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Vladislav Metelkin

Vladislav Metelkin

The nature lost for man of 21st century comes to life in all its charm and virginity on Vladislav Metelkin's canvases. Taking a separate motif, a "fragment", the artist organizes it in his painting by the way in which the complete landscape view is formed in our perception without difficulty. The scale which he chooses is of the epic, dimensions but we feel that the scale of nature is by far more immense.

The very subjects of V. Metelkin's paintings are unpretentious enough. However the artist finds charm and originality in these landscapes simply in their having material reality, in for example the gorgeousness and richness of color that the sunray reveals making its way through the foliage. The master takes interest in nature in its each specific display, he peers into each of its creation in detail. He has personal contact with nature, pays attention to each leaf and blade in the painting. His nature lives its natural life isolated from the human being, there are no figures of people to animate his paintings at all.

The artist chooses sometimes an ordinary motif and entirely "trusts to nature, lets nature lead him" ("On the Glade", "Sunny Day"), sometimes gets deep into woods ("Platans", "Birch Grove"), sometimes turns to views of nature of epic grandeur (The Sunbeam after Thunder-storm", "The Wheat field"). And each of his landscapes has a melody of its own.. Through the dense foliage and rows of trees which have risen as side - scenes on our way, the artist leads us to the bright light of day which is breaking through the dense veil of greens. Nothing appears forced, but every element of the picture has been placed with regard to its relation to the whole. He is attracted by the charm of the blue haze on the horizon. In his epic pictures, which immediately bring to mind I.Shishkin's best works ("Rye", etc.), we marvel at the all-embracing, all - filling sky. In "Lilac" the artist adorns nature in the festive attire, is most playful, fresh and impressionistic.

Especial vivacity is imparted to his works by the manner of their execution. The pictorial painting is woven from the multitude of contrasts in tone dabs overlapping each other. The ripples of dot spots of color, the play of solar patches of light, all together create a surprising sensation of vibration, mobility of the whole canvas, and, as a consequence, the effect of direct impression from the seen. By his manner he can be said to be closer to impressionistic painting, in particular, to its such apologists, as Claude Monet and Alfred Sisley.

V.Metelkin can be rightfully called the master of forefronts. On the other hand, the scale and epic dimension of his paintings are amazing. These two advantages combined create the effect of presence, give rise to a surprising feeling of "ocurrence", immersion into a landscape with the eye is drawn deep into the picture.. Probably this is where the secret of attractiveness of paintings of V.Metelkin is hidden.

Ekaterina Goudze

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