Archive for the ‘ ARTISTS ’ Category

The exhibition of the artist Oleg Tselkov.

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The exhibition of the artist Rinat Sharafutdinov

IN QUEST OF THE ETERNAL HARMONY

«A piece of art is a spot of the universe seen through the prism of the unique temperament» Émile Zola

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Rinat Sharafutdinov is a gifted and extraordinary artist with his own artistic system of coordinates and a singular frame of vision, reflection and feeling based on «the meditation in colors». On his canvases he calculates everything to the millimeter: the expressiveness of lines and forms, the arrangement of space through color, the subtle interaction of all pictorial elements as a unique and independent entity. His creative assets are indicative of a wide range of the artistic palette – pictorial art, graphic art and monumental-decorative art.
In the pictorial art domain the painter is prolific in the genres of landscape, still life, portrait and narrative paintings. While expanding the borders of the traditional chamber genres, he creates his own pictorial space where the color and form appear as the absolute aesthetic category and the artist reveals his unique image-bearing world in its full diversity. The characteristic feature of his pictorial temperament is the contemplation of the world. Through the vanity of everyday life the artist can carefully scrutinize the details of his environment. During his plain air sessions he enjoys drawing sketches that bear «the stamp of excessive excitement», and sometimes supply preliminary material for creating serious, large-format works. This is where the author achieves the intensity of his first feelings. Admiring the mundane beauty, the diversity of natural forms, he takes time to transfer his impressions onto the canvas, filling the pictorial space with his philosophic attitude to life and his apprehension of its transient nature as compared to the eternity of the mundane existence.
The master’s logic is based not only on the rigid adherence to the artistic principles but also on incorporating his creative imagination into the process of painting. His landscapes are absolutely reasonable with their village cottages, domestic animals, groups of agricultural workers, holiday makers, females bathing in the river, painters with easels («Evening. Verhneuralsk suburbs», 2012; «Warm autumn», 2013; «View of the Svyato-Nikolsky cathedral» 2015, and others). The subtlety of the poetic intonation is inspired by simple details of everyday routine and this narrative manner has a charm of its own. The artist resorts to this paraphernalia in order to fully express the harmony of being, and the subtle coloring provokes certain emotions in the viewers. All this enhances the impression of the universal and monumental nature of his paintings. The pastorale of many narrative motifs makes the impression that the artist lives under a different sky, perceives the world through different eyes, and therefore creates paintings unparalleled in their emotional impact and beauty and therefore turns the dream of «the life steam of happiness» into pictorial reality.
The continuous devotion of the master to landscape is not accidental as the possibility of self-expression in this genre is high. Depending on the emotional dominant the pictorial language and the coloring texture there appears an explicit sculptural brush stroke accumulating the energy of motion, bold dynamic rhythms, the expression of the local color. Natural forms turn into expressive volumes of mundane matter and literally through several brush strokes there appears the effect of a sun ray breaking through the clouds, the foliage trembling in the wind, the extravaganza of light and shadow. «Clouds», 2014; «Rain over the mountain», 2015; «Rainbow», 2016 and others). The author can impart a new content into the chosen motif that reflects his «inner ego». The secret of this «newness» is in his attitude to the natural form as a constantly changing reality, in his aspiration to alter the visual perception through his own pictorial feeling.
City landscape, warm and light, occupies a prominent place in the artist’s work. These nooks of the old city with resident-friendly architecture are peaceful and comfortable. The compositions imply the imperative development of a certain plot line – the lovers’ meeting, the anticipation of a meeting with a bouquet of flowers, walking a dog («The Provinces», 2006; «Magnitogorsk. Old yard», 2015; «Lilac in blossom», 2015; «Winter evening in the city 2015, and others). Within the framework of the city landscape genre there are works whose space is adjusted to different laws of compositional construction. The author focuses on the geometry of color contrasts, rhythm and the conventionality of architectural forms: textural planes of the walls, luminous quadrangles of the windows. But even this essential city structure suggests the mandatory presence of a human being as a certain countdown point in the apprehension of the author’s concept. (Diptych: «Outskirts», «Walking the doggie». 2016).
The author is continuing his work in the decorative stylization domain, seeking the expressive and laconic form in the still-life genre. In order to achieve plastic clarity the author transforms the world of outward things turning it into a picturesque entity that is governed by the color and linear rhythms of the composition, living the life of harmony and beauty. («Blue room», 2008; «Bouquet for ballerina», 2015 and others).
His talent is most vividly manifest in creating complex and interesting compositions in the monumental art. One of the most impressive works in the Southern Urals is an enormous size mosaics «Motion» on the façade of the Ice palace. The artist managed to accurately express rhythm and plastic dynamics. It became areal embellishment of the city. One of the recent works is the wall painting «Theatre» in the interior of the restaurant «Our all». It is a multi-figure composition in the interior of the auditorium with fancy dress characters of the second part of the nineteenth century (over 160 portraits of most prominent public figures in the city including the portrait of the author himself).
Considering a wide range of interests the development of the master’s creative evolution is not devoid of integrity and depth. The spot of the universe created in its overwhelming diversity, «seen through the prism of the artist’s temperament» is really abundant in emotions and distinguished by the sincerity of feelings and the original perception of the beauty of the world.

by Marina ABRAMOVA,
The chief curator of the Magnitogorsk City Gallery, art critic,
member of the Union of Artists of the Russian Federation.

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R.S.-301.  The exhibition of the artist Rinat Sharafutdinov

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2.  The exhibition hall.

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3.  The exhibition hall. The vernissage.

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4.  The exhibition hall. Artist Rinat Sharafutdinov.

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5.  The exhibition hall.

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6.  The exhibition hall.

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7.  The exhibition hall.

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8.  The exhibition hall.

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9.  The exhibition hall.

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10.  The exhibition hall. Diana is in front of “Diana” painting.

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11.  The exhibition hall. Artist Rinat Sharafutdinov.

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R.S.-1112. Coast. The Raging Moon”.  Oil on Canvas.   (70 x 80 cm)

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R.S.-1213.  “Fields”.  Oil on Canvas.   (70 x 80 cm)

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R.S.-1314.  “The lost river”.  Oil on Canvas.   (70 x 80 cm)

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R.S.-1415.  Rain by the mountain”.  Oil on Canvas.   (70 x 80 cm)

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R.S.-1516.  Fire of autumn”.  Oil on Canvas.   (70 x 80 cm)

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R.S.-1617.  Outskirts. City”.  Oil on Canvas.   (57 x 65 cm)

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R.S.-2218.  Walking with a dog”.  Oil on Canvas.   (57 x 65 cm)

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R.S.-1719.  Diana. Portrait of the daughter with a bow”.   Oil on Canvas.   (48 x 43 cm)

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R.S.-1820.  Magnitogorsk. Old courtyard“.  Oil on Canvas.   (73 x 92 cm)

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R.S.-1921.  Girl with dachshund”.  Oil on Canvas.   (62 x 96 cm)

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R.S.-2022.  City on a winter evening”.  Oil on Canvas.   (73 x 92 cm)

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R.S.-2123.  Cherries in a green vase”.  Oil on Canvas.   (63 x 96 cm)

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R.S.-3224.  The exhibition hall.

