Basov, Yakov Alexandrovich

Born February 2, 1914 in the city of Simferopol . Painting and art education began in the studio of academician of painting Nikolai Semyonovich Samokish . On the recommendation of N. S. Samokish, he continued his studies at the Leningrad Institute of Painting, Sculpture and Architecture from 1933 to 1937. Passes the workshops of N. Naumov, D. Kardovsky , V. Shukhaev . In 1941-1946 he served in the ranks of the Soviet Army , participated in the Great Patriotic War ^[5] .

Since 1946 he lived and worked in the Crimea - in Alupka and Yalta . Here he worked for more than 50 years, leaving for work in central Russia, Karelia, Yakutia, Ukraine. In 1997, on the basis of a collection of paintings donated to the city of Alupka, the City Museum of Artist Painting was opened.

The artist's works were exhibited at 63 solo and numerous collective exhibitions in Ukraine, in Russia, at 37 exhibitions in 22 countries, including Canada, Holland, Norway, Austria, Germany, Japan, Belgium, Poland, USA, Italy, Spain, England , France ^[6] .

More than 600 works were donated by the artist to the museums of Crimea, more than 100 works are in collections of 42 museums in Ukraine and abroad. Collections of works by Jacob Basov are part of the permanent exhibition of the Livadia Palace Museum and the Alupka State Palace and Park Reserve ^[7] .

Yakov Basov died on March 16, 2004 in Alupka at the 91st year of his life ^[8] .

The basis of the works of Y. Basov is the principle of anthropocentrism. This principle is the core and engine of evolution of the artist’s artistic manner, a reference point in aesthetic reasoning. According to the artist’s convictions, dialogism and co-creation are the basis of modern painting and art as a whole: they become possible in the work due to the “correct understatement” ^[9] . It is designed to arouse in the viewer the desire to complete the picture, that is, to speculate, to feel. Thus, the picture becomes not only an object of detached viewing, but also a personal creative object. Y. Basov, with his works, is trying to “transfer him [the viewer] to his orbit, speed, rhythm and thereby enable him to“ dock ”. Not to influence him, suppressing his inherent “speeds”, but to take away the wonderful sensation of life into free flight ” ^[10] .

The main painting genre in which the artist works is landscape. Nature is understood as a medium for the formation of human consciousness, as an entity through which it is most fully possible to convey all the shades of feelings that are addressed to a person. Nature in the works of Y. Basov acts as a living, dynamic, aesthetically perfect element. This element in its finished expression is a symbol, a form for expressing the inner, true essence of spirituality. “The landscape is the holy of holies for talking with man. He is close to the sky, and the trees, and the sea. This is the area where in the dialogue you can meet, answer the questions of the viewer through painting. Beyond kindness, there can be no creativity. The tree is the greatest religious feeling. Religion is love, piercing the view of the existence of the world. This is not an abstraction, if I lifted his spirit from the abyss of feelings ” ^[11]

In terms of understanding the figurative essence of the landscapes of Jacob Basov, his thoughts on the metaphorical and symbolic nature of the pictorial language are significant. The symbol, in the artist’s interpretation, has a dual character: on the one hand, it is “a symbol not of objects, but of our perception of life with all the subtlest shades” that the artist is given to see; on the other hand, each landscape, each its state has its own symbol, its own “sign of expression” - it is a kind of “key” that reveals the state of the landscape. Therefore, the author claims, fine art is the art of symbols, which enables the artist not to imitate the visible world, to create not a naturalistic work, but to transmit movement, the “eternal current of life”, the artist’s love and despair.

The compositions of Jacob Basov are sharp and varied. Involuntarily, their construction attracts the viewer, forcing them to become a "participant in the image", for example, to feel on board a fishing vessel in the open sea or on the shore of a northern lake, or in a clearing of an autumn forest. Such an attraction of the viewer by the artist and his motivation for perceiving nature is a distinctive feature of Basov’s creative manner. ^[12]

• Oil-painted series of landscapes of Moscow , Leningrad , the Baltic states , the Russian North , Crimea ( 1946 - 1962 )
• "Rural motives" ( 1962 )
• "In the North" ( 1964 )
• Lviv ( 1965 )
• “My Ukraine” ( 1969 )
• "Spring in Ukraine" ( 1971 )
• Sevastopol ( 1972 )
• “Kerch fishing” ( 1974 )
• "Spring on the collective farm" Ukraine "" ( 1975 )
• "Spring Earth" ( 1977 )
• The Black Sea ( 1978 )
• "Yakutia" ( 1978 )
• "Land of Ukraine" ( 1980 )
• "Landscapes of Ukraine" ( 1981 )
• “Kiev today” ( 1982 )
• “Landscapes of Crimea” ( 1984 )
• triptych “In memory of the heroes of Adzhimushkaya” ( 1984 )
• "Yalta - a city by the sea" ( 1987 )
• "Land of Tauris" ( 1991 )
• Seasons 1995 )
• “Faces of the Ancient Earth” ( 1966 - 1998 )

• People's Artist of Ukraine ( 2004 )
• Honored Artist of the USSR ( 1978 )
• Laureate of the State Prize of the Autonomous Republic of Crimea ( 1997 )
• Honorary Citizen of Alupka ( 1999 )
• medals

• Basov Ya. A. Creativity is fate [Text] / Ya. A. Basov. - K .: CMC Poetry, 1998 .-- 241 p.
• Zolotukhina N. A. Poetic spirituality of the Crimean landscape in the watercolors of Jacob Basov // Culture of the Black Sea peoples. - 2005. - No. 66. - c. 88-91
• Solar artist. Jacob Basov in the memory of contemporaries. Comp. A. Ya. Basov., V.N. Golubev. - Simferopol: Sonat, 2007 .-- 204 p., Ill.
• Jacob Basov. Painting, watercolor, drawing: [album] / comp. A. Basov - Simferopol: Salta LTD, 2009

• Jacob Basov // Art Gallery "Boulevard"
• Yakov Basov // Crimean Art Gallery
• V. Kazarin The brave knight of light and good - Jacob Basov
• Basov Yakov Aleksandrovich // Gallery of Crimean painting Art-South