Salon “Art en Capital” 2014, (Paris)

THE EXHIBITION OF THE SALON “ART EN CAPITAL” 2014

Salon14-1In the 9th showing, Art en Capital combines four historical exhibitions dedicated to the fine arts under the glass roof the Grand Palais: the Salon Comparaisons, Société des Artistes Français (the Union of French Artists), Société des Artistes Indépendants (Society of Independent Artists) and the Salon du Dessin et de la peinture à l’eau (Drawing and Watercolour Salon); these exhibitions have remained true to their artistic line of freedom, independence, and openness to all forms of expression and culture. This respect for tradition gives a broad panorama of contemporary art, and is a great showcase for the artists represented at the show, both known and new, French or foreigners in this beautiful Grand Palais, in the beating heart of the capital. The audience meets every year for this event. I am confident that this new exhibition will be held with the same success.

Fleur Pellerin,
Minister of Culture and Communication of France

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This year, the Union of Artists of France introduced the 225 edition of their Salon. These many years shows the relevance and vitality of our union. This year, our exhibition showcases about 700 contemporary artists selected by a jury in the categories of painting, sculpture, graphics, architecture and photography. Different tendencies, different nationalities, freelance artists, open-minded and talented will present their work in this edition of 225. Our past is noted by the names of the most prestigious artists and it gives us the necessary stable foundation to go into the future. Spurious oscillations of the “art market” should not diminish the strength that we represent on a real art stage. Our presence in the Grand Palais from year to year is the best proof of this, for artists, for visitors and for professionals of the art world. At the beginning of the exhibition, we give tribute to the artists of World War I, years 1914-18. During these 4 years our society had lost 120 artists. The Union of Artists of France presides in 2014 over this show. This event must pass comparably to our hopes, enthusiasm, energy and talent, which the artists of our union invested in the success of this exhibition, Art en Capital 2014.

Martine Delaleuf,
President of the Union of Artists of France

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In 2014, Art en Capital opens at Grand Palais for the ninth consecutive year. The exhibition collects about 2,500 artists in all areas. As always with great enthusiasm we take this exhibition, which lasts five days, in the Grand Palais, an architectural gem with a unique and multifaceted world. Like an echo of history in the same place, where for a long time art galleries were held in the 19th century, Art en Capital follows the traditions. In the same manner it is important for the Grand Palais to create different exposures, it is a monument on the stage of world art, as a home for creative people. Through such activities the Grand Palais familiarizes many people with contemporary art. This building also gladly accepts all those who epitomize the dynamism and vitality of the arts in France. Forty thousand visitors come, to discover all this and to support the artists of the exhibition. Art en Capital – the cultural event of the autumn which is impossible to just pass by.

Jean-Paul Cluzel,
President of the Reunin of National Museums – Grand Palais

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Salon14-14-21. The Salon-2014 opens its doors.

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Salon14-52. The exhibition hall.

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Salon14-43. The exhibition hall. View from above.

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Salon14-64. View from above.

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Salon14-75. The first viewers – 2014.

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Salon14-96. The vernissage – a lot of people today!

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Salon14-107. Not bad for a start…

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Salon14-138. Inside the exhibition halls.

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Salon14-119. Cafe inside Grand Palais is masterpiece itself.

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Salon14-1210.  First discussions.

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Salon14-1511. Viewers and artworks.

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Salon14-1612. New-old Olympia…….it is really nice!

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Salon14-1713. Viewers. The first impression from exhibition.

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Salon14-2014. Painting “Attraction” by Givi Siproshvili received “Prix Reijinsha-2014″ award. (Please look at our EXHIBITIONS section).

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Shichkov-2-215. Painting “Nymph” by Vladimir Shichkov. (Please look at our EXHIBITIONS section).

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Salon14-1916. Painting “Night nude” by Alla Polkovnichenko received “Prix Elisabeth Gallia-2014″ award. (Please look at our EXHIBITIONS section).

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Salon14-2117. Sculptor Margot Pitra, (France).

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Salon14-2218. Painting by Masahito Kuginuki, (Japan).

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Salon14-2319. Painting by Milen, (France).

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Salon14-2420. Painting by Takue Higuchi, (Japan).

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Salon14-2521. Painting by Nadiejda Mouly, (France).   Sculptor Yvonne Clergerie, (France).

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Salon14-2622. Painting “Narcissus” by Andrey Shustov. (Please look at our EXHIBITIONS section).

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Salon14-27-223. Painting “Yang Guifei” by Ksenia Lavrova. (Please look at our EXHIBITIONS section).

 

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Salon14-2824. Painting “Angel in the crown of thorns” by Alena Filippova-Kargalskaya. (Please look at our EXHIBITIONS section).

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Salon14-29-225. Painting “The morning coffee” by Aleksandr Fayvisovich. (Please look at our EXHIBITIONS section).

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Salon14-3026. Sculptor …

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Salon14-3127. Painting by Marion Six, (France).

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Salon14-3228. Painting by Chu Ren Wang, (China).