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R.S.-2425.  “Rest.  Pastel on paper.  (70 x 100 cm)

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R.S.-2326.  Girlfriends”.  Pastel on paper.  (100 x 70 cm)

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R.S.-2527.  Eugene”.   Pastel on paper.  (70 x 100 cm)

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R.S.-2728.  “Theater.  Wall painting.

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R.S.-2829.  “Enchanted hunters”.  Wall painting.

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R.S.-2630.  Motion”.  Mosaic portal of the Ice Sport Palace.

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R.S.-2931.  Artist Rinat Sharafutdinov.

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Gallery B-2Russian B-2
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The exhibition of Evgeni Yali – 70th anniversary

The exhibition of artworks by the well-known Saratov artist Eugeni Yali is a retrospective of his works and was devoted to the 70th anniversary of the master. More than 50 paintings of the author from the 1970 – 2010s are presented in the halls of the Saratov State Art Museum named after A.Radischev. Most of the works belong to private collections in Russia and abroad, and the rest are the artist’s property.

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Eugeni Yali one of the most talented Saratov landscape painters, whose work is well known far beyond Russia. The artwork of Yali is holistic and consistent. Its evolution moved in only one direction. He easily accomplished the uninhibited spontaneity of the perception of motive and the recreation of it on canvas, the unerring sense of proportion, the innate taste – all that is called artistic creative thinking. The main features of his artistic legacy were rightly determined by the exigently severe critic A. Arbitman: “The value of his art is not in the power of voice, but the clarity of the sound.” This perhaps cannot be said more succinctly or accurately.

Eugeni Yali is a pure landscape painter, a master of contemplative lyrical paintings. The emotional role of the restrained and calibrated color scheme is always great in his works, but particularly the linear-rhythmic beginning becomes the most important within the system of means of expression. At the core of his method is a direct contact with nature and a complex mediation of its transmission within a picture. We should not praise Yali for the faithfulness of nature or scold him for the excessive subjectivity of her perception: it is the combination of these principles that creates the unique originality of his art. The artist has always sought to identify the dominant tone and its corresponding rhythmic structure of landscape, and to capture its inner, sometimes deeply hidden, melody. He makes the structure of a few objects more rhythmic, without disrupting the balanced harmony of composition of the overall work. His persistent search for patterns, both rhythmic and melodic, exists in fundamental opposition to the landscape-etude that dominates today.

The perception of Yali’s art requires a certain culture of vision, and an overall aesthetic education. The understatement of his paintings predispose the viewer to an active co-creation, to rebounding figurative associations. But the character and direction of these incoming associations is programmed from the start with the structure of his best landscape paintings. This contains the undeniable organic nature of his artworks, which, hopefully, deserve the destiny of long life.

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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e-y-70ex-21. The Saratov State Art Museum named after A.Radischev.

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2. The Saratov State Art Museum named after A.Radischev. The exhibition ad.

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3. The vernissage.

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4. The vernissage. Artist Evgeni Yali (the second from right).

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5. The exhibition hall.

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6. Artist Evgeni Yali.

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7. The first viewers.

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8. The exhibition hall.

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9. The exhibition hall.

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10. The exhibition hall.

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11. “The village in the woods”   Oil on Canvas.   (60 x 80 cm)

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12. “Saratovka”   Oil on Canvas.   (40 x 60 cm)

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13. “The magpie is gone”   Oil on Canvas.  (100 x 70 cm)

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14. “Volga duct”   Oil on Cardboard.  (40 x 40 cm)

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15. “October”   Oil on Canvas.  (40 x 50 cm)

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17. “Night at May”   Oil on Canvas.  (60 x 80 cm)

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18. “The evening at Volga river”   Oil on Cardboard.  (42 x 60 cm)

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19. “Cremea”   Oil on Canvas.  (45 x 56 cm)

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20.  “Academic resort”   Oil on Cardboard.  (36 x 42 cm)

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21. “The bush”   Oil on Canvas.  (45 x 65 cm)

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22. “Deserted village”   Oil on Canvas.  (30 x 45 cm)

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23. “Spring”   Oil on Cardboard.  (34 x 47 cm)

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24. “The tree in the steppe”   Oil on Canvas.  (90 x 60 cm)

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25. “…”   Oil on Board.  (30 x 40 cm)

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26. The exhibition hall.

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27. The exhibition catalog.

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28. The Saratov State Art Museum named after A.Radischev.

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Photographers:

Irina Vetchinkina, department for the development of of the Saratov State Art Museum
named after A.Radischev.

Olga Bakutkina, journalist

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Russian B-2 Gallery B-2

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The Salon “Art Capital” 2015, (Paris)

THE EXHIBITION OF THE SALON “ART CAPITAL” 2015

Salon-2015-1-4Under the glass roof of the Grand Palais, Art Capital brings together more than two thousand French and foreign artists, emerging or established, exhibiting paintings, sculptures, drawings, photographs, and other artwork, making Paris the heart of contemporary creation through the federation of several renowned salons, which emphasize their differences to better complement each other. A true incubator of new talent, Art Capital is also the scene of privileged exchanges between all actors in the world of contemporary art. Art Capital wants to be open, free, united and didactic.
The show brings together more than 40 000 visitors each year and is established for ten years as a major event of the French art scene. This year’s four iconic lounges offer all visitors, be they actors of the art world, gallery owners, collectors, professionals or the public, a course in contemporary art. They also offer a meeting with artists and their creations.
At the Salon des Artistes Independants, we discover the work of independent artists, who are not represented by galleries. The Salon of Drawing and Watercolor exhibits several foreign delegations which present their works, publicize their work and cause exciting exchanges between painters and sculptors: Belarus, Japan, Korea, Spain, Sweden, China and Canada. For their part, the Comparison Salon highlights 28 groups corresponding to just as many sensibilities and tendencies in contemporary art. The public appreciates these styles, techniques and procedures. The Society of French Artists, open to all French and foreign artists, regularly admits over 650 international artists that are reviewed by a jury which awards medals and private prizes.

