Neocaravagism in modern photography Automatic translate

My acquaintance and long friendship with Marianna Kornilova I am obliged to the Leda and Plague photo project, which is the result of a creative trio - her and her friend, poet Nestor Gottfried Pilyavsky, and the photographer Ilya Gradoboev himself. At the time of acquaintance with the work, I did not have the joy of knowing Marianne as a photo artist, considering, as it seemed to me, a very young girl with a surprisingly deep and somewhat detached look for her years, a model invited by the occasion.

In the course of the ensuing discussion, my acquaintance with this graceful and incredibly sensitive girl as a delicately sensitive master of my craft took place. Since childhood, in love with portraiture, I was captivated by the incredible power of the attraction sealed by Marianne people, marveling at the ability to find such flawless faces. When I became acquainted with the portraits of other authors of her models, I realized that they owe this completely unique appeal to their artist, who is able to see their texture, capture the mood and convey charisma.

Far from glamorous tinsel and vulgar newfangled embellishments, these classic portraits turn out to be incredibly psychological, whether it be a studio warm family photo or a solitary urban portrait. As we interacted, I discovered Marianne as a multifaceted photographer who creates equally amazing portraits, still lifes, and landscapes, capable of working, it seems, with any material, thanks to the rare and so valuable gift of seeing the beautiful.

The faces of her models as well as household items and decor or landscape details often turn out to be torn out of the darkness with a reference to the paintings of old masters, faithful to the foundations of the school of Karavajism. And the longer the beholder peers into the captured, the more distinctly he feels his breath. Each print is ready to tell its story to a grateful audience. Far from everyday life, her characters go beyond the scope of the pictures, imagining the fantastic, semantic worlds in which they live. I believe this is the very less common example of a surprising merger of fidelity to one’s work and an unaccountable love of beauty.

Dave Moonlight, art critic, St. Petersburg, 2014