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Salon14-3329. Painting by Alexandra Rouard, (France).

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Salon14-3430. Painting by Padoneli, (France).

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Salon14-3531. Sculptor Miodrag Scepanovic, (Montenegro).

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Salon14-38

32. Painting by Mutsuro Kimura, (Japan).

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Salon14-3733. Painting by Olivier Lavorel, (France).

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Salon14-3934. Painting by Marie-Josiane Blachon, (France).

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Salon14-40-235. Painting by Denis Rifflard, (France).

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Salon14-4141. Sculptor Chanet, (France).

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Salon14-4242. Painting by Eric De Luca, (France).

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Salon14-4343. Painting by Shojiro Nakano, (Japan).

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Salon14-4444. Painting by Masako Fukami, (Japan)

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Salon14-36-245. Sculpture “Rain” by Andrey Volkov received “Prix Adagp-2014″ award. (Please look at our EXHIBITIONS section).

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Salon14-4546. Etchings by Mikhail Kocheshkov received BRONZE MEDAL 2014. (Please look at our EXHIBITIONS section).

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Salon14-4647. Etchings by Alena Dergiliova. (Please look at our EXHIBITIONS section).

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Salon14-4748. Etchings by Vitaly Gubarev. (Please look at our EXHIBITIONS section).

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Salon14-4849. Grand Palais is a lovely home for every artist.

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Salon14-4950. Artist Givi Siproshvili. A short interview to the “Russian Art & Paris” staff.

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Salon14-5051. Artists Alena Filippova-Kargalskaya, Alena Dergiliova and Andrey Shustov are tea lovers. Looks good!

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Salon14-5152. Artist Andrey Volkov explains the nuances of working with metal.

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Salon14-5253. This is recollection of Sisyphus. It is probable a hint for artists life…

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Salon14-5354. It was a nice day!

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Salon14-54-255. Exit from Grand Palais.

.G.Palace56. A long queue to entrance is still in front of exhibition hall.

 

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Salon14-5557. The late celebration in the “Russian Art & Paris” headquarter.

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Salon “Montreux Art Gallery” 2014, (Montreux)

 THE 10th SALON OF CONTEMPORARY ART “MONTREUX ART GALLERY” – 2014
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MAG-2014
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Ten years have passed with lightning speed. Light, dynamism, diversity, discovery, progress, are many of the words that come to mind when discussing the development of MAG, a contemporary art fair. Born from a combination of private initiative and the creative spirit of its founders, Montreux Art Gallery is widely recognized in the world of contemporary art as a high-level salon, which offers a wide range of artists and galleries nationally and internationally. In an effort to provide the public with an overview of trends in art, MAG has been establishing contacts with the world of art and culture for a long time. Painting, sculpture, graphic art are exhibited on 8000 square meters of exhibition space. The devotion of our visitors, as well as our members, have helped us to be certain each and every year that MAG should continue. This 2014 thus marks our first decade, and we are proud to introduce today a rich salon. To amaze you, to arouse your interest is our goal that we strive to achieve every year. We wish you a good visit, and we want to thank our partners who annually accompany us in this great adventure, our exhibition participants who bring us their creative abilities, and all those who participated in the development of Montreux Art Gallery-2014.
On the way to a new decade of art and culture in the heart of Montreux, Switzerland.
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Jean-Francois Gaia,
Director MAG
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This year Russia received the right to be the guest of honor of the 10th Salon of Contemporary Art in Montreux. I think this choice was not random. Switzerland has always attracted musicians, artists, and writers from Russia. Many of them found here both spiritual shelter and inspiration, creating some of their best works, included in the treasury of world culture. Tchaikovsky wrote in Switzerland the operas “Eugene Onegin” and “Joan of Arc”, Stravinsky created here one of his most famous works, “The Rite of Spring.” A concert hall in Montreux (Auditorium Strawinsky) was named in honor of this composer. Fyodor Dostoevsky, Leo Tolstoy. Vladimir Nabokov have repeatedly visited and lived in Switzerland. Modern Russian culture, due to its openness and diversity, is still attractive for the Swiss. Participation in the Salon by Russian artists Zurab Tsereteli, Vitaly Gubarev, Anastasia Vostretsova and other masters will not only attract experts in the field of contemporary art and culture, but also all those who are interested in Russia, its culture and its history.
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Opening remarks by Ambassador of Russia in Switzerland Aleksandr Golovin to the catalog of the 10th Salon of Modern Art in Montreux.
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MAG-1-21. Montreux, Switzerland. MAG – 2014.

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MAG-2-22. Exhibition Hall.

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MAG-33. Exhibition Hall.

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MAG-44. The vernissage.

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MAG-55. Viewers and artworks.

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MAG-86. Inside Exhibition Hall.

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MAG-67. Graphic arts by artist Zurab Tsereteli, President of the Russian Academy of Arts.

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MAG-78. Paintings of artist Evgeni Yali (left) and artist Givi Siproshvili (right).