In short, there is more than enough reason to meet with artists and discover their work!

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Once again the Nave of the Grand Palais is to host “Art Capital’. For 6 days, you can discover the work of 2,500 artists (painters, sculptors, photographers, architects, engravers and so on…) at this great art fair. Open to the general public since 2006, the fair brings together artists from all different backgrounds and has become a reference point for the promotion of the current art scene. Art Capital strengthens links between the general public, the artists and the galleries.
Many different fairs are held as part of this event, including the Drawing and Water Painting Fair which presents works in pastel, charcoal, pencil, watercolour and even silk paper sculptures. The annual Independent Artists’ Fair is a showcase for contemporary art. Also present is the Society of French Artists which will be celebrating its 226th edition this year. They will be presenting a historic exhibition, created by Colbert in the 17th century. The society has presented remarkable works such as the Statue of Liberty by Bartholdi. Art Capital is a key event in the art world this autumn.

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Salon-2015-2-21.  A long queue to the entrance in rainy day of the vernissage.

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Salon-2015-3-22.  The entrance to the exhibition hall.

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Salon-2015-4-23.  The first viewers – 2015.

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Salon-2015-54.  The exhibition hall.

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Salon-2015-65.  “Exode”. Sculptor Myriam Sitbon Mendel, (France).

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Salon-2015-76.  “Le Corbusier”. Sculptor Andrey Tyrtyshnikov, (Russia).

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Salon-2015-907.  Society of French Artists celebrating its 226th Salon.

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Salon-2015-98.  In the begining of the exposition.

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Salon-2015-109.  First discussions.

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Salon-2015-1110.  The first impression from exhibition

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Salon-2015-1211.  Sculptor Olga Markova, (Russia).

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Salon-2015-1312. Sculptor Jacques Coquillay, (France).

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Salon-2015-1513.  Contemporary art.

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Salon-2015-7714.  The viewers.

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Salon-2015-1715. Painting by Remi Planche, (France).

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Salon-2015-1816.  Painting by Perrone,

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Salon-2015-19-217.  Painting by Yoshiaki Tsu Tsui, (Japan).

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Salon-2015-14-218.  Sculptor Sylvie Falconnier, (France).

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Salon-2015-2019.  Painting by Reiko Okanda, (Japan).

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Salon-2015-2120.  Painting by Pierre Murillo, (France).

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Salon-2015-2221.  Painting by Alexandra Rouard, (France).

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Salon-2015-2322.   Sculptor …

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Salon-2015-2423.  Painting by Bong Hee Kim, (South Korea).

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Salon-2015-2524.  Painting by Alexandra da Fonseca, (France).

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Salon-2015-2625.  Painting by Emi Hirai, (Japan).

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Salon-2015-2726. Sculptor …

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Salon-2015-2927.  Painting by Anastasia Vostrezova, (Russia).

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Salon-2015-2828.  Painting by Antoine Vincent, (France).

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Salon-2015-3029.  Painting by Kathleen Brodeur, (USA).

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Salon-2015-3130.  Sculptor Bruno Madelaine, (France).

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Salon-2015-3231.  Painting by Yukio Saotome, (Japan).

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Salon-2015-3332. Painting by Alain Fromonot, (France).

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Salon-2015-34-233. Painting by Kazuo Okamoto, (Japan).

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Salon-2015-4034.  Sculptor Viviane Guybet, (France).

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Salon-2015-3735.  Painting by Zourab Tsereteli, President of the Russian Academy of Arts, (Russia)

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Salon-2015-3636.  Painting by Givi Siproshvili, (Russia)

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Salon-2015-3837.  Painting by Yasuhiro Mano, (Japan).

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Salon-2015-3938.  Sculptor Miodrag Scepanovic, (Montenegro).

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Salon-2015-4239.  Painting by Olivier Lavorel, (France).

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Salon-2015-4340.  Painting by Inho Yu, (France).

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Salon-2015-4441. Painting by Mutsuro Kimura, (Japan).

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Salon-2015-4842.  Painting by Motokatsu Hara, (Japan).

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Salon-2015-4943.  Painting by Masao Haijima, (Japan).

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Salon-2015-3544.  Sculptor Martine Vaugel, (France).

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Salon-2015-4545.  Painting by Masashi Yokomae, (Japan).

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Salon-2015-4646.  Painting by Koji Aman, (Japan).

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Salon-2015-4747.  Painting by Takashi Tomomizu, (Japan).

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Salon-2015-5048.  Painting by Gerard Beaujard, (France).

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Salon-2015-5149.  Painting by Ponvienne, (France).

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Salon-2015-5250.   Painting by Jean-Francois Grebert, (France).

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Salon-2015-5351.  Sculptor ...

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Salon-2015-54-552.  Painting by Misao Nei, (Japan).

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Salon-2015-5553.  Painting by Aleksandr Fayvisovich, (USA).

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Salon-2015-5654.  Painting by Misayo Ito, (Japan).

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Salon-2015-5855.  Sculptor Viviane Guybet, (France).

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Salon-2015-59-356.  Painting by Shojiro Nakano, (Japan).

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Salon-2015-60-257.  Painting by Yuri Kuroki, (Japan).

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Salon-2015-6158.  Painting by Alain Cordier, (France).

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Salon-2015-6259.  Painting by C. Thomas-Guilhem, (France).

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Salon-2015-6360.  Painting by Sachiko Yoshida, (Japan).

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Salon-2015-64-261.  Sculptor Hui-Lao Tsai Hsu, (Taiwan).

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Salon-2015-6562.  Painting by …

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Salon-2015-6663. Drawing by Gilliland,

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Salon-2015-6764.  Drawing by Rinat Sharafutdinov, (Russia).

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Salon-2015-6865.  Drawing by Hayshi,

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Salon-2015-6966.  Painting by Noriko Mizokawa, (Japan).

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Salon-2015-7067.  Painting by Sylvie Delusseau, (France).   Sculptor Marie-Louise Prugnat, (France).

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Salon-2015-7668.  Artworks of contemporary sculptors.

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Salon-2015-7168.  Painting by Valentina Shoba, (Belarus).

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Salon-2015-41-369.  Painting by Ksenia Lavrova, (Russia).

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Salon-2015-7270.  Painting by Sun Young Kwon, (…).

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Salon-2015-7571.  Painting by Jean-Jacques Lapoirie, (France).

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Salon-2015-7872.  The Graphic art section.

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Salon-2015-79-373.  Exposition of the artist Alena Dergiliova, (Russia).

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Salon-2015-8074.  Etchings by Vitaly Gubarev (Russia) received BRONZE MEDAL 2015. 

