Artist Aleksandr Fayvisovich, (New York)

THE EXHIBITOR OF THE SALON “ART CAPITAL” 2012 – 2015
THE EXHIBITOR OF THE “ARTEXPO” NEW YORK 2010 – 2014

AF-Por-2-9 smallI’m actually interested by the person in the space of the day – the only space that he controls. Where moment by moment, our entire life eventually passes by. The moment, is an instant to be taken as part of the event, as an episode. This is incorrect. In the art of figurative painting, every moment which is expressed through a gesture is the event. Understanding the gesture as the central accenting phase of movement of the entire figure, not just a separate part of the body, objectively leads to an unexpected conclusion: any non-rhythmic movement is a gesture, because any single non-rhythmic movement carries inside itself a definite thought.

The construction of a movement in the two-dimensional space of a canvas is first of all a transfer of the meaning of the motion. If this is successful, then a key component of fine art arises: the artistic idea. I like the thesis by G.Gadamer – “creating art brings forth the truth of the things”. The truth, intuitively perceived by the author, can be conveyed to the audience only in the form of the artistic idea of two-dimensional space. The occurrence of the main artistic idea, is a phenomenon of the new and unknown truth.
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Aleksandr Fayvisovich for the readers of the ”Russian Art & Paris”.

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“The artist is the intermediary between the people and their subconscious,
and therefore must be a clairvoyant and a good psychologist.”