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MAG-99. Artist Anastasia Vostrezova (left) in conversation with viewers.

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MAG-1010. Artwork by sculptor Andrey Volkov.

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MAG-1111. Paintings of artist Anastasia Vostrezova (left) and artist Aleksandr Pavlovets (right).

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MAG-1212. Artist Givi Siproshvili in Exhibition Hall.

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MAG-18-213. Swiss impresario Ludmila Petrova, Curator of Russian Art section.

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MAG-1314. Exhibition Hall.

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MAG-1415. Exhibition Hall.

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MAG-1516. Exhibition Hall.

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MAG-1617. Exhibition Hall.

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MAG-1718. Exhibition Cafe.

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MAG-1919. Montreux is first mentioned in 1215…

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MAG-2020. …has a population of 26 000 and 45% of the population are resident foreign nationals.

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MAG-2221.  Monument to Vladimir Nabokov in Montreux.

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Artist Aleksandr Pavlovets, (Dnepropetrovsk)

THE EXHIBITOR OF THE SALON “d’ART CONTEMPOREIN” MONTREUX 2014

AP Port-2Once, as a child my father took me to an art exhibition. Unlike reproductions, these paintings were alive – there were visible layers of paint and they attracted me to them so much that I wanted to touch the painting with my hands. I really wanted to draw at least one such real painting. I began to study painting, and over the years realized that there are a lot of good paintings; in order to not get lost in such diversity, it is necessary to have not only my own handwriting, but also my own worldview. The work of an artist is to constantly learn, to search and experiment. A true artist should be recognized even without his signature on a canvas; with regard to painting, it needs to bring joy to the audience and evoke a bright emotions. One would agree that there is more than enough grayness and dullness in this world…

Aleksandr Pavlovets for the readers of the ”Russian Art & Paris”.

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It is not difficult to imagine the poetics of a moment, when Ms. Struyskaya stared with a vague and mysterious glance from the insightful portrait of artist Fedor Rokotov of the 18th century, upon an equally discerning poet of the 20th century, Nikolai Zabolotsky. Fascinated by the image of Struyskaya, Zabolotsky wrote a poetic masterpiece “Portrait”, in which “out of the darkness of the past …” not just a beautiful Russian court woman, but all the beautiful women of the world embodied in painting appeared before the poet.
•  Perhaps this feminine – artistic! – charm of the “darkness of the past” pushed Aleksandr Pavlovets to the interpretation of well-known female images and the creation of a series of elegant paraphrases, starting with the sculptural portrait Nefertiti to “The Swan Princess” of Vrubel. The elegance of his works are sometimes disturbing, even frightening; and sometimes playful, flirtatious. At the same time it is perceived as a reliable aesthetic bridge thrown between the past and the present, leading to the worship of the divine beauty of Women and Painting.
•  The organization of art-pictorial space almost certainly contains an element of mysterious theatricality. Being fluent in the art of composition, having almost “perfect pitch” to the tonal nuances of color, the artist multiplied the possibilities of his talent. As a result – the solid correctness of creative interpretations and borrowing, intended to convince the audience of the need for a grateful modern look upon the classics, and perhaps to intensify the interest of a contemporary viewer to the values ​​of the past.
• Seduced by the female images of the great masters of the past, artist Aleksandr Pavlovets looks with caution and even a certain aloofness at the contemporaries portrayed by him. For the artist they are just charming, seductive models from which to pull away, creating images of “familiar strangers”; beyond them there is only “darkness of modernity”, which may be void, where the present has no potency to become IMG_88796-1meaningful “onetime”… The artist manages to play along with nature, gently flattering her and simultaneously sadly grinning. Alas, the master does not find the proper depth in the women portrayed, recognizing that “his own Struyskuyu” has not been created yet.
•  Habitually we associate woman with a flower, but in his “painting of bouquets” Pavlovets comes from the opposite: his beautiful flowers evoke sincere, almost erotic excitement, because the artist admires them no less than the images of women in classical painting, and creates them with the predilection of a painter-lover. Chardin’s thoroughness emanates from the bouquet of lilac, impressionistic vibrations come from the still life with small carnations, Rembrandt’s golden glow of autumn radiates his white chrysanthemums. Collected in a series, these paintings are fragrant with an extravaganza of color and provoke the viewer to remember the variety of exciting aromas.
•  “Peasant” still life are painted by the artist without a hint of force against nature: with a relaxed and joyful love. Tense and strictly balanced chiaroscuro contrasts, and color Still life with a bottleharmonies force us to remember the dignity of still life paintings by de Zurbarán and Chardin. The fruits of the earth in Pavlovian’s artworks are weighty and life-affirming – like in the paintings of Flanders in the 17th century. However, in his still lifes – the fruits of the rich and disturbing earth, are the fruits of Ukraine.
•  To the sophisticated traveler, Ukrainian city landscape motifs seem sad and not always attractive. The painter Aleksandr Pavlovets can poeticize the heavy with spring moisture, unfussy, stooping in the wind, patio of Dnepropetrovsk. He can breathe a pulse into the classically boring prospect of an autumn street with a cathedral steaming in the fog, with a shimmering gilded dome. He can convince the viewer in the Baroque freshness of a pseudo-baroque motif of the historic part of the city. Finally, he can evoke from the viewer a sense of nostalgia, born by the natural pull of a citizen to the aesthetics of not only the parade architecture, but also the shaded courtyard provincial architecture.
•  And always, in every motif, there is a search for a silent narrative of the walls about something precious that connects the human with the frightening and at the same time attractive urban environment.
•  Not burdened by moralization, the artwork of Aleksandr Pavlovets returns us to a righteous realism, a majestic effect which still expands upon us the art classics. The realistic artworks of our contemporaries, like the of works of Aleksandr Pavlovets indicate that the possibilities of realism are far from exhausted. In art, the realistic creation of the world of images and the reflection of the “world” of feelings are the spiritual and aesthetic future of mankind.