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Salon-2015-81-275.  Etchings by Mikhail Kocheshkov, (Russia)

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Salon-2015-8276.  Mezzotinte by Sun-Ja Park, (France)

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Salon-2015-8377.  Aquatinte by Nicole Guezou, (France)

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Salon-2015-8478.  Pointe sèche by Helene Varshavsky, (France).

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Salon-2015-8580.   Cafe inside the Grand Palais.

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Salon-2015-8681.  The major intersection.

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Salon-2015-8782.  Evening in the Grand Palais.

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Paris-at-night-10083.  Night in Paris.

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Artist Mikhail Kocheshkov, (Vladimir)

HONORED ARTIST OF THE RUSSIAN FEDERATION
THE EXHIBITOR OF THE SALON “ART CAPITAL” 2014 – 2015
THE BRONZE MEDAL OF THE SALON “ART CAPITAL” 2014

MK-port-2-3Whenever I am asked to write a few words about my work, I freeze over a sheet of blank paper. What can a person from my profession convey with words? Like any artist, I speak with the audience through material. The material through which I see and perceive the world. In that material in which I perceive the world as a phenomenon. My material is my language and outside this material, I have no voice.
•  I understand, of course, that the audience interested to hear about the thoughts of an artist, but these thoughts are already represented in his work as a recording made on canvas or sheet of paper. The peculiarity of this record is that it is visual, which is maximally materialized and easily accessible for interpretation. The honesty of an artist and the authenticity of his observations largely determine the value of his works. Authenticity also has a special aura – it absolutely defies imitation. With all the seemingly fancy traits of visual art, it is quite conservative in its basic principles – either you have something to say that is inherently substantial, or you are the seller of air. There are many sellers of air, I agree, but there have always been many of them and they are easily distinguished. In everyday life we ​​recognize lies easily, and the lies inserted into an artistic frame are just as noticeable. Lying is not art, it can only be a fake. One is as far from the other, as sunlight and the absence of it.

Mikhail Kocheshkov for the readers of the ”Russian Art & Paris”.

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The creativity of Mikhail Kocheshkov is simultaneously very modern and conservative. By itself, the appeal of an experienced artist to full-scale drawing with pencil may seem anachronistic, and at the same time is a hallmark of the time, when elementary components of descriptiveness take on new meaning. The acuteness of perception of a person living with the problems of the XXI century, gives the motives of familiar and previous generation artists, a special significance. Fragile features of posing models, acute vertical towering of a church over houses, shining wet roof amidst a sky of crossed wires – all as if in the original work of art, acquires additional meaning. Each detail seen by an artist’s loving glance is seen by the involved viewer as part of a piercingly beautiful and fragile creation.
• The artist believes that the drawing should be sustained by the combination of hard and soft. That which is from nature – sky, earth, grass, trees, clouds – cannot be hard. Hard things are the work of human hands. This does not mean, of course, that all created by man is bad. It’s just different. The small Сумрачный-день,-офорт,-49.5х57webformat – Mikhail Kocheshkov has many drawings the size of a book page – in some cases conveys a certain intimacy of the artist’s vision. To some extent, this assumption is valid. The composition of many of his landscapes again and again returns the gaze from the edges of the sheet towards the center, forcing the viewer to go not into breadth, but into depth: to pass, bending the head, under the branches of an old tree, to walk around a fence which runs almost the entire width of the sheet, to zigzag in an intricate maze of assorted outbuildings. You want to examine these landscapes for a long time, sometimes even catching yourself on what feels like “walking” in the interior of the sheet from a flatness turned into an infinite depth. This line in the interpretation of the landscape – to show the audience the originality and uniqueness of a particular fragment of the tiniest corner of a boundless world – intersects with the other – the desire to come to a global and inclusive image of the Earth through a particular motive. Famous russian artist Kuzma Petrov-Vodkin walked a similar path. The handwriting style of Mikhail Kocheshkov is totally different from this master’s handwriting, but comes close by the most philosophical position in the meaning of the artistic image.
• Upon looking at Mikhail Kocheshkov artworks, there is usually a sense of credibility of the nature, of its particular reliability. However, it is impossible not to see the serious compositional work of the artist. These qualities of his work, such as good taste and a subtle sense of composition, which is akin to professional hearing in music, are seen today as the main determinants. The same qualities that allow him to reliably but without naturalisticness, beautifully but without a salon taste, to draw, engrave, and paint watercolors, are seen as the key to further creative growth of the graphic artist.

by Vladimir Basmanov,
Honored Artist of the Russian Federation.

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Pictures in the text:
“Sulky day”  Etching,  (50 x 57 cm)

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Начало-лета.webEarly summer  Acrylic on board, (46 x 72 cm)

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Graphics 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” Etching,  (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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Mikhail Kocheshkov is a graphic artist, and most significant to him is the drawing. The emerging principles of his art are becoming more convincingly and distinctly evident in drawing. Here is a handwriting style of individuality, here his artistic position is more fully reflected. Mikhail Kocheshkov operates freely with planes, with space. He does not conceal his desire to direct our view. It is here that he is committed to accuracy, to emotional accuracy. He leads us through the landscape in a way that, according to his calculation, will lead us to the comprehension of the essence of this particular motif, lead us to empathize with him, with the artist.

V. Basmanov, artist

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Mikhail Kocheshkov was born in Ivanovo, in 1958. He recieved his professional education in Ivanovo State Art College (1977) and the Moscow State Academic Art Institute named after Vasiliy Surikov (1987). Mikhail Kocheshkov is a member of the Artists’ Union of Russia since 1990. Since 2010 he is the Honored Artist of the Russian Federation. Mikhail Kocheshkov lives and works in Vladimir.

The artworks of Mikhail Kocheshkov – etching and graphic art are in the collections of museums: Ivanovo State Art Museum; Ryazan State Art Museum; Vladimir-Suzdal Museum Reserve.

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EXHIBITIONS

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Etchings by Mikhail Kocheshkov in the exhibition of the Salon “Art Capital” 2015, (Paris).

