Both shadow and light... Automatic translate

The Russian Academy of Arts presents an anniversary exhibition of works by the painter, academician of the Russian Academy of Arts Irina Anatolyevna Starzhenetskaya and sculptor, honorary member of the Russian Academy of Arts Anatoly Fedorovich Komelin, which continues the series of academic projects of creative dynasties. The exhibition will showcase about 50 original works created in recent years, some of which the public will see for the first time. “Irina Starzhenetskaya and Anatoly Komelin are a married couple who combined in their creative and life union the main types of art and the main ways of approaching sacred themes,” says art critic Alexander Yakimovich. They often exhibit together; they are connected not only by family, but also by close ties of creativity. Despite the fact that the authors use different visual techniques and means, their works are very harmonious, consonant and successfully complement each other.

Throughout her entire creative career, Irina Starzhenetskaya turns to fairly simple life themes, while investing hidden meanings and a special sacred meaning into each work. At the exhibition you can see such paintings as “Trinity Day” (140x100, oil on canvas), “Sky. Tree. Red Roof" (2020, 120x150, oil on canvas), "Dawn" (2023, 110x150, oil on canvas), triptych "Ornament" (2020, 90x70, oil on canvas) and others. She does not follow a specific genre; her works are rather characterized by a relationship with external circumstances and events that took place in life. Based on real impressions, she creates her own unique artistic world. Through landscapes and portraits, the master strives to convey not specific details, but the states of nature and man. Irina Alexandrovna’s portrait images are characterized by an extremely expressive style of painting, grotesque poses and movements, as in the canvas “Sagittarius” (2023, 130x110, oil on canvas). In the depiction of faces or the human body, the light and shadow modeling of the figures is carefully thought out, thanks to which the composition on the canvas is not flat, as it might seem at first glance, which is clearly readable in “Self-Portrait in the Doorway” (2022, 140x70, oil on canvas). By maximizing the shot, she achieves exceptional drama. The author’s works amaze with their plastic freedom, broad strokes, and the powerful element of color, which is the main artistic medium. Her palette uses both rainbow combinations and frankly black tones, depending on the thoughts and experiences of the master. “I am overwhelmed by color, and flowers are an occasion,” the artist admits. Compositions “White and red flowers” ​​(2023, 110x150, oil on canvas), “Evil tulips” (2023, 100x140, oil on canvas), “Dark Lily” (2023, 105x150, oil on canvas), “Foxglove” (2018, 100x90, oil on canvas) and others – these are not bouquets and still lifes, but a part of the universe, an expression of special mental states.

The generality of forms and the abstract nature of plastic drawing frees the depicted objects from attachment to a specific place and time, from which space is self-sufficient and independent. All this enhances the viewer’s associative perception, gives freedom for interpretation and evokes an emotional response; the observer has the opportunity to immerse himself not only in the paintings, but inside himself. William Mayland wrote: “The general movement of Starzhenetskaya’s creative search can be interpreted as a movement from complexity to simplicity. The beauty and diversity of the world, acting on her like a huge symphonic element, seem to encourage in each individual landscape or portrait to highlight one or several fairly simple melodies.”

Art historians call Anatoly Komelin one of the most striking and original modern sculptors. Initially working in the traditions of figurative plastic, the master came to a restrained and ascetic artistic language. In his compositions, the degree of conventionality is extremely high - by avoiding detail, the author demonstrates the strength and expressiveness of plastic minimalism. In his work, he does not come from nature, but as if from within it, and does not so much transform as expose its essential properties. According to Comelin, form for him is subordinate to the image embedded in the material. His cutter is capable of wood, stone and metal, but the exhibition space of the MVK RAH will also present multi-part compositions made of penoplex. In works made from this soft modern material, Anatoly Fedorovich, thanks to his skill and many years of experience working with stone, manages to create not only a convincing imitation of a real white stone relief. His works are unusual such as “Memories of Parents” (2020, penoplex), “Children Playing” (2020, penoplex, metal, graphics), “Requiem - Buff” (2023, penoplex, metal, balloons), as well as graphic images that complement the sculpture.

In the last decade, the author has been turning to religious themes and creating traditional images in a unique, personal interpretation. The artist’s immersion in ancient Russian art is not stylization, but an experienced, deep understanding passed through his entire being. Anna Ryndina wrote: “He interprets the world not as objective or historical specifics, but as a “special reality”, revealing all facets of the visible and invisible as Events, cosmic in scale <…> If you take a look at Komelin’s work as a whole, then his workshop itself is perceived as a certain semblance of the House of the Creator of all things.”

Irina Starzhenetskaya and Anatoly Komelin often work together to create various artistic concepts and their implementation; the authors’ creativity is often united by common themes. Researchers note the extraordinary ability of the famous duo to detach themselves from everything earthly and see the world as if from above, capturing the harmony of all things and connecting with each other what may seem disparate in everyday life. The anniversary exhibition project “Both Shadow and Light…” is another successful example of the work of this creative tandem.

Irina Aleksandrovna Starzhenetskaya was born on December 10, 1943 in the Uzbek SSR into a family of artists. She received a classical art education at the Moscow Academic Art Lyceum (1962) and the Moscow State Academic Art Institute. V. I. Surikov, where her teachers were A. A. Gritsai, D. D. Zhilinsky, S. N. Shilnikov. From 1962 to 1985 worked as a production designer in theaters in Moscow, Saratov, Samara, Kemerovo, Khabarovsk and other cities. Since 1989, he has been implementing projects in the field of church art. Member of the Union of Artists of Russia (1969), academician of the Russian Academy of Arts (2007). He has a number of state and public awards, including the laureate of the State Prize of the Russian Federation (2000). The author’s easel works are kept in the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Russian National Museum of Music (Moscow), in the collection of the Ludwig Museum (Germany), as well as private collections in Russia, the USA, Germany, France, Great Britain, Italy, Spain and other countries.

Anatoly Fedorovich Komelin was born on December 9, 1953 in the Mari Autonomous Soviet Socialist Republic. He graduated from the Penza Art School named after K. A. Savitsky (1976), then taught at the Barnaul art school for several years until 1980, and in 1981 he moved to Moscow. Works both in easel and monumental art. He realized a number of sculptural compositions, objects, and reliefs for Orthodox churches in Russia. Member of the Union of Artists of Russia (1984), honorary member of the Russian Academy of Arts (2014). Has a number of state and public awards. Participant of exhibitions since 1978. Easel works are presented in the collections of the State Tretyakov Gallery, the State Russian Museum, the Moscow Museum of Modern Art, the MARS Center for Contemporary Art, art museums of Vologda, Yaroslavl, Barnaul, Novosibirsk, as well as in private collections within the country and abroad.