May 27 (June 8), 1896
Born in Minsk .
He studied at the Minsk College .
He studied at the Moscow Border Institute and at the same time, in the private studio of A.P. Khatulev.
Studying at the State Free Art Studio in Moscow .
Studying at the Higher Artistic and Technical Institute .
The first personal exhibition in Minsk. In the works indicated on it, a turn to the folklore part of the Belarusian heritage was visible.
He was an art instructor of the department of fine arts at Galovpalitatstvetz in Minsk.
Starts work on collecting Belarusian folk art , ornaments, wood carvings, Slutsk belts, costumes, headdresses. Looking for unique exhibits, creates whole album volumes of extremely valuable sketches of costumes, architectural structures, tools, musical instruments, folk types.
He is fond of Malevich's Suprematist theories and participates in the first Soviet art exhibition in Minsk, where he exhibits about twenty Suprematist works . Critics reacted to these works rather ironically.
He worked as the head of the art department at the Belarusian State Museum.
He joined the All- Belarusian Association of Artists . In the same year, he took part in the Belarusian section of the Soviet pavilion of the international exhibition "The Art of the Book" in Leipzig. Participates in the Moscow exhibition "The Art of the Peoples of the USSR" , where he exhibits a series of works in which Belarusian folk types were discovered. Critics note the originality of the creator, who shows Belarus unknown to many.
Participated in the III All-Belarusian Art Exhibition (the painting "Battle on the Nemiga" and about 40 more paintings).
During the Great Patriotic War, he took part in the design of periodicals, including the magazine "Partisan Club" .
He died and was buried in Moscow.
Memories of the artist:
"... He was such a tyukhtey, most often he sat with his head down and was silent. Something mumbles or laughs hoarsely - and is silent again. A sullen face, as if sleepy, wrinkled. He seemed much older than he really was. Never you will see him combed, you can’t put your teeth in, as if you had already given up on everything and on yourself for a long time. "maybe. The eyes are alive, young, the gaze is piercing, tenacious, and the movements are light, fast - well, you don’t recognize! He became simply beautiful. If someone asked me what inspiration might look like, I would probably immediately see Mikhail Filippovich in his memory at work…" - Stefania Staniouta
"For the first time, the art historian Viktor Shmatov spoke in more or less detail about Mikhail Filipovich in his small monograph, published in 1971 by the Science and Technology publishing house. And although it is not without flaws, especially in assessing certain artistic phenomena of that time, the author nevertheless managed to report on the main milestones in the life and work of the outstanding son of the Belarusian people" - Boris Krepko