by Vitaly Starchenko,
Winner of the literary awards of Ivan Sokulsky and Pavlo Tychinaart critic.

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Pictures in the text (from above):
“Still life with candlestick”  Oil on canvas. (50 x 70 cm); “Still life with a bottle”  Oil on canvas. (55 x 70 cm).

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Joker 1

“Joker” Oil on Canvas. (90 x 80 cm)

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To give a definition of artistic taste is not easy. It’s not so much for the lack of a tuning fork as in their abundance. Every single historical epoch had its tuning fork, and sometimes more than one. Our time is not an exception – there are plenty of tuning forks, and the loudest one is not necessarily the most accurate. The tuning fork of the artistic taste of contemporary painter Aleksandr Pavlovets sounds restrained, sometimes very quiet, but it is worth listening to. In the soft music of his works, there are very many precise notes.
• In delineating the space of the artistic images of Aleksandr Pavlovets, in finding a designation for this space, the simple word “harmony” seems natural, but not sufficient. An aura of tranquility in still life is replaced by an aura of tense silence in the portraits of women. An aura of coloristic hues interweaves with an aura of light and shadow. Compositional structures are distinct and laconic. The motions of live characters are almost always completed. The openness of female images is deceptive, their lips are tightly sealed. Harmony of rest? The harmony of silence? Yes, probably, but still something more.
•  How can the mystery of Danae capture the contemporary artist, a mature man of the twenty-first century? The charm of an ancient myth? But it has been retold a thousand times and implemented in hundreds of paintings. Interest in ancient Greek history? But the painting “Danae” by Aleksandr Pavlovets is devoid of any historical attributes, his Danae is timeless. Perhaps most importantly, it is the presence of the mystery itself, a mystery of the divine in the earth. The compositional decision of the artist is temperamental and sudden, the main character of the painting is made to be not Danae, but Zeus. No, it’s not just about the shimmering of verticals and gold color scheme (Zeus came to Danae in the form of a shower of gold). We look upon Danae through the eyes of Zeus, on canvas is his emotional order, his invisible presence. He is located at the point from which the viewer sees Danae. The sharply-modern interpretation of the plot is psychologically daring, and no less daring is the painting itself, almost fresco-like by its nature. The composition arranges the image, and the image revealing the meaning. Impeccable graphic slendernessAutumn 2of a sophisticated foreshortening of the female figure, is the only classical element of this artwork. Everything else is art of our time.
•  The painting of Aleksandr Pavlovets is a complex and unhurried artistic search within a relatively small aesthetic field. At the same time, the problems disclosed in such search are exceptionally relevant. As an example – the light and shadow is a base of construction of still-life by this artist, but simultaneously, his a decisive rejection of light and shadow in the figurative compositions leaves an open question – why? It is obvious that the basis of this difference is the different nature of the material world and the spiritual world. However, is this difference sufficient to create two separate painting aesthetics in a single artistic space? To answer this question is not easy and it is almost impossible to answer theoretically. Of value is only answer received on the canvas. The significance of an answer to this and similar questions will be confirmed (or not confirmed) in the works of other artists. The mechanism of artistic search in the visual arts functions slowly, but it has been working without any serious glitches and errors for centuries and no other mechanism is available for artists today. The distance traversed by Aleksandr Pavlovets along this road is considerable and the result is dozens of excellent fine art works. All of those are before the eyes of viewers. However, the road remains the same, with questions which, besides the artist himself, no one can answer.  ©

by Russian Art & Paris

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Pictures in the text (from above): “Autumn”  Oil on canvas. (60 x 75 cm)

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Danae 1 “Danae” Oil on Canvas. (65 x 110 cm)

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Aleksandr Pavlovets, a painter and graphic artist, was born in 1954 in Dnepropetrovsk (Ukraine). After graduating from the Art school he continued his education in State Dnepropetrovsk University (1980). Since 1994, he has participated in international art exhibitions and competitions. Aleksandr Pavlovets lives and works in Dnepropetrovsk.