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Kocheshkov-Logo-1-2Etchings by Mikhail Kocheshkov in the exhibition of the Salon “Art en Capital” 2014, (Paris). The BRONZE MEDAL 2014

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Russian B-2French B-2Gallery B-2

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Russian spelling: Художник Михаил Кочешков, (Владимир)

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Artist Mikhail Kaban-Petrov, (Kosterevo)

THE “RUSSIAN ART & PARIS” INTRODUCING:   

M.K-P-por2-4I have never regretted becoming an artist and I’m not ashamed of my profession. However, I was never able to accept what I do for just a profession – it is really something else. I started like everyone else with a simple desire to learn to draw. I, like many, am familiar with the inexplicable excitement, arising from the sense of how fathomless art is. In the village where I was born and grew up, there was no art studio or art school, so I came to everything myself. I was euphoric from the smell of oil paints and the smell of rare art albums. Instead of cubes and pyramids I drew and painted as best as I could all that surrounded me – portraits of family, household utensils, rooks and our river. I never thought about professionalism as a criterion for evaluation. Professionalism – is good … and I agree that it is better with than without it, but in his own depths an artist should remain an amateur, without this his professionalism is dead
•  It so happened that in my “training” life there were no “teachers”. That is, those who would directly teach you to see and think. There were favorite artists, which I gradually revealed and studied from. In my early years I was truly mesmerized by Mikhail Vrubel and later Viktor Popkov. If we talk about tastes and influences, it is necessary to talk about art in general. The first film by Tarkovsky’s that I watched was “Solaris”. I can find no words to describe it other than shock. I did not know anything about the director, and not much about the film, but I still remember the state I was in – the state of surprise when everything in me was turned upside down. A similar reaction happened from contact with Brodsky’s poetry, literally from the first poem. List of “spiritual brothers” can be very long, but lets come back to Andrei Tarkovsky. Specifically him, I can call my “teacher”, because the impact of his work was more than substantial and greatly influenced
my thinking.
•  I can not say that I consider myself to be a fully established artist. I am more concerned about myself tomorrow – rather than myself today or yesterday. I really love my job and can no longer imagine myself without creative work. I love the creative process itself. Especially the middle part of it, when you already pushed away from the initial concept and the work itself begins to make adjustments and lead you to the final version. That is, in the end you always get something a little bit different, a little bit more. Therefore, I treat creative work like a miracle. In that which I paint or am about to paint, I first of all see a phenomena. Phenomenon-Bread, Phenomenon-Boat, Phenomenon-Air, Phenomenon-wind and so on. In general, it is always difficult for an artist, and there is no point in explaining your work. Art, like music, acts on the subconscious almost instantly – enjoy it or not, touches or not …

Mikhail Kaban-Petrov for the readers of the ”Russian Art & Paris”.

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In painting “everything is on the degree
of disappearance of reality and the return to it.”

Yuri Norshtein

 

The nature of the art language of painting is non-verbal, if a picture can be described in words, it’s a bad picture. Describing the artwork of artist Mikhail Kaban-Petrov just does not make sense. Being extremely concise by form, they involve the viewer in an unrestrained flow of associations, allusions, metaphors, and intersections with other worlds of the arts. The author understands his work as realism, the objective world is an unshakable plot-thematic pillar of his works. However, the moving motive of his artwork is not an image, but an expression of deep, multifaceted, ambiguous, performed contradictions of human experiences.
•  The inevitability of conflict between matter and spirit conveys an intense drama with a visible absence of action. In the works of Mikhail Kaban-Petrov there is created a space of experiences, the artwork of feelings and even passions. A dry leaf, an apple, a boat, a road is present 'Heat'as an object of an image and reflection. The foundation of the paintings’ plot is the arrival of objects in space and time. Time may flow differently in the artworks. Series of works “Solid” (2011) – about the asphalt under the wheels of a moving car. Still life “Heat” (2011) viscous long midday slumber. Still life, “The Glove” (2011) on how stepping over a puddle, you notice that someone dropped it.
 The artist bravely operates with space, sometimes shrinking it to the size of a canvas, sometimes expanding a microcosm to the same size. The space-time continuum is constructed in a cycle of artworks. Cycles “Boards” (2011), “Russian theme” (2011) touch upon the acute problems of the modern world-view, the experiences of changes to the world picture, coupled with inevitable losses and the inescapable desire to avoid them. Both cycles are combined by a cross-cutting theme – the image of apples on the table, and a distinctive color and compositional “rhyming”, a continuous rhythmic organization of the picture’s planes.
•  In the 1970’s, visual arts came in close contact with cinematograpy. Cinema at this time acquires its artist, who begins to build each frame and their film series under the laws of easel artwork, making them the subject of contemplation. For a long time painting was in a search of ways to transfer motion and other intrinsic techniques of action. However visual arts have one decisive advantage – it commands silence. Remember – “the greater a pause – the greater an actor.” Artwork is a pause in time and space. Artist Mikhail Kaban-Petrov is mastering this amazingly effective technique, he holds the pause, giving the viewer a chance in the silence of art to realize something important and forever existent.

by Irina Marsheva, art critic,
member of the Union of Artists of the Russian Federation.

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Pictures in the text:
“Heat”  Oil on canvas,  (110 x 120 cm)

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'Русская-тема'-(Молитва)-2“Russian theme” (Prayer)  Oil on Canvas. (133 x 90 cm)

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The complexity of the assessments and the perceptions of contemporary art are in many ways linked to the orientation of the audience and the critics towards the generally accepted canons and artistic trends. The grading scale is thus attached to the present from the past. Roughly speaking, the definition of “what should be,” is willingly or unwillingly built on the assumption of “what was”. It would be interesting to ask art critics about how they see the future of fine art? And is it possible to also get an assessment of modern art based on the criteria of the future, not the past? The very question seems rhetorical at first glance – the example of empty cells in the periodic table is probably known to everyone. What is getting in the way? Perhaps there is a well-established view of art in society as one of the varieties of the service sector, which implies adherence to the aesthetics of today. This is not true. Fine art does not engage in the servicing of aesthetic needs. Its purpose and scope are in a completely different field. As an illustration, let’s take a look at the work of one of the modern masters.
•  In the upside down world of the painter Mikhail Kaban-Petrov, everything is very similar to the truth. The inverted boat that will not float because of winter (“Boat”). And will the thawing ever come, and with it the pure water on which you can float, no one knows. Perhaps the thawing will never occur and the boat will not float ever. Is that not true? A door, remarkable in that it is closed (“Door”). Light makes its way under the door – there is someone, there are people, there is life, there people are “… again, not sleeping. Maybe drinking wine, maybe sitting around.“ (M.Tsvetayeva). But we, the audience, and the artist himself, are on this side of the door. Will we be able to get to where theRekviemlight is? Maybe yes, maybe no. “Heat,” where there are two people noticeably present, although neither are in the plane of the image; and from the outside world there only remains a red-hot streak of light making its way out of a curtained window. There is no life, only the emptiness of heat. The life in here, in this room, and what we see, is but a fragment. A fragment reinterpreted in the artistic space of a canvas. What kind of artwork is this? What is its essence? First of all in this remarkable truth, is a feature invaluable to art – uniqueness, as the Parthenon is unique, despite the abundance of marble.
•  The artwork of M. Kaban-Petrov is far from symbolism, it contains no simple set of metaphors. The nature of this painting is deeply national – there is more Dionisy in these canvases than Cezanne. The style of paintings by M. Kaban-Petrov is associated with black and white “graphics” of the novels by Dostoevsky. “Requiem”, is made in a “negativity” form that is very unexpected for an artistic painting. “Prayer”, with a tragic red color and the no less tragic “The Wall”, show an inner spiritual relationship with the major themes of Dostoevsky.
•  The realism of the perception of the surrounding world, the understanding of the world as an objective reality, is materialized in the artistic reflections on the content and meaning of this reality. What we see in artworks of Mikhail Kaban-Petrov, is not just a glance from the side at our present reality, but a glance at it from a different time. A glimpse from the future. This is how our time will look, the part of it that went into the field of view of the artist, through the eyes of future generations of viewers (and joining them, art critics).  ©

