Artist Alexander Grishkevich, (Minsk)

THE “RUSSIAN ART & PARIS” INTRODUCING:   

Out of the many teachers in    my life, there was one, who did not satisfy the direct meaning   of the word.  Nevertheless   there are two things, possibly the most important for me, that   I heard from him.

First. Your work should look impressive from a distance. Therefore the compositional decision should be clear and precise. The sketch should be made the size of a matchbox.  In this size already,  the main artistic idea of two-dimensional space should be readable. Second. There are no objects in the painting.  The painting has components.  A cup and a cup’s shadow are of equal value in the painting. Today, for me, the cup’s shadow has greater meaning than the cup itself.

Alexander Grishkevich for the readers of the ”Russian Art & Paris”.

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Maksimilian Voloshin has poetic comparisons that “artists are the eyes of mankind” and “the artist, first of all, is the musician”. Every artist, as is known, has his own view on the world, and his own music sounds in his heart. Before Alexander Grishkevich is emerging a completely different picture of the world, different from what we are used to, and there is music, which his heart responds to. The artist is realizing these feelings in the picturesque compositions. He is transforming the real objects into the ideal ones. Before us emerges an image of the Other World, which often differs strikingly from the familiar one. These images are the product of another self-consciousness, other impressions and other perceptions. And consequently the aim of the viewer consists in understanding this “otherness”. For the purpose of coming closer in any measure to comprehending his attitude, it is necessary to understand how he realizes space and time, the real world and the invented world, and at last, his own person. Even the most varied aspects of the artistic picture of the world, are ultimately directly or indirectly interconnected. In the achievement of such synthesis, I believe there is a hidden goal that an artist sets for himself. It is a leitmotif of his figurative-art approach. This approach is not always distinctly realized or clearly formulated by him. Sometimes it remains like an unattainable horizon, which the artist aspires to. However, he always leaves us a reference point, which although not always clear, is helpful in reaching the path of understanding.
•  Alexander Grishkevich is realizing, that he cannot accurately depict even part of a world which has passed. This “depicting” is inevitably fraught with inevitably fraught with distortions and modernization. Therefore in his works, everything is sufficiently concrete and clearly expressed. The artist builds his ideal world on the basis of real visual impressions. This world is sterile and clean; its forms, light and color relations are precise and verified. There is no place for accident and chaos. Everything is subordinated to the author’s logic and harmony. In this ideal world there is no place for the human being, he is not the participant of an event, he is only the observer. In spite of its reality, this world is fantastic by its inherent nature. Within it, by the will of the artist, objects obtain geometrical structure, while remaining natural formations as well.
•  In his compositions, although they are painted in a realistic manner, color exists as though by itself. It is self-sufficient at heart and is perceived as an independent reality even though it is limited to a contour of concrete subjects. There are precise color spot borders of subject forms of the picture with various voice-frequency shades where color gets independent sounding. Color has texture and depth, it mysteriously flickers, strengthening the unreality represented. The surface of the picture has expressive qualities, it is the creation of the artist, and simultaneously with color, is the nature of the picture. In each concrete case, color for A.Grishkevich is not simply paint, it is something living with figurative and poetic language, that is capable to express an essence of the artist. He is improvising, grouping color spots, giving these graphic components their forms, which are dictated to him by his imagination and vision. A.Grishkevich’s color forms are firm and constant. There is no display of external dynamics but you can feel the latent pressure by just looking at them. In this connection we can understand that the drawing is very important for him, where both line and contour express his feelings as much as color. Compositions are often repeated, but other color decision makes them different with regards to the figurative and emotional perception. When we are standing in front of his pictures we are free to invent the images, to change the color decision of a picture, and to transform the elements of a composition. In doing so, it becomes our imagination, which may be rather far removed from the artist’s imagination, but nevertheless called forth by his painting.
•  The canvas is a space where the artist lives, displaying himself and his world regardless of what he paints. Painting is a live dialogue of the artist with a surface of the canvas, carrying him into another world, into another measure. The basis of the picturesque language for A.Grishkevich is the two-dimensional plane awoken by the color and impressions of a diverse, multifaceted life. He is very rational and strict, not allowing the art statement to be spontaneous or emotionally ingenuous. The picture for him is an exit from three-dimensional space into a two-dimensional one. The feeling of a surface and the feeling of color are the mysterious beginnings, which determine the talent of the painter. The artist transfers himself from life’s macrocosm to the microcosm of the picture on a surface of a canvas. A game of shades, lines, planes, forms, volumes, and texture is inherent to the artist’s painting. This is the goal of his art, though ultimately the main aspiration is to make us better than we are.