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International Artexpo 2014, (New York)

 

THE EXHIBITION OF THE ARTEXPO NEW YORK 2014,  APRIL 4-6

For thirty-five years and counting, Artexpo has been changing the way people buy and sell art. Our annual, juried expo brings the biggest publishers, galleries and collectors face to face with hundreds of established and emerging artists. In short, we’re the world’s largest fine art marketplace.
•  This year, International Artexpo host over 400+ innovative exhibiting artists, galleries and publishers from across the globe, showcasing exciting original artwork, prints, paintings, drawings, sculpture, photography, ceramics, giclee, lithographs, glass works and more—all under one roof at Pier 94.
•  Each year thousands of art industry insiders flock to Artexpo New York in search of the art and artists that will shape trends in galleries worldwide. Hosting more than 15,000 avid art enthusiasts annually, we’re the largest international gathering of qualified trade buyers—including gallery owners and managers, art dealers, interior designers, architects, corporate art buyers and art & framing retailers.

 


Piers 92/94, a premier trade show and special event venue in the heart of Midtown Manhattan, 55th Street and the West Side Highway. Piers 92/94 is home to design oriented events such as The Artexpo New York, The Armory Show, Architectural Digest Home Design Show, The Pier Antiques Show and leading fashion shows during New York Fashion Week. The facility also regularly host parties and product launch events for groups ranging in size from small charitable foundations to Fortune 500 companies. No matter your event needs, Pier 92 and Pier 94 enjoy a prime location, as well as established prestige in the New York convention and special event landscape. 208,000 square feet of exhibit area make Piers 92/94 the second largest facility in New York City.


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Artexpo14-1
1.  Artexpo New York 2014. The entry hall.

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Artexpo14-2 2.  Artexpo New York 2014. The major hall.

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Artexpo14-3 3. Artexpo New York 2014. The major hall.

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Artexpo14-44. Artexpo New York 2014. The major hall.

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Artexpo14-55. Artexpo New York 2014. The major hall.

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Artexpo14-66. Artexpo New York 2014. The major hall.

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Artexpo14-7 7.  Gallery pavilion. Progressive Fine Art, Ontario, Canada.

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Artexpo14-8 8. Gallery pavilion. Progressive Fine Art, Ontario, Canada.

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Artexpo14-99. Gallery pavilion. Progressive Fine Art, Ontario, Canada.

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Artexpo14-1010. Gallery pavilion.

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Artexpo14-1111. Gallery pavilion.

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Artexpo14-1212. Gallery pavilion. Square Gallery / Liquid Art System, Italy.

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Artexpo14-1313. Gallery pavilion. Square Gallery / Liquid Art System, Italy.

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Artexpo14-1414. Gallery pavilion. Square Gallery / Liquid Art System, Italy.

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Artexpo14-1515. Gallery pavilion. Nick Paciorek Fine Art, Providence, USA.

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Artexpo14-1716. Gallery pavilion. Nick Paciorek Fine Art, Providence, USA.

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Artexpo14-1617. Gallery pavilion. AVA Gallereia, Helsinki, Finland.

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Artexpo14-1818. Gallery pavilion. Exhibition.

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Artexpo14-1919. Gallery pavilion. Art discussion.

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Artexpo14-2020. Gallery pavilion. Exhibition.

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Artexpo14-2121. Gallery pavilion. Exhibition.

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Artexpo14-2222. Gallery pavilion. Mecenavie Gallery, Paris, France.

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Artexpo14-2323.  Gallery pavilion. Tatyana International Art, Houston, USA.

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Artexpo14-2424.  Gallery pavilion. Sammoun Fine Art, Brossard, Canada.

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Artexpo14-24525.  Gallery pavilion.

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Artexpo14-2626. Gallery pavilion.

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Artexpo14-2727. Gallery pavilion. Smart Publishing, Florida, USA.

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Artexpo14-2828. Solo pavilion. D.Kaligos, Virginia, USA.

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Artexpo14-2929. Solo pavilion. Robert Hartshorn, Ohio, USA.

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Artexpo14-3030. Solo pavilion. Beijing China Painting & Calligraphy Collector Ass., Beijing, China.

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Artexpo14-3131. Solo pavilion. Aleksandr Fayvisovich, New York, USA.

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Artexpo14-3232. Solo pavilion. Larisa Psaryova, Moscow, Russia.

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33. Artexpo New York 2014.

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34. Artexpo New York 2014.

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“Russian Art & Paris” Art Show. Winter’14

In the winter Art Show ’14 journal the journal “Russian Art & Paris” offer our readers a number of contemporary artists whose work deserves serious attention. We continue the talk about the wonderful and elitist art of etching. This time you can get acquainted with the work of two artists: an exhibitor of the State Tretyakov Art Gallery, the Moscow artist Alena Dergiliova and the Honored Artist of the Russian Federation Mikhail Kocheshkov from city of Vladimir. The paintings section is presented today also by two contemporary artists: Aleksandr Egorov (Vladimir) and Mikhail Shmyrov (Bryansk).