by Russian Art & Paris

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Pictures in the text:
“Requiem”   Oil on canvas,  (122 x 90 cm)

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Дверь“Door”  Oil on Canvas. (135 x 90 cm)

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Using the resources of abstract painting, the artist creates a series of artworks where the boundaries between the real and the abstract are erased. He says that the basis of all beauty – a form that is created by nature forever, but which has secret content, a hidden truth. It inherits the method of Russian thinking – the philosophy of life, the desire to know the truth, which gradually expands to the chasm of metaphysics.”

R. Savchenko, art critic.

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Mikhail Kaban-Petrov was born in the village Reshety, Novosibirsk region, in 1966. He recieved his professional education in Novoaltaysk State Art College (1990) and the Moscow State Academic Art Institute named after Vasiliy Surikov, under the guidance of academician V. Sidorov (1996). Mikhail Kaban-Petrov is a member of the Professional Artists Union of Russia (2001). Since 1996 artist lives and works in Kosterevo.

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Russian B-2French B-2Gallery B-2

 

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Russian spelling: Художник Михаил Кабан-Петров, (Костерево)
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Artist Alena Dergiliova, (Moscow)

THE EXHIBITOR OF THE SALON “ART CAPITAL” 2014 – 2015

AD-Port-5-2I was born in a one-story merchant house at Taganka. The house stood on the corner of Vorontsov street which still had trams back then, and Mayakovsky alley. The end of that alley was once home of poet Vladimir Mayakovsky. My grandmother told me how she met him on the street many times, with a cane and hat, walking home with a flourish. Streets of cobblestone and asphalt came later. At the corner there is a column with artesian water, which are now found in the provinces and have disappeared from Moscow in the sixties. The courtyard is a classical Moscow type, surrounded by a dense, high fence with a gate still hanging on large hinges, and with gateways on both sides. Two huge, ancient trees, behind whose trunks playing children would hide, are still standing. This is the only thing that survives today from those times.

While walking through the old Moscow, my eyes unerringly catch pieces and corners that are not yet affected by the “restructuring”, carrying within them a century of history. Many of my watercolors of Moscow houses are “portraits”, for example: “Sivtsev Vrazhek, 6”, “Crickets Lane”, “Yauza Boulevard.” What is important to me are the details that help to accurately convey what is planned. The watercolor “On the street Solyanka” is a portrait of a piece of an old fence, worldly-wise and living its last few years. Now there are irreversible changes in our environment, that are probably necessary. It is very painful, like the passing of loved ones.

Alena Dergiliova for the readers of the ”Russian Art & Paris”.

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AD-Port-6-2Alena Dergiliova is one of the most prominent Russian graphic artists, that are acutely aware of the “aura” of objects, their primary energy. It catches the eye of viewers, who observe the artwork for long periods of time, filled with hidden power. Outwardly, they are harmonious, but include a lot of dissonance that creates worry. In Soviet times, Dergiliova was breaking free from the strict ranks of “Varnishers” with the reality of being “disheveled” and lack of heroism in her scenes. In the format of what is called “new” art in modern Russia, she is not radical enough, does not wander around the labyrinth of the subconscious and does not create art for the decoration of walls.
A significant virtue of the artwork is the objectivity of life in the perception of reality. Personally heartfelt and hard-won artistic senses are formulated into a complete image. These features can be very beautiful or not very pleasant, but they are quite familiar
Moscow was portrayed by many famous Russian artists. Every age gives rise to new art creators. We know the graphic art of A. Vasnetsov dedicated to recreating the ancient landscape of the city. We remember the Усадьба-Аксакова-на-Сивцевом-Вражке-(28б5х21)2004--(1)canvases of Y. Pimenov, filled with the joy of sensations of the advent of new residential areas, watercolors of V. Alfeevskiy and K. Kupecio. The beauty of the architecture of Moscow is still today trying to be captured by many graphic artists and painters. However, the changes in Moscow in real time are so significant, that they require the deepest possible understanding of what is happening, by means of art. The complexity and tenderness of these changes can only be felt by an artist, not just living in Moscow and worrying about her fate, but also drawing daily the constantly changing face of the beloved city.
Such an artist, with heart tied to Moscow, is Alena Dergiliova. A series of watercolors “My Moscow”, created over the last fifteen years, is the most striking and significant phenomenon in her work. The series consists of 100 watercolors that reflect life in historic districts as well as the characteristic features of modern urban ensembles. Four Sverchkov.perscenic blocks: “Metropolitan life”, “Old streets”, “Gentry Moscow”, “Stalin’s Moscow” allow the viewer to fully immerse himself in the multi-level world of this city. A distinctive feature of the series is the construction of compositions in the form of a pictorial space in which people, houses, streets and squares of the capital all act as equal characters, creating a feeling of a “live” city.
• The watercolors of Dergiliova differ from the scenic and graphic works of other contemporary authors representing Moscow and other capitals of the world, by their complex scenic intertwining. The deliberate and professional use of symbolism of the mundane gives the watercolors credibility and depth. The image-symbol may have the widest meaning and leads viewers to the essence of phenomena by forms of expression that externally are not heroic. The artworks of Alena Dergiliova are not cityscapes with staffage but rather intricately lined paintings with action, unfolding in a particular historical or contemporary urban environment. In order to understand her work it is necessary to move away from internal complacency, and only then will the external ordinariness of the presented action be revealed in the form of a controversial and not always comfortable life.

by Nikolay Beschastnov, Ph.D. in Art History
Director of the Art Institute of Moscow State University of Design and Technology

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Pictures in the text (from above):
“Palace of Aksakov” Etching. (28 x 21 cm); “Sverchkov Pereulok” Watercolor. (70 x 52 cm).

