Yuli Yulievich Perevezentsev

Born on October 29, 1938, Perevezentsev lived and worked in Moscow. In 1958, he graduated from the Moscow Secondary Art School, and in 1962 from the Moscow Higher School of Industrial Art (Stroganov). He worked in book illustration, painting, and easel graphics (etching, drawing, lithography, watercolor). In 1958–1959, he was a decorator artist at the Bolshoi Theatre. From 1976 to 1986, he was chairman of the Art Council of the Applied Graphics Workshop of the Graphic Arts Combine of the RSFSR Art Fund.
Personal exhibitions of Perevezentsev's work were held in Moscow (1971, 1990, 1993, 1994, 1999), Sverdlovsk (1987), Paris (1993 – two, 1994, 1996, 1999), Geneva (1999), and Novosibirsk (2001). His works are in the permanent exhibition "20th Century Art" of the State Tretyakov Gallery on Krymsky Val, as well as in the Pushkin State Museum of Fine Arts, the Russian Museum, the Yekaterinburg Museum of Fine Arts, the Krasnoyarsk Art Museum named after V.I. Surikov, the Museum of Contemporary Art in Budapest, the Kiev Museum of Russian Art, and other museums and private collections in Russia and abroad.
He died on July 11, 2024, at the age of 85.

2015 — "Etchings of the Seventies", Otkryty Klub Gallery, Moscow

1971 — Gold Medal at the International Book Art Exhibition-Competition (IBA) in Leipzig;
1980 — Jury Diploma at the International Biennale of Printmaking in Tallinn;
1999 — Medal of the International Pushkin Society in New York;

State Tretyakov Gallery, Moscow
Pushkin State Museum of Fine Arts, Moscow
Moscow Literary Museum, Moscow
State Russian Museum, St. Petersburg
State Dostoevsky Museum, St. Petersburg
Tyumen Museum of Fine Arts, Tyumen
Kursk Picture Gallery, Kursk
Oryol Museum of Fine Arts, Oryol
Novgorod Art Museum, Novgorod
Yekaterinburg Museum of Fine Arts, Yekaterinburg
Krasnoyarsk Art Museum named after Surikov, Krasnoyarsk
Kiev Museum of Russian Art, Kiev, Ukraine
Private collections:
A. Sandretti, Milan, Italy
E. Rosenfeld, Paris, France
E. Peschler, M. Emkh, Zurich, Switzerland
R. Steynik, Erfurt, Germany

SOLO EXHIBITIONS
1971 Graphic Arts Combine, Moscow
1987 Union of Artists of the RSFSR, Sverdlovsk
1990 "Graphic Seasons." Gorky St. 25, Moscow
1993 Credit Suisse, Yuzhinsky Lane, Moscow
Galerie "Les Oreades", Paris, France
Gallery "Avrora-art", Moscow
1994 Galerie "Les Oreades", Paris, France
Gallery "Avrora-art", Moscow
1996 Galerie "Les Oreades", Paris, France

GROUP EXHIBITIONS
1971 "Internationale Buchkunst-Ausstellung". Leipzig, Germany (gold medal)
1976 "Self-Portrait in Russian and Soviet Art". State Tretyakov Gallery, Moscow
1977 "La Nuova Arte Sovietica". Venice, Italy
1980 5th Biennale of Graphics. Tallinn (diploma)
1984 XI International Biennale of Illustration and Book Graphics. Brno, Czechoslovakia
1990 Exhibition from the Art-Modern Cultural Center collection. Istanbul, Turkey; Zurich, Switzerland
1991 "ART MYTH 2". Manege, Moscow
1992 "Kennen sie diese namen?" Gallerie Raissa, Erfurt, Germany
1993 "ART MYTH 3". Manege, Moscow
1994 "Drawings from Russia" ("Moscow Palette" to the Albertina Museum). Moscow
1995 "ARTE RUSSE moderna e contemporanea". Milan, Italy
1996 "Drawings from Russia". Albertina Museum, Vienna, Austria
International Art Fair ART-MOSCOW, M'ARS Gallery. Central House of Artists, Moscow
"Famous, forgotten, and new names", gallery "Les Oreades". Central House of Artists, Moscow
"Russian Collection II". M'ARS Gallery, Moscow
"Galleries in the gallery", gallery "Moscow Palette". State Tretyakov Gallery, Moscow
1997 1st International Graphics Quadriennale. Central House of Artists, Moscow
Exhibition from the collection of gallery "Les Oreades". Central House of Artists, Moscow
"The World of Sensual Things in Pictures, the late 20th Century", M'ARS Gallery. Pushkin State Museum of Fine Arts, Moscow (catalogue)

