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МИХАИЛ
ШИХАНОВ-КУБЛИЦКИЙ
29.11.1977 г.
О художнике : Михаил Шиханов-Кублицкий отмечен Золотой медалью Российской академии художеств (РАХ), медалью Ордена «За заслуги перед Отечеством» II степени — за вклад в развитие отечественной культуры и искусства. Является членом Союза художников России и Московского союза художников, поощрен Губернаторской Грамотой. Участвовал в росписи шести храмов, два из них авторские. По приглашению президента Мальты в составе художественной группы работал над росписями в русской часовне во дворце Сан-Антон.
Образование: Санкт-Петербургская Академия Художеств — Санкт-Петербургский Государственный Академический Институт живописи, скульптуры и архитектуры имени И. Е. Репина
Художник много путешествует по миру и пишет картины с натуры, на пленэрах, по принципу, сформулированному импрессионистами еще в XIX веке, но всегда оставляет за собой право на выражение себя и своего авторского стиля.
География путешествий впечатляет: на сегодняшний день
Михаил работал более чем в 40 странах мира, а некоторые из них посещает каждый год. Среди наиболее значимых для художника мест — африканский остров Реюньон — заморская территория Франции; тайский остров Ко Куд — рядом с Камбоджей, греческий остров Корфу; любимые города : Венеция и Санк-Петербург.
Его картины излучают тепло, художник пишет яркими открытыми цветами, создавая форму предметов крупными экспрессивными мазками, стремящимися оторваться от холста.
Обращение к традиционным жанрам живописи — пейзажу, натюрморту, потрету у Михаила лишь повод говорить цветом. Подойдя ближе к холсту, зритель погружается в цветовую медитацию, наблюдая как одна краска переходит в другую. Этот эффект достигается смешиванием цветов непосредственно на холсте. Каждый штрих несет элемент случайности и получается уникальным, добиться копии такого мазка невозможно.
Один из излюбленных приемов Михаила — живопись на полотнах, оформленных с нанесением листов сусального золота, серебра и меди. К такому сочетанию художник пришел интуитивно в период работы в православных храмах, где эти материалы являются символом передачи Божественного духа. В зависимости от освещения и расположения полотен листы сусального золота меняют тональность, что позволяет по-новому взглянуть на картину. Этот метод дает возможность видеть в одной и той же работе то рассветное, то закатное состояние.
Картины Михаила Шиханова-Кублицкого находятся в музейных и частных собраниях России, Швейцарии, Италии, Сербии, Германии, Франции, Лихтенштейна, США, Венгрии, Хорватии, Черногории и Таиланда.
Галереи располагаются по адресу: Москва. БЦ «Романов Двор», Романов переулок 4, стр. 2
Ярославль. Волжская набережная 35,
филиал галереи в Ring Premier Hotel
Выставочный проект в Испании-Аликанте, демонстрируется на разных площадках. Выставка-продажа в Катаре-Доха и ОАЭ-Дубай Kempinski hotel Palm Jumeirah
ШИХАНОВ-КУБЛИЦКИЙ
29.11.1977 г.
О художнике : Михаил Шиханов-Кублицкий отмечен Золотой медалью Российской академии художеств (РАХ), медалью Ордена «За заслуги перед Отечеством» II степени — за вклад в развитие отечественной культуры и искусства. Является членом Союза художников России и Московского союза художников, поощрен Губернаторской Грамотой. Участвовал в росписи шести храмов, два из них авторские. По приглашению президента Мальты в составе художественной группы работал над росписями в русской часовне во дворце Сан-Антон.
Образование: Санкт-Петербургская Академия Художеств — Санкт-Петербургский Государственный Академический Институт живописи, скульптуры и архитектуры имени И. Е. Репина
Художник много путешествует по миру и пишет картины с натуры, на пленэрах, по принципу, сформулированному импрессионистами еще в XIX веке, но всегда оставляет за собой право на выражение себя и своего авторского стиля.
География путешествий впечатляет: на сегодняшний день
Михаил работал более чем в 40 странах мира, а некоторые из них посещает каждый год. Среди наиболее значимых для художника мест — африканский остров Реюньон — заморская территория Франции; тайский остров Ко Куд — рядом с Камбоджей, греческий остров Корфу; любимые города : Венеция и Санк-Петербург.
Его картины излучают тепло, художник пишет яркими открытыми цветами, создавая форму предметов крупными экспрессивными мазками, стремящимися оторваться от холста.
