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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.
When you look at the painting Sleighing Along the Quay by A. Shevelev you realize that it has been created by a Russian artist who keenly grasps the essence of the national character in all its noisy festivity and unrestrained rollicking merriment, as he conveys it through dynamics of diagonal rhythms and polyphony of his pictorial style. The author includes the attributes, garments and other typical traits of 19th century Russian provincial life in his multi-shaped composition. Such are the painted sleighs racing along the white snow, hardly ruled fractious horses, numerous walkers. And all these are painted against the landscape background with high snow-covered park trees at the left part of the composition and with brick buildings with vertically erecting smoke of the chimneys at the right. Using the rules of picturesque overtones the artist achieves masterly richness in his tinges of white with blue, lilac, pink, and ochreous, introducing his spectators into a clear beautiful sunny and frosty day where all the objects cast bright and rich shadows on the surface of the snow carpet, and where Russian frost can do nothing but increase everyone’s boldness and fun.
The painting by M. Chernyavsky Still Life with a Mirror offers the author’s complicated and versatile sight upon a man and his environment, and their anything but simple interaction, which is conveyed accurately and thoughtfully, almost analytically. Every depicted object exists by its own rules and lives a full-coloured, bright and dynamic life, bearing plastic and coloristic expression and saturation. The author arranges his composition combining several pictorial grounds, figuring out different points of view on this or that object, interpreting forms in various ways, using rich and sonorous colors. A fragmentally depicted table, festive brightness and patterns, the heaviness of books, paintings, frames and ceramics get on with the lightness of china, flowers and fruits and contrasts within the structure of the canvas with the transparency of bottle and vase as well as with the surface of the mirror, reflecting in them in all their corporeity. Completing the development of composition the author portrays a figure of a standing young man in the background, wearing a red jumper with chess pattern which is consonant to the multilayered and ornamental plotting of presented work. This might be a self-portrait of the artist quietly observing the life of the world of objects around him while creating on the canvas a new world of his own.
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.