Russian Art & Paris

Artist Leonid Stroganov, (Saint Petersburg)

THE EXHIBITOR OF THE SALON “ART EN CAPITAL” 2013

Thoughts 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”.

Leonid 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 man 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 subject, 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.

“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

“The courtesan” Etching. (42 x 28 cm)

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.

EXHIBITIONS

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

Russian spelling: Художник Леонид Строганов, (Санкт-Петербург)

2013: 09/01
CATEGORY: ARTISTS
JOURNAL
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“Russian Art & Paris” Art Show. Summer’13

In the Summer’13 Art Show of the “Russian Art & Paris” journal, we present to our readers four very interesting contemporary artists of different styles and genres. They include – a young and very talented artist Alla Polkovnichenko from Moscow, just beginning her career as a professional painter. As well as three well-known masters in the world of fine art – St. Petersburg artist Viktor Egorov, painter Alexander Shevelev from Rybinsk and painter Guennadi Ulibin from Seville. An uncommonly wide range of creative techniques and artistic decisions, and the bright originality of each of these artists will attract the attention of all who follow the development of modern art.

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ARTIST VIKTOR EGOROV, (SAINT PETERSBURG)

In the endless discussion about the fate of landscape painting, there constantly sounds, like a refrain, the philosophical and aesthetic justification of the existence of this genre, its right to an independent life. What exactly causes such a cautious attitude towards it? Could it only be the relatively short history, compared to other genres, or is it something else? Perhaps the complexity of the creation as well as the interpretation of the artistic idea, the fuzziness and uncertainty of the very concept – “an artistic idea of the landscape,” are the primary basis for these doubts. Let’s try to approach this issue from the position of the artist. Why does the artist turn to this genre? Which aspects of the potential of the landscape genre seem more significant to him in comparison with other genres? The artwork of one of the modern masters of landscape art, Saint Petersburg artist Viktor Egorov is quite an appropriate occasion for such a conversation.
• The meaning of landscape as an artistic composition is mainly associated with the organization of space. The compositionally motivated plot, the spatial rhythm, perspective, all of these are basic landscape components focused on solving a single task – creating the spatial structure of the image. The emotional order, the “melody” of the work itself is created (or not created) during the stage of solving compositional (structural) problems. In the paintings of Victor Egorov the tradition of the classical landscape with a construction of space to a considerable depth are masterfully implemented in a series of urban winter scenes – “Tsarskoye Selo”, “Kryukov Canal,” “St. Nicholas Cathedral.” With the classical tradition of this artist’s work, there is a link to a high degree of generalizing a theme (“Winter Garden,” “Autumn in the Park”). The complex rhythm of trees – in depth and horizontally, in conjunction with the restrained coloring, create a graphically expressive image-sign. Thus, the landscape begins to take on portrait characteristics – portrait of autumn, portrait of winter. This portrait features are extremely significant. Landscape – is an aesthetic notion. Landscape – is a natural or urban terrain seen through the eyes of man. This means that the landscape only exists as an image, a generalized image of the world around us. In his most significant artworks, Victor Egorov successfully creates a landscape image-portrait.
• Very interesting are the works of the artist associated with horizontally expanded compositions of the landscape (“Birch”, “View of the Palace of Peter III”). The calm, clear, rhythmic structure of the composition creates a metaphor for a quiet state of motive – the structured construction creates a melody. Similarly, the horizontal rhythm, but more complex and rich, is wonderfully designed in a classically beautiful scenery – “Chinese Palace” (the second part of the triptych “Oranienbaum”). The distinct pulling of Victor Egorov towards large art form, symbolization of the plot (unlike the intimate lyrical narrative); these are the distinctive features of this master’s work. At the same time, these features are in conflict (in some artworks) to the over-naturalization of the object’s image, creating a stylistic dissonance. The phenomenon in general, is very characteristic of contemporary fine art.
• The development of the artist within his work is always a mystery. A mystery, for him as well. Of particular interest is the fact that the development of this intrigue happens in front of the audience – the passive, but influential members of any artistic process. The artwork of Victor Egorov is far from its peak. How and in what direction will this development take place remains to be seen, but what has already been created is a clear indication of the arrival of an interesting and extraordinary master. ©

by Russian Art & Paris

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Picture in the text: “Svyatogorsky monastery” Oil on canvas. (65 x 70 cm)

“Winter garden” Oil on Canvas. (55 x 60 cm)

“Autumn in the Park” Oil on Canvas. (50 x 60 cm)

“Tsarskoye Selo” Oil on Canvas. (50 x 65 cm)

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ARTIST ALLA POLKOVNICHENKO, (MOSCOW)

“Understanding the real world – is the process of creating its models” (A.Kerzhenova). The artistic reality of the painter Alla Polkovnichenko is a vector model that sends the viewer not in the direction of empirical reality, but in the exact opposite direction. In the direction away from the “objective” world and towards the subjective interpretation of it, where as a result of the creative search, there arises a strange and unusual creation – a symbol-sign. The visual code, which is information-sensitive, allows us to justify that before us is fine art, and that art is authentic.
• The open world of the artist Alla Polkovnichenko is huge and simple. The movement of clouds in the sky (“Cloud Coming”) and the movement of the human soul (“After the Rain”) in this world are equivalent and meaningful. The philosophy of this space is intertwined with the philosophy of human destiny, visibly or invisibly present in every composition (“Big City”, “Elets”, “The Banks of the Don”). The vivid metaphor (“Water Tower”) and the detailed narrative in the style of an urban romance (“Olga”, “Pedestrian Zone”) do not contradict each other, but are merely blocks from which the viewer can build any picture of the world by his own directive. The one which he likes… A few features fit naturally into this picture of the world: the “Night”, naive but made a with double supply of irony, and an earnest attempt to understand what is in this world (“Self-Portrait with a plaster head”). A rare in contemporary art, sensual direct view of the world, reveals the identity of the person and the environment, enlightened by his presence (“Resurrection”, “Self-Portrait with a Curved Mirror”), where the depth of space disappears because space, as the distance is just our illusion. The suppleness of the plot, the incoherence of its own artistic monologue by a story (“Rural Love”, “Natasha reading”) are a natural consequence of inherent talent and the learned ability to see. To see that what exists.
• The aesthetics of Alla Polkovnichenko contains a minimal number of basic components. The exquisitely complex structure of the coloristic composition in combination with the carefully developed tonal-rhythmic order create the main “melody” of the work. Artwork detailing – both compositional and picturesque – is almost nonexistent. It is essential to note the absence of explicit tone-color accents – evidence of the professional and aesthetic maturity of the artist. The division of the composition into planes, which come in the form of mixed space – are probably the most interesting compositional technique in the arsenal of Alla Polkovnichenko. A technique, which the artist wields perfectly and with a sense of measure. As for the static compositional solutions, in the vast majority of cases, it looks more like a step in the development than a sensible creative choice.
• The talent of an artist – is always potential. To speculate how this potential will be realized is useless. We will see everything that will take place. But from what is seen in the work of artist Alla Polkovnichenko even now, there is a very characteristic distinguishing feature of great talent – conviction. “Once and for all exactly right and just as it is.” ©

by Russian Art & Paris

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Picture in the text: “Lena Palenko” Oil on canvas. (75 x 100 cm)

“After the rain” Oil on canvas. (75 x 55 cm)

“Cloud coming” Oil on canvas. (135 x 150 cm)

“Olga” Oil on Canvas. (165 x 104 cm)

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ARTIST ALEXANDER SHEVELEV, (RYBINSK)