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Подсосенский переулок“Podsosenskiy Pereulok”  Watercolor. (78 x 58 cm)

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The 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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“The graphic art of Alena Dergiliova can certainly be called traditional: etching and watercolor by technique; urban landscape and portrait by genre; and finally, it is traditional by her artistic language, by the honest natural image without the aftertaste of styling, by the concreteness in the transmission of visual impressions. The artist does not hide the avid interest towards that which she represents, to the motive or character, whether it is a living person or a house in any of Moscow’s alleys (which is also lively in it’s own way, spirited and eccentric). This entire house, or more often only a small fragment, some quaint bay window, a massive staircase, an arch above the yard, windows in Sverchkov Lane – all this has some particular feature, everything is familiar, recognizable and often loved. Most often it is that quiet Moscow, where not every house is “a monument of architecture” of some old century. However every house is a surviving page of city life, of its intimate stories. Every house is the keeper of the memory of city and family life”.

Yuriy Gerchuk, 
Honored Artist of the Russian Federation, art critic.

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Alena Dergiliova was born (1952) and raised in Moscow, in the artists’ family. Graduated from Moscow Textile University in 1975. The artist trained at the creative academic studios of the USSR Academy of Arts, under the guidance of academician Orest Verejskiy. Alena Dergiliova is a member of the Artists’ Union of Russia since 1983. Artist received the Medal of the Russian Academy of Arts in 2007. The works of Alena Dergiliova – etching and watercolor are in the collections of museums: The State Tretyakov Gallery (Moscow), The State Historical Museum, The Museum of History of Moscow, The Leo Tolstoy’s museum.

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EXHIBITIONS

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Etchings by Alena Dergiliova in the exhibition of the Salon “Art Capital” 2015, (Paris).

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Dergileva-LogoEtchings by Alena Dergiliova in the exhibition of the Salon “Art en Capital” 2014, (Paris).

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Russian B-2French B-2Gallery B-2
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Russian spelling: Художник Алена Дергилева, (Москва)

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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.

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

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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” 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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Russian spelling: Художник Александр Павловец, (Днепропетровск)
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Artist Vitaly Gubarev, (Protvino)

HONORED ARTIST OF THE RUSSIAN FEDERATION
THE EXHIBITOR OF THE SALON “ART CAPITAL” 2013 – 2015
THE BRONZE MEDAL OF THE SALON “ART CAPITAL” 2015

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Our earthly life is a very short episode, and in eternity it is a fleeting moment only. To embody graphically an amazing flow of life which cannot be expressed in words – it is both joy and anguish. To depict an enormous space on a small sheet of paper, it takes a lot of energy. But this artistic energy returns graciously to the art viewer. In this, I see the meaning of creativity of any artist working in contemporary visual art.

Vitaly Gubarev for the readers of the ”Russian Art & Paris”.

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VG-Port-2The art of Vitaly Gubarev is expressive and emotional. It mirrors the development of Russian graphic arts at the end of the 20th century and the beginning of the 21st century. The poetic paintings created by Vitaly Gubarev reflect the worldview of the best part of a generation to which he belongs. Up to now this generation is socially oriented. It took shape in the recent decades of the past century in the atmosphere of enthusiasm of the national gravures and great popularity of this art form in Russia. The expertise, skill, art and moral consistency of works are number one amongst the priorities in the Vitaly Gubarev oeuvre. The artist created a variety of epic and large-scale image of Russia together with the lyrical and poetical paintings. He sang of his homeland in them and pinpointed the topical issues of the public morals at all times. One of the priority themes in his oeuvre is the idea of a linkage between humanity and the world, and humanity’s moral responsibility. In such paintings, there is a warning to a spectator, the modern time, an epoch of moral conglomerate combining idealism, on one hand, and cynicism, on the other. The romantic ideals of his youth compel the already experienced and has-been artist take in hand this theme once again, search and resonate with the hearts of spectators. Vitaly Gubarev is a man of apparent value in the Russian graphic arts. He is a brilliant master devoted to the arts and he is independent and principled.
•  The narration of Vitaly Gubarev’s creative career could result in a real novel about the fate of an artist who devoted himself to the service of the arts. The activity of a master of such skill level and world outlook is worth a separate big talk and study of his methods of work.
•  The origins of the worldview of each and every human being are in his biography, in the events of years of his childhood in any way influencing shaping his views, the concept of good and evil, as well as upon the eternal mystery of interaction of a human being and the nature. Such an event for Vitaly Gubarev was his experience during the war and after war time in Uzbekistan as a child, his early self-reliance and independent thinking. All this has become the strongest motivation for studying and achieving professionalism and has developed his diligence, and strengthened his will.
•  The epic images of Russia formed in the Vitaly Gubarev’s work gradually through dozens of remarkable drawings of the Russian meadows, the newly ploughed fields and the vastness of the native Grater Moscow Area. These drawings arose asПоловодье. Протва. 30х37см-2a result of the long years and painstaking work over the series of urban and rural sceneries. To create them it took Vitaly Gubarev long years of his work. The understanding of a historical fate of Russia was lined up from one painting to another. His tours around the provincial towns, villages and rural areas of the Russian North, the Volga region and the Greater Moscow Area helped him a lot to understand it. At home, in his workshop, he understood how to achieve the maximum expression of his painting in the absent of the subject and additional details. The author’s life experience and wisdom came to him with the years entirely comply with the word picture in such drawings as «A Storm is Brewing» (1994), «The Wheats are Being Sown», -Before the Storm» (1996), «The Beginning of the Storm», «The Cloudy Day» (2001), «The First Snow» (2002), «A Field Under Wheat», «Night Field» (2003). A calm stateliness of the following drawings translates to a spectator the artist’s reflection of eternity and permanency of all in «Above theVanity» (1976), «A Field is Being Come into Ear», «The Holy Lake. The Solovetsky Islands» and «The Zayatsky Island. The Solovetsky Islands» (1998). Second place, a motive of love to the bleak Northern soil and to homeland is being evolved in these drawings. One can talk in different languages about the beauty and grandeur of the Зимний путь 21х26 смhomeland and about the love to the homeland. Here, Vitaly Gubarev found its own language that is heartfelt and very expressive. It is no mere chance, his work was repeatedly awarded with the blue ribbons by the Russian Academy of Arts, Artist’s Union of Russia and a variety of other governmental and social structures.
•  There are many drawings pencil amongst the Vitaly Gubarev’s best paintings. The drawing artist’s handicraft came to him as early as in his young years and yet he has been honing his skill throughout his life. Vitaliy draws at all times and in all places. He created a big collection of the easel drawings in coloured pencil that deserve attention of the museum staff as per their quality and art expressiveness. In these drawings, both the talent and high level of skill, and experience are expressed as well.
•  The graphic signature of Vitaly Gubarev is recognized as per his soft narrative intonation, as per his attentive attitude to the line, as per black and white stain, as per original rhythm that has something in common with the rhythms of the ancient Russian towns. The graphic structure of his paintings is narrative. In etching, he assigns a respectful part to the picturesque properties of aquatint giving various texture effects and helping to transfer the atmospheric colour in which the picture has been sunk. Vitaly Gubarev does like a classic etched stroke, the velvety touch of the line that is engraved in the dry-point techniques. The realistic manner in which he works all his life allowed him to achieve a high expression and brilliant skill. These qualifications put Vitaly Gubarev forward into the staff of the most interesting Russian graphic artists who are independent and picturesque in their progress.
•  Vitaly Gubarev’s engravings reveal his gift as a painter. He perceives the black and white colour graphically and in tonal shades. Apparently, a frequent address to the coloured etching and to the complicated process of gravure production with the help of several plates is connected with his perception. All his life Vitaly Gubarev does painting as well. He paints in acryl, tempera and water colour. He focuses on this art form extensively over the last years.
•  All his life Vitaly Gubarev is seeking to get an idea of the harmony of the relationship between a human being and the nature across all his contemporaries. Yury Baturin, the pilot cosmonaut of Russia, wrote from Zvezdnyi Gorodok as follows: «After a cosmonaut returning from his flight his feelings and sensations are flared up. He begins to see and notice all objects that he habitually passed by before without turning his head, especially in the nature. I saw from a new angle the beauty of common trees, rivulets and clouds on the sky after my returning from the outer space on Earth in 1998.1 saw all that objects just so how Vitaly Gubarev painted them in his pictures as «The Summer. The Protva Rivulet», «The Autumn», and etc… I have travelled around the small Russian provincial towns and common villages for several years where my antecedents lived in starting from XVIII to XX centuries. Certainly, I’m taking photograph… However, I have felt «the aura of that life» viewing only the Gubarev’s works such as «The Wintry Evening», «The Peal of Bells», «Winter», «The White Snow» and «The Rest in the Village» . These works helped me to my best understanding and feeling of those people and that life that I want to describe in my book». Really, it is rather high appraisal and one can be proud of it.

