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NEIZVESTNY Ernst Isopovich   (НЕИЗВЕСТНЫ Ернст Исопович)

1926-


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Paintings or Sculptures: 128 image(s)
  • Moses, 1986. Bronze. 38 x 18 cm.
  • Centaur, 1988. Bronze. 26 x 24 x 12 cm.
  • Mask and Hand, 1988. Bronze. 39 x 29 x 36 cm.
  • Centaur, 1987. Bronze. 69 x 71 x 38 cm.
  • Athina, 1989. Bronze. 191 x 91 x 102 cm.
  • Crucifixion (front and back views), 1990. Bronze. 155 x 76 x 51 cm.
  • Masque "Grotte" (Cave mask), 1992. Bronze. 66 x 46 x 23 cm.
  • Prophet, 1987. Bronze. 140 x 79 x 51 cm.
  • 16 x 17 cm. 1971.
  • 21 x 15 cm. 1964.
  • 1967.
  • The Prophet, 1966 Bronze 93 x 56 x 66 cm.
  • Tree of Life, 1968 - 76 Bronze 52 x 60 x 36 cm.
  • "The Tree of Life". Plastic model in colour. 54 x 56 cm.
  • "The Prophet". Bronze. Modelled in 1962 in Moscow, and envisaged as the central figure in the "Tree of Life". Later, replaced by another conception of the prophet finished in the USA. The two pieces of sculpture give an idea of the way in which Neizvesty's style developed from his Moscow period to the seventies and eighties in New York.
  • "Empty flight". 1977. Acrylics and oil.
  • Face. 1980. Acrylics and oil.
  • "Crucified Centaur". 1983. Acrylics. Painted in Sweeden.
  • "Dancer". 1983. Acrylics. Sweeden.
  • "Horizon". 1978. Acrylics.
  • Portrait of Dimitri Shostakovich. Bronze. 1976. Natural size. Kenedy Center. Washington, DC.
  • "A glance". 1981. Acrylics and oil.
  • "Many heads" 1981. Acrylics and oil.
  • "Horses head". Acrylics. 1977.
  • "Centaour". 1982. Acrylics.
  • Female torso. Acrylic and oil. 1977-80.
  • Portrait of Paul Zacher. 1976. Collection Paul Zacher, Basel.
  • "Orpheus". Zinc. Schulman Building. New York.
  • "Orpheus". Zinc. Schulman Building. New York. and the SVen-Olov Anderson Centre, Sweeden.
  • "Centaur". Bronze. 1965-80. Schulman Building, New York.
  • Large crucifixion. Acrylics and oil. 1982. (2 x 2,4 m).
  • "Mental Cry II." Mixed media. 195 x 150 cm.
  • Crucifix. Acrylic and oil. 1977-80. One of Neizvestny's numerous variations of the crucifix motif. They cannot always, indeed should not always, be seen in a religious light, since they often symbolise other forms of conflict in life and society.
  • Metallic hermaphrodite. Acrylics and oil. 1980. The hermaphrodite theme recurs often. According to Neizvestny, hermaphrodites are ambivalent figures in which there exists a state of tension between opposites such as male and female, man and machine etc.
  • "Boy". Bronze. 1954. (0,90 x 0.52 m).
  • bronze of the "Tree of life" Modelled in 1969 and cast in 1976. 59 x 56 cm.
  • Monument in honour of the Dead. Sketch. Bronze. 1970-74. (0,22 x 0,43 m).
  • Mask and hand. Bronze. 1959-75. (0,22 x 0,43 m).
  • "Pieta." Bronze. 1976. Modified just before Neizvestny left the Soviet Union. (0,31 x 0,18 m).
  • "Dead Soldier". Bronze. 1953-54. An example of Ernst Neizvestny's anti-idealistic view of the war theme.
  • "Aeronaut and Boy". Plaster of Paris. Student work from the early fifties.
  • "Foundary worker". Bronze 1962. Heght 2.12 m. Ernst Neizvestny modelled this work in great haste as a demonstration after Nikita Khrushchev and his aides had accused the artist of having lost the ability to do social-realistic sculpture because of his increasing mental aberation.
