Айвазовский И.К.
Шишкин И.И.
Маковский А.В.
Маковский В.Е.
Кончаловский П.П.
Фальк Р.Р.
ARTinvestment.RU покупает работы
ведущих художников XIX-XX вв.
Нестеров М.В.
Плавинский Д.П.
Бенуа А.Н.
Немухин В.Н.
Серов В.А.
Зверев А.Т.
Саврасов А.К.


XVII open auction "twenty-first century. Contemporary Russian art"
ARTinvestment.RU   27 мая 2020

In: Victor I. Kostin, Andrew Munz, Igor Nezhivoy, Olga Rudakov, Aleksandr Rusov, Valery Sakhatov, Natalia Turnova, Elena Utenkova-Тихонова, Yuri Shabelnikov, Tatiana Yang

the fee from buyers is 18 %.

Catalogue of the Auction No. 331 and XVII of the auction "twenty-first century. Contemporary Russian art".

Lots of XVII curator of the auction "twenty-first century. Contemporary Russian art" presented in the exhibition online-выставки AI.

In the composition of the auction of 10 lots — ten paintings. Where possible, we will try to tell them about the words of the authors.

Opens a directory section of the landscape.

Alexander Rusov. Panorama of the Neva from Alexander Nevsky bridge. 2017

Panorama for me is always an interesting adventure. Between the colorful spots need to line up what-то own history, what-то connection, rhyme, not to slip into a simple listing, although the listing is beautiful. In this sense, the city on the river provides many opportunities for the observer, and when you encompass on all sides the water and the sky, really want to implement this state (Alexander Rusov).

Elena Utenkova-Тихонова. Landscape with fisherman. 2019

Landscape — is a state of mind of the artist who painted it. I don't like to draw from life, because the work starts to climb don't need random items. After all, when I think you struck a place or state of nature after a-то time —'t remember the details, only the main gets for you (Elena Utenkova-Тихонова, eutenkova.ru).

it is Difficult to explain why the artist works. No specific member of the audience and especially the buyer is not standing in front of my eyes.

Just once, walking down the street and accidentally raising his head, see from-за the nearest house comes up for you something white, large, immense, that, occupying half the sky and claiming to be a cloud, disappear to who knows where, leaving above the roofs only a little fluffy feather reminders.

And let the clouds in the atmosphere of countless passers-by and right, pretending like nothing ever happened, you can't shy away from either the cloud, neither from the street nor from himself (Elena Utenkova-Тихонова, cultobzor.ru).

When you "chat" with a real work of art's audience is a meeting not only with the artist — but with yourself. If the artist that-то got to Express and you saw, then you've met in one space and this space is Divine, because the world of visible and not visible — created by God. And sometimes you can see or feel what-то more than what meant the artist. This will also be true. Because art — is a tool of learning (Elena Utenkova-Тихонова, eutenkova.ru).

the Following section was still life.

Olga Rudakova. Marigolds. 2016

Her still lifes plastically very organized, she knew that he would be writing — is objects surrounding her: bottles, vases, flowers, fresh and dried, all sorts of fruits, sea shells, fish and of course birds... 90-х years in hervery thin, airy and light painting into black color, it stirred her surface... began organizing and constructing the item... This black is a manifestation of a very complex internal dramatic struggle for life.

Olga — spiritual successor of its parent. Yes! — drama. Yes! — tension! But how many great works, many thanks to the Almighty for giving shelter and bread. Form, color, light, tone, semitone — is working on all the glorification of the Creator. She loved the still life... he let her to be free (Valery Sakhatov, artist).

Tatiana Jan. Garlic. 2016

still life Moscow artist Tatyana Yang different kind of "portrait" approach to the subject world. The modern vision of the color, shape, and composition in her paintings combined with deep philosophical content, which — powerful tradition of early Christian art and the legacy of past masters.

the Feature of the painting style of the artist is that, even working with close up, she loses not attracted to monumentality of seeing things. The small canvases with an enlarged detail of the Central composition almost become "portraits" (the term artist) fruits and objects. In these portrait paintings, which are dominated by green, purple-розовый and turquoise tones, you can see the most simple, and quite exotic to us fruits. Tatiana is not biased, but tries to identify and stress the aesthetic worth of its "heroes": quince, pear, pomegranate... (Andrei Tolstoy, tatyanayang.ru).

Continue the story of the catalogue of the auction XVII "twenty-first century. Contemporary Russian art" genre works.

Victor I. Kostin. Meal. 2018

in detail, detailing, clear painting particularly attracted me. A set of those, I think, is standard for any kind of art: Life, Love, Time, Death, Fulfilled and Unfulfilled, Fear and Hope.

my Main task (and not only my) — find your language to display the present time and everything that I went through; that was when-то real, and now — the past (V. I. Kostin).