Обращение к традиционным жанрам живописи — пейзажу, натюрморту, потрету у Михаила лишь повод говорить цветом. Подойдя ближе к холсту, зритель погружается в цветовую медитацию, наблюдая как одна краска переходит в другую. Этот эффект достигается смешиванием цветов непосредственно на холсте. Каждый штрих несет элемент случайности и получается уникальным, добиться копии такого мазка невозможно.
Один из излюбленных приемов Михаила — живопись на полотнах, оформленных с нанесением листов сусального золота, серебра и меди. К такому сочетанию художник пришел интуитивно в период работы в православных храмах, где эти материалы являются символом передачи Божественного духа. В зависимости от освещения и расположения полотен листы сусального золота меняют тональность, что позволяет по-новому взглянуть на картину. Этот метод дает возможность видеть в одной и той же работе то рассветное, то закатное состояние.
Картины Михаила Шиханова-Кублицкого находятся в музейных и частных собраниях России, Швейцарии, Италии, Сербии, Германии, Франции, Лихтенштейна, США, Венгрии, Хорватии, Черногории и Таиланда.
Галереи располагаются по адресу: Москва. БЦ «Романов Двор», Романов переулок 4, стр. 2
Ярославль. Волжская набережная 35,
филиал галереи в Ring Premier Hotel
Выставочный проект в Испании-Аликанте, демонстрируется на разных площадках. Выставка-продажа в Катаре-Доха и ОАЭ-Дубай Kempinski hotel Palm Jumeirah
Лот под проект
О галерее в бц Romanov Dvor :
«с 2010 года я выставляю работы в собственных галереях, и новая площадка в Москве давно входила в мои планы, мы очень внимательно отнеслись к подбору места. Романов двор — своеобразное пересечение старой и новой Москвы, ее самое сердце. В галерее мы представили натурную живопись из более чем 30 стран, а также абстракции и портреты. Особое место отведено коллекции на сусальном золоте, серебре, лавандовом серебре и меди.»
«с 2010 года я выставляю работы в собственных галереях, и новая площадка в Москве давно входила в мои планы, мы очень внимательно отнеслись к подбору места. Романов двор — своеобразное пересечение старой и новой Москвы, ее самое сердце. В галерее мы представили натурную живопись из более чем 30 стран, а также абстракции и портреты. Особое место отведено коллекции на сусальном золоте, серебре, лавандовом серебре и меди.»
Москва. Романов переулок 4 строение 2.
Ярославль. Волжская набережная 35
Вручение наград
Российская Академия Художеств
На фото: Художник Михаил Шиханов-Кублицкий, президент Российской академии художеств Зураб Церетели
Президент РАХ
Зураб Церетели
26.06.2023
Президиум
РАХ
Выставка «Таиланд 2022−2025»
С 1 июля в галерее живописи M.SHIKHANOV-KUBLITSKY открыта новая выставка пленэрных работ. Ждем вас по адресу Романов переулок 4 стр 2
Выставка «Таиланд 2022−2023»
С 1 июля в галерее живописи M.SHIKHANOV-KUBLITSKY открыта новая выставка картин. Ждем вас по адресу Романов переулок 4 к2
Выставка «Таиланд 2022−2023»
С 1 июля в галерее живописи M.SHIKHANOV-KUBLITSKY открыта новая выставка картин. Ждем вас по адресу Романов переулок 4 к2
Bosco caffe ГУМ
Прошла 2-я презентация проекта : выставка «Таиланд 2022−2023»
Bosco caffe ГУМ
Bosco caffe ГУМ
Bosco caffe ГУМ
Bosco caffe ГУМ
Bosco caffe ГУМ
Bosco caffe ГУМ
Прошла 2-я презентация проекта : выставка «Таиланд
Прошла 2-я презентация проекта : выставка «Таиланд
Noōdome club
Презентация работ написанных в Таиланде за 2022–2023 гг.
Noōdome club
Noōdome club
Noōdome club
Noōdome club
Noōdome club
Noōdome
Петр Дранга
Noōdome
Noōdome
Валерия Арт
Noōdome
Noōdome
Noōdome
Оформление дома
Архитектор-дизайнер Иван Будаев, Художник Михаил Шиханов-Кублицкий
Мальта
Хорватия
Аренда переговорной
Создание настроения на рабочих местах — главный принцип современных международных компаний, предлагаем провести ваши переговоры/ встречи/ лекции/ тренинги/ занятия/ мастер-классы/ в галерее живописи. Экспозиция создается индивидуально под ваше мероприятие.
