Problems and achievements of Printmaking in Tatarstan in the post-soviet period

Abstract

The article is devoted to the state of the art of Printmaking in Tatarstan in the 1990s–2010s. The author reveals the meaning of the term «Printmaking», briefly characterizes the artistic situation that has developed in the post-Soviet period, and its influence on the state of the art of Printmaking. The author identifies two stages in the period under study. The 1st stage (1990–2000s) is characterized by a decline in the development of the art of Printmaking itself, and the outflow of artists into other types of art. At the same time, there is an active study of museum and private collections of engravings of Tatarstan, the creative heritage of engraving artists of the pre-revolutionary and Soviet periods. At the 2nd stage (2010s), the rise and active development of Printmaking in Tatarstan begins with the combined efforts of artists and art historians who have found support in museums and other public and private structures; a new generation of young graphic artists is being formed.