Paintings - Brinskikh Boris Aleksandrovich - Valikhodjaev Ibragim

(1924-1998)

Soviet painter and graphic artist, professor. Honored Artist of the Uzbek SSR. He graduated from the republican art school in Tashkent (1948). Member of the Union of Artists of the Uzbek SSR, Professor

The favorite motives of Boris Brynsky are the old city of Tashkent, its streets, surrounding gardens and mosques. The artist paid special attention to the daily life of the eastern city and correctly noticed its peculiar features. The characteristic features of Central Asia - adobe houses, duval, majestic plane trees, silvery-green poplars, depicted by the artist - give the paintings a national specificity. His works are perceived as bright, lively scenes of their people's lives.

Participated in exhibitions since 1954. The artist's works are kept in a number of museum collections, among them the State Tretyakov Gallery, the State Art Museum of Uzbekistan (Tashkent), the Bukhara Museum of Local History and History; in the art galleries of Austria, Finland, France, Japan; in private collections, including in the United States.

Artist-painter, a member of the Creative Association of Artists at the Academy of Fine Arts of Uzbekistan.
The name of Ibrahim Valikhodzhaev is among the most interesting and famous artists of Uzbekistan.
Works are in the museums of Uzbekistan: the State Museum of Arts, the Directorate of Art Exhibitions at the Ministry of Culture of Uzbekistan in Tashkent, regional museums of local lore in the cities of Ak-Kurgan and Namangan, as well as in private collections and galleries of the USA, Canada, Italy, Germany, The Philippines, South Korea, and others.
The main theme of his work is the images of his contemporaries, everything that surrounds them and how they live - character characters, everyday life, various manifestations of everyday life. Personal attitude to this he manifests in various genre compositions, numerous portraits, still lifes, landscapes.
In his works he leaves a priority behind painting. With an enthusiastically experimenting with color, his own inner flair guesses and compares, seemingly, incomparable, as, for example, in a well-known series of works devoted to the theme of the Namangan bazaar, the last portraits where he combines or boldly confronts contrasting, locally taken, picturesque spots. As a result, bright decorative canvases are born that carry the color and warmth of the native Uzbek land. Or, on the contrary, these are works in which he solves the most complex color problems with the finest nuances of transitions and combinations of warm and cold tones. They are muffled and extraordinarily beautiful in the general picturesque solution.