Exhibition of Russian Artists in Paris

[ранжер]

Since, according to a local guru site about Salvage, perhaps, some will be interested to know that Viktor Kullback one of the few wealthy Russian and non-Russian artists in France. As for Russian, it is just part of those 10%of artists who live worthy of the high rank of life. Others, speaking rough language poster, live simply troubled.
 Orders for his portraits begin with a five-digit numbers.

Victor enjoys techniques of old masters. Sam rubbed pigments. Before looking for in old abandoned mines and quarries Italian rare minerals for their colors, such as lapis lazuli. Prices for portraits using a paint, prepared according to recipes renaissance, an order of magnitude higher.

There exists a sentence: There is nothing better than European-educated Russian. This is about Victor Kullback - gentleman, dandy, with the best qualities of Russian.

[Кирилл Сызранский]

Here are a few drawings Kullback.
http://englishbokov.blogspot.com/200...ov-golden.html

Zoom click, you can and techniques porazglyadyvat.

[Jasmin]

Сообщение от Cyril Syzranskiy

can and technique porazglyadyvat.

 Porazglyadyvala. In my opinion, it is possible to study drawing.

[Самвел]

Сообщение от ranzher

Victor Kullback one of the few wealthy Russian and non-Russian artists in France. As for Russian, it is just part of those 10%of artists who live worthy of the high rank of life. Others, speaking rough language poster, live simply troubled.
 Orders for his portraits begin with a five-digit Digital

How-could it be? Drawings, well, pictures, nothing special.

[LCR]

Today we have a program presentation of works by Masha Poynder. At my request, she kindly agreed to write for AI text of their bright, colorful, expressive works, for which I am sincerely grateful to her.


Masha Poynder. "Third Sight".

What is commonly referred to as an abstraction, whether it is form and content, there is nothing more than a departure from the description, the liberation of literature and a return to true, the real strength of form and color as such. Exemption from the well-trodden, from the well-known, pre-programming societies and return to the original function of painting, to her native language, to its roots. The process consists primarily of the fact that you stop to think that leaves behind rote memorized sight. "Forget the knowledge!" Wrote Henry Miller in "book of my life." Cross the threshold that has been mentioned T.C. Elliot and Richter, quoting Falk on the very moment when "the water begins to boil, freeze, retreat, withdraw, to disappear and let the action unfold independently, very own -" the desire to create the world "Walt Whitman. With bated breath, let the invisible become visible, to give it to appear. The more you work, the easier and more natural to go out of his little "I" to spill over and dissolve into the "I" a big (Karl Graf Durkheim). This is a daily walk where there is no delineated time, where the air had spread to infinity. The borders of known left behind, filled with color tone, breathing, and line the internal shock, an absolute movement. Gesture becomes meaningful. These areas are called "abstract expressionism" was investigated De Kooning and Pollock, Frank Stella, Cy Twombly, Joan Mitchell, Asger Jorn. In them I found my family, we breathe the same air.

The roots and the foundation I owe Russia. France opened the world to me, was the springboard that allowed to make the leap into a new visual and beautiful birth. America gave the wings, flight, and a dizzying sense of space, including space and scenic plane. France and then America, not just fertilized my Russia, met and merged, Russian and Western culture, these two views generated alchemy "third view" that exceeds the sum of two parts, and transcends cultural determinism, breaking through the vicious circle of descriptiveness of the world.



Title:

1. Sonora Night
2. Venice Wedding
3. Pearl River. Lucky Wave
4. Happy Valentine's Day Jean-Michel
5. Terra Magica
6. Whispering Spirit
7. Summer#1
8. Summer#4
9. Mekong River#2
10.Mekong River#5

[LCR]

Naftali Rakuzin - an artist who writes books

No, no, you misunderstood me, this is not about novels, novellas and novels. His medium - not a word, and the image: Rakuzin, like any self-respecting artist, working with canvas, brushes and paints. But his models are the books, and quite specifically, art books with reproductions.

We met soon after his arrival in Paris and became friends. That is, he first became friends with Roginsky, and then later, much later, we were priyatelstvovat with him, and his wife - a smart, kind and beautiful Ina, which also perfectly prepared.

I love and most Rakuzina, and his work. I like them sturdily-built structure, their precise rhythm, their seeming objectivity, unobtrusive presence, for kotororymi stand straight eye, steady hand and a clear head - a bright calm Hammershoya they remind me, dealt with one of the works placed below.
But to understand the artist's best, in my opinion, to call himself.