Rostislav Barto

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An insightful remark, taken as an epigraph, comes to mind when meeting the artworks of Aleksandr Fayvisovich, a Russian artist now living in New York City. This is not just about his portrait compositions, both painting and graphic, but also about the paintings of pure landscape or landscape-like genres. This feeling comes from the emotional tone of his work, the slow release of the feelings and senses contained in the works. The state of somewhat detached thoughtfulness, the unsteady associations born by them, and a special philosophy of artistic vision, become the main content.
•  Aleksandr Fayvisovich is a master of traditional style, and a thoroughly modern artist by nature of perception and feeling. He stands firmly on the positions of figurative art, perhaps with rare exceptions, not focusing much on objectivity and transforming natural impressions quite easily. Objective things, without losing their authenticity, are imbued with the subjective. The figurative-narrative beginnings in his works are noticeably weakened. They do not so much tell about something, as they evoke certain feelings, create a mood.
•  Even in purely, at first glance, practice drawings of the artist in the series of “Movement”, “Dynamic pause”, “Study of Rodin,” there is a certain distancing from an academic problem, from demonstration of his professional acumen. Yet somehow completely unintentionally there still arises a palpable emotional weight.
•  This is revealed in the series of sketches “The Glance”, in the graphic self-portrait, and especially in the series of drawings “September 11”. The personal differences and the involuntary commonness of a reaction, unified by the unseen tragedy: a feeling of being dazed, deep shock, and inescapable horror of the very possibility of such an atrocity, are all conveyed very convincingly. In runaway outlines of dry sepia, the perception by each of the diverse people of the monstrous atrocity, done right before their eye, is sensitively caught. Sharp observations appears in the masterful interpretation of guises. Facial nuances, characterizing the experiences of some particular individual, are caught by the artist’s tenacious gaze.
• Though it may seem strange, in the paintings of this master to a greater extent than in his sketches, our perception is directed from the depicted to the depicting. The landscape or genre motives are not as amusing on their own, as their pictorial interpretation by the artist, his comprehension of their emotional and imaginative nature, and the thoughts and feelings aroused by them in creative imagination. Subjective vision chooses or transforms an object of observation with heightened sensitivity to the hidden possibilities in it. This is akin to the lyrical rather than the epic literary genres.
•  It is interesting and significant that such a mature and experienced painter as Aleksandr Fayvisovich consistently gives himself highly diverse professional tasks, as if the period of attaining mastery remains for him for life. This suggests an extreme strictness of a talented Night etude. Gesture (1)-RA&Partist for whom the problems of painting mastery are still as relevant and important as in the years of student youth. His artistic etudes and paintings with a semi-nude and a nude model – evening, night or early morning – are marked by heightened attention to the found authenticity of postures, gestures, facial expressions, character of the lighting of the figures, and the color and compositional decisions of each canvas.
•  The culture of color perception developed by him is quite high. But when observing in the painting “Winter Light” the naked girl’s torso, immersed in the conventional luminous space flowing around it, there arises a great sense of unerring coloristic harmony and accurately-guessed compositional decision. The noticeable shift to the right from the center of the canvas, breaking the familiar symmetry, gives the image of unexpected poignancy. The artist avoids accentuated physicality here, but within the fragility and semi-illusory of his painting, there spontaneously arises a hidden sense of delicate and chaste eroticism.
•  Examples of honed artistic mastery and emotional fullness, like an accidentally noticed motif, July 3-RA&Pcould be such works by Aleksandr Fayvisovich as “July” and “Quiet island”. Maintaining the appearance of full-scale improvisation, his deliberate understatement, the intensity of the lyrical experience of each of them, organized by the creative will of the master, is raised to the level of philosophical-meditative paintings. The poetic motif in them is much wider than the external artistic scene.
•  The treasure of the everyday joys of life and serene peace became the lyrical overtones of these paintings, written as if impromptu, but very far from thoughtless etudes. Everything in them is subordinated to the infallible color scheme, to the carefully calibrated color-sound of each element of the composition, subordinated to the planned out sense of wholeness. These are seemingly low-key, not especially remarkable motifs. But seen as if with “washed” eyes, they are very fresh and uncommon. The gentle touches of a freely drawing brush, the triumphant glow of transparent-bright colors are the secret charm of these enchanting paintings. This is his “July.”
•  The spontaneous character of execution here is only seeming. This impression is created by the live rhythm of the visual storytelling and the artistic ease of painting. In general, such paintings that are sketch-like by their external visibility, are inherent to internal picturesqueness. There is no brash outburst of initial emotional experiences. They speak not so much of a fleeting moment, what is seen by chance, as about the quiet joy of existence, captured in it.
•  The artistic reflection and the implicit philosophy of artist’s works, is perhaps even more evident in the painting “Quiet island”. The profile image of a young woman, frozen in a slightly detached reverie, a soft glow of the generally depicted background, the water surface with reflections of a cloudy sky, near and far shore, a light and air state melting together all forms, is the entire artistic “plot” of the painting. How could it be said in a word, the state of meditative immersion, the experience of simple and eternal values of existence? How could it be conveyed, the music so correctly guessed by the artist, of the seemingly simple motif? In the artistic incarnation of the inexplicable, painting has clear advantages over literature.
•  Deliberate understatement is inherent to the creative method of the master, opening many interpretations, allowing anyone to immerse themselves into the space of the image. As if right before our eyes, there manifests a spontaneous transition of direct experiences into the plan of spiritual and contemplative reflections. This painting is for prolonged viewing; its figurative information opens not at first sight, but requires a patient understanding, penetrating comprehension.
•  Aleksandr Fayvisovich is a naturally original artist, but is devoid of the distinctive deliberate strangeness of uniqueness. The distinctive character of his visual thinking is the unobtrusiveness of the author’s imaginative ideas, suggesting the “work of the picture in the viewer” (K.Petrov-Vodkin). The process of associative refraction of the visible moves along the course of our perception of his paintings, watercolors, and drawings, thanks to the intuitive attainment of emotionally meaningful aspiration of the author’s will. Opened by a wide variety of quests, he easily retains artistic originality, the ability to remain himself on paths of modern visual art.  (This article is an excerpt. The full version of the article is available at the artist’s personal website – click the button “Artist’s website” below).

by Efim Vodonos,
Honored Artist of the Russian Federation,
Director of the Russian art department of the Saratov State Art Museum
named after A.Radischev.

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Pictures in the text (from above):Website 4 (RAP)
“Night etude. Gesture” Oil on canvas. (61 x 61 cm);
“July” Oil on canvas(76 x 76 cm)

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Winter-2

“Winter”  Acrylic on board. (61 x 96 cm)

