The main dates of life and work
1928 - was born on February 4 in the village of Askarovo, Abzelilovsky district of the Bashkir ASSR
1943-1945 - studied at the Magnitogorsk vocational school
1945-1948 - studied at the Leningrad School of Architecture and Art No. 9
1949-1951 - studied at the Bashkir Theater and Art School under A.E. Tyulkina, B.F. Laletina
1951-1954 - studied at the State Art Institute of the Lithuanian SSR
1957 - the first personal exhibition in Ufa
1957-1998 - participated in numerous exhibitions of international, all-Russian and republican significance
1966 - awarded the title "Honored Artist of the BASSR"

1967 - awarded with a diploma of the Council of Ministers of the RSFSR for participation in the III republican exhibition "Soviet Russia"

1970 - awarded with the Certificate of Honor of the Supreme Council and the Council of Ministers of the RSFSR for creative achievements
1971 - Awarded with a diploma from the USSR Academy of Arts for the painting “Holiday in aul. 1930s. "
1976 - creative trip to France. Personal exhibition, Moscow.
1977 - awarded with the Certificate of Honor of the Supreme Council and the Council of Ministers of the RSFSR for creative achievements

1978 - awarded the title "Honored Artist of the RSFSR". Personal exhibition. Ufa, Magnitogorsk, Kazan
1980 - creative trip to Vietnam

1982 - awarded the title of People's Artist of the RSFSR. Awarded the title of laureate of the State Prize named after Salavat Yulaev

1987 - awarded the Certificate of Honor of the Central Committee of the CPSU, the Council of Ministers of the USSR, the All-Union Central Council of Trade Unions and the Central Committee of the Komsomol for high creative achievements

1988 - elected as a corresponding member of the Academy of Arts of the USSR
1989 - awarded the title "People's Artist of the USSR"
1992 - elected an honorary member of the Academy of Sciences of the Republic of Bashkortostan
1997 - elected a full member of the Russian Academy of Arts
1998 - personal exhibition at the Bashkir State Art Museum named after M.V. Nesterova g.

He died on February 10, 2007. in Ufa. Buried in the village of Abzakovo, Beloretsk district of the Republic of Belarus, in the artist's homeland.

“... An exhibition of the master's works, organized by the Ufa gallery“ Miras ”, presents his portrait, landscape works, sketches of compositions, still lifes. The value of the exposition lies in the fact that it presents, along with others, works of little known to the viewer of the early period of the artist's work,
which is distinguished by a special emotionality, spontaneity. Many of them came out of the workshop for the first time. These are portraits of his compatriots - "Chairman of the Village Council" 1961, "Grandmother from the village of Ursuk" 1972, "Veteran" 1982 - people wiser by the experience of years and a difficult life; "Bashkir woman in a white dress" 1960, "Mayaryam" 1963 - girls with a young blush, charming in their sincerity. These works reveal the essence of the master's creativity, for whom the eternal value remains people who have passed the test of suffering and happiness, who have retained modesty, mental fortitude, and diligence. Therefore, there is so much charm, dignity in his heroes, full of spiritual purity and nobility.

... It is remarkable that this highly artistic world appeared in the exposition of works by the leading Russian painter Akhmat Lutfullin, deployed in the Miras gallery, which, by organizing such exhibitions, contributes to the preservation of the best traditions of our art, fostering patriotic feelings and aesthetic taste of spectators, art connoisseurs. "

Valentina Sorokina
Art critic, deputy director of the Bolshoi State Art Museum. M.V. Nesterova, Honored Worker of Culture of the Russian Federation and the Republic of Belarus, laureate of the P.M. Tretyakov.

Analysis of the painting "Holiday in the Country"

Painting material: Canvas, oil.

Painting genre: Historical.

Sketch for the painting: "Village holiday" Tempera on paper. 17.5x36.5 cm.

Storage location: State Tretyakov Gallery, Moscow.

Size: 93 x 108.

Date of creation: 1917.