Everything I have done can be distinctly divided into three periods:

1. Romantic, figurative etchings, drawings, lithographs of the 1970s-1980s;
2. Fantastic, architectural constructions, etchings, drawings, lithographs, watercolors of the 1980s-1990s;
3. Non-figurative works, color graphics after 1990.

Drawings by Yuli Perevezentsev, small in format, are constructed from a delicate linear weave; their graphite silvery-ness (when not executed in ink) gently stands out against the white of the paper. Their clean structure, which dispenses with any play of value (a stroke of unchanging intensity constructs forms, highlights masses and planes; it, as it should, also determines the nature and direction of movement), at first gives the impression that we are dealing either with a semi-mechanical, intuitive, partially skill-driven recording, or with a kind of general, preliminary intent tested with every session. These seemingly mutually exclusive impressions become reconcilable if we accept that intuition is a subconscious conviction relying, however, on the sum of accumulated experience.

In this case, I mean a domestic source—constructivism, a system that relies on a peculiar mechanics—on putting into motion the structures of plastic elements of the game due to the potential force contained in their forms and spatial relations. Indisputably, there is an impulse here coming from Malevich and Lissitzky, with the energy, although strong, in Perevezentsev’s work serving only as a means to free his own tendencies based on his own observations and experience. It should be noted that Perevezentsev did not immediately choose this path. For quite a long time, he was involved in easel graphics, creating figurative scenes of philosophical-poetic character (see "Project", N 5/75). As it later turned out, the main tone of his then-philosophy unexpectedly fits perfectly into his current constructions, now defining their basic meanings as signs. This refers both to their strong ties with nature and, perhaps primarily, to the type and kind of active energy embedded in them. When it comes to these first works, the artist does not deny the strong influence exerted by his experiences and visual impressions on the repertoire of his ideas. Indeed, we find landscape, travel impressions, still life—only now they are recreated from the chaos of memories with invented elements for his own need (little boards, figured fragments, cubes, circles, rings) which, frozen in white emptiness, evoke associations with an atmosphere made familiar by surrealism. However, this is relatively rare. As a rule, these elements are included in a system of energy, making even those constructions which, by their mass, ought to provide stability, burst or explode from within and scatter in space. What in some figurative etchings of earlier years was just a device to dynamize the scene and impart some drama—perhaps arising from the sense of life’s fragility and resulting in a partially existential mood—now clearly becomes an active force inside matter, scattering debris across the white field of the sheet—debris both compressible in a fist and whose guessed-at mass and construction might suggest a long, tranquil, solid life, analogous, for example, to pyramids.
S. Stopchik. “Yuli Perevezentsev” - Projekt, 1987, No. 5

Ya. Eismont, "White Nights of Perevezentsev", magazine "Projekt. Warsaw.", No.5(108), 1975, pp. 37–41;
Yu. Gerchuk, "Yuli Perevezentsev", yearbook "Soviet Graphics 77", Moscow, 1979, pp. 84–92;
Yu. Gerchuk, "Architectural Visions of Yuli Perevezentsev", magazine "Decorative Art", No.3(292), 1982, pp. 23–26;
S. Stopchik, "Yuli Perevezentsev", magazine "Projekt. Warsaw.", No.5(176), 1987, pp. 31–33;
I. Chernovich, "Yuli Perevezentsev", collection "The Art of the Book", issue 4, VAAP, Moscow, 1989, p. 15;
"Icons Revisited" Moscow Guardian, August 20, 1993, p. 36;
S. Drozhzhin, newspaper "The Moscow Tribune", 1993.