The archives of the newspaper "Sight", I found an interview he gave two years ago Dmitry Bavilskomu on the occasion of her exhibition in Moscow in the gallery Popov (I like to think that without me this show Tolley Rakuzina in Moscow could not be), here it is :

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- So, what I do, belongs to the genre of still life intellectual. This is art about art. But my work - not just a reflection, not only the work of intelligence, not just an intellectual art, primarily in painting, it is the art which can not be explained in words. It's like music, you either feel it or you do not feel it. I consider myself not academics and not conservative, although I feel it is important within the tradition. On the other hand, it is important that my paintings are written today. These still lifes could not be written more than 40 years ago, before the appearance of pop art and conceptualism.

- Why as images of objects you choose a book?

- In this choice primarily played a biographical time. My father was an illustrator. I am a child growing up in an atmosphere of artistic oformitelstva and illustrations. When I was about 14, I began to learn from Moses Khazanov, a pupil of Falk, later joined the Polygraph Institute and abandoned painting, decided to follow in the footsteps of his father. Prior to his emigration to Israel, where the inertia continued to do book illustrations, even in Moscow, I have done work on "Crime and Punishment. Even in Israel, illustrated the "process" of Kafka and "The Three Musketeers. In parallel, I have always painted from life, many engaged in engraving, etching. Gradually illustration ceased to satisfy me, it was then, and emerged an important personal discovery, revelation: I realized that I do not need to illustrate what is already written, I can not express themselves directly through your book. The book as object. Picture books, standing on the shelves becomes similar to abstract paintings, drawing closer to the geometric compositions in the spirit of Mondrian. Or I can open the book, put it on the shelf with the cover or open - as is done in bookstores to talk about the universe, hidden inside her. The book - this is my window to the world. This frame, allowing better this world to see.
 
- But how do you feel about conceptualism?

- And in this lies my conceptualism, though I am, of course, conceptual artist, and Conceptualism never thought I was his. But what I was looking at the world through the book, quite conceptualist course. And if I was not familiar with the theory and practice of Conceptual, I myself had not figured would. I'm not an artist who ponders, and then draws. INTUIT and I am convinced that real art intuitively. Good start can not be a major in fine arts. There are more or less intelligent artists, each in different ways, but in general the art is (to go) inside.

- When is the book became the main subject of your creativity?

- I used to do a book in the prints and drawing, worked on the paper. In 1983 I moved to Paris in order to change in his art and his life is, including the main plot. After a fourteen-year hiatus, I returned to painting in oil on canvas, stopped working with colored pencils. I decided to get rid of the book theme and become a classical painter, figurativistom, try to play to the traditional genres - portraits, still life, landscape.
Gradually I realized that to fight this futile: no matter how he tried, I could not get rid of the appearance of books in their work. They appeared in my pictures from the back entrance - in the still lifes and interiors. I still was interesting to write them! By the end of the 80's, I finally realized that my book is the basic plot and my element. Since then, I'm doing a book.

- What does it mean to "do the books»?

- Since the early 90's I developed a system of drawing from life: first, colored pencils, and after that, staring at the picture he painted a large format. That is, the process of layering, and I wrote was not from nature, but indirectly.
At the current exhibition are mainly the work of 90-ies and the beginning of the century, due to the desire to introduce me gallerist from earlier works. Moreover, in this cycle includes two works on the "Russian theme".

- What's in these compositions is important? The choice of books? Their location? You specifically compose songs from the books, as in ikebana?

- If I write bookshelves roots to the viewer, I try not to change anything in his "inner landscape". The composition is built, but not delivered. After all, if an artist paints landscapes, it can not change anything in the nature of duty, he must find harmony in the existing order.
Also I have a picture with a separate open book, or books, facing the viewer. That is my resolute decision - to show a person that interests me.
 
- Who do you consider in their teachers and predecessors?

- Since I studied in Russia, then in his youth determining influence on me was the influence of Vladimir Favorsky and Robert Falk. I am also very fond of Petrov-Vodkin the Russian landscape painters of the nineteenth century - Vasilyev, Kuindzhi, Savrasov.
Among contemporary artists I really love M. Roginsky, who had befriended on his arrival in Paris, where I also talked a lot with Erik Bulatov. In our creative process with him (painting precedes the figure) have much in common, though I have come to such a method used to explore the Bulatov.
If we talk about the impact of art in general, it is important for me aesthetics of the icon. Myself, I ascribe to the European French tradition: Chardin, Cezanne, Braque, and especially Morandi - this is my family.

- How do you see the future of easel painting?

- For me, it is essential that I make art with his hands, that is man-made thing. Will I lose a genre picture? I do not know, the more so because it is not in principle. After all, easel painting - a genre is relatively young - now with the advent of the bourgeoisie. Paintings were done on a canvas to make it easy to transport, and before that there were quite a frescoes and religious paintings on wood. There are historical processes of development of forms, is more important to people's desire to depict nature with his hands.

