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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.
Like many other of his landscapes, A. Galimov’s work Guards at the Griboedov Channel. The Lion Bridge, is devoted to one of St. Petersburg’s corners. The artist scrutinizes the city’s signs over again, such as the older buildings emergent in continuous row along the channel framed in cast iron and granite, a small pedestrian bridge, the sculptural décor of the city. The composition that the artist creates is fragmentary and based on the intersection of diagonal rhythms which are counterbalanced by the verticals of trees and the sculpture of lion at the left part of the canvas. The painter works with bold, broad brush strokes, at the same time emphasizing the few details that contribute according to his scheme to create a lyrical image. The monochromaticism of coloring is only seeming as the canvas is painted by numerous fine tinges of white, blue, yellow and brown combined with flickering accents of gray, lilac, green and pink. Thus the recognizable Galimov’s winter St. Petersburg appears on the canvas, the snowy and deserted city lacking any bright colors as if bleached by snow and time.
The work of A. Turin, The Emerald is made in a form of decorative picture combining in its compositional structure several genres of fine art. There is a fragment of Eastern architectural landscape with mosques and minarets in the background, against the sky – grand and stately, as if frozen up in eternity; its portrayal is quite recognizable yet unpredictably generalized and asymmetrical. Architectural motif created on the canvas is surrounded by lush yet rather symbolically, almost fairily depicted greenery in the foreground. And among the pictorial blossoming that creates fine musical ornamentality, a piece of still life hides obscurely, looking almost unreal in his left corner of the painting. And finally, on the very surface of the canvas a pale vision, a silhouette of a young man playing on an ethnical musical instrument is sliding, along with the image of a magic eastern bird, a peacock, that appears here as if only owing to the author’s fancy. The painter’s visual language is quite uncommon and corresponds with his intention to create a multi-associational work of art. Expressiveness of his utterly generalized lines induces self-sufficiency and laconicism of local color spots that do no require detailed and meticulous elaboration. His coloring is non-realistic and terse, but the spots of pale lilac, pinkish and emerald, large and smooth in their rhythm, all of a sudden burst into a staccato of brush movements. This peculiarity of the author’s hand, which is rather graphic basically, creates this unusual and distinctive canvas, delicate, full of uncertainty, ambiguity and symbolic meaning.
The painting by V. Peshkun presents a material world created by the author’s thought, the world existing within the intended graphic composition and colour settings that are strictly checked and considered. The portrayed still life brings its spectators into atmosphere of summer day, into the interior imbued with invisible but tangible sunbeams, where on the table covered by checked white-and-blue cloth near the high transparent jar with a huge bunch of sunflowers we can see the tea things, a cake, and sweets “randomly” scattered at the table top. It seems that two cups filled with hot dense tea stand still awaiting a forthcoming tea party. The painter draws his work bravely, in a relaxed, artistic manner. His structure manages to combine fragmentariness of composition leading to the cogency and inherent worth of his images, and the certain stylishness and splendour of created visual scene that coexist with strict and thoughtful choice of few depicted objects. The urge to speak about the visual world in terms of its multi-layered plenitude leads to the representation of objective forms from rather expressive and diverse angles. The texture of the canvas includes pastosity that here and there amazingly turns into painting that almost looses its materiality and density, becoming light, almost ‘aquarel’ and transparent. The author’s coloristic mentality with all its external luminous simplicity is quite complicated. The canvas is composed on eloquent contrasts of open blue, yellow, green, pink, black, brown and white with rare accents of red, all of them enriched with numerous highlights and reflections of color.
In his work Vishny Volochek. The Moonlit Night, the painter A. Drylev creates what is a typical portrait of the Russian countryside and at the same time quite recognizable landscape of Vishny Volochek with its quiet pedestrian embankments of the rivers and channels, on the borders of which the small houses hide, humbly aging beneath the high ancient trees. The author draws one of the rivers that the town has in abundance in the foreground, and in the middle distance portrays one-storey wooden buildings. Going into depth, they seem to sink in the gloom of descending night, loosing the daytime clarity of outlines and color. The composition is completed with portrayal of the sky with fool moon at the right touching the surface of the water with its white highlights, and trees ghostly emerging against the sky at the left. The landscape is painted with broad brush strokes, using cold resembling tones of grey and brown with small accents of white which, pouring into one another, create harmonious effect of color reflections. And general monochromaticism of color dictated by the night nature establishes a lyrical and slightly melancholic image of the sleeping town, lost in its loneliness among the illimitable space of Russia.