The painting "Holiday in the Village" (see Appendix 2), Kustodiev wrote in just five days - that is the amount of time the artist spent in his country estate.

In the painting "Village Holiday" the artist conveys the fun and breadth of Russian festive festivities against the backdrop of cozy village huts and bright autumn foliage. As always with Kustodiev, the coloring of the painting is very decorative: it is built on a combination of red, yellow, orange, ocher and white colors.

Collecting material for the program film, Kustodiev in the summer of 1903 undertook a large trip along the Volga from Rybinsk to Astrakhan. The artist will forever remember the colorful pictures of the Volga bazaars, quiet provincial streets and noisy marinas. Later he used many of the Volga impressions in the painting "Holiday in the Country".

In the ordinariness of the plot, in the seeming randomness of the depicted, there is deep thoughtfulness, compositional clarity. Bold combinations of bright colors give the picture a decorative effect, bringing it closer to a popular print.

The theme of cheerful and perky village holidays and festivities, with rude folk humor, with brightness, juiciness and spontaneity, especially attracted the artist. The painting "Holiday in the Country" was a great success at exhibitions both in Russia and abroad.

Analysis of the painting "Trinity Day"

Material: Canvas, oil.

Painting genre: Impressionism.

Storage location: Saratov State Museum. A.N. Radishchev.

Size: 110 х110.

Date of creation: 1920.

In the painting "Trinity Day" (see Appendix 3), an idealistic image of the Russian holiday is created. Feast of the coming early summer, the Holy Trinity. We see the outskirts of the city, a wide clearing, domes of churches, smart, leisurely walking people. Everywhere there is a festive animation, peddlers with flowers and sweets scurry everywhere. People ride troika, walk, talk, have fun in fair booths. In the foreground of the painting, Kustodiev placed a sedate merchant family as a symbol of patriarchal Russia.

The painting shines in all shades of blue and green, while white clouds and vibrant reds and yellows add to the festive mood of the painting.

The foreground is given to the main characters of the Custodian festivities. This is a merchant's wife, her daughter, young and slightly embarrassed, her father is a merchant in classic clothes, and a young man in whom a possible groom is easily guessed. It should be noted that Kustodiev writes people with templates. He even has characters representing different types of professions - a baker, a nun, a cabman - have become characters in individual paintings. In the picture, everyone is smart, cheerful, in abundance, talking and rejoicing. Contentment and prosperity are everywhere.

Everything happens in a clearing, apparently on the outskirts of this city. This is not a park, since the carriages are free to ride anywhere, you can see the circus tent. The trees are scattered, and this is in the hands of the artist - more people can fit in this way.

Everything in the painting is placed in a space created by a tall church on the right and a tree on the left. Further - another bell tower. This helps to emphasize the theme - the holiday of Trinity. The artists of those times considered the church to be such an important element that not a single picture of Russian life could do without it. Even in a self-portrait, the artist places himself against the background of the Trinity-Sergius Lavra.

Bright colors help to feel the atmosphere of joy and relaxation. Bright colors of the merchant's clothes, a bouquet of flowers from the girl and the seller. The artist has always loved and respected folk tradition. And the art depicting her should bring joy. He carried this faith through all his work.

Analysis of the painting "Walking on the Volga"

Material: Host, oil.

Painting genre: genre scene.

Storage location: State Russian Museum, St. Petersburg.

Size: 100 x 125.

Date of creation: 1909.

The painting "Walking on the Volga" (see Appendix 4) shows the embankment with people walking, the Volga, the picturesque opposite bank of the river. The high point of view allowed the master to capture a wide festive panorama.

Along the alley on the steep bank, where once B.M. Kustodiev, merchants and merchants, clerks, clerks, military men, wanderers are walking. Kustodiev's painting "Walking on the Volga" comes to life. Festively dressed people walk to the music of a brass band. The tent sells sweets and confectionery, and there is an outdoor teahouse where everyone can drink a samovar tea. Russian romances are performed a little further. And the ladies, and the gazebo, and the tea shop, and everything else that is typically Russian: the merchants' outfits, and the Empire houses, and the jelly-red little church.

