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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).
Senior researcher at the State Russian Museum.
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.
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.
Beautiful and sad roses. When you look at them you realize that everything passes… The author fills the traditional bunch of flowers with new meanings as if willing to penetrate the mysterious point of blossoming of this floral queen. The borderline of the plane they’re standing on is absent, as well as any horizontals, which creates the sense of vertical movement. The stems of the roses inside the vase’s crystal frame are just slightly hinted at with several oblique strokes. Realistic, though somewhat diffuse interpretation reinforces the impression of fragility and short duration. This delicate and poetic work brings to one’s mind an I.P.Myatlev’s line that inspired Ivan Turgenev and Igor Severyanin: ‘So nice, so fresh the roses were…”
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.
Aleko, “despising the shackles of modernity”, is captured by the vortex of the gypsies’ lifestyle. One can’t help comparing this work with Philip Malyavin’s The Whirlwind. But if Malyavin’s work depicts the mighty element of people’s life, being a hymn for liberty and emancipation of feeling, here we can see burning passion that paralyses the hero. Composition expands diagonally inwards, leading us to the source of light that remains invisible though its highlights are reflecting on characters’ faces and clothes. The painter creates rather tense pictorial fabric using the widest range of red tinges and bringing in daring contrasts. Dynamic pastose manner of painting intensifies the sense of inner conflict. The author was able not only to create a highly professional work but to offer an unusual and very subtle interpretation of the well-known plot.