication of the Small Landscapes, landscape artists in the Low Countries either continued with the world landscape or followed the new mode presented by the Small Landscapes. The popularity of landscape scenes can be seen in the success of the painter Frans Post. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, there are different styles and periods, and subgenres of marine and animal painting, as well as a distinct style of Italianate landscape

4. Портрет – A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person, for this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, nonetheless, many subjects, such as Akhenaten and some other Egyptian pharaohs, can be recognised by their distinctive features. The 28 surviving rather small statues of Gudea, ruler of Lagash in Sumeria between c.2144 -2124 BC, show a consistent appearance with some individuality. Some of the earliest surviving painted portraits of people who were not rulers are the Greco-Roman funeral portraits that survived in the dry climate of Egypts Fayum district. These are almost the only paintings from the world that have survived, apart from frescos, though many sculptures. Although the appearance of the figures differs considerably, they are considerably idealized, the art of the portrait flourished in Ancient Greek and especially Roman sculpture, where sitters demanded individualized and realistic portraits, even unflattering ones. During the 4th century, the portrait began to retreat in favor of a symbol of what that person looked like. In the Europe of the Early Middle Ages representations of individuals are mostly generalized, true portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments, donor portraits, miniatures in illuminated manuscripts and then panel paintings. Moche culture of Peru was one of the few ancient civilizations which produced portraits and these works accurately represent anatomical features in great detail. The individuals portrayed would have been recognizable without the need for other symbols or a reference to their names. The individuals portrayed were members of the elite, priests, warriors. They were represented during several stages of their lives, the faces of gods were also depicted. To date, no portraits of women have been found, there is particular emphasis on the representation of the details of headdresses, hairstyles, body adornment and face painting. One of the portraits in the Western world is Leonardo da Vincis painting titled Mona Lisa. What has been claimed as the worlds oldest known portrait was found in 2006 in the Vilhonneur grotto near Angoulême and is thought to be 27,000 years old. Profile view, full view, and three-quarter view, are three common designations for portraits, each referring to a particular orientation of the head of the individual depicted. Such terms would tend to have greater applicability to two-dimensional artwork such as photography, in the case of three-dimensional artwork, the viewer can usually alter their orientation to the artwork by moving around it

5. Графика – Graphics are visual images or designs on some surface, such as a wall, canvas, screen, paper, or stone to inform, illustrate, or entertain. In contemporary usage it includes, pictorial representation of data, as in computer-aided design and manufacture, in typesetting and the graphic arts, images that are generated by a computer are called computer graphics. Examples are photographs, drawings, Line art, graphs, diagrams, typography, numbers, symbols, geometric designs, maps, engineering drawings, Graphics often combine text, illustration, and color. Graphic design may consist of the selection, creation, or arrangement of typography alone, as in a brochure, flyer, poster, web site. Clarity or effective communication may be the objective, association with cultural elements may be sought, or merely. Graphics can be functional or artistic. C, many of these were found to record astronomical, seasonal, and chronological details. Records from Egypt predate these and papyrus was used by the Egyptians as a material on which to plan the building of pyramids, they also used slabs of limestone, from 600–250 BC, the Greeks played a major role in geometry. They used graphics to represent their mathematical theories such as the Circle Theorem, in art, graphics is often used to distinguish work in a monotone and made up of lines, as opposed to painting. Drawing generally involves making marks on a surface by applying pressure from a tool, in which a tool is always used as if there were no tools it would be art. Graphical drawing is an instrumental guided drawing, woodblock printing, including images is first seen in China after paper was invented. In the West the main techniques have been woodcut, engraving and etching, etching is an intaglio method of printmaking in which the image is incised into the surface of a metal plate using an acid. The acid eats the metal, leaving behind roughened areas, or, if the surface exposed to the acid is very thin, the use of the process in printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Germany, who decorated armour in this way. Etching is also used in the manufacturing of printed circuit boards, Line art is usually monochromatic, although lines may be of different colors. An illustration is a visual representation such as a drawing, painting, the aim of an illustration is to elucidate or decorate a story, poem or piece of textual information, traditionally by providing a visual representation of something described in the text. The editorial cartoon, also known as a cartoon, is an illustration containing a political or social message. Charts are often used to make it easier to understand large quantities of data, a diagram is a simplified and structured visual representation of concepts, ideas, constructions, relations, statistical data, etc. used to visualize and clarify the topic. A symbol, in its sense, is a representation of a concept or quantity, i. e. an idea, object, concept, quality. A map is a depiction of a space, a navigational aid which highlights relations between objects within that space