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ARTIST ALENA DERGILIOVA,  (MOSCOW)

AD-Port-1The graphic art of Alena Dergiliova is difficult to define in a few words. The phrase “lyrical grotesque” will probably sound strange and unusual, especially in relation to an graphic-artist working in the classical techniques of etching and watercolor. The point, apparently, is not in the accuracy of the formal wording. Value is contained foremost in the quality of the art form, in which the thoughts and feelings of the artist are served. Expectations for etching are traditionally very high. This kind of graphic art is best not approached without a virtuoso technique – an amateur can be discerned at a glance. Yet technical skills alone do not turn a sheet of paper passed through the etching press into an etching. A genuine charm, a unique aura of etching occurs only if there appears a scene that is not depleted, but rather enriched, by the black-and-white image. It is hard to say which has greater meaning – the ability of the artist to see an etching motif in the world around him, or a particular feel for the etching board on which the essential details required for etching will be revived. In addition, a black-and- white image has a unique feature – it is concentrated on only the main idea, only the essence of the depicted scene. No dispersion or verbosity, one who is not able to separate the essential from the secondary – will never create a real etching.
•  “Apple tree” is an etching by Alena Dergiliova, that is one of the most classical in form. The plot appears as a conflict between two harmonious forms, united into a single space. There are live forms, created by nature, such as tree branches and яблонька,1992artificial forms, created by man, like the Cathedral bell tower. Compositionally this conflict is developed through black color – the movement of large masses of black (Cathedral bell tower) and the tremulous, translucent graphics of black branches. The compositional conciseness drastically enhances the natural qualities of black and white, its inner nature – topicality, the focus on sincerity, and the accuracy – at least from the author, at most from the event. There appears an effect, present here and now, equivalent to the philosophical category – “grasp”. Thus, the artistic decision – the selection of the moment filled with meaning, creates a sense of belonging in the event. There arises a contact of the artwork with the viewer, and their dialogue begins. The importance of this dialogue is determined in equal amounts by both participants. The energy of the artistic image, its aesthetic and intellectual depth, determine the quality of the artist’s work. The reading of an artistic image, its description – is the work that must be done by the viewer. The small etching “Apple tree” is the quiet sadness of autumn, fallen leaves, old Cathedral walls; it is the fate of generations who have touched these walls, it is the finiteness of life in the infinity of existence.
•  The stylistics of graphics by Alena Dergiliova are sincere, almost intimate – derived from the soft, “spoken” rhythm of most compositions. An artist leads his creative narrative to the rhythm of a home conversation – without raising his voice, avoiding sharp accents. A particular role in this is played by the knowledge of that which is the subject of the image. When a person believes in his own truth, he is not inclined to get short-tempered, even in a dispute. To learn and to understand that which you are depicting is a necessary condition for an image to have meaning. A slow movement from form to meaning is starting to appear in the art of our time. It is a difficult movement. Modern audiences are unaccustomed to meaning. The problem is that the absence of meaning leads to a degradation of feelings. The acquaintance with the art of Moscow artist Alena Dergiliova, artwork filled with feelings and meaning is a good reason to think about it. ©

by Russian Art & Paris

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Picture in the text:  “Apple tree” Etching. (21 x 15 cm)

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AD-2

“Palace of Denis Davydov” Etching. (37 x 30 cm)

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П.-М.-Третьяков-(39х49)-офорт,-1981-год

“Pavel Tretyakov” Etching. (39 x 49 cm)

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Усадьба-Аксакова-на-Сивцевом-Вражке-(28б5х21)2004--(1)

“Palace of Aksakov” Etching. (28 x 21 cm)

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ARTIST ALEKSANDR EGOROV,  (VLADIMIR)

DSC01209In the dynamically started twenty-first century, the transparent and soft lyricism of landscapes by Aleksandr Egorov may seem a little outdated and monotonous. The creativity of this artist is best associated with the aesthetics of the second half of the past century rather than the current century. Is this really it? Is it possible that over a few decades, our perception of landscape art has changed to such an extent that the artwork is devalued by its basic qualities? Or is it simply in style, in the habitual visual language? You can pose the question more broadly – is it possible in principle to have a situation where the artist “falls out” from the era in which he lives (we do not consider examples of deliberate falsification, when the artist forges the style of previous masters). In this sense, the question no longer seems straightforward and simple. Like any of us, the artist is a man of his own time. If he picks up a “signal ” that time has stopped, do not rush to blame the artist. It is possible that there is something is wrong with time.
•  The Russian landscape of the European part of the country is a very difficult genre. It covers plots that together form a portrait of Russia. To say something new or to find yet unknown features, is incredibly difficult. So much has already been done, that it can last for many kilometers of gallery space. Is there meaning in going back again and again to the well-known plots? Yes, there is. When the exhaustion of plot occurs, Зима-2artist begins work on more complex characteristic – intonation (artists often use the term “mood”, but it’s not the same. “Mood” is an emotionally-semantic content of the landscape motif. If there is no “mood” then there is no scenery). Thoughtful, precise intonation allows one to approach the most mysterious phenomenon in art – to capture the pulse of time.
•  The landscapes of Aleksandr Egorov are compositionally simple. At the core of each composition is a clear and thoughtful color rhythm (“Old Vladimir”, “Warm winter”, “Autumn evening”). The color harmony, bright and expressive, is original in every work. The tonal range is the main tool of the master. Particularly the masterful use of tonal structure allows to build a piercing intonation of the quickly vanishing winter day (“Winter in Vladimir”, “First snow”), to convey the twilight breath of moist snow (“Spring silence”) and the pre-dawn silence of a field (“Birth of the dawn”). The same compositional simplicity creates an atmosphere of openness to the viewer, an atmosphere of open dialogue between the artist and the viewer, the artwork and the human soul. What is this dialogue about? About life, of course. About the time that is before our eyes right now. About the time that we have been granted to live. In this dialogue, the emotions of the artist are restrained, he is showing the result – what he saw. And as a counterpoint in this dialogue is the sound of silence – the silence of fields, the silence of cathedrals, the silence of the sky, like a small artistic tale about a country fallen asleep in the snow. ©

