Fine art expert / Nesvetailo Tatiana

Nesvetailo Tatiana
St.Petersburg, Russia

Total comments: 19

Nesvetailo Tatiana

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).
Senior researcher at the State Russian Museum.

Sunflowers. Eshaliev Eldar

In this piece of still life the painter’s aim is not a literal reproduction. Only horizontal surface line is defined, yet the surface itself lacks particular materiality. Dark background is perceived as some hollow in space separated by something light from the main object. In spite of all the vagueness (in terms of correlation with reality) of colour masses that compose the painting the still life looks quite persuasive.
One can’t help comparing this picture with Sunflowers by Van Gogh. Here though they lack the decorative plasticity that seemed urgent for the French painter in his portrayal of lush blossom. Eldar Esaliev’s Sunflowers are different. The painter wouldn’t depict the stems, and even leaves are barely seen - just flowers. Falling sunny flowers remind of a constellation, a galaxy dying away.

17.12.2009
The Stroll. Shevchuk Vasiliy

This horizontal composition with parallel planes portraying the panorama of St-Petersburg’s embankment is drawn in the best traditions of the Russian school of Realism. Specific signs of St-Petersburg’s winter - wet asphalt, thawing snow, lowering sky - are conveyed wonderfully with the help of subtle colour nuances. In spite of the painting’s small format the artist is capable to capture and show the character and mood of each figure. Not only can we discern their ages, we can also catch the pace and even distinguish the dogs’ breed. A warm winter day, when your feet sink in the slush and the sun bestows its light just briefly and sparingly upon the city, is captured by the artist so tangibly that you seem to breathe in this moist odor which is the first herald of inevitable spring.

10.12.2009
The village. Lushnikova Tatyana

The Tatiana Loushnikova’s painting appears rather solid and integral in spite of abundance of details. The range of colours is subtle and restraint. Almost imperceptible, elusive shades of violet in the mass of green look especially beautiful. The atmosphere seems to be captured as lightly and spontaneously as breathing. The main character in the painting is an impressive branchy tree; we also see a pile of wood below and a graphic silhouette of a dead tree on the right. Being situated so closely to one another they seem to suggest that what the author shows us here is the eternal circle of Life, as she portrays the three ages, three phases - the Past, the Present and the Future. The village, merged in its everyday life with the cycles of nature pacifies and instills confidence in the everlasting wisdom of existence.

01.12.2009
Christmas. Sergiev Posad. Sherban Eugeny

At the first glance on the painting it’s hard to determine which object here dominates. There are plenty of them, but none shows up in complete fullness of corporeity. Everything is slightly understated. The gold on cupolas is not that shiny, the original color of the house looks rather vague and uncertain - is it wood or the remains of paint? Which kind of trees are those that line behind the shed? And only a bit later you start to understand that the main thing here is light, so skillfully captured by the artist and revealing itself through the fresh snow that transforms everything around and creates a feeling of joy and feast. Having yet a better look you realize that the artist has keenly caught certain symbolism in this simple landscape and meticulously thought over every single detail of the canvas. The domestic element placed in the very centre of the painting, a ladder, transforms into eternal symbol of spiritual ascension. And Sergiev Posad monastery at the background could be interpreted as a symbol of the City of God.

01.12.2009
Zrna Gora. The roofs of ancient Kotor. Galimov Azat

View from the hill on the roofs of ancient Kotor allows the author to create a composition which seems rather unusual for a landscape. The blue stripe of sky traditionally forming the space of every landscape is completely absent here. The painter skillfully meets the challenge creating compound pictorial fabric with the help of connivent kinds of ochre thoroughly sorted out by tinge and shade.
The ochre tones are gradually increasing as they approach from the background towards the viewer, which is balanced by the countermovement of the pink shades that become more and more intense as they grow from the foreground inward, reaching their crescendo at the Cathedral bell tower. Though the size of canvas is small and rendition is rather generalized, details are finely and delicately worked through. They do not reveal immediately, though, but only with lasting poring over. Being so overwhelmed with volumes the painting still preserves its vivacity and airiness.

18.11.2009