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Born 1962 Krasnoyarsk, Russia.
Graduated from Krasnoyarsk State Institute of Arts.
Graduated St. Petersburg State Academic Institute of Painting, Sculpture and Architecture named after IE Repin, Department History and theory of arts.
Tatiana Chernova’s painting wins us over from the first sight with its fresh, ingenuous look at the landscape. The artist who happened to peek into perspective of a narrow picturesque side street, finds herself totally enchanted by this nook of ancient Kotor, a small city at the Mediterranean coast of Montenegro with its history dating back to Hellenistic era. The unique atmosphere of medieval city that captivated the artist’s eye makes itself felt everywhere. This particular motif reveals the ancient part of Kotor in its full charm – tiled roofs, so common in the Mediterranean, green shutters on the windows, the constant element of Southern urban architecture, flowered green lianas pouring like waterfall from the walls, picturesque street lamp on the corner of old, medieval building with the typical Moresque balcony. Two female silhouettes in black garments move away from the spectator onto the deserted street, passing by the café, which is empty at this sultry midday hour. The masonry of ancient walls could be discerned by these dense pastose brush strokes. The shadows on the pavement and the buildings look long and soft – the hot day has obviously turned toward its second half. The air seems to be full of ringing silence, so typical for the southern towns. The study is exquisitely beautiful in choice of colors. The work is painted, so to say, in one breath, in a sheer, energetic manner. The color combinations are beautiful and precise – the roll-call of blue and orange, the red terracotta of tiles along with warmish pink, golden and violet in the colour of old buildings, the bluish green of sun blinds, the faded black of women’s clothes. The houses’ walls and human figures seem to dissolve in the haze of hot vibrating air. The study is painted in the mood of genuine, open adoration for the nature. This mood of fascination is reproduced by juicy, delicious pictorial language, which undoubtedly makes this small canvas a brilliant sample of open air art.
The young artist Tatiana Fastenko masters the large pictorial dimensions with enviable courage. Big square formats do not intimidate her, and multidimensional composition, multitude of objects and unconventional viewpoints either. In her Flowers and Fruits still life the painter bravely takes up her brush to solve rather complicated pictorial and compositional tasks. The still life has a deep perspective deployed towards the spectator and somewhat tilted horizon that makes the objects look as if they are pulling down and moving, thus giving great dynamics to the composition, intensified by the broad, sweeping and energetic manner of painting, the one that sends us back by association to Konchalovsky and Malyavin. As if a sudden gust of wind has rolled out the fruits over the table, shifted the vase, disarranged the bouquet, uplifted the drapery, overturned the cup, and blurred accidentally the colors on the canvas. Cezanne’s technique comes to mind, when he arranged his objects at different angles, often laying small pieces of wood underneath them to create a slope. The painting attracts by its intense inner expression, by complicated and dynamic connections of color patches. At the same time the canvas strikes as being full of genuine spirituality, charged with powerful sense of the present. The painting is polyphonic. The artist is able to compose a harmonious and sonorous mosaic of various jigsaw puzzles captured within the painting’s format. Tatiana’s work emanates certain positive energy, the very ingenious feeling that radiates from the artist towards the spectator bypassing all logical and mental interpretations.
