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Graduated St. Petersburg State Academic Institute of Painting, Sculpture and Architecture named after IE Repin, Department History and theory of arts.
Since 2002, an employee of the State Russian Museum.
Looking at the painting “Hot Stones of Cyprus Shore” one could feel the heat almost physically, due to expressiveness with which Azat Galimov depicts that scant, on the face of it, seashore landscape. Confining himself with small amount of objects and focusing his attention on the huge coastal boulders, the artist thoroughly examines their plasticity, using various color means. The landscape is characterized by lushness and finesse of color gradation, formed by blue and turquoise tinges of sea-waves, stones enlightened by the bright sun, and sharp southern shades. Active contrast between the sparkling sea and rocky shore immerse us in the atmosphere of the painting, dragging the spectator into the very heart of its composition, divided by the inclined coastline. Small figure of the lonely fisherman inscribed harmoniously in the environment, increases the peaceful and contemplative mood of the landscape and demonstrates the power and mightiness of nature.
In spite of its steady triangle composition, lyrical open-air landscape “Autumn in Varna” by Azat Galimov looks immensely dynamic. Due to the rhythmical alternation of colored spots, umbrellas and shapes, the spectator clearly catches the movement, that of people hurrying to hide from the foul weather. Painted schematically with broad pastose strokes, they seem to dissolve in the fog and the murk of rain. Unusual for portrayal of the gloomy day, yet amazingly balanced coloring with prevailing of red is still rich in cold tinges, and silvery asphalt and leaden sky remind of Monet’s impressionistic landscapes. Galimov’s characteristic feature — impeccable grasp of coloring — reveals itself fully in his “Autumn in Varna” landscape. One of the facets of the artist’s talent is his capacity to convey fine and changeable moods of nature. Rain for the artist is not only an opportunity for interesting and unexpected play with color and shape, but a conventional sign, that creates the feeling of inevitableness of oncoming autumn and the state of light romantic melancholy.
The transformation of everyday motifs into landscapes is typical for Victoria Kharchenko's art, her ‘Alupka’ being no exception. Original composition, created by the choice of lower point of view seems to be rather peculiar, looking more as a 'random framing', a spotted from life plot than a thoroughly designed construction. Though the sky space is almost lacking on the canvas, with the house standing high on the stone-faced terrace, the house doesn't look massive nor heavy – on the contrary, it seems to be 'sculpted out' of sunbeams; neither does the wall beneath it look monotonous - and all this is achieved by the richness of colour nuances and elaboration of the tones in the every part of the canvas. With the help of saturated palette, color shades and vibrating space of light and air the author skillfully creates emotional landscape-impression. Every stone, every branch seems to be pierced with sparkling sunlight, the one we can often enjoy in the paintings by Renoir or Pissarro. And besides with the help this technique the author manages to convey the very atmosphere of a little coastal town, of the rest and pacification of the South.
Boris Berestovs paintings are recognizable by their graphics, harsh and contrasting color decisions, two-dimensional representation. All these qualities are present in The Hunter. Angular plasticity of the human figure emphasizes aggressive character of the paintings hero. The work is drawn in cubistic style, and the authors graphic language balances at the edge of reality and abstraction. The lack of volume in the characters image is partly compensated by conventional perspective which is created in the background with the help of the door frame. Red eyes, sparkling weapon on a shoulder – all this form the image of a wild, brutal hunter. Bright palette, the usage of geometrical elements and decorative suprematic circuitry are obviously connected with traditions of Russian Avant-garde of the early 20th century. However, the painter interprets them in accordance with aesthetic tendencies of the 21st century, creating an expressive and memorable image.
Composition of 'The Harbour' complies completely with the author's idea. The canvas' panoramic format excludes any movement into the deep – it looks like the ship has just moored to the shore and doesn't intend to continue her journey. The vertical rhythm of the masts at the left concentrates spectator's attention at this part of the canvas where contours of boats and seashore houses are sketched by means of dynamic color spots. The right side of the canvas is plotless, yet the painter fills the space with pictorial content, rendering by broad multidirectional brush strokes color nuances in his portrayal of the ship shades and the patches of sunlight on the water surface. The water itself is utterly unrealistic, but the artist here doesn't aspire to create a classic landscape – this is not a portrayal of what he's seen but an impression he’s got from it. The painting's aesthetics lays in emotionally saturated color relations, which are able to evoke a vivid response in spectators’ souls.