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

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

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ARTIST ALENA DERGILIOVA,  (MOSCOW)

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

by Russian Art & Paris

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

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

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

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

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ARTIST ALEKSANDR EGOROV,  (VLADIMIR)

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

by Russian Art & Paris

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

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

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

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

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ARTIST MIKHAIL KOCHESHKOV,  (VLADIMIR)

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

by Russian Art & Paris

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

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

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“The land”  Etching. (19 x 54 cm)

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

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ARTIST MIKHAIL SHMYROV,  (BRYANSK)

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

by Russian Art & Paris

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

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Введенская-церковь-50х40,2004г.

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

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Начало-осени.Река-Снежка-50х55,2008

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

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Снегирь.-х.м.-70х74.-2007-г.

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

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ATTENTION RUSSIAN ART & PARIS READERS:

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

Evening in Paris.

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

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1.  The Louvre.

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2.  Saint-Germain of Auxerrois Church.

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3.  Notre Dame Cathedral.

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4.  The Latin Quarter. The Sorbonne.

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5.  The Boulevard Saint-Michel.

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6.  The Boulevard Saint-Germain.

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7.  Place Vendôme.

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8.  Rue de l’Échelle.

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9.  Avenue de l’Opera.

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10.  Hotel du Louvre.

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_DSC0618 11.  Place Colette.

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12.  Rue Saint-Honore.

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13.  …number five until midnight…

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14.  Rue Saint-Honore. A street cafe.

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15. The tea room of “Cafés Verlet”.

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16.  Rue Royale.

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

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

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19.  The Eiffel Tower at night.

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2014. Happy New Year!

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

Happy New Year!

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

PA&P-STATS-1-2014

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Salon “Art en Capital” 2013, (Paris)

THE EXHIBITION OF THE SALON “ART EN CAPITAL” 2013

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Art en Capital was born in 2006 out of a desire by the “historic Salons of the Grand Palais” and by artists of differing approaches to focus on their differences, to join forces in order to create this unifying and innovative event. So for the last eight years, the Salon Comparaisons, Société des Artistes Français (Society 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) have come together under the glass roof of the Grand Palais. With over 40,000 visitors every year and up to 2,500 established or emerging artists exhibiting at the Grand Palais, Art en Capital has become part of the French and international art scene.

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The state of contemporary fine art is one of the most intriguing mysteries of the cultural landscape surrounding us. What happens within it? Is there logic and meaning in the chaotic variety of the quests of modern artists? Is it even possible to use the word quest in defining the desire to find ground beneath ones feet? All these questions, having arisen in the last decades, quite naturally come to mind in the huge hall of Grand Palais, at the exhibition of the Salon ’13.
•  The witty photo collage by Francois Chery on the theme of the painting “Rainy Day” by Gustave Caillebotte may well serve as a visual epigraph for the presented exposition. The meaning of this collage is obvious – Paris is Paris and the Parisians are Parisians, despite the change of surroundings. This is true, however our way of life changes, our thoughts and emotions change, and with them the painting language changes as well. The search for a new visual language that adequately reflects our time is a constant and unchanging task for an artist of any era, and such creativity is collective. In the case that this quest is successfully allowed, there may arise an artistic phenomenon, distinguishable as a style. This sequence – from language to style – cannot be disrupted. Style does not arise from individual creativity, even for a brilliant artist. First, a new language must arise. However, there is one caveat – “new language” does not mean “new alphabet.” Letters remain the same – A, B, and so on, until the last character – everything that can be called basic education.
•  In the exhibition at the Grand Palais, such technique is certainly present. Salon 2013 as a whole looks stronger and more interesting than last year’s exhibition. The many years of work by the jury, focused on screening weaker artworks, is beginning to bear quite tangible results – the exhibition has acquired features of a professionally oriented exposure with clear genre-based blocks of artworks. All this positively distinguished Salon 2013 from the tendentious chaos of the last FIAC. The negative sides are the common ones of contemporary fine art: insufficient high culture of working with color; weak compositional structure; misunderstanding of the difference between meaning and content.
•  The spectators – a passive, but an influential part of the art world, deserve special mention. There were many of them and there was no sense that this is an arbitrary audience. The concentration of viewers around the most interesting art pieces is a good indicator of artistic culture. Against this background, what seemed rather amusing was the lack of attention from the French press. Critics have for too long served as advertising agents and have apparently become accustomed to this function. And in fact, is it worth expressing ones opinion, if no one has made an advance payment for it? Nevertheless the art of painting, though it is not too fast, still returns under the arches of the Grand Palais. ©

by Russian Art & Paris

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1.  Grand Palais.