Every artist residing in our Northern Capital establishes his own deeply personal connection with St. Petersburg. Such is the magnetic power of charm that this city, “the most fantastic city in the world” as Dostoyevsky called it, has. And Azat Galimov, well-known St. Petersburg’s artist, has also fallen under its spell. St. Petersburg’s landscape became one of the basic and favorite themes of his art. It may be said that the artist deals with the city reverently, keeping his admiration and worship for its stately harmony deeply in his soul. His St. Petersburg is the city of water and bridges, and certainly of churches and cathedrals. In Azat Galimov’s St. Petersburg the weather remains always fine, be it a soft damp snow, or chilly overcast summer day, or pale and subdued and therefore particularly warm sunny evening. The painting with a view over the church of St. Simeon and St. Anne is one of the best in the artist’s collection of St. Petersburg’s themes. Mighty monumentality of the cathedral contrasts unexpectedly with dark mass of rippled and movable water. The cathedral seems to hover above the water without any support though the composition itself is absolutely and decidedly realistic. The chosen angle allows the painter to illustrate perfectly the conception of St. Petersburg as of an unreal phantom without the past, “that shadowy Palmira”…. Beyond the canvas’ scope a spectator might guess the scale and strength of the big city, the city of guest houses and industrial manufactures. The bridge arc over the water compressed by granite, the classic St. Petersburg’s color range of grey and yellow, its considered architectural beauty – the painter has caught it all and conveyed the polysemantic image of St. Petersburg with the subtle keenness that immediately transfers the painting from the category of landscapes into the category of pictorial “Einfühlungs”.
As any truly talented artist, Alexandra Nedzvetskaya creates her own unique world on every canvas. The painting Happy Autumn is the evidence that the author is fascinated by the incredibly charming and bewitching theme, that of Golden Age of Russian history. Golden 18th century, the epoch of antique palatial estates, of regular French parks full of marble sculptures and wonderful grottos for clandestine private rendezvous – “deceptive age of transformations…” The charm of this particular period of Russian history often inspired the World of Art members, as well as Russian symbolists, first of all Borisov-Moussatov, Somov, Benois.
The reverie performance… Delicate figure of a young lady running by – as if on stage, she emerges from one side-scene to vanish behind the other. One brief moment, and the vision will disappear. The scene is created by a magnificent park with its groves shaped in the traditions of French landscape art of the time. There’s a sculpture in the middle distance, a handsome knight – a hero of her romance, maybe? And a secluded grotto in the remote corner of the park seems to wait for visitors… The painting is filled with poetry and gentle nostalgia. Two-dimensional decorative composition makes the canvas look like the old trellis, the tapestry with “gallant” plots. The artist managed to keep and convey with perfect precision through her color range, her choice of details, and the swiftness of elusive vision, that piercing note of nostalgia for “the other world”, nostalgia that catches us so suddenly as we walk along the alleys of Tsarskoselsky park and vanishes just as suddenly, leaving us with the aching feeling of longing for irrevocable.
Tristan Corbière once wrote: “One should only depict what nobody has never seen and never will see”. This quote from the French symbolist poet can be a good illustration to Valentin Korotkov’s Autumn. Stylistically this canvas sends us off to the best samples of symbolist art. We can see all the typical indications of the style – monumental planar ornamentality of composition as well as musicality and light plasticity of the artistic manner. This canvas of the young painter represents a sample of fine balancing on the edge of the two worlds, the real one and the mystical, invisible. The latter world is oozing through the former. The square canvas lacks the remote horizon and represents rather flat surface, woven into a mosaic of moods and states of human soul. All the participants of this autumn mystery play are drawn in a sliding, nervous manner – a refined female image in a streamy golden dress as an embodiment of eternal feminine, the apple-tree as one of the ancient token symbols of fertility and abundance, sunflower heads bending down by their heavy burden, a richly depicted gourd. On an unconscious level this set of details and accents immerses a spectator in the circle of ancient archetypes. The artist uses recognizable sign models of the objective sphere, and among them one of the primordial – the First Woman holding an apple. The artist enciphers in the tokens of autumn landscape the heroine’s spiritual state – all her dreams, contemplations and reminiscences remain unknown to spectators, making her seem an inhabitant of a mysterious Dreamland, and her self-absorption is mesmerizing. The wind, vague, anxious, and unsteady, stays an invisible participant of this symbolist idyll. Anticipation, pre-expectation of birth, the mystery of liberation and continuation of life, the inscrutable and eternal circulation of Nature – these are the key-notes of the artist’s subtle and magnetic work.