  • "Foundary worker". Bronze 1962. Heght 2.12 m. Ernst Neizvestny modelled this work in great haste as a demonstration after Nikita Khrushchev and his aides had accused the artist of having lost the ability to do social-realistic sculpture because of his increasing mental aberation.
  • "Construction". It dates 1949-50 when he was half way through his studies at the Moscow Academy of Art and represents one of his few experiments with non-figurative form language.
  • Female torso. Swedish granite. 1949. He carved this classic study when a student at the Academy at the same time as he was experimenting with the non-figurative style. This figure was later to win a bronze medal in a competition at the 1957 Moscow International Art Festival. It was acquired by the Tretiakov Gallery in Moscow.
  • "Centaur". Bronze. 1965-66.
  • "Machine man". Bronze. 1961-62.
  • "Endeavor". Bronze. 1962.
  • "Hermaphrodite". Zinc. 1966.
  • "Orpheus". Zinc. 1962-64.(1,32 x 1m). This work was started the very same day the artist had his fateful and dramatic exchange of views with Nikita Khrushchev in the Manege in Moscow in 1962.
  • "Born in Head" 1977 - 81. Acrylics and oil on canvas. 111 x 173 cm.
  • "Shriek". Acrylics and oil. 1977-80. From the album of war themes.
  • "Shriek". Acrylics and oil. 1977-80. From the album of war themes.
  • "Shriek". Acrylics and oil. 1977-80. From the album of war themes.
  • "Holocaust". Acrylics and oil. 1977-80. From the "Shriek" series.
  • Sketch of the Aswan dam monument in Egypt. In 1969 Neizvestny won the international competition for this gigantic project. He based the whole design on the central idea of a lotus flower.
  • "A child's heart" Acrylics and oil. 1979-80. (4x 2 m).
  • "Gigantomachia". Fragment (0,92 x 0,71 m).
  • "Gigantomachia". The work in its entirety, started in 1962, completed in Sweeden in 1977.
  • Plastic relief in the Institute of electronics in Moscow. 1974. (970 m x 2).
  • Stone relief at Artek in the Crimea. Monument in honour of all the world's children. 1966. (150 m x 2).
  • Releif of the facade of the communist party headquarters in Ashabad, capital of Turkmanistan. 1974-75.
  • "Heart of Christ." Bronze. 1973 62 x 41 cm.
  • Crucifix. Part of the "Gigantomachia" work 1962 - 77. (0,88 x 0,80 m).
  • "The Crucifix of Mankind". Bronze. 1974. (0,70 x 0,35 m).
  • Cross. Bronze. 1972. (0,48 x 0,34 m).
  • Fragment. From "Gigantomachia". Bronze. 1962-77. (0,82 x 0,71 m).
  • "Minotaour". Acrylic and oil. Motifs from the albums.
  • Large crucifixion. Bronze. 1974. 93 x 73 cm. "Flottaren" Inn, Vansbro, Sweden.
  • Crusifix with dying cetaur, crowned with the head of the Madonna. Bronze. 1971-75 (0,59 x 0,45 m).
  • Crusifix with suffering mask. Bronze. 1974 (0,35 x 0,30 m).
  • Grotto mask. Bronze. 1965. (0,32 x 0,22 m).
  • "Two-headed giant with egg". Bronze. 1965. (0,34 x 0,25 m).
  • Torso of centaus. Bronze. 1961. (0,55 x 0,30 m).
  • "Dying ce x 0,47 m).ntaur". Bronze. 1967. (0,3.
  • "Centaur". bronze. 1967. (0,65 x 0,49 m).
  • "Daphne". Bronze. 1963. (0,33 x 0,33 m).
  • Exploding head. 1979-82.
  • "Mask with hand". Bronze. 1970 - 74. (0,22 x 0,43 m).
  • "Centaur". Bronze. 1973. (0,20 x 0, 16 m).
  • "Dying person" Bronze. 1954. (0,17 x 0,20 m).
  • "Cross totem". Plaster of Paris. 1976-83. (0,24 m high).