Igor Nezhivoy. At the gate. 2014

I just can't describe the style in which I work. Because it seems to me that this is my personal style based on the pictures and the dreams that I see in reality.

My mind transformerait seen in real life in a kaleidoscope of scenes and spots of color, creating the appearance of the image in my paintings.

In my paintings you can meet lot: impressionism and the avant-garde and elements of surrealism, as well as characters of naive art.

the Style, in my opinion, very eclectic, same as the movement-хаос around me and in my head. More important to me not following what-то certain style and flow, and plastic connecting cultural heritages, which creates harmonic art object (Igor Inanimate).

Interesting and varied the largest section of the directory — portraits.

Valery Sakhatov. The Jewish beauty. 2017

For me it's not a thought, and inner impulse. The quality of the painting. No matter what is shown there. Important picturesquely-чувственная energy.

Outward will not find anything. We must look within ourselves. The image occurs in the level of visual memory. Visual experience to comprehend the nature...

the Idea of tint, as in the icon — gap. The illuminated part of the object has its own shape. In three-dimensional space there is still a penumbra, a shade, a shadow. But in two-dimensional space all the excess vanishes (Valery Sakhatov, cultobzor.ru).

the Images of the series of paintings "the Portrait without resemblance", which takes the author more than five years, mean quite real, live people, whose individual features of the "completely developed photo" in the usual colloquial sense, but whose appearance you want to think, about their inner qualities at least to guess. Here is-то like transcripts, even if gradual and incomplete, the very "life of the paints on the canvas", which is typical of abstract works Valery Sahatova (Dmitry Smolev, kovcheg-art.ru).

Shutovskie characters appear in the portraits as bearers of intrinsic properties of his [email protected] semicolon, they are not actors, many performers of the art of improvisation, directly connected with the subconscious of the author. If on this occasion you suddenly remember "Solaris" by Andrei Tarkovsky, not in a hurry to drive away the Association: that-то in it. Painting Valeria Sahatova — plasma planet, able among other things to bring and phantom heroes with character, fate and impact on the audience psyche (Dmitry Smolev, moment-istini.com).

Natalia Turnova. The old man. 2008

the experience I felt that the man is always interested in people. And the genre of the portrait as presented in 1970-90-е, remained fairly traditional, realistic. And if you go beyond these limits, it has already drawn attention to themselves. I was interested in working with the traditional portrait to a painting, but turned into what-либо other (Natalia Turnova, colta.ru).

You will always interpret what they saw based on my experience. But try to turn away from him to look at things as clean looking as possible. Imagine that you woke up and hear the music. And more to the point, as I understand, what's playing, they feel it as in tune with your mood. I urge you not to look at things from a "child's view", but to get rid of clichés that we ourselves have imposed. But it is in any case not a recommendation and does notthe requirement from my side (Natalia Turnova, colta.ru).

Yuri Shabelnikov. The end of the movie. Legend. Marilyn Monroe. 2008

...Cinema as a phenomenon shapes the public's view of the world, the tastes, ideals and even a guide to life. And if Hollywood, as a trendsetter in film, guided installation, the happy end and the audience's tears of emotion in the final, now the movie already doesn't want to end up and turned into an endless series... (moscow.arttube.ru).

...this story is certainly not about "the end of the movie," but, rather, about the past dreams, the lost hopes, dreams, ideals... even the star of those who already dwell in heaven and portraits which the author shows us, written not from nature, and with archival photographs and on the covers of old fashion magazines where the picture is sometimes lost, and in some places covered with the patina of time. Not to recall the name of the legendary Bernardo Bertolucci's "stealing beauty" or "stolen" in the English translation, but when and by whom, no one still knows... (moscow.arttube.ru).

Completing the story is only in , abstraction in the auction catalogue.

Andrew Munts. The feeling of the meeting. 2017

My concept — lack the concept. I'm trying to feel himself a free artist, not conned to-либо long-term attitudes associated with a particular direction in art. For me the important search. I try to be open-minded, open to new ideas (Andrew Munts).

Free improvisation, an expression of accumulated experiences and emotions is the basis of painting works by Andrew Munz. Being including an architect and teacher, Munz keenly feels the chilling part of the rational art. Why it is so valuable to him the opportunity of expression that gives the painting that is not tied to nature, when between the artist and the emerging work there are no images of the real world.

<...> In the paintings of Andrew Munz always the possibility of different interpretations. The viewer is drawn into the creative process, conjecturing pattern in the direction suggested by the artist. The viewer, like the artist himself picks up in the colorful elements of the archetypal images (Yulia Volgina, PhD).

good luck on the auction XVII "twenty-first century. Contemporary art"!



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