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2.  Exhibition hall.

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3.  The vernissage.

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4.  Exhibition hall. View from above.

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5. Inside the exhibition halls.

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6. The artistic town.

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7.  This is 224th salon. The historic section.

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8.  The historic section.

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9.  “Hommage a Gustave Caillebotte” by Francois Chery, (France)

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10. Viewers and artworks. “Efertiti”  by Tompep, (Spain)

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11.  “Le cerceau”.

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12.  “Homme”  by Milen, (France)

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13. “Thishbe au couvre-feu”  by Yoran Lucas, (France)

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14.  “Autoportrait”  by Patrick Rouquette, (France)

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15.  “Portrait de Gandhi”  by Martine Vaugel, (France)

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16. ” The Dream”  by Vladimir Shichkov, (Russia)

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17.  “Snowfall”  by Aleksandr Fayvisovich, (USA)

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18.  “La Venus en torsion”  by Robert Righino, (France)

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19.  Etchings by Vitaly Gubarev, (Russia)

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20.  Etchings by Leonid Stroganov, (Russia)

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21.  …

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22.  “Bonsoir, Vincent!”  by Alena Filippova-Kargalskaya, (Russia)

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23.  “The  blizzard”  by Evgeni Yali, (Russia)

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24.  ”Secrets of black snowflakes”  by Anastasia Vostrezova, (Russia)

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25.  “Napoleon”  by Stephane Santi, (France)

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26.  “Shichi”  by Toshikazu Minegishi, (Japon)

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27.  “Yomito 13”  by Yoshiaki Tsutsui, (Japan)

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28. Artist M. Horrie (left);  Artist S. Prischedko (right).

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29.  “Sommeil d’amour”  by Catherine Roch, (France)

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30.  “La pudeur”  by Ochakov, (France)

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31.  “La nuit saturienne”  by Laurent Navarre, (France)

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32.  “Gekka-Bijin”  by Tadamichi Tsuzuki, (Japon)

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33.  “Les Arums et 3 pommes”  by Yuichi Ono, (France)

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34.  “Fleurs et fruits”  by Sashiko Yoshida, (Japon)

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35.  …

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36.  “Cent paysages de Yokohama”  by Kenji Goukon, (Japon)

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37.  “Vauxhall Bridge road”  by Simon Lacoudre, (France)

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38.  Hall of the Grand Palais.

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39. The “Russian Art & Paris” Editor Ekaterina Semeniouk and artists Vitaly Gubarev, Aleksandr Fayvisovich, Alena Filippova-Kargalskaya meet with a Swiss impresario Ludmila Petrova (left).

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40. The Avenue des Champs-Élysées at night.

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Paris in December

_DSC1305-21.  Paris in December.  Montmartre is always green…

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_DSC13232.  …and charming.

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_DSC13083.  All roads are going uphill.

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_DSC13124.  The Church of Saint Peter of Montmartre.

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_DSC13115.  The Basilica of the Sacred Heart of Paris, commonly known as Sacré-Cœur Basilica.

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_DSC13176.  The view from the butte.

._DSC1327-27.   Contemporary Montmartre.

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_DSC13308.  The artists can’t afford to live here anymore…

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_DSC13229.  …but music is still alive – street accordion…

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_DSC132510.  … and street arfa.

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_DSC133311.  The lights at Place Pigalle are still red…

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_DSC136512. …as well as still bright lights are at night of Champs-Elysees.

._DSC135313.  The Avenue des Champs-Élysées from Citroën building.

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_DSC134314.  The Citroën showroom.

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_DSC136215.  Champs-Élysées at night.

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_DSC138316. A street cafe.

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_DSC138517.  Paris at night.

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_DSC138718.  Night lights.

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_DSC138819. French national flag at the spire of the Grand Palace.

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_DSC139720.  The Grand Palace –  time for “Art en Capital” 2013.