Many artists worked in Tutaev, among the most famous - Boris Kustodiev. He visited Romanov in 1906-1909, lived in the Hermitage Hotel on the Volga Boulevard, and from the window of this hotel painted his picture "Walking on the Volga", which is now kept in the Russian Museum of St. Petersburg.

Kustodiev is a singer of Russian provincial life, with irony and love depicts the characters of that time: merchants and merchants, smart bourgeois women, officials and peasants. It is not for nothing that when they now say "Kustodian character", the characteristic types of that era immediately pop up in the memory. Embellished, presented by the artist in her ceremonial, festive form, she is now the subject of nostalgic experiences in real Orthodox Russia, with the traditions of folk holidays and customs and, dear to my heart, artless, cozy bourgeois life, the leisurely pace of that life.

The picture was painted from the second floor of the hotel; we see the boulevard as if from above. On the other side of the Volga is our handsome Resurrection Cathedral. The pier of the Samolet steamship company is visible. On this short stretch of boulevard there were several docks, each with its own wooden staircase down - the bank is very high. Each shipping company, and there were several of them: "Rus", "Nadezhda", "Brothers Lyubimov", "Kashin", had its own pier and its own steamers. Some came on schedule almost at the same time and from the turn of the river to Yaroslavl they organized races. The townspeople knew and came here on the boulevard to see who would overtake.

Description of the presentation for individual slides:

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Slide Description:

Lutfullin Akhmat Fatkulovich - Bashkir Soviet painter (1928-2007) Author: Ueldanova Elvina, 5th grade student of the branch of MBOU secondary school in Ishkulovo village secondary school in Ravilovo, Abzelilovsky district of the Republic of Bashkortostan Supervisor: Ueldanova N.M. 2018

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Akhmat Fatkullovich Lutfullin was born on February 4, 1928 in the village of Ishkulovo, Tamyan-Kataysky canton of the BASSR, now the Abzelilovsky district of the Republic of Bashkortostan, in the family of a timber rafter.

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The years of his youth were associated with the neighboring villages of Askarovo and Abzakovo. Askarovo Abzakovo

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Akhmat's father, Fatkulla, was a literate person; even before the revolution he graduated from madrasah, and sang well drawn-out Bashkir songs.

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The family had seven children, Akhmat was the eldest son. He began to draw from the fifth grade, when he was instructed to design a wall newspaper, and since then he has not parted with art. He had a good natural voice, musicality, played the mandolin. Before the war, Akhmat was even accepted into the orchestra of folk instruments of the Bashkir Philharmonic, performed on the radio, prepared to participate in the Decade of Bashkir Art in Moscow, but the war prevented him.

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In 1943, in a difficult wartime, he went on foot to Magnitogorsk and entered a vocational school to become a turner, but the dream of becoming a real artist did not leave him. At the same time he visits the art studio at the Palace of Culture of Metallurgists.

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Akhmat Lutfullin studies a lot. In 1945-1954 he graduated from the Leningrad School of Architecture and Art, the Bashkir Theater and Art School and the State Art Institute of the Lithuanian SSR. Leningrad School of Architecture and Art Bashkir Theater and Art School State Art Institute of the Lithuanian SSR

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During his studies in Ufa, painters Alexander Tyulkin and Boris Laletin were his mentors. Alexander Tyulkin

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In those years, there were practically no deep traditions of the Bashkir art school, since it was forbidden by Islam to depict people and animals in drawings. The artist had to go through a difficult path of creative searches in order to understand and express in his works the spirit, the atmosphere of life, the images of the Bashkir people. It took him years of careful study of the experience of the old masters. With particular perseverance, Akhmat studied the portrait painting of Hans Memling, a Dutch artist of the 14th century, and the work of the Armenian artist Minas Avetisyan. He was deeply interested in the art of Old Russian icon painting. All this had to be melted down and connected with my own creative ideas and designs. Hans Memling - 14th century Dutch painter Armenian painter Minas Avetisyan