6. Рерих, Юрий Николаевич – George Nicolas de Roerich was a prominent 20th century Tibetologist. His name at birth was Yuri Nikolaevich Rerikh, George was the son of the painter and explorer Nicholas Roerich and Helena Roerich. Much of Roerichs early life was spent in Saint Petersburg and his brother, Svetoslav Roerich, was born in 1904. Both sons interests were nurtured by their mother, who wrote of her oldest sons childhood, The elder one showed love for history and his passion for the art of war has survived until now. By the way, this talent is inborn, and he is proud of his ancestor — field marshal of the Russian Empire Mikhail Kutuzov. By the time Roerich was 15, he had begun studying Egyptology with Boris Turayev and Mongolian language. He was a student with broad interests and many talents, after finishing his studies at Karl May School, he entered the Indian and Iranian department of Oriental Languages at London University in 1918. Under Indologist Professor Edward Denison Ross he studied Sanskrit and Pali and he was recognized for his language abilities and was introduced as the best Sanskrit student to the Secretary of State for Indian Affairs who visited the university. Upon completion of his study at London University in 1920, he moved to America with his parents and he studied in the Indian Philology Department of Harvard University and also studied Pali Chinese languages during his time there. At the age of 18, Roerich was already rooted in his passion for Oriental studies. He mastered Sanskrit during his time at Harvard under the direction of Professor Charles Rockwell Lanman, Roerich also attended lectures by Professor Michael Rostovtzeff on Middle Asia influences in the art of southern Russia. During his years at Harvard, he wrote his first essay on Buddhism and he received both a bachelors and masters degree from Harvard University, then continued his education in Paris, France. During his time here, he cooperated with such famous orientalists as Paul Pelliot and he learned Mongolian and Tibetan while also continuing his study of Chinese and Persian languages. He graduated with his M. A. in Indian Philology in 1923, Roerich began his independent research at the age of 21. In November 1923 he left for Bombay with his family, after years of study and preparation, his dream of going to India came true. By December 1923, he had arrived at the base of the Himalayas as a member of an expedition to Sikkim. The purpose of this expedition was to visit ancient monuments and Buddhist monasteries, as well as to local legends, beliefs. In Darjeeling, George polished his colloquial Tibetan with scholar Lama L. M. Dorje, Roerich found strong similarities between ancient Russian icon painting and the art of tankha painting in both technique and in the treatment of the subject

7. Барнаул – Barnaul is a city and the administrative center of Altai Krai, Russia, located at the confluence of the Barnaulka River and the Ob River in the West Siberian Plain. At the end of 2015, the city had a population above 700,000 people, the population of the Barnaul metropolitan area is estimated to be more than 1.14 million. Barnaul is located in the forest steppe zone of the West Siberian Plain, on the bank of the Ob River, at the confluence of Barnaulka. Barnaul is the closest major city to the Altai Mountains to the south, the border with Kazakhstan is 345 km to the south-west. It is 3580 km from Moscow, the city is also situated relatively close to the border with Mongolia and China. The area around the city has been inhabited by humans, Neanderthals and Denisovans. They settled here to take advantage of the confluence of the rivers, used for transportation, in the late BC millennia, the locality was a centre of activity for Scythian and various Turkic peoples. The city of Barnaul was founded in 1730, and granted the status of a city in 1771. Chosen for its proximity to the mineral-rich Altai Mountains and its location on a major river and they wanted to develop the copper in the mountains, and soon found substantial deposits of silver as well. In 1747, the Demidovs factories were taken over by the Crown, Barnaul became the center of silver production of the entire Russian Empire. In 1914, Barnaul was the site of the largest draft riot in Russia during World War I, there were more than 100 casualties from the fighting. Street fighting also took place between White Russians and Reds during the Russian Revolution of 1918, Maria Stepanovna was born and lived as a child in this city. She later became the mother of American actresses Natalie Wood and Lana Wood and her father Stepan was killed in the 1918 street fighting between the Whites and Reds following the Revolution. Afterward her mother took Maria and her siblings as refugees to Harbin, Maria married a Russian there, and they had a daughter Olga together. Maria eventually immigrated with Olga to the United States, where she married another Russian immigrant, from Vladivostok and it is estimated that over half of the light ammunition used by the Soviet Union in World War II was produced in Barnaul. Barnaul is the center of the krai. As a municipal division, the city of krai significance of Barnaul is incorporated as Barnaul Urban Okrug, temperatures can vary in the extreme, from below −45 °C in the winter to above +35 °C in the summer. The average precipitation in the area is 433 millimeters per year, Barnaul is an important industrial center of Western Siberia