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THE SKETCH-BORDERING
For connoisseurs of art that is authentic and genuine, the paintings and drawings by the artist Aleksandr Fayvisovich will seem familiar and close. Here the female imagery is close to the symbolic aesthetics, landscapes are generated by the moist air of impressionism, and very penetrating portraits that revive the spirit of Viennese artists of “Secession”. And yet, this art is deeply individual and consists of modern impressions of the artist, most likely drawn from the warm and vital reality than the world of the past.
•  It is very tempting to consider the creative work of Fayvisovich in the context of the ideas of Gesamtkunstwerk (“The combined work of art”). This massive direction was generated in the middle of the 19th century by Richard Wagner in an effort to unite all the arts into one synthesis under the beginning of music. As is known, great ideas are more easily implemented in a small scale. This explains the special predisposition of Fayvisovich towards graphic techniques. Moreover, the main form of creative vision of the artist can be called the etude. A graphic or pictorial sketch declares itself as a complete form of seeing and an inquisitive understanding of the world, being the essence of the artistic method of a master.
•  Particularly interesting is the convergence of the frameworks of sculptural and graphic searches in a series of artworks devoted to the theme of Rodin (“A Study of Rodin”). Here Fayvisovich shows the sculptural foundation of a pencil or charcoal sketch, in the emphasized structured approach to the human body.  Often his sketches resemble texts requiring attentive reading, a travel on the fractures of separate gestures. In front of us is not a sticky modeling, 
but a carving of an image, by clear and lively expressive lines.
•  Such an “extraction” of the image from the air of the fine web of art graphics, somewhat resembles drawings of M.Vrubel, who built his pictures by cutting forms, removing unnecessary slag, external details. In the creative works of Fayvisovich before us, from the flow of light on a blank sheet of paper emerges the future character.
•  Drawings under the name “Movement” are an analysis of the living form, based on the findings of Rodin and Hodler, with their search for a new, beautiful person in a natural environment, and also of the experience of soul-searching by masters of the Vienna “Secession.” In essence, the goal remains the same – to find visual possibilities in the transmission of the psychological state of the person. Rejecting the exterior styling, this searches rushed deep into the spiritual world of models. The results of such searches can lead to turmoil. Portraits of the graphic series “September 11” are proof of this. Before us there is a series of faces, outlined by sharp lines, as if the cardiograms of fates, snatched by a pencil drawing from the overall pulse of the tragedy.
•  Perhaps the main virtue of the master’s paintings is the originality of his artistic ideas. Aleksandr Fayvisovich demonstrates absolute command over the modeling of forms with the aid of color spots. It is certainly no secret that impressionists, and later Paul Cezanne, became the foundation for the entire modern school of painting. Fascination over them existed throughout the history of visual art in many stages. However, Fayvisovich’s impressionism vision and constructive color spot of Cezanne, is not a tribute to fashion and tradition but a path towards discovering new facets of live reality. His art remembers and knows too much to be simply a direct reproduction of a primary source.
•  The artist is extremely attentive to the problem of contact between form and content. His best artworks reveal a successful synthesis of these components. Thus, the “Cherry” is a amazingly open, unbuttoned glance at the entrancing world, reflected in the choice of the centrifugal, outward-unfolded composition. This still life is made in a form that is rare for the master, easel painting. In an effort to capture the freshness of the experience, he again and again returns to the form of pictorial sketches, with open textures, fluid lines and playful dynamics of color spots. The winningly poignant painting “Quiet island”, is a synthesis of portrait and panoramic landscape with clear simplicity of the chosen resources and emotional purity.
•  According to the artist, the form of a painting is a responsible choice. It “requires not only the non-trivial solutions of the composite, but also new subjects of “its own”. The artistic truth which so difficultly arises on the canvas, can only appear within emotionally motivated visual constructions. Ignoring these conditions leads to the profanation of the picture itself. This is exactly what occurred on a massive scale in Soviet visual art”.
•  However, the most warm, intimate themes are addressed by the master in series of etudes. Thus, for the nocturnes “Full Moon” and “Night Etude. Gesture”  the artist chose a rather complicated for plots in the genre of “nude”, form of pictorial sketch. By releasing the naked body from the clutches of clothes, dressing it in light and nature. The eroticism and sophistication of these themes, is woven from simplicity and is appealing by the naturalness of the whole.
•  Despite the sketch orientation, the eye does not want to break away from the works of Aleksandr Fayvisovich. All of them are part of one great theme, each time solved by the master in scattering of variations. The artist seems to invite the viewer to “reread” them again and again, capturing with the fleeting depiction, the multiple meanings of the content. The reason is the special gift of the master to be receptive to the synthesis of the arts, a synthesis based on the great tradition of modernism.

by Nadezhda Chamina,  Ph.D. in Art History
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Pictures in the text (from above):
“The Septemder 11” Pencil on paper. (40 x 30 cm); “Movement. Study 1” Pencil on paper (51 x 36 cm); “Movement. Study 3” Pencil on paper. (51 x 36 cm); “The glance” Watercolor on paper, (51 x 36 cm).