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After completing his studies in Lithuania, the artist returned to his native village and began to work a lot. He creates portrait and landscape sketches "Portrait of a Mother", "Still Life with a Picture", "Bashkir Peasant" and others. In 1957, his first pesonal exhibition took place in Ufa, where Akhmat Lutfullin declared himself as a serious master working on a national theme. Already in the first works, the artist's desire to convey on canvas the best features of the Bashkir people and the wealth of the inner world of his contemporaries is clearly expressed. Gradually, the portrait theme becomes the leading one in the master's work. "Portrait of a Mother"

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The artist actively participates in numerous exhibitions of international, all-Russian and republican significance. In the 60s-70s Akhmat Lutfullin creates the paintings “Three women”, “A holiday in the village. 30s "" Three women "1969" Holiday in the village. 30s "

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The paintings "Farewell" and "Waiting" entered the golden fund of Soviet fine arts.

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Behind his specific characters is the fate of the entire people, the deep foundations of its existence. The greatness of Akhmat Lutfullin as an artist lies in the fact that he, on his canvases, capaciously, and at the same time extremely simply, was able to express the generalized image of the representatives of his people. Lutfullin's bright, sincere, truthful art captivates, first of all, with its national originality.

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Lutfullin is a truly Bashkir artist, not only by birth and nationality, but also by deep attachment to his native land and his people, by his rare ability to see and feel the originality and beauty of his life, character and traditions.

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In 1977, Akhmat Lutfullin's creative trip to France took place. In the same year, a personal exhibition of his works was held in Moscow. Later, the artist makes a creative trip to Vietnam.

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In 1966 Lutfullin A.F. awarded the honorary title "Honored Artist of the BASSR". For participation in the III republican exhibition "Soviet Russia" in 1967 he is awarded a diploma of the Council of Ministers of the RSFSR. For creative achievements he is twice awarded the Certificate of Honor of the Supreme Soviet of the RSFSR and the Council of Ministers of the RSFSR, the Certificate of Honor of the Central Committee of the CPSU, the Council of Ministers of the USSR, the All-Union Central Council of Trade Unions and the Central Committee of the Komsomol. He was awarded the honorary titles "Honored Artist of the RSFSR", "People's Artist of the RSFSR" and "People's Artist of the USSR".

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Akhmat Lutfullin was elected a full member of the Academy of Arts of Russia and an honorary member of the Academy of Sciences of Bashkortostan. His solo exhibitions are held with great success in Ufa, Kazan, Magnitogorsk and Moscow. He is a participant in many international, all-union, all-Russian and zonal exhibitions. In 1982, the artist became a laureate of the Republican State Prize named after S. Yulaev, in 2004 - a laureate of the Kim Akhmedyanov Prize.

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In general, the development of Bashkir painting throughout the second half of the twentieth century is firmly associated with the name of Akhmat Lutfullin. Possessing self-criticism and exactingness, relying on the best traditions of world art, the artist was able to create his own style of painting, which embodied the origins of his philosophical and poetic searches.

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The popularity of Akhmat Lutfullin is obvious: many of the artist's works are kept in the storerooms of the Tretyakov Gallery in Moscow, in the Russian Museum of St. Petersburg, the Bashkir Art Museum named after M. Nesterov, other museums in the country and in private collections.

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Akhmat Fatkullovich Lutfullin(Bashkir khmt Ftulla uly Lotfullin, 1928-2007) - Bashkir Soviet painter. People's Artist of the USSR (1989). Member of the Russian Academy of Arts (1997).

Biography

Born on February 4, 1928 in the village of Askarovo (now Abzelilovskiy district, Bashkortostan) in the family of a lumberjack. In the villages of Askarovo and Abzakovo he spent his childhood and youth. Later, as a boy, he went on foot to Magnitogorsk and went to study at a vocational school as a turner.