Аренда переговорной
Создание настроения на рабочих местах — главный принцип современных международных компаний, предлагаем провести ваши переговоры/ встречи/ лекции/ тренинги/ занятия/ мастер-классы/ в галерее живописи. Экспозиция создается индивидуально под ваше мероприятие.
Аренда переговорной
Создание настроения на рабочих местах — главный принцип современных международных компаний, предлагаем провести ваши переговоры/ встречи/ лекции/ тренинги/ занятия/ мастер-классы/ в галерее живописи. Экспозиция создается индивидуально под ваше мероприятие.
Аренда переговорной
Создание настроения на рабочих местах — главный принцип современных международных компаний, предлагаем провести ваши переговоры/ встречи/ лекции/ тренинги/ занятия/ мастер-классы/ в галерее живописи. Экспозиция создается индивидуально под ваше мероприятие.
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Арт-бранчи/лекторий в галерее
Mikail Shikhanov-Kublitsky belongs to that new wave of Russian painters whose philosophy and aesthetic guidelines were formed at the juncture of historical epochs,
actually, at the turn of the twenty-first century. Luckily, that generation of artists happened to avoid the artistic doctrine of socialist realism. The «masters of the millennium’ manage to stay away from the notorious «social themes» of the Soviet times and
escape political engagement that manifested itself so actively in the art of the 1990s.
The «artists of the millennium» focus their attention and effort on developing the culture of fine arts — painting, drawing and sculpture. Like European masters of the early twentieth century, they tend to shift the emphasis from the content to the form and keep declaring that the importance of a work of art does not depend on the theme and subject but rather on the originality of the composition and new ideas in colour, light and plastic shaping.
Mikhail Shikhanov-Kublitsky’s is a brilliant example of that kind of work.
The paintings of the 30-year-old artist look original, expressive, marked with highly textured surface, clear-cut, sure intonations and colouristic individuality.
Shikhanov-Kublitsky was very quick at finding in art what takes his colleagues long years to find his individuality, his own style.
The master paints most of his pictures with a palette knife, not with a brush, using thick oils, undiluted with a solvent. While painting, the artist makes up the necessary colour shades straight on the canvas or paperboard without mixing paints on the palette first. His thick, impasto painting is reminiscent of encaustic, where the paint is embedded in wax, the technique widely used in the Classical Antiquity.
Professionally, Shikhanov-Kublitsky is very versatile. To his colleagues he is better known for his monumental work such as wall painting of Orthodox churches in Russia and Serbia, experiments in design and architecture.
As for easel painting, he favours traditional genres of landscape, still-life and portraiture. He is especially good at painting vedute, highly detailed cityscapes. Our hero was born and brought up in town. His character and mentality are those of an urban-minded person, who admires the light of neon lamps, the vistas and labyrinths of streets, the arcs of bridges, silhouettes of many-storey buildings, churches and factory chimneys. For him, life is unthinkable without the roar of engines,
the beat and the rhymes of the rap coming from loudspeakers, the rattle of printers or ringing of cell-phones. Town is his habitat, the place where one can most quickly and
perfectly, with maximum energy, realise one’s dreams, ambitions and talents. That is why the sentimental and lyrical motifs of the canvases painted by rural life painters seem to him childishly naive and old-fashioned.
Man is really happy, the master says, when he can communicate with people of his kind. Town is the place that brings together the cleverest, most gifted and beautiful people whose activities determine the direction and level of the development of civilisation.
Portraits of those town people, men and women, can be found at all per-
onal exhibitions of Shikhanov-Kublitsky.
As a sociable man of artistic temperament and good sense of humour, Shikhanov-Kublitsky cannot imagine himself out of the urban environment or urban social life.
He understands very well that under the present-day circumstances one can materialize some large-scale creative ideas only with the help of assistants and people who share your viewers. That is why the master is looking for and finds contacts with representatives of municipal governments, the cultural elite, the Church and the Business.
Simultaneously, his creative activities tend to prove that an artist, as a Godgifted talent, is not to implement somebody’s volition or desire. He constantly reminds his opponents that the artist’s job by creating a new world, new aesthetics is similar to that of Demiurge who fashioned the material World of Chaos and divided the Light from Darkness. His job, he claims, is at the peak of the pyramid of human skills and
knowledge and is more important than any other profession associated with science, politics or religion.