Beauty is inherently subjective. Within this subjective space, the dramatic world of fine art is unfolded. The artist exists in this world all the time, not being able to venture beyond it, but being able to push the boundaries of this world – his own art creative space. Defining the creative space of artist Alexander Shevelev is not difficult – his creative declaration, distinct and clear, consists of dozens of excellent artworks, with no puzzles remaining after looking upon them. That which is loved by the artist, that which caught his attention, is all in front of us; it is enough to just see these artworks. Nevertheless, during careful contemplation of paintings by Alexander Shevelev, questions arise that are quite interesting and deserving of us to dwell on them in detail.
• Plein air sketch – the main and most reliable tool for the landscape painter. The bewitching charm of a successful full-scale plein air sketch is familiar to every lover of painting. Studio (easel) artwork – the picture – is not just another artistic form. Studio picture requires a quite different kind of visual language. Work at the junction of the two forms – plein air sketch and studio painting, a synthesis of categories that are inconsistent at first glance – are the main fields of the creative search of artist Alexander Shevelev.
• When analyzing features of the artwork by this particular artist, and defining characteristics of his pictorial techniques, we should first of all mention his work with foreshortening. Panoramic perspective, well-known in the visual arts – is a rare guest in the compositional arsenal of the modern artist. The epic sounding of such compositions, their vulgar pathos, is discouraging. The works of Alexander Shevelev: “Spring in Rostov” and “Solovki. Rigging warehouse”- a rare and exceptionally good examples of panoramas with an intimate lyrical melody. The combination of plein air style and panoramic form creates a new artistic quality of painting. An even more interesting angle, so to speak, a “telephoto-style view” – is a look from long range with a significant coverage of image in the vertical dimension: “Autumn in Borisolebsk” and “March in the village of Sherohovichy”. The unexpected foreshortening is a surprise, a strange glance at the world that logically motivates an unexpected detailing of the image in these artworks.
• The coloristic origins of painting of Alexander Shevelev are naturally linked with the plein air sketch, which the artist wields freely and masterfully. The tense, sometimes reinforced colors are the trademark coloristic handwriting of the artist. The concentration of color itself does not always lead to the concentration of the meaning. The essence of beauty in its coloristic value mostly manifests itself through harmony. Plein air works of the artist of recent time (“Sledge”, “The Yard”, “March Snow”), in this regard are practically flawless and by their artistic merit do not give way to the studio paintings of this master.
• Foreshortening, composition, color – are categories of form, which in turn is the bearer of the artist’s individual aesthetics. The value of this aesthetic is subjectively determined by the viewer and can change over time, sometimes significantly. The subjective character of beauty and the subjectivity of viewers’ estimates are of the same nature. However, the artwork of Alexander Shevelev exists objectively – the process of creating and developing his own art form, of his own artistic language. A language that is unusual, vivid and memorable. ©

by Russian Art & Paris

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Picture in the text: “March in the village of Sherohovichy” Oil on canvas. (50 x 60 cm)

“Autumn in Borisoglebsk” Oil on Canvas. (80 x 98 cm)

“Spring in Rostov” Oil on Canvas. (41 x 85 cm)

“Spring” Oil on Canvas. (75 x 100 cm)

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ARTIST GUENNADI ULIBIN, (SEVILLE)

In the history of artistic movement known as mystical realism there are few names and creative events (the term “mystical realism” was introduced by the German art critic Franz Rauh to describe the picture, which shows a changed reality). Work within the boundaries of this area brings quite unconventional requirements to the author: a high level of artistic skill – to create such a composition, and a no less high intellectual level so that the creation become a work of art. Such combination of these qualities in art is rather rare. Modern audiences raised on the centuries-old tradition of perceiving the artist as a bohemian and refer to the phrase “artist-intellectual” with a natural suspicion. Such is the tradition, or, if you will, that is the reality, and few dare to challenge reality. Artist Guennadi Ulibin is one of the few.
• “The rate at which time passes for an object depends on its velocity relative to the observer, as well as the strength of the gravitational field, which can slow the passage of time.” The very appearance of such a quote in an essay on the work of the painter can result, at the very least, with eyebrows raised in surprise. Meanwhile, particularly this quote most fully reveals the central theme of the work of Guennadi Ulibin, the subject of space and time. The attractive force – gravity, in the plots of Guennadi Ulibin is irrationally huge. Objects are literally pressed into the surface of the planet. As a consequence – the passage of time has almost stopped. Can anything even happen in a space with fixed time? Perhaps yes, and even something quite interesting. First of all, things in their ontological value return to their original meanings – the stones are just stones, the tide is a tide, the sunset is a sunset. But the most amazing transformation happens with man. Freed from their social camouflage, man – an object that is familiar to us all, is recognized with difficulty. Is it really true that we, people – are like this? Let’s not rush to answer.
• The space in the paintings of Guennadi Ulibin is one of the main components of the artistic image. A distinctive feature, quite unusual for a work of art, is the depth of this space. In the paintings “Earth”, “Space”, and “Ocean”, the scale is almost philosophical, to the very boundary of the knowable. The stillness of the characters is deceptive – every pose is distinctly accented by a gesture (the turning of a head is also a gesture). In this regard, it is interesting to recall a thesis by Pavel Florensky – “the gesture defines a space therein causing tension and thereby distorting it.” The distortion means the subordination of space, its individualization. This is yet another feature of the works: the complete and absolute proportionality of the size of the space to the size of man. This proportionality is not accidental, the humanitarian environment of man – the whole planet, is one and indivisible. The man and the planet are identical. This identity is affirmed by each composition of Guennadi Ulibin.
• The external monumental visual style of Guennadi Ulibin should not be misleading – the key of his works is the human dimension and the human element. Both the spacial and the metaphorical compositions are interpreted by the artist within the human destiny. The semantic content of human images partly resonates with the fundamental idea of Nietzsche’s “eternal return”. “- Oh, the man always returns!” spoke Zarathustra, but the man does not always returns the same, as he was before. Is it possible that from the depths of the images of artist Guennadi Ulibin the man looking at us is an unknown “new” person, or at least a sketch to his portrait? Why exactly is it impossible? ©

by Russian Art & Paris

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Picture in the text: “Dream” Oil on canvas. (89 x 196 cm)

“Unmanned space” Oil on Canvas. (81 x 162 cm)

“Ocean” Oil on Canvas. (195 x 100 cm)

“Water” Oil on Canvas. (89 x 195 cm)

2013: 08/01
CATEGORY: ART SHOW
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Artist Vladimir Shichkov, (1951 – 2016)

THE EXHIBITOR OF THE SALON “ART EN CAPITAL” 2013 – 2014

The Arts – are fragments of a lost paradise, and the task of the artist, is to try to collect them. The difficulty lies in the fact that art is not life itself, but rather its reflection. Attempts of a literal copying of nature in painting do not reach a result, because the real-life object and its image in the plane have a different nature. In the 20th century, art has significantly transformed: in addition to the indisputable realism with its deep penetration into the essence of being, there is now impressionism, with its elements of pure color, and also the avant-garde with its innovative formal quests. I’m interested in the stylistic achievements of each of these areas: they complement and enrich one other. The main aspect of art – to create works that could “hook” the soul of the viewer, stop it, and make them think. Particularly this event – the pause before any artistic canvases, instantaneous concentration of attention on painting, transforms a participant of a gallery into an audience. The most valuable of all things is our life. Humans are given a unique opportunity to explore the world, to think, to dream, to love, and if they are also given the gift of creativity – it is a huge responsibility, as if every artist comes into this world with a certain mission. Another and very important thing – has he realized it or not, has he understood himself, has he received the necessary proficiency and the ability to clearly express it … At the end of it all, for his own creative talent, he is personally responsibility before God.

Vladimir Shichkov for the readers of the ”Russian Art & Paris”.