After the war, AF Lutfullin studied at the Leningrad School of Architecture and Art (1945-1948), the Ufa Theater and Art School (1949-1951), the State Art Institute of the Lithuanian USSR (Vilnius, 1951-1954). Member of the Union of Artists since 1960. Honored Artist of the RSFSR (1978). Honored Artist of the BASSR (1966). Member of the Russian Academy of Arts (1997).

He was repeatedly elected a member of the board of the Bashkir Union of Artists, chairman and member of the Art Council at the Bashkir Workshops of the Art Fund of the RSFSR, a member of the exhibition committee of the zonal exhibition "Socialist Ural", a member of the board of the Union of Artists of the RSFSR, was a member of the revision commission of the Union of Artists of the RSFSR, a member of the exhibition committee of the Union of Artists of the RSFSR.

During the second half of the twentieth century, he influenced the development of Bashkir painting.

In the village of Ravilovo, Abzelilovsky district, in the house of the Lutfullin family, which was presented to the artist by fellow countrymen, the Akhmat Mosque was opened. Luiza Lutfullina, the painter's wife, said: "Recently he was ill, the thought was - what to do with this house, it was decided not to give it away or sell, but to build a mosque in memory of his father, mother and grandfather." According to the will of the artist himself, he was buried in the village of Abzakovo, Beloretsk district of the Republic of Belarus.

Creative heritage

Akhmat Lutfullin is the author of the famous painting Three Women, 1969. At the same time, he is the author of portraits and canvases about the history and modern life of the Bashkir people: “Farewell to the Motherland. Salavat "(1990)," Holiday in the village. 1930s ”(1969),“ Seeing off to the front ”(1978),“ Farewell ”(1970),“ Waiting. Year 1941 "(1970).

His main works: "Portrait of a Mother", x. M., 1956. "Self-portrait", oil on canvas. m., 1957. "Babay", x. m., 1959. "Portrait of the conductor G. Mutalov", x. m., 1959. "Mother-heroine of Ishmurzin", x. m., 1959. "Mustafa-agai", x. m., 1960. "Mother of the deceased hero", x. m. 1960. "The Girl in Black", x. M., 1961. "Family", triptych, oil on canvas. m., 1962. "On the Sabantuy", x. m., 1963. "Portrait of the Bashkir writer Khadiya Davletshina", x. m., 1963. "Young Worker", x. m., 1963. "Portrait of a Collective Farm Woman", oil on canvas. M., 1967. "Golden Autumn", x. M., 1967. "Portrait of a Bashkir woman", x. m., 1967. "Three women", x. m., 1968-1969. "Expectation. Year 1941 ", x. m., 1969-1971. "Holiday in the village", 1930, x. m., 1973-1974. "Collective farmer Rajap", x. m., 1974. "Portrait of an old kolkhoz woman", x. M., 1974. "At the Window", x. m., 1974. "Portrait of a Young Woman", x. m., 1974. "Portrait of the doctor I. Kh. Khidiyatov", x. m., 1974. A series of portraits of the leaders of the collective farm. M.I. Kalinin, Abzelilovsky district of the BASSR (12 works), x. m., 1974. "Sabantuy", x. m., 1974-1977. Maginur Khasanova, x. M., 1977. "Collective farmer Khairullin", x. M., 1977. "Portrait against the background of the collective farm current", x. m., 1977. "Portrait of the BASSR People's Poet M. Karim", x. m., 1978.

The artist's paintings are in the State Russian Museum, the M.V. Nesterov Art Museum in Ufa, in private collections.

Exhibitions

Participant of international (since 1975), all-Union, all-Russian and republican exhibitions since 1957, zonal - "Socialist Ural". Personal exhibitions were held in Moscow (1963, 1976), Ufa (1978, 1994).