by Valery Zhuk, Ph.D. in Art History
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Alexander Grishkevich was born in Molodechno, Republic of Belarus, in 1961. He recieved his professional education in Minsk Art College named after A. Glebov (1981)  and the Belarusian State Theatre and Art Institute, now the Belarusian Academy of Arts (1987). The artist trained at the creative academic studios of the USSR Academy of Arts, under the guidance of academician M.Savitsky (1991-1994).  Alexander Grishkevich is a member of the Artists’ Union of Belarus (1996) 
Since 1984, he has participated in art exhibitions and competitions.  The works of artist Alexander Grishkevich are in the National Art Museum of Belarus, the Museum of Modern Art (Minsk, Belarus), the Art Gallery of Svetlogorsk (Belarus), in the Unechskoy Art Gallery (Russia), and in the funds of the Ministry of culture of the Republic of Belarus.  
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Russian spelling: Художник Александр Гришкевич (Минск)

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Artist Evgeni Yali, (Saratov)

THE EXHIBITOR OF THE SALON “ART EN CAPITAL” 2012 – 2013

Eugene Yali is an artist both rare and amazing. Rare, even for the richness of talent in Russia. It is difficult to find a name in Russian art that is comparable.  An analogy, however,  is perhaps easier to find in literature.  Probably with same kind of moonlight shimmer, Afanasy Fet surprised his contemporaries:  “Light of the night,  the night shadows…”.  Today this poet is clearly and confidently called  a philosopher. Perhaps similar qualities will be associated with the works of  Eugene Yali.

Yali is often referred to as a lyrical artist.  This is not entirely true. Behind the lyrical plot hides an impressive scale of a central theme: the theme of presence. Here and now. In the state where the mind “sees” the world in the way the world is.  The first thing that stands out upon encountering  this new painting style is the lack of a picture plane. Within the perimeter of the baguette, one can hear the rustling of the snow crust. The breath of the space is filled with the dampness of the dawn. All of this is the tangible flesh of reality.  The aura of Yali’s works is fascinating.  To discuss the  linear perspective, tone, or color scheme is either inappropriate or impossible. Such categories do not exist in these paintings;  what does exist, is a mystery of creation.  It is difficult to believe that the foundation of all this, is a shabby box of paint tubes.

The development of movement, its transfer within the two-dimensional space of a canvas, is astonishing. This task, which has almost disappeared from the perspective of contemporary art, comes easily and naturally in the works of Yali.  Like something obvious and long familiar, the flying of magpies; seemingly nothing special: they fly in nature and they fly in the painting. In works of other artists, however, they did not fly;  but in Yali’s works they flew.  This befits a master, who understands both form and meaning. The rhythmical series in the works of Yali is dynamic and always musical.  His compositional decisions are sharp unexpected as the click of photo-camera.  But through these instant portraits of villages and fields, disturbingly and clearly,  emerges a different portrait:  the portrait of the human soul.  What is the soul, whose is it? It is ours. Real and genuine.