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Russian Artists of the Salon “Art en Capital” 2013, (Paris)

ART EN CAPITAL 2013

Will take place from
WEDNESDAY 4 DECEMBER to SUNDAY 8 DECEMBER 2013 at the GRAND
PALAIS DES CHAMPS ELYSÉES

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In 2013, Salon “Art En Capital” invites you to discover over 650 artists from all over the world.
They exhibit their works in five disciplines: painting, sculpture, architecture, the graphic arts and photography.

The journal “Russian Art & Paris” introduces artworks of Russian artists selected by the Jury of Salon “Art en Capital” for exhibition of 2013 year. 

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Vitaly Gubarev  “Baikal”  Etching. (23×59 cm)

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Vitaly Gubarev  “Comfield”  Etching. (29×42 cm)

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Vitaly Gubarev  “Blooming meadow”  Etching. (30×37 cm)

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Evgeni Yali  “The  blizzard”  Oil on Canvas. (70 x 80 cm)

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Alena Filippova-Kargalskaya  “Bonsoir, Vincent!”  Oil on Canvas. (90 x 70 cm)

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Vladimir Shichkov  “The Dream”  Oil on Canvas. (60 x 70 cm)

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Anastasia Vostrezova  “Secrets of black snowflakes”  Oil on Canvas. (100 x 80 cm)

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Aleksandr Fayvisovich  “Snowfall”  Oil on Canvas. (92 x 92 cm)

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Leonid Stroganov  “The merchant of Venice”  Etching. (42 x 28 cm)

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Leonid Stroganov  “The courtesan”  Etching. (42 x 28 cm)

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Leonid Stroganov  “Shell”  Etching. (41 x 56 cm)

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FIAC 2013, (Paris)

FOIRE INTERNATIONALE D’ART CONTEMPORAIN (FIAC) 2013,  OCTOBER 24-27

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For its 40th edition, the International Contemporary Art Fair – FIAC, a major showcase for artistic creation, continues to develop, and confirms its status as a leading international art fair. FIAC 2013 at the Grand Palais features over 180 galleries from 25 countries, presenting modern art, contemporary art and emerging trends. At the same time, with its external cultural programme, FIAC demonstrates its desire to strengthen its identity over the long term by presenting an ensemble of outdoor works, series of lectures, performances and screenings of artists’ films in the most prestigious settings in the heart of Paris.

FIAC is distinguished, among the major international fairs, by its strong national contingent and its distinctive European flavour: 30% of the exhibitors are French compared to Frieze London which presents 25% of galleries from Great Britain; FIAC is made up by 73% of European galleries compared to 54% at Art Basel in Switzerland. France is represented by 55 galleries, followed by the United States with 33 galleries, Germany with 22 galleries, Italy with 13 galleries, the United Kingdom with 12 galleries, Belgium with 11 galleries and Switzerland and Brazil with 5 galleries respectively. New countries represented this year include Canada, Ireland and the Czech Republic. 35 galleries are participating for the first time or are returning to FIAC after a period of absence.

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Sitting with a glass of a refreshing beverage in hand (rhymes with Brouilly) at my favorite Paris cafe, my thoughts turned to my visit to FIAC, the great Paris art fair, now celebrating its 40th year. Finally, on Saturday, I went to FIAC, paid my 35 Euro (yikes!) entry fee, which did include a ride on the Seine Batobus, (note, no waiting for cash) and decided to see what ”normal people” thought of the fair. First of all, Jennifer Flay did a wonderful job, FIAC looked wonderful, and the Grand Palais is, as always, an inspiring place to see art.  Of course it was hot, with all of the lights, and the sun shining so I was fortunate there was plenty of my favorite refreshing beverage (rhymes with champagne) on hand. Lots of young folks there (always a good sign, because where would we all be without the next generation of collectors). Not so many red dots… although as we all know, that doesn’t always mean so much.
•  This year, I didn’t see so many things that made me think “I have to have that”. But there were a number of stand-outs. Internationalism? Not so much. There were a couple of galleries from China, none from Africa, Canada, few from South America, Russia. Lots from Europe and some from America.
•  The FIAC crowds were happy, buzzing, taking photos… but there wasn’t much for them to buy – a problem always at art fairs. Basel in past years solved this problem with a small group of “editions” and a photography section. Your average young (or not so young) collector is not going home with a large (expensive) installation or a 40,000€ sculpture. Sitting at the cafe in the fair, talking with people who had seen much – or all – of the fair, the demand is there – clearly. Most people were happy to talk about work they had and work they liked…and I got the clear feeling that if there had been more affordable work, there would have been more – a lot more – red dots. But art fairs now have become so expensive to exhibit in, that galleries now bring their best (read expensive) work. ”Young” fairs, like Slick, next door on the Seine, have tried to show ”young galleries” with more affordable work. But nobody I spoke to had been there, or was planning to… lack of time, additional fee (10€), and I admit, I didn’t go myself for the same reason. FIAC can’t really expand – lack of space in the Grand Palais – so it will be interesting to see what solution they find.  And I can’t wait to see what they come up with… with a refreshing beverage in hand.