• Republican, Ufa, since 1957 for all, except for youth 1972 and 1976
• Zonal exhibitions "Socialist Ural": Sverdlovsk, 1964; Perm, 1967; Chelyabinsk, 1969; Ufa, 1974.
• Ten-day exhibition of works by artists of the BASSR, Moscow, Leningrad, 1969.
• Exhibition of works by artists of the BASSR, dedicated to the 100th anniversary of the birth of V.I.Lenin, Ulyanovsk, 1970.
• A ten-day exhibition of works by artists of the BASSR in Kara-Kalpakia, Nukus, 1976.
• Exhibition of works by artists of 3 zones, Moscow, 1971.
• Exhibition of works by artists of the autonomous republics of the RSFSR, Moscow, 1971.
• All-Russian exhibition "Soviet Russia", Moscow, since 1957 at all.
• All-Russian Art Exhibition, Moscow, 1969.
• Exhibition "Artists of Russia for the 30th anniversary of the Victory over Nazi Germany", Volgograd, 1975.
• All-Russian art exhibition "Soviet Russia-5", Moscow, 1975.
• All-Russian art exhibition "Glory to Labor", Moscow, 1976.
• All-Russian art exhibition dedicated to the 60th anniversary of the Great October Revolution, Moscow, 1977.
• All-Union art exhibition dedicated to the VII World Festival of Youth and Students, Moscow, 1957.
• All-Union Exhibition of Artists' Works, Moscow, 1962.
• All-Union Art Exhibition "Guarding the World", Moscow, 1975.
• All-Union art exhibition "On the Lenin Way" dedicated to the 60th anniversary of the Great October Revolution, Moscow, 1977.
• Exhibition of works by three artists of the BASSR (A. F. Lutfullin, A. D. Burzyantsev, B. D. Fuzeev), Moscow, 1963.
• Exhibition of works by artists of the BASSR in the GDR, Halle, 1975.
• International Exhibition "Soviet Art", Poland, 1963.
• International Exhibition "Soviet Art", MPR, Ulan Bator ", 1964.
• International Exhibition "Soviet Art", GDR, Berlin, 1974.
• Personal exhibition of works, Moscow, 1976.
• International Exhibition "Soviet Art", Paris, 1977.
• International "Biennale", Czechoslovakia, Konpoza, 1977.
• Personal exhibition of works, Ufa, 1978.

Akhmat Lutfullin

Lutfullin's bright, sincere, truthful art captivates us primarily with its national identity. Lutfullin is a truly Bashkir artist, not only by birth and nationality, but also by deep attachment to his native land and his people, by his rare ability to see and feel the originality and beauty of his life, character and traditions.

Akhmat Fatkullovich Lutfullin was born on February 4, 1928 in the village of Askar, Tamyan-Kataysky canton (now Abzelilovsky district) of Bashkortostan. Studied at the Leningrad Architecture and Art, the Ufa Theater and Art Schools, the State Art Institute of Lithuania.

The first and very small exhibition of the artist's works took place in the summer of 1957 in the Ufa city park. Both the audience and the press received her very warmly. Already in the first independent experiments of the young painter, they saw the desire to create portraits-images that convey the best features of the Bashkir people: physical beauty, wealth of the inner world, an open sense of national pride and dignity. “The first but sure step” was the expressive title of the review of this exhibition in the republican newspaper. The artist passed his first exam after graduation successfully.

In 1968, Lutfullin wrote one of the most powerful and complete works - the portrait-meditation "Golden Autumn". Two elderly people, husband and wife, embody different characters: the woman is clearly marked by spiritual superiority, she has more inner integrity and strength. The man is more simple. Of course, his life has battered, but not to the same extent as his wife. We do not know their fate, we do not know what hardships befell them, but it doesn't matter. See how calm their faces are, there is not a trace of sad worries on them. These people lived a decent life, it is true, they raised their children with dignity, and now they live a calm and happy life, in their understanding, life. What was the main thing in their life? Honest work. Look at their hands - they are big, even somewhat ugly large. These people have never been mischievous. They lived with dignity. Labor is the basis of their life. Thanks to such people, the present exists.