In the present, there exist many artists, preserving the traditional commitment of art, but being absolutely modern in their worldview. Their artwork in which there is a free transformation of natural forms and a subjective interpretation of the visible, acts in opposition to the naturalistic paintings of the recent past, which imitate the lifelike. The figurative meaning of paintings by such masters is difficult to comprehend. The artist seeks not to as much visually reconstruct objects as to inspire viewers with artistic images, to cause a certain mood. Departing from external naturalism involves the activation of a counter spiritual perception from the viewer. The depiction of expression in these canvases, dominates the goal of portrayal. The drastic emancipation of painting from the tasks of fable narrative requires updating of the language of depiction.
• Such work is done by artist Vladimir Shichkov. His artistic formation and development, it would seem, did not foreshadow this turn. For years, he repeated the fate a painter quite traditional in subject matter and in style. Apparently, it could hardly be expected from him to have drastic changes in both. But the era of rapid shift of the entire political and cultural life of the country has awakened many. Almost complete cessation of state patronage in the arts freed artists from the persistently imposed criteria. Vladimir Shichkov was sensitive to the challenges of the time.
• From imitation painting, visibly object-based, he came to the artistic decisions, residing at the boundary of a complete loss of natural object. The reduction of material forms as if not at all hinders the master. On the contrary, it seems to him as a particularly attractive way to strain the viewer, to give him the possibility of different interpretations of what he saw, but within the originally specified emotional range, as is the case with the experience of musical tune. The boundaries of possible interpretations are deliberately vague: the artist emphasizes the emotional beginning, not the figurative meaning. In the internet age, the visual culture of the viewer fundamentally changes. And above all, it concerns the extraordinarily sped up pace of showing. Flickering frames, the surprise and showiness of viewing angles, dissonances of color, blurring of contours – all this has become natural and habitual to the modern man. The view from the window of an express train or a speeding car, significantly changed the way we experience the world, and could not have avoided the visual arts.
• His paintings sometimes differ from the natural world. These artworks ignore the density, weight, and material tangibility of the portrayed objects. Vladimir Shichkov attains an associative resemblance with the object, working largely in favor of his own enacted fantasies, freely transforming the outline, color palette and texture of objects in any motives. Hardly marked outlines, the quaint and moving kaleidoscope glow permeated by vibrating color stains, give birth to a special aesthetic emotional vagueness, a fleeting illusory, “where precision is fused with fluctuation” (P.Verlen), unwittingly awakening our imagination as well. These canvases are viewed as more flattened, they delineated a decisive turn to pure decoration. The unique features of this artist’s creative style are: improvised variations of bright imaginary landscapes; fragile, transparent silhouettes of flowers; demonstrative artistry of writing; cursory informative content of the plot; free emotional response to what is seen; expressive movements towards heightened-color painting; quite flawless artistic intuition.
• In a recent review of his solo exhibition at the Ivanovo State Art Museum, it was not accidentally said: “The artist balances on the verge of figurative painting and abstraction – a fascinating act of equilibrium.” Note that this is not without reason. The coloristical intensity of the canvas is held by the clashes of the thoughtfully rhythmic decorative spots. This reinforces the intensity of perception of the almost intangible materiality barely showing through the figurative motif. It seems as if the artist paints colored light, creates a luminous painting on glass – a kind of stained-glass feature to his paintings markedly magnifies their decorative-poetic beginning.
• All of his work, labeled by critics as “artistic equilibrium” seems like a spontaneous outburst of emotions carried onto the canvas at a rapid pace, executed in a live sketch-like manner; but such an impression can be misleading. By his own admission, they were born painstakingly. They were not a freestyle improvisation, but rather a deliberate desire to make the image and its perception by the view more dynamic. While seemingly without structure, these paintings are well made and designed to fulfill their main function – become an emotional dominant of residential or office interiors. Hence the desire for the external showiness, color harmony, and predominately sunny disposition of the emotionally-shaped structure.
• Honing his individual style, the master creates many paintings varying on the theme of color richness of the visible world. Vladimir Shichkov artistic creativity increases markedly from year to year. A direct appeal to the legacy of Impressionists or the quest for the artistic avant-garde are characteristic of the era of postmodernism: poly-stylistics become the style of our time. Today’s avant-garde artists actively make use of the achievements of predecessors. Already in the 1910s avant-garde started becoming more academical and there originated an avant-garde salon, which in our time decisively wins the sympathy of the audience, contemporary art galleries, and private painting collections. The achievements of Vladimir Shichkov are a visual confirmation of these tendencies. The processes of globalization are truly planetary in nature and necessarily pull into its orbit of influence even the most remote corners of the Earth.

by Efim Vodonos,
Honored Artist of the Russian Federation,
Director of the Russian art department of the Saratov State Art Museum
named after A. Radischev.
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Pictures in the text (from above):
“Breakfast” Oil on canvas. (40 x 60 cm); “Pushavka” Oil on canvas. (60 x 80 cm).

“Paris” Oil on Canvas. (70 x 70 cm)

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Thinking about the aesthetics of Vladimir Shichkov, noting how precisely the color chords of his works are composed, the term “poetry” involuntarily comes to mind. Concepts, which are used in the theory of poetry seem to be quite adequate for the artistic analysis of the pictorial composition of this master. Rhyme is a measured pace, the rhythm of sound. This definition is most relevant to the creative work of Vladimir Shichkov. The rhyme of color is at the foundation of his amazing and exceptionally attractive artworks.
• Let’s look at a little artistic miracle – “The Indian Summer”. Or at the no less charming – “The Flare” and “The Morning”. What is special about these compositions, which at first glance have quite ordinary plots? Is the innovative character of the artwork? Sure. Excellent color scheme? Absolutely. But apart from these purely artistic aspects, there is another dimension that is absolutely humanitarian – humanity. Peering into the coloring of paintings by artist Vladimir Shichkov, listening to the monologue of his paintings, the conclusion has to do quite unexpected. These bright, juicy, and externally flashy pictures lead their conversation with the audience in a surprisingly calm and warm voice. What gives them such a sound? First of all – the rhythm, the movement of the main color harmonies in the plane of the visual field. In the brilliant landscape “The Indian Summer” this can be seen most clearly. The rhythm of the main color masses with perfect precision builds the theme of the works – the warm calm of a clear autumn day.
• Much more complex in its compositional and rhythmic construction is the landscape “The Coast”. With a high level of color intensity and strong contrasts, it still retains, however, a sense of comfort of human presence. The rhythm within it is set by the mass of blue color, penetrating the whole composition, and effectively ”soothing” the fractional, ringing rhythm of light accents. Rhythm, so to speak, regulates the timbre of the artistic voice – somewhat quiet, somewhat emotional, but never rising to a scream.
• The subtle understanding of plot in the figurative compositions by Vladimir Shichkov (“Paris”, “Premier”, “Nocturne”, “Giselle”) is present despite the artist favoring a close-up view. This is a remarkable quality. A close-up view, the rise of an image of human body to the boundary of a canvas, complicates the plot possibilities of the composition. Of all the active tools, the only one left at the disposal of the artist is, perhaps, the gesture. The gesture is understood as a meaningful movement of the entire human body. Could a gesture become the plot of an artwork? The composition “Paris” answers this question quite vividly.
• The language of artwork by Vladimir Shichkov is a profoundly original phenomenon. This language is not always easy to understand, but the expressiveness of this language, its artistic values and its possibilities are obvious. No less interesting are questions that arise among this. One of them, maybe the most fundamental, concerns the relationship between the planarity of the whole picture and the three-dimensional nature of human images on the canvas. In this special language, being developed by the master, the “conflict of interest” between these two basic categories looks to be inevitable. Or is a compromise still possible? Artist Vladimir Shichkov is actively working, and his answer will probably not keep you waiting too long. ©

by Russian Art & Paris

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

Paintings by Vladimir Shichkov – are a kind of visualized dreams of that which is beautiful. Colorful dreams. The unique feature of the realm of dreams – is a wonderful combination of incongruous things, where everything visible is transformed in unexpected ways, shapes flow into one another and change before our eyes. In a stream of bright and saturated colors, the image slips away. In the next second the “frame” changes, and you will no longer recognize the previously seen picture… Looking at the paintings of Vladimir Shichkov, you seem to be immersed in the contemplation of a colorful sleep. But unlike fleeting dreams, you can return to the artistic canvas again and again to look over the features.