8. Рерих, Николай Константинович – He was interested in hypnosis and other spiritual practices and his paintings are said to have hypnotic expression. Trained as an artist and a lawyer, his interests were literature, philosophy, archaeology. Roerich was a dedicated activist for the cause of preserving art and he earned several nominations for the Nobel Peace Prize long list. The so-called Roerich Pact was signed into law by the United States, raised in late-19th-century St. Petersburg, Roerich matriculated simultaneously at St. Petersburg University and the Imperial Academy of Arts during 1893. He received the title of artist in 1897 and a degree in law the next year and he found early employment with the Imperial Society for the Encouragement of the Arts, whose school he directed from 1906 to 1917. Despite early tensions with the group, he became a member of Sergei Diaghilevs World of Art society, artistically, he became known as his generations most talented painter of Russias ancient past, a topic that was compatible with his lifelong interest in archaeology. He also succeeded as a designer, achieving his greatest fame as one of the designers for Diaghilevs Ballets Russes. His best-known designs were for Borodins Prince Igor, and costumes and set for The Rite of Spring, another of Roerichs passions was architecture. Both Roerichs became avid readers of the Vedantist essays of Ramakrishna and Vivekananda, the poetry of Rabindranath Tagore, the Roerichs commitment to occult mysticism increased steadily. It was especially intense during World War I and the Russian revolutions of 1917, to which the couple, like many Russian intellectuals, with Maxim Gorky and Aleksandr Benois, he participated with the so-called Gorky Commission and its successor organization, the Arts Union. At the same time, however, illness forced Roerich to leave the capital and reside in Karelia and he had already quit the presidency of the World of Art society, and he now quit the directorship of the School of the Imperial Society for the Encouragement of the Arts. After the October Revolution and the acquisition of power of Lenins Bolshevik Party, during early 1918, he, Helena, and their two sons George and Sviatoslav emigrated to Finland. Two unresolved historical debates are associated with Roerichs departure, in fact, Benois was the most likely choice to direct any such commissariat. It seems that Roerich was a choice to manage its department of artistic education. He illustrated Leonid Andreyevs anti-communist polemic S. O. S. and had a published pamphlet. Roerich believed that the triumph of Russian culture would come about through a new appreciation of ancient myth, after some months in Finland and Scandinavia, the Roerichs relocated to London, arriving in mid-1919. Engrossed with Theosophical mysticism, the Roerichs now had expectations that a new age was imminent. They joined the English-Welsh chapter of the Theosophical Society and it was in London, in March 1920, that the Roerichs founded their own school of mysticism, Agni Yoga, which they referred to also as the system of living ethics

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Рудзите, Илзе Рихардовна — WiKi

Родилась и выросла в Риге, в семье известных деятелей культуры Латвии Эллы Рейнгольдовны и Рихарда Яковлевича Рудзитис. Училась в художественной школе им. Я. Розенталя, с 1956 по 1963 год — в Академии художеств Латвийской ССР на отделении станковой живописи. После окончания, вместе с мужем Л. Р. Цесюлевичем, последовали совету Ю. Н. Рериха, с которым ранее встречались в Москве — переехали жить на Алтай, в Барнаул. Благодаря им появились первые исследования об алтайском этапе центрально-азиатской экспедиции Н. К. Рериха. На доме В. С. Атаманова в Верх-Уймоне в 1974 году была установлена мемориальная доска, посвящённая пребыванию там экспедиции Рериха в 1926 году. Художники способствовали созданию Государственного музея истории литературы, искусства и культуры Алтая, основанного 8 сентября 1989 года в Барнауле[1].