Lutfullin's greatest creative success was the painting Three Women, painted in 1969. One of the researchers of contemporary art V. Vanslov noted: “And Lutfullin in the painting“ Three Women ”embodied the proud beauty and moral purity of folk characters, creating an image that rises to deep thoughts about the fate of generations, about the development of life, about the past and the present in the history of the people ".

The artist himself notes that this canvas is his autobiography. Working on it, he seemed to relive in memory his whole life and the lives of his loved ones. The plot of the picture is simple. Three women in national clothes are drinking tea in a clean Bashkir hut. In front of them, according to the Bashkir custom, right on a bunk, on a white tablecloth, is a tray with cups, simple village food.

But this plot is filled with great philosophical thought - before us is a stately story about three different biographies, three generations, three different characters, connected naturally and simply. Behind three living concrete destinies is the fate of the entire people, its entire complex history, the deep foundations of its moral life. Behind their characters is the character of the whole nation, courageous, unyielding.

The stately old woman sitting in the center on a red pillow is regally calm - a living symbol of inexorable time, the inviolability of age-old customs. The patterned ends of the embroidered towels crown her head. An ascetic face, dark dry hands have concentrated in themselves the wisdom of centuries of folk experience, it is difficult, but worthy of a life lived. This image carries the main emotional and ideological load in the picture.

The figure of another woman looms softly against the light background of the window. She had already met maturity a long time ago. In her image, the moral traits of the nation are especially fully revealed: noble restraint of feelings, steadfastness and inner strength of character. The years took away the youth and physical beauty of these two women, but they generously endowed them with moral beauty.

Next to a wise old age is youth. More joy and happiness fell to the lot of the young woman sitting on the left, she did not experience what her elders had to experience. She is the connecting link between the past and the present, the continuer and keeper of the moral values ​​of the people.

The images of women contain one thought - the theme of the fate of the people, its indomitable moral strength and spiritual greatness.

Everything is thought out to the smallest detail in this canvas. The simplicity and artlessness of life is emphasized by a modest still life: freshly baked bread, milk in a wooden bowl, three porcelain cups and saucers, white, in a red flower. The golden ridges of the ancient Ural mountains, meeting and seeing off generations, is the theme of eternity. Figures of schoolchildren riding bicycles are the theme of youth, constant renewal of life.

The artist also turns to still lifes in his work. "Still Life with a Jug" was painted with a free, confident brush.

The items are the most common: a piece of black bread and a herring, a mug filled with milk and fragile white eggs, a painted wooden spoon and a dark earthenware jug. All this against the background of a cleanly scraped plank table. Why did the artist paint this still life? What thought did he express? The life of the person whose meal is presented to us is simple. Modest food suggests that this person is not accustomed to excesses, but the purity and bright color in the picture about the honesty of the person, that there is no falsehood, moral inferiority in his life.

The artist also addresses the landscape. In 1974 he painted the landscape "The last old house in the village". The artist once saw this dilapidated house, which had grown into the ground, surrounded by lopsided fences and outbuildings in his native places. A lonely old woman lived in it. This is a picture of contrasts. Electric wires, an antenna on a slate-covered house in the depths side by side with a dilapidated house and a hedge. The hedge in the picture is the main thing. Despite the fact that she squinted and so that she would not finally fall to the ground, supported by pillars, there is a certain charm in her. The author painstakingly draws out a bizarre, complex interweaving of twigs and poles. Once, it is true, strong owners lived here, firmly standing on the ground. And this picturesque hedge is, as it were, evidence of that. Why everything fell into decay is unknown to us The question is different - is it fair? Life goes on, but is the movement that leads to destruction fair? To this question, everyone will answer in their own way.

Time will pass, and new generations of viewers, perhaps, will differently appreciate the artist's successes and discoveries. But one thing is certain - the painting of Akhmat Lutfullin is significant and original.

By LN Popova