Yuri Tarasov was one of the strongest painters in the Soviet Union, Russia and Lithuania. While his talent had no borders, Yuri’s fantastic vision and ability to show the true classic Russian art school with a touch of modern European trends made his paintings highly controversial in the Soviet society. As the son of the Head of the Supreme Council of the Russian Soviet Federative Socialist Republic, he had an opportunity to become one of the best-know artists in the USSR, but Yuri never wanted fame or money, strongly believing that great art must bring recognition and not the other way around. Ignoring the opportunities life gave him, committed only to his art and his family, Yuri Tarasov, nevertheless, became one of the top artists in the entire Soviet Union. The recognition that he so carefully avoided inevitably came to him after each and every one of his exhibitions. His art spoke for itself.
The global Art market is undergoing change as the world continues its progression towards globalization. That specific change is the diversification of a predominantly Western Art market. This is phenomenal, but it’s also about time because it means that the Art market is finally beginning to include and value Art of all the different cultures that make up humanity. Now, not every culture or type of Art is valued or held to the same caliber yet, but we are getting there.
One of the regions that still appears to be struggling to break into the Art Market is Central and Eastern Europe. Which is problematic because it leaves a massive gap in our understanding of Art movements, and how we are where we are in contemporary Art today. So, in order to understand what Central and Eastern European Art is, you will first need to understand what distinguishes the region from the rest of Europe.
Whilst women have always been an essential topic in the visual arts they have historically been excluded from the entire artistic canon. That is not to say that women have not participated in the creation of Art, rather that the Western canon solely includes the work of men. To be more specific, the Western artistic canon includes and values the works of Western men only.
One might think that it makes perfect sense the Western Art canon is inclusive of male artists considering the fact that the first wave of feminism only begun around the late 19th century. So, before that, women weren’t really a part of many industries. Also, as stated in the name, the western Art canon is in fact “western” and does not proclaim to be the “global” art canon.
“For him there were no boundaries between nationalities. He readily made friends with the natives of any country…. He was no stranger to Latvians, Lithuanians, Jews, Tatars, Karaites, Russians. He was ready to help everyone if possible.”
At a time of great division in the Eastern European community a lesson in multiculturalism, unity and brotherhood can be learned from an unusual person, a Soviet Lithuanian artist Czeslaw Znamierowski (23 May 1890 – 9 August 1977). He was born in Imperial Russia on Latvian territory into a Polish family. At the age of 32 he became a citizen of the Soviet Union and soon after moved permanently to Lithuania, where he lived until his last day.