The Transformation of the Individual Style of Moses Feigin from 1953 to 1975

This study is devoted to the analysis of the formation of the individual style of Moses Feigin (1903-2008) in the period from 1953 to 1975. This period was not chosen by chance: it was during this period that the artist rethought painting, that had previously gone through the "classical" school of VKHUTEMAS of the 1920s, and after the beginning of Stalin's reign, headed for "official" art. To achieve the main goal of the study, at the initial stage of the work, some tasks identified and realized afterward. So, firstly, the work examines the biographical outline of the composition of the creative personality of the painter before the appearance of his artistic method. In other words, close attention was paid to what and how influenced Moses Feigin until 1953 - before the moment of interest us in his career. Secondly, the text focuses on the consideration of turning points in the artist’s life from 1953 to 1975, identifies the main trends that appeared in the painting of Moses Feigin. And finally, thirdly, a visual explanation of what constitutes an individual method of the artist is offered - the emphasis is on the main subjects, and the technical features of the master’s painting are also highlighted. The relevance of the study is determined not only by the growing interest of collectors in the work of Moses Feigin but also by the need to fill in the gaps in the process of forming his creative method. Also, given that the artist did not leave any memoirs or diaries, one should begin a detailed and detailed study of the artist’s creative method now that it is possible to turn to the family archive and use the interview method to collect additional information. The importance of the last statement is related, first of all, to the fact that many of the plots in the master’s painting are fully disclosed only after studying his biography. In isolation from this, the study of the work of Moses Feigin seems incomplete. The scientific novelty of the study is, first of all, that the process of adding up the creative method of Moses Feigin has not yet been covered. Also, the study presents several works that have not been covered previously. Also presented is an analysis of some paintings that have not yet been included in the context of Russian art history.