by Russian Art & Paris ©  

Evgeni Yali is a Member of the Union of Artists of Russia. He is well-known artists. His paintings can be seen in the Tretyakov State Art Gallery, in the Saratov State Art Gallery named after A.N. Radischev, in the Saratov Oblast’Museum of Regional Studies,  in the State museum of the writer K.A. Fedin, in the Museum of Local Studies located in Engels, in the Art Gallery in Volsk.  In 1996 the All-Russia Academy of Art awarded Evgeni Yali with a Diploma for the best achievements in Fine Arts,  in the Art of Criticism  and Architecture. In April 1998 because of exemplary performance Evgeni Yali’s name was selected for biographical inclusion in the Eighth Edition of International Directory of Distinguished Leadership of the American Biographical Institute  (North Carolina, USA). Presently Evgeni Yali lives and paints in the City of Saratov, Russia.   
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Eugeni Yali’s art develops naturally as life itself. The ordinary plots and impression of their naivety are obviously deceptive. This  artist penetrates into the very essence of the theme that he brings  onto the canvas.  Yali  thinks in space categories.  He  focuses on the correlation  and  interaction  of objects  in nature  and  in  his pictures, hence he detects the swiftest changes and slightest transfers of color and tone. His love is everywhere: he loves not only the subjects of his painting but even the very surface of the canvas, every single stroke and movement  of  his  art  brush. Everything is very truthful in his  art works and you forget all about the way they are painted.  Vulgar color or outward striking technique are absent in his painting The artist speaks to the world without any haste. This is a quiet and thoughtful conversation with Nature and with his own Conscience. We can find deep thinking about the essence and rash of life in the artist’s works. The painter helps his spectator to find a new and understand the things without which our further existence would be impossible on our charming planet.
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by Konstantin Aleksandrov
The Honored Artist of Russian Federation, 
member of the Board of the Moscow Union of Artists 
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EXHIBITIONS

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Painting by Evgeni Yali in the exhibition hall of the Salon “Art en Capital” 2013, (Paris)

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Painting by Evgeni Yali in the exhibition hall of the Salon “Art en Capital” 2012, (Paris)
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Russian spelling: Художник Евгений Яли, (Саратов)

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Art World News

New York (CNN) — A pastel version of “The Scream” by Edvard Munch fetched nearly $120 million from an anonymous buyer Wednesday at Sotheby’s in New York, setting a new world record for a work of art sold at auction. Experts had expected the masterpiece to break new ground at the famed New York auction house; its presale estimate of at least $80 million was the highest ever listed at Sotheby’s. It sold for $119,922,500, which includes the premium paid to Sotheby’s. Previously, the most expensive artwork ever sold there was Pablo Picasso’s painting “Nude, Green Leaves, and Bust,” which brought in $106.5 million two years ago. The previous record for a Munch work of art was just over $38 million. The version of “The Scream” on the block Wednesday was one of four — two pastels and two paintings — executed between 1893 and 1910 and is one of the best-known images in modern art. It’s also the only version a private collector can get their hands on at public auction.

LE SALON “ART EN CAPITAL” 2012 – Grand Palace, Paris, France

Salon “Art en Capital”, Grand Palace, Paris has established itself on the French art scene as a major event and meeting place for all people in the world of art:  gallery owners, collectors, professionals and the general public. With attendees from all over the world, Salon “Art en Capital” hosts the largest gathering of contemporary professional artists.  Now International Artists Promotion Group introduces the artists of the Russian school of art, who will be exhibited at the Salon “Art en Capital” in November 2012:
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NOT JUST HISTORY
Sergei Diaghilev brought cultures together and challenged the existing cultural order in a highly productive way. By expanding his international activities into art exhibitions and stage shows, Diaghilev connected people and ideas in what became arguably the first continuous large-scale cross-cultural and cross-genre project in the 20th century.  His talent and exquisite taste ensured the highest quality of his “Russian Seasons” productions during the 25 years of his leadership and after.  His partners became leaders of their own projects and carried his innovative style. Diaghilev’s apprentices worked in major cultural centers across the world.

by Steve Shelokhonov