Victoria Solnceva, art critic,
Research associate of the Ivanovo State Art Museum.

Vladimir Shichkov was born in the city of Ivanovo in 1951 year. After graduating from the Ivanovo Art College (1981), the artist was trained at the Moscow Art-Industrial College (the former Stroganoff College) under the guidance of docent Staborovsky (1983). Since 1990 year, artist has participated in art exhibitions and competitions. The paintings of Vladimir Shichkov are in the collection of the Ivanovo State Art Museum.

EXHIBITIONS

Painting by Vladimir Shichkov in the exhibition of the Salon “Art en Capital” 2014, (Paris).

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

Russian spelling: Художник Владимир Шичков, (Пучеж)

2013: 07/01
CATEGORY: ARTISTS
JOURNAL
1 comment

Editorial: Russian Art & Paris – Statistical Table of Views.

2013: 06/30
CATEGORY: Uncategorized
1 comment

Artist Ksenia Lavrova, (Saint Petersburg)

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

Our world is beautiful, bright, refined … It just needs to be seen. The history of fashion is the most truthful mirror of human nature and the visual environment of any historical character. A careful study of the history of costume and fashion, the history of the creation of fabrics, stages of formation of the historic appearance of “a dressed up person” at different times in different countries, as well as the understanding and study of ethnic groups in different countries – helps me create a real and live artistic images. Try to see the subtlety of the Egyptian kalaziris, and the severity of the French brokkara, the possession of which, at the time of the Directory, could end in you losing your head. Perhaps that is why my Marie Antoinette looks with such sadness at the viewer. In my portraits there is sadness, contempt, and euphoria. Glamorous charm is not for me. Hundreds and thousands of scientific studies, whole libraries of historical literature, are created in an attempt to understand and explain the nature and purpose of my characters, but words alone are not enough. For complete characterization there also needs to be paint of artist. It would be better to say that I am creating a visual encyclopedia of human images of bygone eras – images of the whimsical, strange, and not always beautiful…

Ksenia Lavrova for the readers of the ”Russian Art & Paris”.

It is known that the story develops in a spiral. In the early twentieth century Paris was shocked by the exotic beauty of the works of Russian artist Aleksandr Yakovlev, shown at an exhibition in the gallery Charpentier, at the end of a series of expeditions organized by “Citroen” in Africa, Asia and the Far East. On display in front of the astonished audience were leaders and princesses of African tribes, actors of Chinese opera, and peasants, Japanese geishas and kabuki actors, sumo wrestlers and Afghan shepherds.
• At the beginning of the twenty first century, when it would seem that the world has been studied, and there was not an undiscovered nook, a Saint Petersburg artist Ksenia Lavrova invites viewers into her exciting journey across the countries and continents of the world. A world transformed by her imagination, an amazing world, where imagination echoes with an ethnographic precision of details; a mysterious and frightening world, filled with very strange creatures as if descended from the pages of Lewis Carroll.
• The creative work of Ksenia Lavrova is characterized by multiple stylistics,

as is typical of contemporary art. The artist intentionally uses the principles and techniques of different styles and different directions. The easy composition of multiscale pieces on one sheet and a wonderful unusual combination of heroes or patterns of fragments and compositional pauses of empty space, give rise to memories of masters from the European Middle

Ages, and the quirky, whimsical, elastic line is as if borrowed from Persian miniature painters. Luxury materials and textures depicted in the works of Ksenia Lavrova, send the viewer to the aesthetics of Art Deco. The mood of a light sadness, smooth flowing silhouettes, the bright combination of gold with purple, lilac hues, the quiet showing of reflections and iridescence, complemented by decorative flatness are reminiscent of Art Nouveau.
• With this diversity of sources, creative style of K. Lavrova differs by its uniqueness. The subtle combination of quiet disparate methods from different eras and styles is an expression of the feeling of life in modern society, the big city, where ethnic groups and cultures from all ends of the planet coexist together.
• The contemplation of works by Ksenia Lavrova can be compared with aesthetic pleasure, slowly drinking small sips of strong oriental coffee and re-reading a novel from the nineteenth century, highly rich in elegant epithets, detailed descriptions, and almost devoid of action. Information density of her artworks is unusually high. It is impossible to catch at first glance all of the characters and innumerable details. Each time when viewing the creative work of Ksenia Lavrova, you always discover something new that slipped from view before. This extremely fascinating and endless journey of discovery gives viewers the opportunity to enjoy a fine and generous aesthetic of an amazing artist.

by Marina Chekmareva, Ph.D. in Art History,

Research associate of the State Hermitage Museum

* * *
Probably one of the most impressive St. Petersburg graphic artists today, Ksenia Lavrova is equally gifted with a bright talent and a vibrant personality. An artist’s own style, the unique artistic vision are the features which are so highly valued in the art-world throughout all times. In the art of graphics, which is sophisticated and elitist by its nature, these features become critical . If there is no personal style, there is no artist. In the presented graphic compositions from the series “Historic Identities”, the problem of style does not appear theoretical. What is before us: a poster, an illustration, or an graphic arts? Where is the birthplace of these graphics: in the tradition of Russian Art Nouveau, or in the synthetic omnivorousness of pop-art? With what language does this artist speak to us? Perhaps the last question is the most interesting.
• It is easy to see that the compositional constructions of K. Lavrova include the texture of the material as a separate component of the image. The material world of objects, colliding with live characters, suddenly acquires the right to speak. In this metaphysical space, the justacorps ceases to be a detail of clothing and becomes an independent character of the narrative. Items enter a dialogue: with each other and with the main character of the artwork. The dialogue of objects is the basis of plot for many works of the artist Ksenia Lavrova. Marie Antoinette’s wig clearly mocks its mistress. Queen Boleyn’s cloak is only waiting for an excuse to challenge her right to the throne. The voices of the objects, like the voices of musical instruments, build the melody of the composition. This tune becomes its content.
• The traditional graphics language – the language of the conditioned space and chamber color rows noticeably expands the range of its capabilities in the works of Ksenia Lavrova. The harmony of the two fundamental, and at the same time difficultly compatible, graphic elements of lines and ornament is remarkable. The ornamental arrangement of the image’s plane is thought out and organic. The elegance of the compositional decisions, seemingly simple and obvious, is captivating by the conciseness and expressiveness of the result. Does everything mentioned above allow us to speak about the innovative nature of this artist’s work? Is it possible, within the framework of this artistic style, to create a painting with any, including any modern, theme. In other words, is this style sufficiently universal to be called a style? We will definitely search for the answer to this question in every new painting of the artist Ksenia Lavrova. ©

by Russian Art & Paris

“Lius XIV” Acrylic on Paper. (64 x 90 cm)

Ksenia Lavrova was born in Saint Petersburg in 1967. In 1990 she graduated from the Academy of Stieglitz (formerly LVHPU named after.V. Muhina). In 2005 she graduated from faculty sinology of the Oriental Institute. Ksenia Lavrova is an artist with a wide range of creative skills. Active in various genres from design to book illustration, and graphic arts. Since 1994 she is a member of the Artists’ Union of Saint Petersburg. The artist Ksenia Lavrova lives and work in Saint Petersburg, Russia.

EXHIBITIONS

Painting by Ksenia Lavrova in the exhibition of the Salon “Art Capital” 2015, (Paris).

Painting by Ksenia Lavrova in the exhibition of the Salon “Art en Capital” 2014, (Paris).

Russian spelling: Художник Ксения Лаврова, (Санкт-Петербург)

2013: 06/01
CATEGORY: ARTISTS
JOURNAL
2 comments

“Russian Palette” in Paris 2013

ANNUAL MEETING WITH RUSSIAN ART IN PARIS “RUSSIAN PALETTE”.