  • "Centaur". Plaster of Paris. Modelled in New York in 1976-82. (1,5 x 2 m).
  • "Large Centaur". Plaster in Paris. 1977-83. New York (2,5 m high).
  • Grief mask. Photo from side 1.
  • Grief mask. Photo from side 2.
  • Grief mask. Photo from side 3.
  • Grief mask. Photo from side 4.
  • "Exploding egg". From the series "Strange births", an album from the "Tree of life".
  • War motif from one of the "Tree of life" albums.
  • Adam. Bronze. 1962-3. Photo: Mohr.
  • Two Spheres Inside One Another.
  • Antipode. 1590.
  • Giant's Torso. Bronze. 1966.
  • Adam. Bronze. 1962-3. Photo: Mohr.
  • Hermaphrodite.
  • Effort. Bronze. 1962. Photo: Mohr.
  • Figure with Another Sleeping Inside It.
  • The Kiss.
  • Wounded Man. Bronze, Late 1950s.
  • The Suicide. Bronze. 1958. Photo: Mohr.
  • Crucifixion.
  • Man with Artificial Limb. Bronze. 1957. Photo: Mohr.
  • All Clear.
  • The Stride. Bronze. 1960. Photo: Mohr.
  • Man Restraining Himself. Bronze. 1962-4.
  • Kneeling Figure. 1584.
  • Construction of Man.
  • Woman and Foetus. Bronze. 1961.
  • Cosmonaut. Plaster. 1961-2.
  • Soldier Being Bayonetted. Bronze. 1955. 1183.
  • Woman and Foetus.
  • Figure with Child Sleeping Inside It.
  • All Clear. Bronze. 1957. Photo: Mohr.
  • Conscious Subconcious.
  • Hand.
  • Mask.

Works on Paper: 233 image(s)
  • Centaur, 1990. Pastel on paper. 60 x 48 cm.
  • 1962.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага. 1964.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага. 1964.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • Watercolour. Акварель. 90 x 60 cm. 1977.
  • "Женщина и монстры", 1966, Бум., сухая игла.
  • Etching.
  • Cry, from the series Monarchy, 1974 Etching 32.2 x 63.5 cm.
  • "The hand of the giant Anteos" Drawing. Indian ink. From the "Empdocles" series.
  • Etching from the "Fate"series.
  • "Many heads". Etching 1965.
  • From the "Shriek" series.
  • Portrait of Dante. Etching. 1966.
  • "Beatrice". Etching illustration from Dante's "Vita Nova". 1966.
  • From the "Inferno" series.
  • Etching from the "Inferno" series.
  • Illustration for Dante's "Vita Nova". The sleeping Dante's heart is fed to Beatrice by a demon.
  • "Finger totem". Dry point.
  • Etching from the "Fate" series.
  • Etching from the "Fate" series.
  • Etching from the "Fate" series.
  • Etching from the "Fate" series.
  • Etching from the "Fate" series.
  • Etching from the "Fate" series.
  • Etching from the "Inferno" series.
  • Shriek series. Dry point.
  • "Inferno" etching.
  • "Inferno". Etching.
  • Self portrait. Mixed media on canvas. 1983. 150 x 118 cm.
  • "The Step". Indian Ink. Illustaration for a book written in the mid- sixties by the Lithuanian poet Mezhelaties about his life with the emphasis on recollections from his childhood.
  • "A child's world". Illustration from Mezhelaties' book.
  • "Monsters and defensless Life". Etching from the series "Monarchia". 1967-74. 65 x 31 cm.
  • "The defensless Life is gobbled up". Indian ink. 1962. (0.41 x 0.51 m).
  • From the Inferno series. Indian ink. Illustration for Dante's Inferno, specifically XXI Song, verses 33-36. (0,33 x 0,36 m).
  • Crucifix motifs. From one of the "Tree of Life" albums.
  • From one of the seven "Tree of life" albums. This bears the title "Gigantomachia", which has associations with the hellenistic Pergamon frieze. Each album contains 28 pages, format: 15 x 40 cm. Two albums are in black and white, five in color.
  • "The Tree of Life".