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“Quiet island”   Oil on Canvas. (61 x 76 cm)

The painting “Quiet Island“, reveals yet another facet of the artist’s talent. Post-Impressionist in style and reminiscent in many respects of Cezanne’s style, in a few broad, rapid strokes of contrasting colors, Fayvisovich takes us back to the beauty and tranquility of nature. In his use of bright, contrasting colors in figure painting, Fayvisovich emphasizes expression, emotion, mood and state of being. …Reflecting versatility and talent, Aleksandr Fayvisovich’s paintings are a Post-Impressionist tour de force“.

Claudia Moscovici,  Ph.D. in Comparative Literature, writer, art critic.

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In contemporary art, with its characteristic variety of styles, the creative work of many artists is focused on finding new art forms that are adequate for our time. In the artworks of Aleksandr Fayvisovich, these searches can be seen clearly and distinctly. His understanding of pictorial composition, with an emphasis on the development a color theme, retains the basic features of classical paintings. Simultaneously with this, the style of the artwork emphasizes their sketch-like, living nature. The carefully though out snapshot of reality becomes the basis of the art image, determining the validity and familiarity of the plot. The coloring of the picture is developed around a central color theme – the theme of a silver-blue moonlit night, or a bright yellow, sunny July afternoon. The combination of a classic compositional construction and a light, laid-back manner of an image in the style a sketch, is a distinctive feature of many works by this artist. Interest towards everyday reality, towards genuine human emotions continues the tradition of European art of the first half of the twentieth century. Real modern people, not just some stylized conventional schemes, as the foremost plot of figurative painting, returns to viewers in the paintings of many contemporary artists.

American Art Collector Magazine # 84
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Snowfall--1-Web

“Snowfall”  Oil on Canvas. (92 x 92 cm)
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Aleksandr Fayvisovich was born (1955) and raised in Moscow. He went through the traditional stages of artistic education in Russia. During the years of training in art school the advice from Nikolai K. Solomin Senior (1916-1999), a bright representative of the classical realistic art, was of great importance; the master stood apart from the formal teaching, but influenced many contemporary Russian artists. Aleksandr graduated from the Moscow State Academic Art College in Memory of 1905, where he studied under Victor Slatinsky (currently professor V. Slatinsky is dean of Faculty of Painting of the Moscow Art Institute named after V.Surikov, Russian Academy of Arts) and Yuri Sedov (1979). Upon moving to New York City in the 1990’s, he continued his professional development at the Fashion Institute of Technology. After years of simultaneous work in book design, illustration, and painting, he concentrated on a full-time career in fine art.
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EXHIBITIONS

A.F.-Logo-1-2Painting by Aleksandr Fayvisovich in the exhibition of the Salon “Art Capital” 2015, (Paris).

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A.F.-Logo-1Painting by Aleksandr Fayvisovich in the exhibition of the Salon “Art en Capital” 2014, (Paris).

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Painting by Aleksandr Fayvisovich in the exhibition of the Salon “Art en Capital” 2013, (Paris).

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Painting by Aleksandr Fayvisovich in the exhibition of ArtExpo New York 2013,  (New York).

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Painting by Aleksandr Fayvisovich in the exhibition of the Salon “Art en Capital” 2012, (Paris).

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Painting by Aleksandr Fayvisovich in the exhibition of ArtExpo New York 2012,  (New York).

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    • Qwerty
    • September 17th, 2012

    This pictures impressed me very much, but i don’t like pale colours. I prefer a strict lines and articulate forms)).

    • Rosey Rhianna
    • September 30th, 2012

    I like your site, jealous much!!!

    • Grady Gingrich
    • October 23rd, 2012

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    • сигнал охотника
    • July 15th, 2013

    Thanks.
    Интересно, и вообще полезный у Вас блог

    • временная регистрация в москве рф
    • July 20th, 2013

    Радует, что ваш блог постоянно развивается. Такие посты только прибавляют популярности.

    migratio98@gmail.com

  1. September 30th, 2012
    Trackback from : Chamina

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