From May 15 to 31, 2013 in 12 galleries in Paris, there will be art exhibitions representing Russian art in a variety of genres and styles – for the first time within the framework of the project “Russian Palette”, which promises to become an annual event thanks to the support of the Mayor of Paris, Mayor of the 8th arrondissement, the Russian Center of science and culture, as well as the monthly addition of Le Figaro Russia La Russie d’Aujourd’hui – an international project carried out since 2007 by the official daily newspaper of the Russian government, “Rossiyskaya Gazeta”. The Parisian gallery, regularly exhibiting Russian artists, offers a thematic route, which opens a wide panorama of art by contemporary Russian artists and artists of the XX century. Each gallery has its own concept, and thanks to this the palette of works is very rich: from figurative to abstract art, from sculpture and photography to installations.

From May 15 to 18, the participating galleries exhibited selected works from announced exhibitions at the Russian Center of Science and Culture in Paris.

The Russian Center of Science and Culture. 61 Rue Boissière, Paris

Director of the Russian Center of Science and Culture Igor Shpynov opened the vernissage.

Lada Skachkova, the gallery “Russkiy Mir”; Max Laniado, Director of the gallery “Visio Dell’Arte”; Vladimir Kara, artist; Francine Szapiro, Director of the gallery “Saphir”; Paquita Escofet Miro, art collector; Serge Korzhakovsky, art critic (from left to right).

Francine Szapiro, Director of the gallery “Saphir”.

The exhibition hall.

Oskar Rabin, artist.

Part of exhibition.

Zurab Tsereteli, President of the Russian Academy of Arts.

The viewers at painting.

Eugenia Miro, artist.

The glance. Eléonore Chalmin, (Auction House Daguerre Drouot) in front of the picture by artist Konstantin Sutyagin.

Max Laniado, Director of the gallery “Visio Dell’Arte”

Lada Skachkova, gallerist and Vladimir Kara, artist.

Age of the digital revolution…

Photo essay by photographer Vladimir Bazan.

2013: 05/23
CATEGORY: JOURNAL
NEWS
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“Russian Art & Paris” Art Show. Spring’13

In the spring Art Show ’13 of the Russian Art & Paris journal, we present to our readers four contemporary artists. Tatiana Godovalnikova, a master of seascape from Sevastopol. A master of landscape Igor Grishchenko, Associate Professor of the painting of the Nizhny Tagil City Pedagogical Academy. Artist Mikhail Kaban-Petrov, is a well-known for the innovative character of the artistic quests. Dmitriy Permiakov, a young and very talented artist from Perm. What unites these quite different artists is the originality of artistic thought and the bright distinctiveness of their pictorial language. For the attention of all who are interested in the world of contemporary visual art.

* * *

ARTIST TATIANA GODOVALNIKOVA, (SEVASTOPOL)

Impressionism, appearing more than a hundred years ago is a phenomenon both well-studied and rather mysterious. Very different artists have been labeled as impressionists. Different in style, in spirit, and, most importantly, in the the complex of their solvable tasks. In considering the work of the artist Tatiana Godovalnikova, it is very hard to resist from using the word “Impressionism”. The question is, what does this term give us in understanding the creative artwork of a single artist? Frankly, very little, almost nothing. Perhaps more interesting is the question, what is the major focus of the attention of this artist? Immediately, to the vague term Impressionism, we add a much more specific term – light, the flow of light. The natural light stream is what makes up the compositional, and often the plot foundation of works by this artist. Light, whose plot function was noticed even by Vermeer, acts as a structure-forming element of the image in the works of T.Godovalnikova. The precise characteristics of the light stream, become a necessary condition for the creation of an authentic visual space. The magical aura of the artwork by T. Godovalnikova, the charm of the atmosphere of her works, are a natural consequence of the authenticity of the key compositional link – light.
• Working with light, is one of the most interesting problems in visual arts. The theoretical principles of the luminosity of artworks have been developed long ago, but the practical implementation of these principles require from the artist a very serious level of mastery. Tatiana Godovalnikova demonstrates fluency in the full range of light “palette”. The direct sunlight, creating a powerful major emphasis, is excellent in the landscape “Heat.” The subtle sound of pouring streams of light is in the painting “Wisteria”. The soft glow of a fading day is in the transparent evening landscape “Twilight.” The luminosity of these works, the accuracy and certainty of their tonal design is striking. In the still life painting “Roses on blue”, the light glare becomes the protagonist of the composition, building the theme and the plot of the work through its own arrival.
• In the world of painting, the night landscape, and especially a landscape with water, is one of the most difficult scenes. Not every museum collection can boast of a successful night composition. The reasons are quite obvious – the technical complexity of working with nature on night scenes, and at the same time, the complexity of working in a studio with no credible and successful natural etudes. The landscape “Lights of Balaclava” can be safely attributed to the works of museum-grade. The fascinating atmosphere of a brightly lit coastal town at night; the relaxed composition of the painting, executed in a free style of painting – all speak about the work of a master. Accidental luck in works of such complexity simply does not happen.
• The artwork of Tatiana Godovalnikova, reserved in the scenic range, is focused on the multidisciplinary development of favorite themes and motifs, is deeply professional and at the same time, artistic. And most importantly – this work continues … ©

by Russian Art & Paris

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Picture in the text: “Heat” Oil on canvas. (50 x 60 cm)

“Balaklava. Plein air” Oil on Canvas. (70 x 80 cm)

“Lights of Balaclava’ Oil on Canvas. (70 x 100 cm)

“Roses on blue” Oil on Canvas. (70 x 70 cm)

* * *

ARTIST IGOR GRISHCHENKO, (NIZHNY TAGIL)

The depiction of wildlife, is habitually identified by the viewer with the word landscape. The artwork by artist Igor Grishchenko with its formal features, is very easy to attribute to this genre. With one small caveat – before us is not necessarily a landscape, but a feeling of a landscape, a recording of the artist’s emotions that arose from observing nature. Whether such an image can be called a landscape is a theoretical question. For the viewer, what’s more important is how interesting and significant is the image created on the canvas. Let’s start with the basics – what do we see once surrounded by the paintings of artist Igor Grishchenko? The coloristical uniqueness of each painting, the lack of color repeats, is the first thing that is essential to notice. Each painting is characterized by a well-developed, almost musically sounding, color scheme. In most cases, a single color chord fills the entire plane of the visual space. Dissonances, strong color accents are almost nonexistent. Holistic, harmonious melody of color is the foundation of the artist’s scenic design. The decorativeness of a painting style should not be misleading, before us is a realism more authentic than many of the “photo-realistic” imitations of nature. Realism is not about external similarity, but rather about the meaning of the presented plot.
• The impression prevailing over narration, is the hallmark of landscape compositions by the artist. The focus on transferring personal sensory experience can be seen in many paintings. The breath of a real living forest – “Landscape with a spruce”, “October”, “Spruce Forest”. Complex, emotionally rich compositions “Autumn,” “Northern Blues,” “Night Forest”. Intense drama in the paintings, “Blooming belogolovnik” and “Autumn Road”. The selectivity of the artist’s perception is confirmed by the well-structured, sometimes rigid, composition of each plot. The authenticity of these feelings and the prudence of artistic means to transmit these feelings, are probably the main features of painting by Igor Grishchenko. These main features involuntarily direct the viewer to the central question – what exactly transforms a canvas filled with paint into a painting? What components need to come together on the canvas to cause a work of fine art? The beginning of an answer to this question lies beyond the image’s plane, in the personality of the artist. Who is he, this mysterious man, who chose for himself a strange craft – of mixing colors? What is the essence of the craft – the ability to draw or the ability to see?
• Landscape “Golden Evening”. Light-filled space. Golden glare of the sun at sunset. The stillness of evening sky. Tranquility. The meaning of this sensation is difficult to put into words, but no less difficult to convey with colors. The wooden palette of an artist contains no sunlight color, no warm evening air. The talent of an artist is the ability to think in categories of artistic ideas – color and rhythm, plane and volume. But to think also means to select, to analyze and understand. The last word – to understand – is probably key. Perhaps it is with this, that the road to a work of art begins. What exactly does an artist need to understand standing in front of a blank canvas: the construction of light and form, or the nature of his own feelings? Obviously, the former and the latter. What will be the most important – what you see or what you feel? What color combination will more accurately transfer the range of your own feelings? There are dozens of questions, and seeking the answers to them is the daily invisible part of the work of an artist. The viewer sees the result – the already discovered artistic image – glowing sky, golden glare, tranquility. Everything else remained “behind the scenes” in the studio of artist Igor Grishchenko. ©

by Russian Art & Paris

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Picture in the text: “Golden Evening” Oil on canvas. (58 x 78 cm)