- What do you see the Russian art scene in the background of the French?

- The difference between Moscow and Paris is that Moscow is much less political correctness. There is everything from video to the performances, but no one on this basis is not decided that painting should disappear. French art establishment, supported by the state, is investing a lot of money exclusively in contemporary art, where painting is not included. In the minds of these artists is divided up on the art of Marcel Duchamp and after. In a way, it resembles the situation of total Soviet rule one style of socialist realism. Although the French political establishment is more subtle and cultural, but the result is the same - totalitarian pressure in one direction. As the art market in France is weak, then the share of traditional painting, there is very little attention and money. Major Collectors "pull" to followers of modern art.
I myself consider myself a relevant artist, even those who paints paints the old-fashioned to contemporary art generally do not count. In France, the popular slogan: "Art died, so I'm sitting there, like in the trenches, constantly proving its right to exist. In Russia, the fact that I do understand much better.

- Why is your first solo exhibition was held in Moscow just now?

- The last time I exhibited in Moscow in 1996 at "Art Manege", when I represented the gallery "Moscow Palette" and were exhibited only drawings. Therefore, the current exhibition can be considered representative of my first exhibition in Russia. It was made possible thanks to the enthusiasm of Sergei Popov, who came to my studio and offered to bring (this is very important - to bring!) Pictures from Paris to Moscow. I am very pleased.

Pictures:

1 "Anselm Kiefer". 2008, s /m, 60 x 120
2 "Atlantis". 1991, s /m, 114 x 146
3, Dutch portrait "2008, s /m, 50 x 100
4 "Georges Seurat." 2005, s /m, 130 x 81
5 "Rodchenko. 2008, s /m, 120 x 120
6 "Pop Art". 2005, s /m, 195 x 130
7 "Morandi". 2005, s /m, 97 x 130
8 "Two regiments. 1983, paper /acrylic, 103 x 103
9 "Tower of David at night." 2008, s /m, 81 x 130
10 "Tate Modern". 2009, s /m, 50 x 50

[LCR]

Another unknown to me until now a participant of the exhibition - the artist Jan Bystrov.

Bystrova obviously have something to say and she knows how to do this - it can be seen even in small reproductions.

Work it very recognizable. I especially like the tondo "Meditation", lyric, spring, with delicate silhouettes of the trees reflected in water, and "Rainy Day" with an extraordinarily dynamic background - this work reminds me of the French New Wave cinema documentary character with a certain combination of something very personal.

Meditation. 2009, s /acrylic, Diameter 50
Belle-Ile. 2008. x /acrylic, 40x40
Chestnuts. 2008, s /acrylic, 40x40
Meditation. 2008, s /acrylic, 40x40
Wind and warmth. 2009, s /acrylic, 40x40
Bent world. 2008, s /acrylic, 40x40
Rainy day. 2008, s /acrylic, 40x40
Meditation. 2008, s /acrylic, 40x40
Dead sunflowers. 2008, s /acrylic, 40x40
Live sunflowers. 2008, s /acrylic, 40x40

[Игорь Гурьев]

Rakuzin - mysterious Sphinx, if you like, warm, true artist, in a sense - the magician.

With some satisfaction I must say that I wrote about him a little note in the "Russian idea" was some sort in 1986.

And with his wife, Inna, we have worked hand in hand in the "Russian idea", um ... 14.

[LCR]

Faina Kremerman

On my request to write something about their work Faina sent me this text:

theme of my recent work - is the space surrounding us, with whom we interact, not always knowing in this report. First, as a city dweller, I wrote architectural landscapes. But then, trying to analyze the "pure" space, try to "write" the air, I gradually came to liberate him from the human presence of the specific topics of specific architectural forms, bringing them to the clean lines, so that the viewer does not hurt to enter the space of my work .

Until yesterday, the work of Faina Kremerman I knew only from reproductions. They have very attractive because of its severity, even severity, its simplicity and purity.
But yesterday, hanging on, I saw them alive, and is satisfied that these prints do not convey even a hundredth part of their beauty - the photographs the whole texture disappears and can not see that they are covered with colorful fishing line, creating an entirely unexpected effect.
Wonderful work!

1 Tree, a diptych. 195 x 228, x /m, marble chips
Two branches. 130 x 195, x /m
3 branch. 130 x 195, x /m
4 Triptych. 89 x 341, c /m, marble chips
5 Blue diptych. 195 x 228, x /m, marble chips
6 red diptych. 195 x 228, c /m, marble chips

[Pavel]

And then the French artists living in Paris, then?