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Exhibition Alexander Kolotilov and young landscape Russia

Exhibition Alexander Kolotilova and young landscape Russia

Exhibition Alexander Kolotilov and young landscape Russia

11.10.2008 - 11.12.2008
Gallery «N-Prospect»
St. Petersburg

Alexandr Kolotilov

Although he is our contemporary his brush was raised on classics. He takes a specific motive and turns it into eternity by the epic scope. In his paintings there is no border which would separate the present dimension of the one that lives not depending on the historical time.

For any state of the nature, whether it is a clear frosty midday or a gloomy spring high water, A. Kolotilov creates a harmonious picture with a strongly pronounced emotional background and the author's ego. The scenery is initially born as something complete and finished. In his canvases we observe as one phenomenon shows itself in every part of the natural unity: there is no separately taken sky or separately existing strip of the earth. On the contrary, we see how the frowning rainy clouds pass their mood in a chain to all the parts of a landscape.

Brush blow which is always significant as a display of a unique handwriting of the author, here is the main constructive unit of the picture. These featherlike dabs lay on the canvas with an ease of autumn leaves. So touchable they are right here on the surface. Some of them are interspersed with others, some are fused in and some are swept over. But they never level each other, never argue or contradict. Highlighting of details with a brush tip adds to Kolotilov's works some game, life and emotions. And as a result comes out the fascinating in its sincerity and perfectly finished picture.

In the tradition of Russian landscape school, Kolotilov prefers transitive states of nature when it is in a festive attire ("The First Snow", "Early Morning"), prepares for a meeting with winter or on the contrary throws off a snow cap, longing for spring ("Thaw"). The cleanliness of painting, emotional saturation of each stroke and well thought-out landscape allows to correlate A. Kolotilov with a group of Russian artists at the turn of the 19-20-th centuries. We can recall the landscapes of Stanislav Zhukovskiy, Abram Arhipov and, most certainly, of Isaak Levitan. The masterpiece of the latter "March" (1895) has something in common with such Kolotilov's works as "The Birch Alley" and "April". The contemporaries and then many investigators judged this work of Levitan one of the most poetical landscapes created by Russian painters in the XlX-th century. It seems to be fair to speak of A. Kolotilov equally as about the lyric poet of the contemporary painting.

If comparing approaches of two landscape painters of the past and the present, it is possible to draw many parallels. First, it is an unselfish love to the quite unfriendly Russian nature with its frosty winters, the uncertain and long inter-season period, the frowning sky. The lyricism of Russian village is equally close and dear to them also.

In the canvases of both artists we observe the birth of a landscape of an epic scope. However Levitan in his chase of eternity reaches extreme displays of the "above-time", for example in "Evening. The Golden Reach", "The Lake (Rus')" and especially in "Over the Eternal Peace". At the same time Kolotilov knows his limit in this aspiration to show the greatness of a landscape, the land in his works is always inhabited, even in the favorite views of the northern nature, such as "Solovki. The Landing Stage", "The Northern Landscape", "Silent Lake". Besides it is impossible to miss the romantic note which adds special charm and sometimes a bit of fantastic crape to his works. Most obvious it is in such works as "Sunset", "A Tower", "Karelia", "Dark Blue Forest".

It is interesting how I. Levitan has characterised his own method. As he said, he expressed "the basic thought" of a scenery, and as the purpose of his painting he considered "not a report but an explanation of the nature by the picturesque means". It seems to us that A. Kolotilov also makes a start from the certain basic idea to which he tries to subordinate a separately taken landscape motive - in no way his works can be called just a copying of the nature. Moreover, in his imagination the certain scenery transforms in an artistic landscape composition.

And at last, it is important to notice that despite the sincere love and fidelity to the Russian nature, Italy attracts both of the artists. In the works depicting to Venice, A. Kolotilov appears as a particular daring colorist. We can admire these rich colors in such works as "Venice", "Venice. May", "Venice. The Sea", etc.

In reproducing juicy summer greenery the artist frequently reaches a limit of intensity of color that is evident in such works as "Green Road", "A Pond", "The Hill and The Church. Clouds", "A Cow", etc. Another festive theme of creative work of A. Kolotilov is the image of flowers, these joyful sparks in our life, arranged by the artist in magnificent bouquets ("Irises", "Camomiles", "Mountain Ash", "Lilac"). The work "The Boat" (two variants) is kept aloof. It is the closest to impressionism and causes associations with a series "Water Lilies" by Claude Monet.

A. Kolotilov's latest works illustrate his constant searches for the ways of self-expression. Frequently the colors in them find density, become more vigorous, partially earthier and brown-ochred, and partially more fairy-tailish and romantic. Painting in general enriches its coloring. At the same time in the portrayal of Moscow streets A. Kolotilov follows his traditional palette of harmoniously and accurately selected colors.

As the poet and the romanticist in the contemporary painting A. Kolotilov revives immortal traditions of the Russian landscape school. In his manner we find what seemed to belong undividedly to the painting of the past: harmony, lyrics, serenity, worshiping the nature, revealing simple truths and honoring the eternal values. When our look stops at A. Kolotilov's works, we plunge into ringing silence, into the world which is not dependent on a human will and therefore beautiful in its autonomy. Much can be given for the pacification we find in his canvases. And at the same time it is not less dear to us the other splendid side of his creative work when a bouquet of the bright colors brought together amazes our imagination. Most surprisingly these so different sides of one talent belong to one artist and somehow wonderfully get on with each other. And this is A. Kolotilov, the brightest representative of the contemporary Moscow school of landscape painting, who doesn't get tired surprising his spectator.