by Russian Art & Paris

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Picture in the text:  “Winter”  Pastel on paper. (42 x 59 cm)

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Старый-Владимир

“Winter in Vladimir” Pastel on paper. (42 x 59 cm)

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Теплая-зима

“Warm winter” Pastel on paper. (42 x 59 cm)

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Первый-снег

“First snow” Pastel on paper. (42 x 59 cm)

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ARTIST MIKHAIL KOCHESHKOV,  (VLADIMIR)

MK-Port-1Graphics is the art of the very especial. Large art exhibitions arrange works by graphic artists in the farthest halls. Black and white image in most cases, small size, low-key plot – it is not considered to be for the mass audience. This may very well be the case, but then the natural question is, who is the viewer for graphic artists? Who is he and how is he different from the rest? The answer to this question should be logically found in the nature of graphic art, which is based on black and white constructions of compositions. Is the black and white model of the world around its simplification? From aesthetic perspectives – yes, definitely. However, art operates not only by form, but also by content. To be more specific – content that bears meaning. The record of content in the form of an abstract model – be it mathematics or philosophy – is familiar enough for us and does not raise thoughts about simplification. Abstract model reveals meaning. This in particular, and in many ways, is the focus of graphic art.
•  For the viewer, familiarity with the artist begins with a simple question – what is the artist interested in, in the first place. Looking at the works of Mikhail Kocheshkov, answering this question is not too difficult – existence as such. Let’s look at a small etching “Still life with a chair”. According to the genre characteristics, this is still life in an interior. Objects united in a freely fragmented composition are easily replaceable – their internal communication is not formalized. The point is not what these objects are designed for, but that they exist. The artist seeks an answer to the question: what does it mean to exists? What is existence? In the field of attention is not a special case of the life of a subject (what is the existent?), but rather a more fundamental In-the-fieldsquestion – what does it mean for the existent to exist? Notice the main intonation that literally permeates the entire composition. This intonation is surprise. Equally clearly, this motif sounds in the artist’s landscape works (“In the fields”, in the paintings “The Wall, lighted by the sun”, “Light autumn”). The eternal human thirst – to understand and comprehend existence as a whole, as a theme in art is rare. This topic is complicated due to the lack of an explicit and obvious object for an image. Therefore, it seems logical that the artist desires to transcend the limits of a formal plot, to avoid plot, to abandon plot completely. The rejection of one of the tools (plot), is compensated, and often successfully replaced, by active work with another tool – angle of vision: panorama, which Mikhail Kocheshkov uses masterfully, even in such an unexpected genre as interior still life (“In the studio”); fragmentation (“Sheds under snow”, “Suzdal motive”); low horizon, typical of monumental painting (“Murom”, “Summer clouds”). An unexpected viewpoint, as in a new, unfamiliar glance at the space in which existence takes place – is the plot of many works.
•  Society persistently reduces the role of the artist to a “decorator” of interiors. This is how it always has been and our time is no exception. The slogan – “make beauty for us” is formulated by a crowd, but the artist fits poorly into a crowd. He has different life-space. In the life-space of artist Mikhail Kocheshkov, there is more existence than objects. For the understanding of objects, mankind has accumulated a huge toolkit – from the microscope to the Mars rover. For the comprehension of existence, there are no instruments other than those given to each of us by God. In this sense, the artist Mikhail Kocheshkov and viewers of his artworks are in equal conditions. Most of the work of the artist – to see, feel, understand – is available to every viewer. The only difference is that the artist spends much more time on this. Usually an entire lifetime. ©

by Russian Art & Paris

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Picture in the text:  “In the fields”  Pencil on paper. (42 x 65 cm)

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Still-life-with-a-chair

“Still life with a chair”  Etching. (21 x 17 cm)