С 1964 года — участница краевых, зональных, республиканских, всесоюзных, международных и зарубежных выставок. Среди них: Всесоюзная выставка молодых художников, Москва (1972), Всесоюзная выставка «Слава труду», Москва (1975), республиканская выставка «Земля и люди», Москва (1972), республиканская выставка «Советская Россия», Москва (1975), республиканская выставка «Художники России», Москва (1978) и другие. На мировоззрение художницы оказали значительное влияние личности её отца, латышского писателя, просветителя Р. Я. Рудзитиса и художника, мыслителя-гуманиста Н. К. Рериха. По мнению искусствоведов, творчество художницы пронизано светлой духовностью, тяготением к символическим образам, обращением к проблемам нравственности и общечеловеческим ценностям. Она привнесла в алтайскую живопись особую декоративную манеру, высокое художественное мастерство и философскую глубину образов[2].

В 1984-91 годах преподавала рисование, живопись и композицию в Новоалтайском художественном училище. Вела авторский лекторий. Занималась канонической иконописью. В 1993 году обучалась во Всероссийском реставрационном центре им. Э. Грабаря на отделении древнерусского искусства. Совместно с художником В. Л. Лавриновым (и самостоятельно) ею написано более 40 икон, распятий и росписей для храмов и монастырей Алтайского края и Усть-Коксинской церкви (Республика Горный Алтай)[3].

Персональные выставки прошли во многих городах: Барнаул (1974 и др.), Новосибирск (1975), Ленинград (1989), Рига (1990), Москва (1990), Одесса (1995), Белгород (1997), Алма-Ата, Улан-Батор, Рига, Берлин, Даллас (США), Бергамо (Италия). Серия передвижных выставок художницы по городам Сибири: Новокузнецк, Прокопьевск, Кемерово, Томск, Бийск, Горно-Алтайск, Белово, Междуреченск, Новосибирск.

Награждена медалью «За доблестный труд. В ознаменование 100-летия со дня рождения В. И. Ленина» (1970), серебряной медалью «Духовность, традиции, мастерство» Союза художников России (2017), медалью «За заслуги перед обществом» Алтайского края (2017). Член Объединения художников г. Бергамо, Италия (1995).

Работы хранятся в музеях, картинных галереях, частных собраниях в России: Барнаул, Томск, Бийск, Извара, Северобайкальск, Мульта; зарубежных коллекциях: Италия, Швейцария, Латвия, Украина, Литва, Германия, США, Франция.

Живёт в Мульте (Республика Алтай).

ru-wiki.org

Рудзите, Илзе Рихардовна Википедия

Илзе Рихардовна Рудзите (24 января 1937 года, Рига, Латвия) — художник-живописец, график, педагог. Член Союза художников России (1968).

Биография

Живёт в Мульте (Республика Алтай).

Библиография

Рудзите-Цесюлевич И. Р. Деятельность и взгляды Ю. Н. Рериха по материалам встреч и переписки с ним Р. Я. Рудзитиса, сотрудника Рерихов. Препринт. Новосибирск, 1983 (совм. с Цесюлевичем Л. Р.).
Рудзите И. Р. Н. К. Рерих на Алтае. — Культурное наследие Алтая. — Барнаул, 1994.
Рудзите Илзе Незабываемые встречи. Из воспоминаний о Юрии Николаевиче Рерихе // Вестник Ариаварты. — 2002. — № 2(3). — С. 69-83.
Рудзите Илзе Искусство жизни // Воспоминания о С. Н. Рерихе. — М., 2004. — С. 56-72.