by Maura Haverly, AAD

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Jennifer Flay, leading the FIAC for the past ten years, does not like the word “crisis”, yet this unsaid word is present in the vast and rich exhibition beneath the glass arches of the Grand Palais. Despite the price of € 525 per square meter there is barely any free space, however compared to last year the fair seems much more predictable, if not boring. Gallery owners do not come to you with discoveries, but prefer to bet on proven names. Nearly every exhibition booth contains artworks that would make any provincial museum of contemporary art quite happy, but they are priced like St. Petersburg State Hermitage masterpieces.

by Maria Sidelnikova and Aleksey Tarhanov, “Kommersant”.

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1.  Grand Palais.

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2.  Grand Palais. FIAC ’13

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3.  Grand Palais. FIAC ’13

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4.  Grand Palais. FIAC ’13

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5.  Grand Palais. FIAC ’13

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6.  Grand Palais. FIAC ’13. Artist Ai Weiwei.

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7.  Grand Palais. FIAC ’13. Artist David Altmejd.

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8.  Grand Palais. FIAC ’13. Artist Jaume Plensa.

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9.  Grand Palais. FIAC ’13. Artist Yeesookyung.

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10.  Grand Palais. FIAC ’13

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11.  Grand Palais. FIAC ’13. Artist James Lee Byars.

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12.  Grand Palais. FIAC ’13. Artist Thomas Schütte.

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13.  Grand Palais. FIAC ’13. Artist John De Andrea.

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14.  Grand Palais. FIAC ’13. Artist Yoshitomo Nara.

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15.  Grand Palais. FIAC ’13

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16.  Grand Palais. FIAC ’13. Artist Loris Gréaud.

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17.  Grand Palais. FIAC ’13. Artist Alain Bublex.

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18.  Grand Palais. FIAC ’13

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19.  Grand Palais. FIAC ’13. Artist Ernest Pignon-Ernest.

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20.  Grand Palais. FIAC ’13. Artist Markus Schinwald.

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21.  Grand Palais. FIAC ’13

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22.  Grand Palais. FIAC ’13. Artist Katharina Grosse.

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23.  Grand Palais. FIAC ’13. Artist Renos Xippas.

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24.  Grand Palais. FIAC ’13. Artist Albert Oehlen.

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25.  Grand Palais. FIAC ’13. Artist Georg Baselitz.

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26.  Grand Palais. FIAC ’13

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Apart from the major exhibition at the Grand Palais, there are several exhibitions of arts and performances at Jardin des Tuileries, Jardin des Plantes, Place Vendome, Banks of Seine – FIAC 2013.

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Paris at the beginning of Fine Art Season ’13

Paris is never boring… Unlock the poetic charm of autumn in Paris at the beginning of major art salons through the lens of photographer Vladimir Bazan.

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From the Centre Georges Pompidou.

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Montmartre (1)

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Montmartre (2)

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Chopin au Jardin du Luxembourg

Chopin in the Luxembourg Gardens.

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Musee du Louvre.Kiss

Louvre (1)

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LOUVRE

Louvre (2)

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Marc Chagall

Marc Chagall. Centre Georges Pompidou.

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Musee D`Orsay. Dega

Edgar Dega. Museum D’Orsay.

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Place Blanche 1070-1 Place Blanche

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Cafe.Montmartre

Montmartre.  Cafe.