by Tatyana Boitsova,
Honored Artist of the Russian Federation,
member of the Union of Artists of the Russian Federation, art critic.

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Pictures in the text (from above):
“High water. Protva” Etching. (30 x 37 cm); “Winter way” Etching. (21 x 26 cm).

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“At Protva”  Etching. (14 x 18 cm)

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The artist Vitaly Gubarev has long been known. A great graphic artist, a master of etching, a fine lyricist – epithets which no one disputes,  and yet, speaking about the art of this master is not so easy. The thematic range of this artist is reserved and even austere. The number of plots in his works is not too large. Add to that the natural asceticism of the techniques in etching, and it begs the question – what is the focus of the art of V.Gubarev? In what art-field does he lead his creative exploration?  Let’s try to understand.
•  We have before us two landscapes – “Blooming meadow” and “Cornfield”. The most close-up view and a wide panorama. cornfield-2Space on these sheets is strictly structured and is emphasized with several apparent tonal accents. This space, decorative and almost flat in the first case, and expanded to maximum depth in the second case, is the main character in the works. However, space can never be empty, it is always filled with something. Here we come to the most important – to the fringe beyond which art begins. A description of the space in etchings of Vitaly Gubarev is not difficult to give at first sight of these sheets – living. Living space filled with the breath of wind and the smell of grass, is vibrant and changeable. How, by what means, does the artist create this effect?
•  Pay attention to the filigree tone design, clearly visible in the composition “Cornfield”. In addition to the major tonal accents, the development of light spots of the second row literally leads the gaze of viewers through the waves of the shifting field. This is not just a tonal richness, but also an extremely difficult tonal arrangement illustrating the meaning of the work – the endless movement of living eared fields. No less interesting is the compositional solution of the foreground in etching “Blooming meadow”. The vibration of the warm afternoon air, the movement of grass, the nearly palpable smell of summer – all of this is in the construction of complex, sibling tonal rhythms of this magnificent sheet.
•  The stylistic horizon of V. Gubareva is quite wide – from the classical form of “Memories” or “Winter way” to the emotionally explosive “Above the vanity”. Today, the artist is clearly on top of his skill and actively working, so we should not rush with generalizing characteristics of works by this master. Viewers first and foremost need works of art, and not grades, of the fine artist Vitaly Gubarev. ©

by Russian Art & Paris

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Pictures in the text: “Comfield” Etching. (29 x 42 cm)

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Висячий мост 25х27см

“Suspension bridge”  Etching. (25 x 27 cm)

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Vitaly Gubarev, a graphic artist and painter, was born in 1936 in Samarkand (Uzbekistan). After graduating from the Tashkent Republican Art College (1958) he continued his art education in Moscow. He graduated from the Moscow Higher School of Industrial Art (former Stroganovskoye) in 1964. Graphic-artist Vitaly Gubarev is a member of the Union of Artists of the USSR (1971). Honored Artist of the Russian Federation (1994). Diploma of the Russian Academy of Arts (2005). Chairman of the section of graphic-artists of the Moscow regional branch of the Union of Artists of Russia (2008). Decree of the President of the Russian Federation, Vitaly Gubarev awarded the Medal of the Order “For Services to the Fatherland, II degree” (2011). Personal art exhibition in the Palace of Nations (UN) in Geneva (2012).

The works of Vitaly Gubarev – etching and graphic art are in the collections of museums: The State Tretyakov Gallery (Moscow); the Penza State Art Gallery named after K.A.Savitskiy; the Perm State Museum; the Pavlodar State Art Museum; the Serpukhov History and Art Museum; the Art Gallery of the Smolensk State Museum.

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EXHIBITIONS

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Etchings by Vitaly Gubarev in the exhibition of the Salon “Art Capital” 2015, (Paris). The BRONZE MEDAL 2015

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Etchings by Vitaly Gubarev in the exhibition of the Salon “Art en Capital” 2014, (Paris).

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Etchings by Vitaly Gubarev in the exhibition of the Salon “Art en Capital” 2013, (Paris).

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Russian B-2French B-2Gallery B-2

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Russian spelling: Художник Виталий Губарев, (Протвино)

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