“Landscape with a spruce’ Oil on Canvas. (80 x 100 cm)

“Spruce forest” Oil on Canvas. (75 x 110 cm)

“Aspen mountain” Oil on Canvas. (73 x 80 cm)

* * *

ARTIST MIKHAIL KABAN-PETROV, (KOSTEREVO)

The complexity of the assessments and the perceptions of contemporary art are in many ways linked to the orientation of the audience and the critics towards the generally accepted canons and artistic trends. The grading scale is thus attached to the present from the past. Roughly speaking, the definition of “what should be,” is willingly or unwillingly built on the assumption of “what was”. It would be interesting to ask art critics about how they see the future of fine art? And is it possible to also get an assessment of modern art based on the criteria of the future, not the past? The very question seems rhetorical at first glance – the example of empty cells in the periodic table is probably known to everyone. What is getting in the way? Perhaps there is a well-established view of art in society as one of the varieties of the service sector, which implies adherence to the aesthetics of today. This is not true. Fine art does not engage in the servicing of aesthetic needs. Its purpose and scope are in a completely different field. As an illustration, let’s take a look at the work of one of the modern masters.

• In the upside down world of the painter Mikhail Kaban-Petrov, everything is very similar to the truth. The inverted boat that will not float because of winter (“Boat”). And will the thawing ever come, and with it the pure water on which you can float, no one knows. Perhaps the thawing will never occur and the boat will not float ever. Is that not true? A door, remarkable in that it is closed (“Door”). Light makes its way under the door – there is someone, there are people, there is life, there people are “… again, not sleeping. Maybe drinking wine, maybe sitting around. “(M.Tsvetayeva). But we, the audience, and the artist himself, are on this side of the door. Will we be able to get to where the

light is? Maybe yes, maybe no. “Heat,” where there are two people noticeably present, although neither are in the plane of the image; and from the outside world there only remains a red-hot streak of light making its way out of a curtained window. There is no life, only the emptiness of heat. The life in here, in this room, and what we see, is but a fragment. A fragment reinterpreted in the artistic space of a canvas. What kind of artwork is this? What is its essence? First of all in this remarkable truth, is a feature invaluable to art – uniqueness, as the Parthenon is unique, despite the abundance of marble.

• The artwork of M. Kaban-Petrov is far from symbolism, it contains no set of metaphors. The nature of this painting is deeply national – there is more Dionisy in these canvases than Cezanne. The style of paintings by M. Kaban-Petrov is associated with black and white “graphics” of the novels by Dostoevsky. “Requiem”, is made in a “negativity” form that is very unexpected for an artistic painting. “Prayer”, with a tragic red color and the no less tragic “The Wall”, show an inner spiritual relationship with the major themes of Dostoevsky.

• The realism of the perception of the surrounding world, the understanding of the world as an objective reality, is materialized in the artistic reflections on the content and meaning of this reality. What we see in artworks of Mikhail Kaban-Petrov, is not just a glance from the side at our present reality, but a glance at it from a different time. A glimpse from the future. This is how our time will look, the part of it that went into the field of view of the artist, through the eyes of future generations of viewers (and joining them, art critics). ©

by Russian Art & Paris

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

“Boat” Oil on Canvas. (80 x 102 cm)

“Still life” Oil on Canvas. (135 x 85 cm)

“Book” Oil on Canvas. (115 x 76 cm)

* * *

ARTIST DMITRY PERMYAKOV, (PERM)

A thirty years old artist on the current practice is considered young. This is natural, the period of training in fine arts is long and not limited to the years of formal education. Confident independent creative work, in most cases, only begins after thirty. In other words, the thirty-year-olds are the newest generation in art. The interest of the public to this generation is obvious, a new generation means a new look at the world, with their new understanding and new emotions. The creative work of artist Dmitry Permyakov, one of the representatives of this generation, bears many of the basic characteristic features of Russian painting. This is a traditionally high level of color culture, mastery of art composition, and an understanding of its role in creating an artistic image, this is also the attention to the everyday life surrounding the artist. But there are others who also have all this, entering the world of professional fine art as young and certainly talented artists. What distinguishes this particular artist? Let’s take a closer look.
• The subtle coloristical intonations of the artistic constructions by Dmitry Permyakov attract attention at the very first acquaintance with his canvases. The artist avoids rough color-dominants. A precise coloristic tune is built without the help of accents, with maximum use of the effect of color harmony. Modest in size, “Ural sketch” demonstrates the unusual intonation quality of paintings by D. Permyakov. A soft, planar sketch, what could be so special about it? Particularly the tone, is what creates an emotionally expressive artistic image. The seen, heartfelt intonation is carefully preserved even in large, studio-landscape compositions (“Barents Sea”, “Montenegrin Ples”). The flawless tonal range, without which it is impossible to work in the model of “landscape-state”, creates the basic, tangible medium of the artistic space of the image’s plane. Restraint, at times austerity in working with color, is evidence of not only talent, but also of the real artistic maturity of the author.
• In a dramatic, landscape in form, composition with it’s title sounding like a line from a letter: “Everything is fine”, suddenly and brightly sounded the genre painting’s note, a phenomenon not entirely familiar in today’s landscape painting. At the same time, the boundary between the traditional artistic genres is the area where the most interesting discoveries and creative successes of contemporary artists are concentrated. This is, relatively speaking, the interpenetration (convergence) of the genres, so the value of artistic ideas – the reason for which the “bridge” is thrown from one genre to another – is the key. The painting “Everything is good” is an example of a clear and convincing artistic idea, which lays the foundation for the plot-motivated image. The obvious attraction of Dmitry Permyakov towards studio landscape, deserves serious consideration. Success in this field is determined not only by the quality of artistic ideas, but also a high level of stylistic individuality of the artist. These are not easy tasks, but the talent Dmitry Permyakov is worth us wishing him good luck! ©

by Russian Art & Paris

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Picture in the text: “Ural sketch” Oil on canvas. (21 x 23 cm)

“Everything is fine” Oil on Canvas. (105 x 130 cm)

“Mysterious May” Oil on Canvas. (60 x 55 cm)

“Barents Sea” Oil on Canvas. (80 x 95 cm)

2013: 05/04
CATEGORY: ART SHOW
3 comments

Editorial

ATTENTION RUSSIAN ART & PARIS READERS:

Our next publication – “ArtShow Spring’13″ – will be online on Saturday, May 4th.

2013: 05/01
CATEGORY: Uncategorized
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International Artexpo 2013, (New York)

THE EXHIBITION OF THE ARTEXPO NEW YORK 2013, MARCH 21-24

International Artexpo is the world’s largest fine art trade show, providing dealers, collectors and buyers with access to thousands of innovative works from artists and publishers in one single venue. Over its 35-year history, Artexpo New York has hosted many of the world’s most renowned artists, including Andy Warhol, Peter Max, Robert Rauschenberg, Robert Indian, Keith Haring and Leroy Neiman. With attendees from all over the world, Artexpo New York hosts the largest gathering of qualified trade buyers, including gallery owners and managers, art dealers, interior designers, architects, corporate art buyers, art & framing retailers and many others. From Europe to the Far East and South America, Artexpo hosts an international audience of industry professionals seeking to discover exciting new works from established and emerging artists.