Young Russian landscape painters

Now, as we have got acquainted with the paintings of A. A. Kolotilov and his vision of natural space, we shall turn to creations of young landscape painters and their interpretation of the same genre (painters of Penza, St.-Pe-tersburg and Moscow schools). Their canvases not only convey an individual manner and style, but also show a geographical variety of nature views.

The landscape as an independent genre always attracted artists no matter what their main art direction was. Nature views can be self-valuable motivation for depicting - that is when they gain a particularly bright sounding. At the same time portrait works, historical and battle scenes are frequently accompanied by a landscape background or a still-life that thus comprise some additional semantics. In any case, even in the over-urbanized world there is a very high interest for the nature life, for its cyclicity, for the variety of its faces.

Every modern artist inimitably expresses his personal attitude and sensing of the world of the nature. Many of them, such as Dyomina E., Akzhigitov I., Bogatov I., Kalinin M., Krupsky S., Minenkova E„ Artamonov V., Voronin V - are upholders of the lyrical representation of a landscape.

With love and flutter E.Dyomina transforms to the canvas the glances at the nature views. Her delicate paintings filled with the gentle feeling of coloristic harmony remind us of the Polenov's masterpieces.

The cloudy landscapes of I. Akzhigitov, restrained in color, with soft flowing paints and blurred shades, are enlivened with city architecture or rural houses ("In Arkhangelsk", "In the Village", "The Autumn Boulevard").

The works of M. Kalinin give us a special scent of pacification.

S. Krupsky reflects in his paintings the spiritualized sceneries of Russia's remote places, depicts the never-stopping city life. His works painted with the fluid strokes are warmly colored and create a genial atmosphere.

We can observe reflections of primordial Russian nature in E.Minenkovas works ("Thawed Patches", "In the Evening"). V.Artamonovs landscapes permeated with light-and-air haze ("Spring Etude", "Before Dawn", Dawn") seem almost weightless. The pacification and the harmony frequently emphasized by the image of a wide smooth surface of the quiet river and a horizontal format of canvases are characteristic for V.Voronins numerous landscapes.

Kostylyov D„ Brusilov S., Kozhin S. can be related to the other group of the landscape painters, whose distinctive features are conservative realistic approach and attention to details. A hand hardened by the academic school and thoughtful interpretation of a landscape as an independent genre define S. Brusilov's works. Widely taken nature material is thoroughly painted, underlining the theme of Russia that sounds clearly in his works.

Some artists select national Russian motives and popular vision of the nature with a folklore shade. Such are Podkopaeva E., Babjuk S., Vjacheslavova L.

Joyful perception of the surrounding world and national motives penetrate the works of M. Podkopaeva ("Indian Summer", "Farewell to Summer"). Vividly colored landscapes, comparable to Russian maidens in kokoshniks, belong to S.Babjuk's brush ("Spring on Klyazma", "Klyazma in the Spring", "Autumn in Klyazma").

Bright painting composed of flowing stains of colour, a life-asserting palette of K. Makovsky, representation of outdoor festives in the spirit of B. Kustodiev, the views of Saint-Petersburg, - these are the components of L.Vjacheslavova's creative work.

Such artists as Kirillov I., Chepkasov, Panov I., Sysoyev D., spouses E. and A.Vilkovs should be mentioned among those who use greater or lesser the achievements of impressionists, and also resort to the help of a palette knife in course of the work.

I. Panov's creative work is extremely various: he employs different genres and techniques - from realism to pointillism. His landscapes convey the greenery of a summer meadow and the nostalgic and peaceful views of the nature. In his paintings I. Panov's attempts to express his emotional attitude to the theme.

D. Sysoev's landscapes are painted under direct impression of particular states of the nature and for each of them the artist disposes his brush to a special harmony. What we see - are living pictures of nature. In his numerous landscapes A.Vilkov holds to a format of a stretched horizontal panel. His landscapes accomplished with the accurate and always recognizable stroke, tell us about a calm rural life close to the nature.

And, at last, we approach to those landscapers, whose creations are difficult to reckon among any known styles or works of other contemporary painters.

An influence of cubism and collage art have place in the works of Vladi-mirova-Lavrova ("At a Pond", "Last Snow", «Solomennoe»). The manner of the artist is formed by the geometry of accurate lines, sides and roofs, by the love for demarcation of color stains, by the vision of the world through a prism of separate forms.

The leading motive of the landscapes of D. and A. Korobkins is the dense view of Russian nature saturated with blue color and deep contrasts. The daring colorist and the upholder of an expressionism, S.Inkatov, builds compositions of the slopes of roofs, virtuously applying the linear drawing over the picturesque layer.

E.Komarova's canvases declare life as a holiday. Her works acquaints us with Venice in times of doges and Casanova, with the sunlit cozy Italian patios, the summer cafes, the colorful blossoming fields, with reserved Paris and other corners of the world. The artist likes to observe different moods of the same city. E.Komarova's canvases charm with romantics and soft coloring with a shade of a fantastic crepe.

E.Gololobov's landscapes are quite laconic and frequently based on the spectacular contrasts and oppositions of color stains.

D.Korobkov, whose way of self-expression in painting is brightly individualistic, embodies his vision of the nature in rather vacant but particularly effective landscapes. The artist often sets the mood with the only basic tone.

S. Sovkov should be named as one of the most inimitable artists - his canvases are composed of tiny pieces of color just like a mosaic ("The view of San-Dzhordzhio Madzhore Island").

The works of A. Hohryakova is marked with the influence of postimpres-sionism. The artist converts the nature-seen objects to the laconic stylized forms which create the image.

It is amazing how diverse can be the same landscape in the interpretation of different artists. However, there is a common quality for all painters in this genre - the love and interest to reveal the secrets and beauty of the nature.

Ekaterina Gudze

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