Categories

In the Theatre Studio. 1945 yr.

The composition is a fragment of a large room with a foot sewing machine with openwork side supports, near which there is just a wooden chair with an inventory number on the back of ГАТОБ 142, which is partially covered with a cabinet (or box). In the depths are indistinctly visible outlines of different objects, on the right above is the opening of the window. The picture is made on a tinted background of cardboard colour, the contours of objects are made with black lines, the glare of light on them is white; the shadows are indicated by black shading. With all the conventionality of the image one can feel the illusory image of space. 




More
In the Theatre. 1970 yr.

The fragmentary composition underlined is represented by two young oriental beautiful dressed women with high hairstyles; closer to the viewer on the left is a profile of a girl in dark background with a high hairdo, a handbag on the elbow bend and a fan in her right hand; behind it is a girl in a red dress, in the left hand she is holding theatrical binoculars. Behind the ladies one can see the interior of the theatre with backs of armchairs, with a spectator's bed decorated with ornaments with figures of people. 




More
Love. 1967 yr.
The composition is strictly centred. In the middle facing the viewer is the Oriental Asian man, whose open palms are facing the woman sitting in front of him with braids decorated with coins. She is lying on her knees with her bare feet to the spectator with her back, bowing respectfully to her master. Their poses are still, the images are frontal. The figures are placed in an empty space, where there is only a horizon line. 

More
Teaching. 1967 yr.
In the middle of the composition, facing the viewer is a kneeling boy, around whom, pulling up their legs, three adult bearded men are sitting in white shirts and skullcaps – two behind the boy, one in front of him on the right side of the sheet, sitting with his back turned to the viewer from behind  his shoulder. On the left is an open notebook, in there are  in the Kazakh language: Zhenis, Sabden, Adilkhan, Malik, etc. 



More
Birth of a Son. 1967 yr.
The composition is a naked woman lying head to the viewer, at the feet of which there are three women sitting. Two on each side in white headscarves in synchronized poses, pulling their left foot to their chests, looking like monumental statues. Between them in the middle is an elderly woman in kimeshek, who raises a newborn baby, as if showing it to her mother and the whole world. The background is neutral, only the horizon line crosses the composition horizontally.




More
Twilight (Kyzyl – Kazakhstan Brigade of Balkashinsky District). 1975 yr.

A semi-abstract rural landscape, stretched horizontally. Low grey houses, outbuildings, and a tree. A little to the left of the centre is a bleached little house with a gable roof. The forms are conditional and geometric. The entire surface of the watercolour sheet is broken and crushed, which creates the image of cracks and fractures of paper, which is an additional original artistic medium. 

More
Bread. 1980 yr.

A large woman is depicted at the table, who kneads the dough - the focus is on her massive hands doing the usual work. On the right side of the woman are the outlines of the stove. The picture is in warm ochres tones, without rigid contours; it is filled with a state of harmony and appeasement. 

More
Sakhalin. The Tatar Strait. 1987 yr.
The horizontal composition represents the deck of a fishing vessel filled with many attributes of navigation - a boat, anchor, coils of the rope, a crane and the side bell. A little to the left of the centre at the side is a white-haired sailor, whose gaze is turned into the sea range, where transparent ghost ships with knights are formed in a foggy haze, over which white gulls circle. On the right is the author's sign with the initials ВT and the date 87. 


More
To Toi (Celebration). 1964 yr.

Elongated horizontal composition represents a group of smartly cheerful girls in the open steppe space, who, picking up each other under their arms, are hurrying, chatting and laughing animatedly. Behind them, you can see the edge of a yellow and red bus.



More
Excursion. 1973 yr.
The horizontal composition represents a group portrait of people on a bus. They are depicted in profile, in living natural poses. At the window there is an elderly Kazakh woman in kimeshek and an old man in glasses and a skullcap. Closer to the viewer, in the passage is a girl with a briefcase on a long strap. Behind the glass of the bus is the silhouette of the Lenin Palace (now the Palace of Republic in Alma-Ata). 


More
Kenzhekei. Illustration for A. Nurpeisov's book Blood and Sweat. 1980–1981 yrs.

The entire space of the composition is occupied by the lighted profile of a middle-aged female Kazak woman, against the background of a dark space on which the silhouette of a camel can hardly be guessed. The contrast of a lightface with a dark background creates a feeling that the very face of this woman is the source of this amazing light. 



 

More
Mother Tuleu. Illustration for A. Nurpeisov's Book Blood and Sweat. 1980–1981 yrs.
A close-up of a three-quarter turn shows the face of an elderly Kazakh woman in a white kerchief that covers the eyes from the sun with the palm of her hand. Her gaze is strained, expectantly directed to the side. The character's face is contrasted in two parts - the upper one is immersed in the shadow, and the lower one is lit by the sun. 
More
Maternity, central part. 1982 yr.

In the centre of the composition there is a young Kazakh woman sitting on the ground, pressing her baby's left hand, the right hand is raised in a solemn gesture. Behind it spreads a steppe with yurts, herds, mountain hills and a cloudy sky.

In the central part of Motherhood triptych the main character is the image of the mother expressing the infinite love for her baby, readiness to protect him from any misfortunes and troubles. It is surprisingly combined with fragility and power, femininity and courage, the willingness to be gentle and boldly go to the end. A woman with a baby personifies Mother Earth, which generates all things, then a primitive archaic principle that gives life and protects its children. 

More
Maternity, right side. 1982 yr.

Interior of a yurt. In a semi-dark space gratings of keregeare seen. The children are look at the slanted doorway with curiosity; in the distance you can see a horse with a foal. Inside, on the dais, a woman in a white dress is sitting, at her feet is a kneeling man, hugging her in a rushing impulse. She opens her arms to meet him. 



More
Grandmother and Granddaughter. 1973 yr.

The vertical portrait represents two female images - the elderly oriental woman with half-closed eyes stately overtops. She has white dress and kerchief, and a blue camisole, her dark skin contrasts sharply with the snow-white fabric of the apparel. The worn out hands with bracelets and rings carefully hold the girl of five years sitting in her lap in a bright yellow dress, with orange bows in pigtails, who with curiosity peeps out from grandmother's embrace. 


More
A Girl from Bayan-Hangor Aimak. 1978 yr.

A breast portrait of a young oriental woman in blue robes and a light yellow fur hat looking at the viewer half-turned. Watercolour technique creates a complex multi-component colour structure that conveys the soft light and personality of the image of a Mongolian girl. 

 

More
Lullaby.From Reading S. Seifullin Series. 1964 yr.

The horizontal composition shows a young woman in kimeshek, clinging in a pose of emotion to her done up sleeping chubby-cheeked baby. The crossed gesture of her hands in the embrace closes the composition, creating a sense of the inseparability of two characters forming one whole – a universe full of infinite love, harmony and pacification. 


More
Shepherds (Three Generations). From Reading S. Seifullin Series. 1964 yr.

The centre of the composition is the image of the oriental male faces of three generations - the profile of an old man with a beard and a hat, a three-quarter turn of the mature man's face with a stern gaze and a moustache and the full face of a young boy in a skull cap, gazing trustingly and openly at the viewer. The right part of the composition is represented by a herd, which is in the form of a complex vertical. To the left is a pair of dogs, invariable companions and assistants of the herdsman. 


More