Dear Friends:

It is a great pleasure to welcome everyone to the 35-th Anniversary of Artexpo New York City. With more than 500 galleries and 150 world-class museums, New York is the place to be in the global arts scene. Our unparalleled arts institutions and the many talented artists who live and work here embody the creativity and innovation that defines our City, and that is why we are delighted to lend our support to the Artexpo, the largest fine art trade show in the world. This exciting annual event connects art dealers, collectors, and buyers with some of the best international artists and publishers, while also showcasing works from the top emerging artists and offering seminars on a wide range of topics. We applaud the Artexpo for contributing so much to our cultural landscape and look forward to New York remaining a premier destination for artists and art lovers alike in the years to come. On behalf of all New Yorkers, I am delighted to welcome everyone attending this year’s show to our City, and I hope you have the chance to explore our diverse neighborhoods and experience the many exciting attractions that define our five boroughs. Please accept my best wishes for a wonderful event and continued success.

Michael R. Bloomberg,

Mayor of New York City

Piers 92/94, a premier trade show and special event venue in the heart of Midtown Manhattan, 55th Street and the West Side Highway. Piers 92/94 is home to design oriented events such as The Artexpo New York, The Armory Show, Architectural Digest Home Design Show, The Pier Antiques Show and leading fashion shows during New York Fashion Week. The facility also regularly host parties and product launch events for groups ranging in size from small charitable foundations to Fortune 500 companies. No matter your event needs, Pier 92 and Pier 94 enjoy a prime location, as well as established prestige in the New York convention and special event landscape. 208,000 square feet of exhibit area make Piers 92/94 the second largest facility in New York City. Connected by a spacious and welcoming headhouse, Pier 94 offers 133,000 square feet and Pier 92 features 75,000 square feet of contiguous exhibit or event space. Open space, high ceilings and column-free corridors create unlimited configurations and adaptable spaces.

An early morning in New York. Artexpo parking lot on the roof of “The Art Pier”.

Artexpo parking lot on the roof of the Pier 90. “Carnival” is a American global cruise company, and the world’s largest cruise ship operator.

The Pier 90. The yacht “Eclipse” is the world’s largest private yacht. The owner is Russian businessman Roman Abramovich.

Artexpo New York 2013. The entry hall.

Artexpo New York 2013. The lobby.

Artexpo New York 2013. The exhibition hall.

Artexpo New York 2013. The Gallery Pavilion.

The Gallery Pavilion. Artworks and viewers.

The Gallery Pavilion at the beginning of exhibition.

Artexpo New York 2013. The galleries exposition.

The galleries exposition.

Viewers at an artwork.

An afternoon time.

Painting and viewers connection.

There are many styles and topics…

…for every viewer.

Inside the Gallery Pavilion.

A lot of artworks.

Video advertising is part of modern presentation.

The exhibition at noon.

Discussion inside a gallery section.

Viewers and buyers.

Russian painting in Tatyana International Art, Inc. booth.

Gallerist Tatyana Cohen (Houston, USA) introduces many excellent Russian artists to New York public at Artexpo 2013.

Art dealers and traders.

Contemporary art viewers.

The print section.

…to buy or not to buy?

Viewers in the SOLO Pavilion.

The SOLO Pavilion. Viewers at artworks.

Artexpo CEO Eric Smith with Larisa Fayvisovich at artist Aleksandr Fayvisovich booth.

From 10 am till 7 pm there are viewers, traders, and buyers…

The end of a day.

An evening on the West Side.

2013: 04/01
CATEGORY: JOURNAL
NEWS
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“Russian Art & Paris” Art Show. Winter’13 (Part 2)

In the second part of the winter Art Show ’13 the journal Russian Art & Paris presents four artists to our readers. The youngest of them, Eugene Yachny (Saint Petersburg), is just beginning his carrier of professional artist. All others are well known masters in the world of fine art, with a great creative scope and wide range of genres: the Moscow muralist Elena Tupikina, and painters – Yuri Platonov (Gomel) and Vladimir Shichkov (Puchezh).

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ARTIST YURI PLATONOV, (GOMEL)

A colorful symphony is a rare phenomenon in modern visual art. Most artists are content to create beautiful melodies and do not try to develop an already good color theme to the scale of an artistic visual symphony. The solution of this type of problem requires a special kind of talent, and a tremendous amount of work. Add to that a high level of artistic cultural, a quality that at present is quite exotic. Nevertheless, interest towards this form of color constructions never dies out. Symphonic understanding of the color harmony is clearly witnessed in many works of the artist Yuri Platonov. Platonov’s scenes are quite traditional, but much less traditional are their color constructions. Let us dwell a little more on this feature of the paintings.
• Since the time of the Impressionists, the main form of landscape painting in visual art is considered to be the landscape-natural state. This landscape is familiar to the eye foremost by its similarity with the visual experience of the viewer. That the result is a portrayal of not so much nature, as simply the weather, does not bother anyone. Even in the real world, we see nature only in combination with certain weather condition. In this fairly coherent and logical landscape painting concept, there is only one weak point – it contains no place for man. The human poorly integrates into the physical series of natural objects. In addition, wherever a man appears, everything nearby becomes his environment. This environment is a landscape too, but not a landscape-natural state, it is a landscape-event.
• The landscape of artist Yuri Platonov is a place where man comes into contact with the reality that surrounds him. The state also plays a major role, but the state is not of nature but of man. The recording of the human condition, or, more precisely, the state of the human soul is the traditional task for music. Solving such tasks in painting is not easy, it is essential to create a descriptive row, one that is more sensual than visual. A new representational system, for which the dominant is color itself. The color harmony in such art constructions becomes the functional basis of the work. The color scheme can lose its visual reality, meanwhile acquiring an almost musical quality – a rich complexity of sound, emotion and psychology.
• Artwork “Church of St. Tadeusz on Luchaiy” is in many ways a remarkable work. Colossal color intensity is achieved without an apparent forcing of each individual color. The harmony of the tonal and color systems is gorgeous. The color accents are temperamental, sudden and sharp. The integrity, collectedness of the entire visual row, his “focus” are evidence of a clear understanding by the artist of the meaning of the work for which he approached the canvas.
• Sketches, designs of beautiful colorful symphonies are visible throughout many artworks by Yuri Platonov. (The word “sketch” should not be misleading. A sketch in music is only a half-finished product, but in the visual arts it is a complete and independent work). Very interesting are the landscapes formally dedicated to the analysis of the state of nature (the nature’s intermediate state) – “Balaklava. Morning”, “Moon-rise over Tauras”, “Opsa”. The transience of momentary events (for example: moon-rise) dictates not only the choice of form – the sketch, but a selection of the theme – a psychological reaction (impression) to the event. Impression is the basis of impressionism as an artistic movement, that was eventually littered by its rude materialistic understanding. To return to its source is a tempting challenge, but this kind of return makes sense only on another a color platform. The artistic colorful symphony of painter Yuri Platonov looks like a reasonably reliable basis for such tasks. ©

by Russian Art & Paris

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Picture in the text: “Moon-rise over Tauras” Oil on canvas. (60 x 80 cm)

“Church of St. Tadeusz on Luchaiy” Oil on Canvas. (55 x 90 cm)

“Slovechno. The Breath of Autumn” Oil on Canvas. (60 x 75 cm)

“Balaklava. The Morning” Oil on Canvas. (55 x 55 cm)

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ARTIST VLADIMIR SHICHKOV, (PUCHEZH)

