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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.
Member of the Russian union of artists (department History and theory of arts).
Member of the International Association of Art critic.
Azat Galimov’s painting Late Autumn. The Summer Garden is not the only sample of the author’s address to the image of this famous place, which everlasting beauty excites him in any season of the year. On presented canvas the artist creates an unusual, almost unreal landscape of this beautiful corner of old St. Petersburg. Among the falling yellowed trees and bushes against the background of sparse tinges of green on the distant view, at the deserted lane covered with the tapestry of autumn leaves and powdered with early first snow, the three white 18th century Italian marble sculptures stand frozen, and their loneliness adds the canvas lyric notes of melancholy and tunefulness. The work is painted with dynamic staccato brush strokes and its laconic coloring is based upon the few but expressive tinges of ochre that turn sometimes to yellow, and sometimes on the contrary, to deep brown, dark tunes, and also upon the consonance of green and white, erasing the contours and angles of the objective world and lending the canvas exquisite poetry and impressionism of the author’s eye.
The work “Still Life with a Mandolin” by the young artist V. Mikhailov is painted in a genre of classic still life. The canvas is decided in a single coloristic manner, with prevailing cold tones rather expressive and noble in their palette. The author perceives unhurriedly and studies thoughtfully the unpretentious beauty of inanimate antique objects, bringing his spectators into their quiet and mysterious life full of deep inner meaning. He places the selected items on the surface of the table which he locates near the bottom line of the canvas, against the wall with a faded greenish drapery hanging down. The table covered with several cloths of various sizes, textures and designs becomes the place where the painter draws up a still life of his own. This is an image of a white china vase with a chipped edge in a shape of a broad bowl on a stem, two old and empty wine bottles, as if reminding of bygone joys, and a mandolin the body of which, quite expressive in form and workmanship, has also been exposed by time. There is a full glass of wine before the mandolin though, on a small snow-white napkin, as if saying that what we see here is not a world of deserted objects, that life goes on in spite of time’s damaging impact. And the anaglyph sculptural portrait of Dante Alighieri on the wall rises above all the listed items, embodying the eternity of lyric poetry as well as the infinite poetry of routine this earthly world possesses.
The work represents a combination of minimalistic still life in the foreground, consisting of few objects that V. Levina depicts in generalized manner, using expressive graphics and single colour range, and a slightly planar figure of a girl in the background painted down to her knees, with a fluttering mop of luxuriant brown hair that mix as if in a gust of invisible wind with the autumn leaves of the lofty bouquet. The colour range is drawn up on combination of two basic perceptions, with brown tones emphasizing and underlining the luminous yellow, golden background. Generalization of the background and still life details as well as the girl’s silhouette contrast with almost unshaded strokes and details that are finely and meticulously worked out by the painter. The canvas is full of fine symbolism of color, subtle rhythm of lines that in whole create a laconic and expressive image of union of man and nature, of their indissoluble beauty. “Golden”, painted by the young artist, indicates her search for modern pictorial language and her own ways of expressiveness.
V.V. Proshkin’s work “Between the rains” reflects creative intentions of the artist, who belongs to the elder generation of Leningrad-St. Petersburg painters. Landscapist by vocation, he devoted his canvas to the portrayal of the subtlest state of nature, almost impossible to catch in our bustling everyday life. Listening attentively to the silence of the empty woods and shores, of water and the lofty sky, author paints the “after rain”, that seems to dissolve its moisture in the countryside, shrouding it with brief and mysterious instability. The river portrayed in the foreground is penetrated with reflections of light momentary clouds, while in the background the artist makes his waters dark, as if they are taking away the past. The richness of blue corresponds harmoniously with powerful spots of pink – like reflecting the sun that has briefly peeped out – with accents of white, ochre, gray and green, that create a versatile but in whole light and harmonious image of nature. Amazing freedom in portraying by means of art the mentioned natural phenomena – air, moisture and fullness of light – evidence the author’s genuine craftsmanship and make this works one of the samples of landscape painting of the late 20th – early 21st centuries.