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Boulevard Haussmann  2623-2

Boulevard Haussmann.

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La Maison Rose.

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Photo essay by photographer Vladimir Bazan.

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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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На протве 14х18 см

“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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Artist Leonid Stroganov, (Saint Petersburg)

THE EXHIBITOR OF THE SALON “ART EN CAPITAL” 2013

LS-Port-BIG-5Thoughts about the visual arts lead me to memories of how I, as a teenager, loved to watch work in the port. It was in Vyborg, a small town by the Baltic Sea. I especially liked the evening. The mysterious darkness, breathing in the heavy moist sea breeze, the unintelligible subdued sounds, whistles, rattles and subtle clops, fascinated me. Wisps of the fairway, winking in the dark, created a music of excitement, the way into the abyss of a dark and mysterious Baltic night. During the day, the mystery would disappear, everything would fall back into place. Similarly the visual arts, in my view, must contain a secret within it, like a certain quality of understatement. This is what fills the work of fine art with an internal content, and transforms an everyday image into a mature and meaningful artistic statement. That is precisely what determines the value and meaning of the dialogue of the artist with the viewer.

Leonid Stroganov for the readers of the ”Russian Art & Paris”.

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LS-Port-text-1Leonid Stroganov, a graphic artist, works in a currently rare technique of etching. The specifics of printmaking are historically closely associated with the art of making books, with its refined and intellectually rich aesthetic. It is quite natural that Leonid Stroganov, an artist-intellectual, not only has his own outlook, but also a brightly expressive individual style. The etching sheets of the author are filled with symbols, signs, and puzzles that engage the viewer in a dramatic art space: between truth and fiction, life and death, beauty and disorder. Every detail in his prints – is part of a surprisingly musical universe, where everything is interconnected in a complex game of semantic reflections. From this, perhaps, arises a unique rhythm, the nerve of the line of the author’s drawing.
•   The heroes of etchings are fantastic, fictional personas in the image of people. The constant transformation, a rebirth one into another, is most noticeable in the early diptych “Eating” and “Running away” (2002). In later works, traces of recent metamorphosis are seen in the hands of “The Venetian”, in the face of “The Courtesan” (2010), in the feet of the bookplate of Brodovych “Adam and Eve” (2008), in the right hand “of the Magi” (2006) and in other works. These intentionally stylized techniques emphasize the belonging of the characters to a different aesthetic reality unfolded in the field of author’s myth.
•  Series “The Silence” (1999) – is one of the first made by the author in the technique of etching. In this series, which is mysterious and surprisingly melodic in a youthful way, the third sheet is of particular interest. On a gloomy background of deep space there are nude, separately seated figures of a man and a woman with a baby sleeping peacefully in their arms. Immersed, each in their own world, both he and she are alone. Above them, in the upper world, submitting to their own music, unseen creatures fly on a predetermined path, and in the lower world, listening to the melody, wonderful fish swim by. He and she are in an infinite space, where everything is on a predetermined path. The juxtaposition, in which a LS-Port-text-2man and a woman are in the third sheet of the series “Silence,” occurs in the author’s work more than once, for example, in the previously mentioned bookplate Brodovych “Adam and Eve”. The small size and chamber genre of the bookplates do not stop it from being one of the artist’s strongest works – the engraving is beautiful in its artistic idea and deep in meaning. Heroes of a biblical myth are depicted lying on the roots of the tree of knowledge of good and evil, they are arranged with their backs to each other. Adam and Eve are close, but not together – they are far from each other. The audience’s glance at the lying down lonely and confused characters creates a special sense of the timeless existence of personas.
•  Leonid Stroganov returned time and again to the first people of the world. Several works were made with the plot of “Expulsion from Paradise”. Two large-sized works were completed by the author in 2009. One of them depicts Adam and Eve in the moment when they leave the gates of heaven. A huge portal is framed by two dark figures, wrapped in donkey skins. They walk side by side; their closed faces and expressive gestures speak of desperation. They wander along the same road, but each has their own skin, every person for themselves. The author reveals through this Biblical story, the theme of human loneliness. The second work on the same LS-Port-text-4subject, in the form of a diptych, is striking by its expression. Adam and Eve appear emaciated by suffering and eternal journeys. In all the works on the theme of the Fall, an important place is devoted to the image of a root turned inside-out from the land, or of roots blanketing the ground. The root is a metaphor for the origin of that which is hidden from the eyes, which gives vitality.
•  A particular perception of time is present in many works of Leonid Stroganov. The author builds his work in such a way that his characters still exist timelessly, even if the text is full of symbols and attributes that refer to a particular historical period or literary composition.
•  Travelers wander timelessly on their way from the cycle “Moving” (1999). On one of the sheets of the series of the same name, under number one, a group of people is depicted under a starry sky. The wagon, a boy with a backpack, people in hoods, a woman holding a baby next to a man, all wandering after a donkey. Who are they? Refugees, pilgrims of the Middle Ages, whose life was on the road? Unwittingly, you pay attention to the last figures: “A donkey, a woman with a baby, and the man nearby”. The combination is perceived as a quote: “Holy Family on the way to Egypt.” But the woman is not sitting on the donkey, but follows him, and the face of “Joseph” is hidden under the mask. A Miracle – in the ordinary flow of life, but it cannot always be noticed and understood. In the artwork there is no emphasis on the faces of characters. Perhaps they have not yet found their persons, have not found their identity. Through the procession, attention is drawn to the figure of a teenager carrying a load on his shoulders, precisely because he has a face. The boy with the backpack is similar to the artist himself. Does this mean that he walks among his characters behind a cart along a road in the flow of people? There is a feeling of not only a myth, but also a parable. There is a special feeling of a mystical-philosophical “Stroganov” aura, which is the hallmark of the work of this young and very talented artist.