Today’s artist, as Shikhanov-Kublitsky understands it, is not a self-obsessed
philosopher but an active transformer of life. The objective of such an artist is to create new reality and new habitat. That is why the master does not refer the concept
of harmony, so much favoured by the masters of the past, to the static meditative ideas of «silence» and
«calm» but to energetic, creative ones, closely associated with a union
of homo sapience with the existing environment.
As for the existing environment, it shows itself, Shikhanov-Kublitsky thinks, in endless change of shapes, flicker of faces, flashes of light and play of colours. Inside the historic, century-old towns, the dialogue between the current, momentary and passing, on the one side, and the long-term, unchanging and constant, on the other, is built on the contrast of moving, ever changing figures and groups of people and the clearly cut against the background of the sky unmoving and static silhouettes of architectural constructions — houses, palaces and churches. Artistic
reflection of that dialogue shaped in different intonation — lyrical, dramatic, epical, becomes the dominant of Shikhanov-Kublitsky’s cityscapes.
Architecture in those cityscapes is more than beautiful. It is metaphysical. Classical ensembles of Rome, Venice, Moscow and St Petersburg impress with their formal, ceremonial and unshakable grandeur, with some out-of-time steadiness. The buildings look animated and completely self-sufficient.
Every ensemble, every monument pained by Shikhanov-Kublitsky has its own aura, its voice, its character shaped by the time. The humans at the background of those monumental Colossuses look like bustling faceless shades doomed to pass in oblivion.
actually, at the turn of the twenty-first century. Luckily, that generation of artists happened to avoid the artistic doctrine of socialist realism. The «masters of the millennium’ manage to stay away from the notorious «social themes» of the Soviet times and
escape political engagement that manifested itself so actively in the art of the 1990s.
The «artists of the millennium» focus their attention and effort on developing the culture of fine arts — painting, drawing and sculpture. Like European masters of the early twentieth century, they tend to shift the emphasis from the content to the form and keep declaring that the importance of a work of art does not depend on the theme and subject but rather on the originality of the composition and new ideas in colour, light and plastic shaping.
Mikhail Shikhanov-Kublitsky’s is a brilliant example of that kind of work.
The paintings of the 30-year-old artist look original, expressive, marked with highly textured surface, clear-cut, sure intonations and colouristic individuality.
Shikhanov-Kublitsky was very quick at finding in art what takes his colleagues long years to find his individuality, his own style.
The master paints most of his pictures with a palette knife, not with a brush, using thick oils, undiluted with a solvent. While painting, the artist makes up the necessary colour shades straight on the canvas or paperboard without mixing paints on the palette first. His thick, impasto painting is reminiscent of encaustic, where the paint is embedded in wax, the technique widely used in the Classical Antiquity.
Professionally, Shikhanov-Kublitsky is very versatile. To his colleagues he is better known for his monumental work such as wall painting of Orthodox churches in Russia and Serbia, experiments in design and architecture.
As for easel painting, he favours traditional genres of landscape, still-life and portraiture. He is especially good at painting vedute, highly detailed cityscapes. Our hero was born and brought up in town. His character and mentality are those of an urban-minded person, who admires the light of neon lamps, the vistas and labyrinths of streets, the arcs of bridges, silhouettes of many-storey buildings, churches and factory chimneys. For him, life is unthinkable without the roar of engines,
the beat and the rhymes of the rap coming from loudspeakers, the rattle of printers or ringing of cell-phones. Town is his habitat, the place where one can most quickly and
perfectly, with maximum energy, realise one’s dreams, ambitions and talents. That is why the sentimental and lyrical motifs of the canvases painted by rural life painters seem to him childishly naive and old-fashioned.
Man is really happy, the master says, when he can communicate with people of his kind. Town is the place that brings together the cleverest, most gifted and beautiful people whose activities determine the direction and level of the development of civilisation.
Portraits of those town people, men and women, can be found at all per-
onal exhibitions of Shikhanov-Kublitsky.
As a sociable man of artistic temperament and good sense of humour, Shikhanov-Kublitsky cannot imagine himself out of the urban environment or urban social life.
He understands very well that under the present-day circumstances one can materialize some large-scale creative ideas only with the help of assistants and people who share your viewers. That is why the master is looking for and finds contacts with representatives of municipal governments, the cultural elite, the Church and the Business.