Thinking about the aesthetics of Vladimir Shichkov, noting how precisely the color chords of his works are composed, the term “poetry” involuntarily comes to mind. Concepts, which are used in the theory of poetry seem to be quite adequate for the artistic analysis of the pictorial composition of this master. Rhyme is a measured pace, the rhythm of sound. This definition is most relevant to the creative work of Vladimir Shichkov. The rhyme of color is at the foundation of his amazing and exceptionally attractive artworks.
• Let’s look at a little artistic miracle – “The Indian Summer”. Or at the no less charming – “The Flare” and “The Morning”. What is special about these compositions, which at first glance have quite ordinary plots? Is the innovative character of the artwork? Sure. Excellent color scheme? Absolutely. But apart from these purely artistic aspects, there is another dimension that is absolutely humanitarian – humanity. Peering into the coloring of paintings by artist Vladimir Shichkov, listening to the monologue of his paintings, the conclusion has to do quite unexpected. These bright, juicy, and externally flashy pictures lead their conversation with the audience in a surprisingly calm and warm voice. What gives them such a sound? First of all – the rhythm, the movement of the main color harmonies in the plane of the visual field. In the brilliant landscape “The Indian Summer” this can be seen most clearly. The rhythm of the main color masses with perfect precision builds the theme of the works – the warm calm of a clear autumn day.
• Much more complex in its compositional and rhythmic construction is the landscape “The Coast”. With a high level of color intensity and strong contrasts, it still retains, however, a sense of comfort of human presence. The rhythm within it is set by the mass of blue color, penetrating the whole composition, and effectively “soothing” the fractional, ringing rhythm of light accents. Rhythm, so to speak, regulates the timbre of the artistic voice – somewhat quiet, somewhat emotional, but never rising to a scream.
• The subtle understanding of plot in the figurative compositions by Vladimir Shichkov (“Paris”, “Premier”, “Nocturne”, “Giselle”) is present despite the artist favoring a close-up view. This is a remarkable quality. A close-up view, the rise of an image of human body to the very boundary of a canvas, complicates the plot possibilities of the composition. Of all the active tools, the only one left at the disposal of the artist is, perhaps, the gesture. The gesture is understood as a meaningful movement of the entire human body. Could a gesture become the plot of an artwork? The composition “Paris” answers this question quite vividly.
• The language of artwork by Vladimir Shichkov is a profoundly original phenomenon. This language is not always easy to understand, but the expressiveness of this language, its artistic values and its possibilities are obvious. No less interesting are questions that arise among this. One of them, maybe the most fundamental, concerns the relationship between the planarity of the whole picture and the three-dimensional nature of human images on the canvas. In this special language, being developed by the master, the “conflict of interest” between these two basic categories looks to be inevitable. Or is a compromise still possible? Artist Vladimir Shichkov is actively working, and his answer will probably not keep you waiting too long. ©

by Russian Art & Paris

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Picture in the text: “The Indian Summer” Oil on canvas. (65 x 75 cm)

“Paris” Oil on Canvas. (70 x 70 cm)

“The Coast” Oil on Canvas. (65 x 65 cm)

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

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ARTIST ELENA TUPIKINA, (MOSCOW)

The concept of a “modern artist”, presented in an unfolded way is likely to take several full pages, with numerous caveats, footnotes and references to authoritative sources. And even still, it will almost certainly remain quite vague. Maybe it is not worth to look for a definition of this phrase, which mockingly rejects formal logic? Oh, if only … If only the problem of the present, and its derivative – the modern artist, did not stand in the visual arts so acutely! The thing is that the audience is not interested in an artist who does not comprehend the world in which the viewer lives. The event-space, our life, is recognized (or not recognized) by the viewer in the work of any artist, on an intuitive level. Deceive him is impossible, a non-modern audience cannot exist.
• The world in which artist Elena Tupikina lives and works is well known to the viewer. It’s huge. Where that world’s real existence ends, it’s virtual existence begins and the modern human can easily move from one to another. The vastness of our world has been felt before, but with the advent of the Internet, something new was added – the wide-openness of this world, its disclosure to each of us. We no longer feel like a grain of sand in an infinite space. This space has been mastered – it has become part of our life, our common home. Are you already looking at the portrait “Sasha”? Let’s look at this excellent piece of art together. This is a extremely interesting portrait. This is a portrait of our contemporary. There has never been such a portrait of a child in the realistic visual art.
• The compositional space of Elena Tupikina diverges beyond the plane of the painting. The artist only points our attention to a small fragment of a larger, remaining mostly “behind the scenes” image. The constant presence of the surrounding world in each composition of artist Elena Tupikina is tangible and not unintentional. The reason, first of all, is that the artist sees this world. Sees it clearly, distinctly and holistically. Particularly, a clear vision underlies the comprehension of themes and plot. Maybe from here comes the unusual, almost antique detachment of the images created by the artist from the artist herself. Such detachment is always speaks about the presence of artistic ideas, and not an impulsive reflection of the observed.
• The aura of spacious scale in the artwork of Elena Tupikina is not the only quality that defines her creative work. Carefully aimed, at times austere, color scheme; perfect balance of painting and graphic components of the art composition; well thought-out constructions of the tonal range – evidence not only of talent and skill, but also of a true culture, inherent for a great master. A master, who in addition, is surprisingly modern. ©

by Russian Art & Paris

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Picture in the text: “Sasha” Oil on canvas. (40 x 30 cm)

“Self-Portrait” Oil on Canvas. (42 x 35 cm)

“The Winter” Oil on Canvas. (70 x 90 cm)

“Flight” Oil on Canvas. (90 x 70 cm)

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ARTIST EVGENI YACHNY, (SAINT PETERSBURG)

Modern writers are actively discussing what awaits the novel form of literature in the near future. Life is good for them! The artists do not argue about the figurative genre of fine art. Not arguing about anything. The figurative genre painting in halls of modern galleries and salons is virtually nonexistent. Repeating conversations that the “Genre painting” is out of date does not make sense.The genre will expire no sooner than life itself. The problem is not in the arguments of the debate. The problem is in the artists. If a person does not “see” that his world is filled with human beings, it is natural to ask the simple question – what does he see at all? And why call yourself an artist? The painting “Family”, by artist Eugene Yachny. Open space. A man and a woman. A dialogue of silhouettes, a dialogue of gestures, a dialogue of costumes. A lake and clouds. The ordinary lives of ordinary people, but if you’re an artist, there never was and never will be in our world a more interesting plot than this – a man and a woman … a lake and clouds.
• The name of artist Eugene Yachny is not widely known in the world of fine art. A young Saint Petersburg painter: the first pictures, the first exhibitions, the first audience. The creative work of Eugene Yachny is remarkable because in it can be seen an artist of the genre painting. This is not just about figurative genre artworks, but also works in landscape. “Old House”, “The Night Tale”, “Silent” are landscape compositions with noticeable features of the genre painting approach to landscape plot. “Twelve Apostles” is a landscape-monologue. “Emerald Night” is a landscape-contemplation. Perhaps only “The Blue Shadow” is a artwork, very interesting in the coloristic decision, that you can really call a landscape in the traditional sense of the word. The artist’s attitude to the outside world, as if towards inspired living matter, is very appealing. Whether this quality will be preserved in the future cannot be predicted, but currently it exists. “The Float” is an excellent, modern-sounding figurative genre painting. Genre painting by its subject, plot, and compositional decision. The expressive silhouette of a teenager, the expressive rhythm of an open outdoor space. And, perhaps most importantly – the open look of the artist at the surrounding world, the knowledge that this world exists.
• The loss of connection of the artist with the real world of living people is a sore point of our time. The lack of interest towards this world, almost guarantees a loss of interest of viewers towards the artist. For people living in different worlds, it is very difficult to understand one another. The real complexity of an artist’s existence in modern civilization does not explain anything and does not justify anyone. The artist life has never been easy. All that will happen in the future, in the creative work of artist Eugene Yachny – will take place before our eyes. Let’s secure what we have today – the talent, the desire to see and understand the world, the desire to work. In order to begin, this is definitely enough. ©

by Russian Art & Paris

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Picture in the text: “The Night Tale” Oil on canvas. (70 x 120 cm)

“Family” Oil on Canvas. (114 x 121 cm)

“The Blue Shadow” Oil on Canvas. (26 x 28 cm)

“The Float” Oil on Canvas. (80 x 100 cm)

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Our next publication – “Art Expo New York 2013″ – will be online on Monday, April 1st.

2013: 02/15
CATEGORY: ART SHOW
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