Статья публикуется на английском языке.
BY ROBERT ROTHCHILD
(Robert Rothchild - Art Collector, Art Historian, Art Connoisseur).
Sergey Fedotov, born 1968 in Moscow, worked as a physicist until his passion to become a painter superseded his involvement with scientific research. Mr. Fedotov developed quickly as a painter, absorbing many artistic influences that eventually evolved into the basic characteristics and concepts of his own style. Some of the more important sources of his art are the emotive effects of German Expressionism, the arbitrary color and wild brushwork of the Fauves, the tendency towards the abstraction of form found in the late 19th and early 20th centuries in the works of Gauguin, Van Gogh, Cézanne, Matisse and Picasso, and the paintings and philosophy of Kandinsky. Fedotov was further influenced by the paintings of faces by Jawlensky and the agitated still-lifes of Soutine. The Abstract Expressionist movement of the mid-20th century, with its non-objective, often internalized subject matter, its characteristic free brushwork, and “action painting” application of medium and color to canvases, is one of the most important elements in the development of Sergey Fedotov’s style. Painterly brushstrokes, explosive color, emphasized texture, dynamic movement throughout the composition, and the emotional responses evoked by the work, are the essential features of the artist’s paintings.
Fedotov’s brushwork, which is forceful, energetic, strong and lively, is an important aspect of his pictures. He applies the oil paint liberally, rapidly, confidently, and with tremendous gusto, and the paintings derive their vitality from this brushwork. Also, he uses his palette knife to apply the paint to the canvas, and slashes, dabs, strokes, flicks and rubs the oil paint onto the surface. The brushwork is done in various lengths, thicknesses and configurations, and the intricacies and spirited movements and patterns infuse it with a life of its own. The paint and the manner in which it is applied often become the true subject and the raison d’être of the picture.
The fascinating textures that characterize the paintings of Fedotov also are the result of his brushwork and the way in which the artist chooses to apply the paint. The texture ranges from flat, scrubbed areas in which one can see the bare woven threads of the canvas, to thick, heavy impasto strokes of paint. His art reveals a loving relationship with the paint itself and the actual process of putting it on the canvas. Texture, with all of its rich complexities, is an integral part of Fedotov’s finished work.
The paintings of Sergey Fedotov explode with color. He seems to revel in the sheer delight of employing thousands of strokes of variegated colors in each of his canvases. The artist is prolific and uses diverse color schemes in his paintings. Colors blend, harmonize and complement each other in some of the works, but clash, ignite, or excite one another in others. The colors are sometimes descriptive of the central figure or flower, but their main purpose is expressive; they are chosen in that context and then are woven into the overall aesthetic of the painting.
Сергей Федотов. "Перед Грозой". Холст, масло, 2013
The color, texture and brushwork make complexly exciting compositions that are bursting with activity. The surfaces of Fedotov’s pictures are filled with wondrous color fields, continuous movement and interesting sections created by color, brushwork and texture. The surfaces of the paintings constantly change because of the dynamic progression inherent in the brushwork and because of the constant undulation resulting from the interplay of colors and textures. The vitality and agitation of these compositions are reminiscent of works by Pollock and de Kooning of the Abstract Expressionist era. The spatial depth of the picture is built by overlapping colors and by webs of patterns and designs formed by the brushwork and the color relationships.
Sergey Fedotov is an expressionist in his figurative works. Expressionism is the distortion of color and form in order to make an emotional statement and create an emotional response in the viewer. The cityscapes and industrial landscapes reflect the hustle, bustle, energy, stress, busyness and tension of their subject matter. The winter, autumn and spring landscapes use color, form and composition to reflect the mood and feeling of that particular season and how the artist is reacting to it when he is painting the picture. The forest and flowers are subject matter that allows Fedotov to express his moods, thoughts, trepidations and pleasures by using colors, spatial complexities, and frenetic or tranquil brushwork. (I am using the term brushwork to designate the manner in which the artist applies the oil paint to the canvas. Fedotov paints mostly with a palette knife rather than a brush, but I use the term “brushwork” generically).
Portraiture is an important part of Fedotov’s artistic resume. His portraits and self-portraits are among the most exciting and significant figurative paintings in his portfolio. The polychrome, powerful brushwork, the beautiful and dramatic color palettes, and the relationship of the figure to the picture plane contribute to the viewer’s reaction to the people portrayed. Some of the forms are dissolving in the painterly brushwork; some take on a ghostly appearance because of the style and the colors; others are more robust because of healthier flesh tones; some figures are positioned comfortably in the picture space with balance and airiness, while the space closes in claustrophobically on others. Fedotov creates artistic beauty and psychological conflict, and pays homage to his subjects in his extraordinary, animated portraits.
Sergey Fedotov uses quick, assured strokes in his painterly style. The pattern and movement of his brushstrokes are essential components of his technique. These building blocks create the dynamism of the composition; they create the composition itself, along with the elements of color, texture and spatial relationships. Fedotov combines each stroke of color, each direction of squiggle, slash and scratch, each juxtaposition of two colors or color fields, each pocket of depth, each overlap, each design, pattern and movement, as a musical composer combines notes to create a s mphony. The paintings of Sergey Fedotov shine with the artist’s exuberance and positive energy. His love of the paint itself and of the process of painting can be felt when viewing his works. His art is characterized by variations of textures, increasing abstraction of forms, color contrasts and harmonies, expressionistic painterly application of paint to the canvas, and often non-figurative subject matter.
In his paintings, Fedotov establishes the dialogue that creates tension, complexity, interest, and excitement. There is discourse between the canvas as a unified composition and the wild individual strokes, gestures, color splotches and color fields, and between the flatly-painted bare sections of the canvas and the thick impasto areas. Colors clash, resonate, harmonize, blend and interact throughout the work. Two-dimensional patterns and designs play against three-dimensional spatiality in the pictures. A psychological confrontation is set up by these dialogues and conflicting factors.
Sergey Fedotov makes paintings that can be enjoyed on several levels. One first experiences the work viscerally, emotionally, physically and sensually, and then the viewer can enter into the painting and journey through it intellectually.
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