Литература

Гончарик Н. П. И. Р. Рудзите-Цесюлевич // Изобразительное искусство Алтая. — Барнаул, 1977.
Илзе Рудзите // Художники Алтая. — Барнаул, 1980.
Лихацкая Л. Н. Портрет в творчестве алтайской художницы Илзе Рудзите // Материалы научной конференции, посвящной 125-летию со дня рождения Г. И. Гуркина. — Барнаул, 1996.
Илзе Рудзите // Художники Алтайского края. — Барнаул, 2006.
Виноградов Ю. А. Художница Илзе Рудзите. — [Научно-исследовательская лаборатория ФИ «Изобразительное искусство и архитектура Сибири» Алтайского государственного университета]. — Новосибирск, 2010. ISBN 978-5-7782-1540-5
Воеводина Е., Попова А., Прохорова К. «Художница Илзе Рудзите» // За науку. — 2011 — 21 апреля. — № 14 (1192).

Примечания

Ссылки

wikiredia.ru

Мир Культуры » Рудзите И.Р.

Рудзите И.Р.

2634-63

РУДЗИТЕ ИЛЗЕ РИХАРДОВНА

Родилась 24 января 1937, г. Рига Латышской ССР.

Живописец. Работает в жанре тематической картины, портрета, пейзажа, натюрморта; обращалась к книжной графике.

Училась в художественной школе им. Я. Розенталя (1951-1955), в 1963 г., окончив Латвийскую государственную академию художеств, приехала на Алтай. На основе традиций прибалтийской живописной школы на Алтае приобрела ярко выраженную творческую индивидуальность. Творчество пронизано светлой духовностью, тяготением к символическим образам, обращением к проблемам нравственности и общечеловеческим ценностям. В творчестве И.Р. Рудзите несколько тематических линий: Горный Алтай и его люди, история России и Алтая, современная жизнь, образы мировой художественной литературы и мирового эпоса. На мировоззрение художницы оказали значительное влияние личности ее отца, латышского просветителя и писателя Р. Рудзитиса и Н.К. Рериха. Для И.Р. Рудзите характерны прославление красоты, интерес к творческой личности. Яркие черты творчества — символизм, обращение к вечным темам материнства, женским судьбам и любви.В 1984-91 гг. преподавала рисование, живопись и композицию в Новоалтайском художественном училище. Вела авторский лекторий. Награждена медалью «За доблестный труд. В ознаменование 100-летия со дня рождения В.И. Ленина». В 1993 г. обучалась во Всероссийском реставрационном центре им. Э. Грабаря на отделении древнерусского искусства. Занимается канонической иконописью. Написано около 30 икон большого размера.

Член объединений: Союз художников России (1968), Объединения художников г. Бергамо, Италия (1995).

Участие в выставках. Участник краевых, зональных, республиканских, всесоюзных, международных и зарубежных с 1964 г., среди них Всесоюзная выставка молодых художников, Москва (1972), Всесоюзная выставка «Слава труду», Москва (1975), республиканская выставка «Земля и люди», Москва (1972), республиканская выставка «Советская Россия», Москва (1975), республиканская выставка «Художники России», Москва (1978).

Персональные. Работы художницы выставлялись на 37 персональных выставках: Санкт-Петербург (1989), Москва (1990), Рига, Латвия (1990), Бергамо, Италия (1995), Украина (Одесса, Феодосия, Ялта 1994-1997), Сибирский регион (Барнаул, Томск, Кемерово, Новокузнецк, с. Сростки и др.)

Работы хранятся в музеях, картинных галереях, частных собраниях в России: Барнаул, Томск, Бийск, Извара, Северобайкальск, зарубежных коллекциях: Италия, Швейцария, Латвия, Украина, Литва, Германия, США, Франция.

Источник: Государственный Художественный Музей Алтайского Края

Статьи об Илзе Рихардовна Рудзите:

РУДЗИТЕ ИЛЗЕ РИХАРДОВНА

Статьи Илзе Рихардовны Рудзите:

ЖИЗНЬ Ю.Н. РЕРИХА — ПУТЬ ТРУДА НА ОБЩЕЕ БЛАГО

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