Name
Martynova Anastasia Gennadievna
Scholastic degree
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Academic rank
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Honorary rank
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Organization, job position
Leningrad State University named after A.S. Pushkin
Web site url
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Articles count: 3
The article tells about St. Petersburg distinctive
watercolor painter, Oleg I. Pomerantsev (1949-2012).
Master's career is inseparably linked with Russian
realism. The artist acts as a successor of fundamental
high artistic traditions of realistic art. Working in a
landscape genre, Pomerantsev managed to create more
than 500 paintings deep in a content and meaning. In his
spare time Master developed his own techniques of
watercolor art. The entire artist’s works were performed
under his impression. He received inspiration on
fishing trips, in woods and then at home master
reproduced what he saw from memory. Most of his
works are in private collections and galleries all around
the world. Romantic landscapes of Oleg I. Pomerantsev
affect by their transparency, complex color techniques
and inexpressible atmosphere, full of air and light.
Complex colour manners and inexpressible atmosphere
full of air and light. Graphic works by the artist,
executed in pencil on paper are very interesting too.
Sometimes master was fond of drawing in details, so
such works were not suitable for watercolors. In his
watercolor works Pomerantsev did only hardly visible
pencil drawing. The artist did not specialized in graphics
so he ruled out his pencil sketches as unsuitable, but the
wife of the artist has kept them. Watercolorist Oleg I.
Pomerantsev is unknown to Russian art-critics. In
view of that, the article was tasked to give for the first
time an art rating to the artist’s creation, to make an art
analysis of his works from the cycle "The Karelian
isthmus" dedicated to the settlement of Kirillovskoe in
Vyborg district. The study of creativity of Oleg
Pomerantsev by professional critics will allow to
expand qualitatively the history of watercolor painting
of Russia
A Karelian stage in the life of the great Russian artist,
Nicholas Roerich, is relatively well-known. However,
researchers have not been practically studied the
period of residence of the Roerich family in Vyborg. It
is known that N. Roerich was friends with the Finnish
artist A. Gallen-Kallela, who helped him to remain in
Finnish Vyborg in the period of revolutionary events
in Russia. From October 1918 to May 1919 the
Roerich family lived in Viborg in Ladaunkatu (now
Turgenev St.), №8. The painting «Autumn» (1919)
was written by the artist during the Vyborg’s period.
The painting was created in a fantastic manner which
was usual for the artist. Unfortunately, at the moment
nothing is known about his other works with views of
Vyborg. However, in the catalog of his works,
published in the USA in the 1920-es , under the name
of each picture is given information about where and
when it was created. Thus, under some of the works of
the artist is the mark: «Painted in Viborg». So, today
we can say about some works of master, which he
wrote in Vyborg. In the first place, there are famous
paintings of the artist: «Repentance», «Call of the bell.
Old Pskov», «Sons of the Heavens», «The heat of the
Earth», «Autumn – Vyborg», «Les Miserables
(Outcast)», «Treasure» and others. As well, in 1918 at
the time of staying the family in Vyborg a number of
sketches in "Vyborg Notebook" were made by his
son, Svetoslav Roerich, who was then 16 years old.
Probably, inexhaustible diligence of Roerich gave a
rise to other works with the theme of Vyborg, which
scientists do not know because this topic has not been
investigated
Virtuoso of prints, Mikhail Matorin, is undeservedly
forgotten today both by ordinary spectators and by
professional art critics. Twenty-five years of fruitful
work of the artist have made a great contribution into
the development of the domestic drawing. The album
of linoleum prints called "Vyborg", created as a result
of his staying on the finnish front in june 1944, takes
up a special place in his creative work. Vyborg has
attracted Matorin by the originality of its northern
architectural landscape and the severe beauty of forms.
The town was empty; it was left by Finnish residents.
Bright sunny days of June with white nights even more
emphasized the epic expressiveness of architectural
ensembles of the city. Language of Matorin’s linocuts
is sharp, clear and emotional. Sonority of strokes and
rhythm of lines are in harmony with the noble colors.
Matorin’s prints were made on the basis of front-line
sketches. The color linocut printmaker used up to 12
boards, achieving the effect of real painting. Matorin’s
engravings are remarkable for its special harmony of
tones, terseness of colours. This article is aimed at the
introduction into the scientific usage of russian artcriticism
new unique artistic and history- cultural
material, revealing features of creativity and way of
life of the engraver, M.V.Matorin. The author for the
first time in Russian art-criticism examines and gives
an appreciation of the album of linoleum prints
"Vyborg" (1944), which is a valuable documentary
material