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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Chopin au Jardin du Luxembourg

Chopin in the Luxembourg Gardens.

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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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Montmartre.  Cafe.

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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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“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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