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Land

“The land”  Etching. (19 x 54 cm)

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Still-life-with-white-drapery

“Still life with a white drapery”  Etching. (24 x 19 cm)

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ARTIST MIKHAIL SHMYROV,  (BRYANSK)

MS-Port-1Bryansk’ painter Mikhail Shmyrov, working much and successfully in all the major genres of painting, is quite a versatile artist. The portrait and landscape, thematic painting and still life – in each of these genres Mikhail Shmyrov can demonstrate to the viewer first-class artworks. How can such a wide range of interests be explained? What creative persona is behind such a long list of plots? And finally, the main question – what is the central link connecting the creative work of this artist into a coherent whole? Any artist perceives the surrounding world as an aesthetic space, subordinate to the laws of inner harmony. Dostoevsky’s famous statement – “Beauty will save the world” can be interpreted as a call for artists to reveal and portray this beauty. In other words, to make the inner harmony tangible and visible. A discussion of the artwork of Mikhail Shmyrov – is primarily a talk about the subtlest art of color harmony, exactly that which is the most difficult to explain in words. The color, color scale, color melody – are sensual categories intractable by language formulas and mathematical symbols. How can this mysterious space be entered by a spectator, and is there a door through which you can get there? There is, apparently, and it is called – painting.
•  Soft, devoid of aggressive color contrasts, color scheme; flawless tonal design of the composition; clear, particular graphically-defined relationships of large color стог-сена-40х45-2005г.masses – are the main features of artworks by Mikhail Shmyrov. The color integrity of artistic space largely determines the restrained emotional scale – it attains the mood of concentration, reflection, silence. An interesting effect arises – the artwork almost distances itself from the casual viewer, protecting the emotional field created on canvas. Such distancing being characteristic of self-contained artworks that are closed within themselves with a high degree of accuracy indicates the presence of a work of fine art. A true work of art is often tacit. Its aura – is the aura of pulling the viewer into the pictorial space, as opposed to pop art, in which the energy is directed outward from the picture’s plane into the surrounding world. Another characteristic trait of the creative work of Mikhail Shmyrov – the subordination of the plot and mood, their interpenetration, testifies its belonging to real fine art, its authenticity.
•  Valuable characteristics of artwork, which any art collectors so love and which not always obvious in fine art, are determined by two poles – the scope of the artist’s talent and the scope of the artist’s personality. These two poles are always present in each creative artwork and are realized in a generalized form by picture’s artistic idea. The significance of the artistic idea – is a key parameter of artwork. If the main theme of the paintings of Mikhail Shmyrov can be described as a conflict of time and eternity, the artistic ideas, being derived from the topic, reveal to us the artist’s understanding of it. The flow of time – life, the understanding of its forms through color, rhythm, dynamics of three-dimensional space, is the essence and content of the artistic images of Mikhail Shmyrov. These images are subjective as any reality is subjective, but precisely because of this – they are authentic, certain and accurate. ©

by Russian Art & Paris

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Picture in the text:  “Haystack”  Oil on canvas. (40 x 45 cm)

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Введенская-церковь-50х40,2004г.

“Vvedenskaya church”  Oil on canvas. (50 x 40 cm)

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Начало-осени.Река-Снежка-50х55,2008

“The beginning of autumn. Snezshka river”  Oil on canvas. (50 x 55 cm)

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Снегирь.-х.м.-70х74.-2007-г.

“Bullfinch”  Oil on canvas. (70 x 74 cm)

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ATTENTION RUSSIAN ART & PARIS READERS:

Our next publication – “Art Expo New York 2014″ – will be online on April 10st.

Evening in Paris.

Evening is the most important part of day in Paris and without a doubt, the most beautiful part of it. It is difficult to spend the whole evening at home in this city. Don’t even try…

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1.  The Louvre.

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2.  Saint-Germain of Auxerrois Church.

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3.  Notre Dame Cathedral.

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4.  The Latin Quarter. The Sorbonne.

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5.  The Boulevard Saint-Michel.

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6.  The Boulevard Saint-Germain.

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7.  Place Vendôme.

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8.  Rue de l’Échelle.

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9.  Avenue de l’Opera.

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10.  Hotel du Louvre.

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_DSC0618 11.  Place Colette.

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12.  Rue Saint-Honore.

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13.  …number five until midnight…

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14.  Rue Saint-Honore. A street cafe.

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15. The tea room of “Cafés Verlet”.

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16.  Rue Royale.

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17.  Rue Saint-Honore. The entrance gate of the Elysée Palace.

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18.  The entrance gate of the Elysée Palace seen from Rue de Miromesnil.

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19.  The Eiffel Tower at night.

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2014. Happy New Year!

Dear readers of the journal “Russian Art & Paris”, we thank you for your everyday presence, for your letters and your thoughtful comments. We sincerely wish you and your family success and happiness in 2014!

Happy New Year!

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“RUSSIAN ART & PARIS”. STATISTICAL TABLE OF VIEWS.

PA&P-STATS-1-2014

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