In the panorama of today's youth art Nizhny Novgorod artist Jeanne Sementsova takes quite a decent place. There is no reason to reproach her in the peripheral creative aspirations, she speaks the modern formal language (or rather, enjoys one of the varieties of the language), adheres to the already depleted its artistic priorities within the boundaries established in her art genre and plot preferences. On the art world Sementsova, his features now can be seen clearly. The first thing that immediately catches the eye, so it is the activity of its author's personality, her creative expression. However, this observation requires a reservation: it tactfully observes a measure in the manifestation of the creative self and does not disregard the sovereign rights of the depicted reality. Far from being a passive contemplation of nature, Sementsova is as far from radical, and the plastic distortion of the real truth of life.
Fairly intense smartness to Sementsova - Property imperative: her beautiful things are not luminous, and flowering, colorful decorative role in making them, as a rule, valuable in itself (and this is for all that it faithfully maintains the tonal "recollection" of his decorative compositions).
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It is equally imperative, zakonopolozhnym quality of her art is its inner kinship with folk art. It is in following this tradition, she sought and found reference points on which to build their creative destiny. However, no styling, no repetition external techniques of this art, it does not accept. Folk art, with its elegance, inescapable optimism, naivete, all portrayed inspires admiration Sementsova as an artistic landmark, as an attitude, rather than as an object of picturesque plastic imitation. She deliberately avoids the naive drawing, as well as of the ineptitude that have national master looks organic, but it would be inappropriate to far-fetched. Aesthetics of folk art relevant to Sementsova as spiritual rather than a formal fundamental principle of their own creativity. Above it was noted that in her works she seeks a balance between composed and directness of vision - whether it be landscape, interior or still life. That is why the image of a motive has enough recognizable as, say, in a series on impressions of the Czech capital, or in the landscape types Bakhchisarai, Boldin. And yet, most of her landscapes are not locally geographic attachment. Not interested in her and the natural state - with rain and wind, heat or cold, morning or evening coolness. Inherent in the paintings Sementsova effect of entertainment dictate the viewer position of an outside observer with respect to what they played. With a real prototype image artist "sobeseduet" aesthetically, but not for creating visually-adequate he pictorial images: visual preference expression.
Almost all urban and rural landscapes Sementsova, like most interiors, deserted. It would seem that this should give rise to a painful sense of human abandonment, and themselves the product of perceived pictorial metaphors for loneliness. But what is wanting, and there is no hint in these studies. It is obvious that people are comfortable, and heartening in portrayed in her paintings - one in the inhabited interiors in the quiet town and village streets, forest glades. At all here bears the stamp of an idyllic, carefree stay of the person (even if not pictured) in the world around him, everything here speaks of the harmonious relationship between him and this world.
By intonation sound landscape images Sementsova quiet chamber. But after their own problems they do not etude. Them intelligently linked, meaningful completed, the property is inherent, which is usually called an art concept. Another thing is that they have deliberately small inner scale - is to blend in with the intimacy of their content. Modest in size, and colorful on the color palette, they inspire us with a sense of joyful peace.
Poetic content is often dominated by emotional and meaningful field works Sementsova. Poetry, art, it is assumed thoughtfully, abstractedly comprehension of their content, lyricism and warmth, they emitted, making it the product of deeply human.
Certain moral and ethical values they take on their landscapes, which shows your favorite artist of ancient churches and monastic ensembles. In landscapes with similar subjects clearly experienced "since common thread." Thoughts and feelings of their author "vibrate" between church architecture of antiquity and modernity for her piety, responsive to today's poetic perception. In these works the memory of the last national culture naturally intertwined with the spiritual mentality of today. In all these cases Sementsova able to recreate the atmosphere of high purity feelings experienced by us away from the realities of the industrial age.
Conventionally decorative (color) style with obviously compacted space is indicative and for most of her still lifes. Masses shown in these flowers and household items are not in depth, but mostly in pictorial plane blade. The important point here another: the reproducible things she sees it more than they are actually Al. This, in fact, is the secret of her spirituality still life performances. As in all other genres, Sementsova makes these productions in the picturesque decorative object for admiration admiring them. The range of emotional tension in them is narrow, but their impact on the viewer does not suffer from monotony. In this genre the medium with respect to its substantive filling often plays the role of a neutral background, so that the objects themselves are the focus of inspiration and animation in the film.
Sementsova not joined to any of the many directions of contemporary art practice, ruthless to the values of traditional painting culture, and consistently adheres to the principles of decorative realism. Depicts the world perceived it in a conditional "format, free of the concrete sense, a purely empirical beginning and excludes any illyuzionistichnost perception (both in spatial constructions she likes to use a backslash, an icon of perspective). To meltesheniem unnecessary details not to be distracted from the main goal for her depictions - from admiring the decorative expressiveness of his paintings, it does not allow them anything random. Canvas nizhegorodki this beautiful, which is important in circumstances where such everlasting quality of art, like beauty, is exposed to a massive discredit.
Jeanne Sementsova steadily, as is clearly seen to be moving to set for itself the artistic purpose. Sometimes, though, she dodges away from the pass-through, the backbone of the problem of his life and teetering on the brink of a sort of courtly mannerism, glamorous fashion in today's environment. But the main thing for her is the crystallization of the best qualities of his own art. That's good. Cute and that her paintings are in their best examples of truly open to meet anyone who loves all true in the art world today.
SM Ivanitsky, art,
The Tretyakov Gallery, Moscow