by Ksenia Harina, art critic.

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Адам и Ева

“Adam and Eve”   Etching. (40 x 30 cm)

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The modern Saint Petersburg graphic artist Leonid Stroganov debuted in art with an impressive series of etchings “King Lear”. The sophisticated viewer will immediately feel a dissonance because a series of etchings requires quite serious creative experience and of course, maturity is needed for Shakespeare… All right!  And yet… The talent of Leonid Stroganov is bright and obvious. Few artists of this age have an established style and a distinct artistic vision. Even rarer is the wholeness and strong inner conviction of his own truth. These are imperative qualities without which many talents have faded.
•  The bas-relief style of Leonid Stroganov etchings, their intense drama, is realized in full effect in the William Shakespeare series. No less interesting is the dynamism of compositional solutions, the amazing artistic unity of tonal and rhythmic rows. Tonal accents impeccably build the dialogue of gestures in the etching “King Lear – 1″. The complex range of emotions in the sheet of “King Lear – 10″ comes from the black and white rhythm of the composition. The determination and non-triviality of the compositional structures of each sheet is very enticing. Determination, without which it is impossible to create a new artistic image or, by the description of philosopher N.Berdyaev a “creation of the nonexistant”.
•  A series of urban landscapes of St. Petersburg – the city, roadway of which have seen each and every Russian artists, is a difficult task for a master of any rank. For a series, it is insufficient just combination of scenes. It is very essential to have a new quality – the Saint Petersburg of Leonid Stroganov. And on the etching plates of this artist, such a city arises. This is not quite an ordinary St. Petersburg. Dostoevsky is not seen on its bridges, but perhaps Bulgakov may appear just around the corner. This city is still tragic at night, but a little provincial in the light of day. This is a different St. Petersburg. A St. Petersburg through the eyes of an artist from a new generation. This city can be liked by not everyone, but it already exists, because there exists a new and intriguing artist – Leonid Stroganov.  ©

by Russian Art & Paris

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Куртизанка

“The courtesan”   Etching. (42 x 28 cm)

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Leonid Stroganov was born in the city of Saint Petersburg in 1979 year. After graduating from the Saint Petersburg Art College named after Nicholas Roerich (1999), the artist was continued his education at The Institute of design, applied arts and humanities under the guidance of the Honored Artist of the Russian Federation Oleg Yahnin (2002). Since 2002 he is a member of the Artists’ Union of the Russian Federation. The artist-graphic Leonid Stroganov lives and work in Saint Petersburg, Russia. 

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EXHIBITIONS

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Etchings by Leonid Stroganov 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 Леонид Строганов, (Санкт-Петербург)

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