  • From one of the seven "Tree of life" albums. This bears the title "Gigantomachia", which has associations with the hellenistic Pergamon frieze. Each album contains 28 pages, format: 15 x 40 cm. Two albums are in black and white, five in color.
  • Etching from the "Fate" series. 1974-76. This print has been exhibited among other places in the Dutch Stedelijk Museum, in the Musee de Art Moderne in Paris, and the Lincoln Center in New York.
  • Etching from the "Inferno" series. 1968.
  • From one of the seven "Tree of life" albums. This bears the title "Gigantomachia", which has associations with the hellenistic Pergamon frieze. Each album contains 28 pages, format: 15 x 40 cm. Two albums are in black and white, five in color.
  • From one of the seven "Tree of life" albums. This bears the title "Gigantomachia", which has associations with the hellenistic Pergamon frieze. Each album contains 28 pages, format: 15 x 40 cm. Two albums are in black and white, five in color.
  • From the "Inferno" series. Illustration of the XXVIII Song, verses 119-129. Etching.
  • "Fate" series. Etching.
  • "Fate" series. Etching.
  • Etching from the "Shriek" series.
  • Etching from the "Shriek" series.
  • Etching from the "Shriek" series.
  • Etching from the "Shriek" series.
  • Etching from the "Crime and Punishment".
  • Etching from the "Crime and Punishment".
  • Etching from the "Fate" series.
  • Etching from the "Fate" series.
  • Portret mask of Dostoyevski.
  • Illustration for Dostoyevsky's novel "Crime and Punishment".
  • Illustration for Dostoyevsky's novel "Crime and Punishment".
  • "Cyclops". Drawing. Indian ink and color. 1977.
  • "Hermaphrodite". Drawing.Indian ink and color.
  • Colored drawing from one of the "Tree of Life" albums.
  • Etching from the "Inferno" series.
  • Woman and Phallus. Monotype. 1960.
  • Strange Birth.
  • Whirlwind.
  • The Hand. Drawing. 1961.
  • Human Anatomy.
  • Figure in Hell. Etching. 1966. Photo: Mohr.
  • Reclining Woman. Etching. 1967. 1992.
  • Drawing for Gigantomachia. 1961.
  • Minotaur. Drawing. 1966. Photo: Mohr.
  • Woman Suicide. Drawing. 1966. 1991.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • 1962.
  • Ink on Paper. Чернила, бумага. 1963.
  • Ink on Paper. Чернила, бумага.
  • Ink on Paper. Чернила, бумага.
  • A Stone Resembling a Woman. Drawing. 1965. 1707.
  • Minotaur.
  • Hand of Hell.
  • Lovers in Whirlwind.
  • Hand. Drawing. 1965.
  • Three Dancing Figures. Drawing. 1966. Photo: Mohr.
  • Couple in Whirlwind.
  • Смех и плач.

English Biography: 32886 charactersRussian Biography: 1628 charactersEnglish Bibliography: 85 publication(s)Russian Bibliography: 28 publication(s)




































































































English Biography Sample: 1000 charactersErnst Neizvestny was born in Sverdlovsk in 1926. He fought in the army during the Second World War and was severely wounded. When the war was over, Neizvestny entered the Latvian Academy of Art and completed his artistic education at the Surikov Institute of Art in Moscow.      His art has always been a symbol of resistance and a manifestation of spiritual and social freedom. His sculpture, whether large-scale memorials or small, interior compositions, celebrate the independence and grandeur of the human spirit, blending social, spiritual, and cultural issues with the artist’s personal perception of history and civilization. His work continues the ideological trends of the first Russian avant-garde and pays homage to the tradition of Pavel Filonov, Alexander Archipenko, and O. Tsadkin.      Neizvestny’s dispute with Khrushchev over the issue of artistic freedom at the exhibition celebrating the thirtieth anniversary of the Moscow Union of Artists became a historical e...

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