Simultaneously, his creative activities tend to prove that an artist, as a Godgifted talent, is not to implement somebody’s volition or desire. He constantly reminds his opponents that the artist’s job by creating a new world, new aesthetics is similar to that of Demiurge who fashioned the material World of Chaos and divided the Light from Darkness. His job, he claims, is at the peak of the pyramid of human skills and
knowledge and is more important than any other profession associated with science, politics or religion.
Today’s artist, as Shikhanov-Kublitsky understands it, is not a self-obsessed
philosopher but an active transformer of life. The objective of such an artist is to create new reality and new habitat. That is why the master does not refer the concept
of harmony, so much favoured by the masters of the past, to the static meditative ideas of «silence» and
«calm» but to energetic, creative ones, closely associated with a union
of homo sapience with the existing environment.
As for the existing environment, it shows itself, Shikhanov-Kublitsky thinks, in endless change of shapes, flicker of faces, flashes of light and play of colours. Inside the historic, century-old towns, the dialogue between the current, momentary and passing, on the one side, and the long-term, unchanging and constant, on the other, is built on the contrast of moving, ever changing figures and groups of people and the clearly cut against the background of the sky unmoving and static silhouettes of architectural constructions — houses, palaces and churches. Artistic
reflection of that dialogue shaped in different intonation — lyrical, dramatic, epical, becomes the dominant of Shikhanov-Kublitsky’s cityscapes.
Architecture in those cityscapes is more than beautiful. It is metaphysical. Classical ensembles of Rome, Venice, Moscow and St Petersburg impress with their formal, ceremonial and unshakable grandeur, with some out-of-time steadiness. The buildings look animated and completely self-sufficient.
Every ensemble, every monument pained by Shikhanov-Kublitsky has its own aura, its voice, its character shaped by the time. The humans at the background of those monumental Colossuses look like bustling faceless shades doomed to pass in oblivion.
Actually, Shikhanov’s contact with Town is «live» as a rule. Most of his works are studies painted from life. His search for the most spectacular view points often comes to the painter’s placing himself in the middle of a whirlpool of a street crowd, among the hurrying pedestrians or the heavy traffic that blocks town’s streets and squares.
The young master’s desire to feel, to breathe, to see and to hear, that is perceive with all possible senses, the atmosphere and rhythm of a modern megalopolis amazes and delights. At the time of digital technologies and Photoshop, painting from life in the middle of the city roads seems to most of his colleagues rather weird, if not a false
bravado. It is well known that in modern practice painting from photographs or slides has become practically a norm. The energetic, sometimes mystic component of urban motifs — «the spirit of the time» is, no wonder, missed in such pictures. Unfortunately, the views of the «dead» streets, squares and embankments, painted with the help of
digital technology, can be found not only in souvenir shops meant for incompetent foreign tourists but in art salons and galleries frequented by professional and sophisticated customers.
Shikhanov-Kublitsky, who is thought to be a
«weirdo», plunges himself and, consequently, his viewers into the energy fluids emitted by the epicentres of modern
civilization in Europe, Asia or Africa painting rationally and conceptually. As he puts it, without drive, without letting high voltage pass through your neurons the light and colour dynamism of the portrayed motifs is practically impossible to convey.
It is not town that Shikhanov-Kublitsky tries to depict in his paintings but the force shield of town. In the nineteenth century, Eugène Delacroix declared such way of painting in the famous words: «I do not paint a sword but the shine of a sword»
Those views of the objectives of fine art were shared by the Impressionists.
It is worth noting that derived from the French word «impression», the widely
used term «impressionism» defines more than the well-known trend but also an artistic method.
If we are to speak about the impressionistic elements of Shikhanov-Kublitsky’s method, we should note that they are quite individual. On the one hand, the master is a determined follower of the system of outdoor painting introduced and developed by the French artists of the nineteenth century. On the other, he boldly introduces in his own outdoor paintings some elements made of gold and silver leaf, a technique unknown before. That know-how looks as quite an attractive artistic way. Reflection of the precious metals add elements of unpredictability characteristic of the present-day postmodernist aesthetics.
Smooth, fragment-by-fragment painted metal surfaces of the picture acquire the quality of mirrors. The metal insertions reflect both the paint they are covered in and the illuminated part of the interior where the pictures find themselves. With the change of the interior Shikhanov’s gold and silver landscapes change their tonality and attract new sources of light and new shades of colour looking completely different.
In search of fresh and powerful impressions Shikhanov-Kublitsky travels a lot, and what is more important, the result of his travels is always fruitful. His collection of cityscapes is constantly growing.
Most of his landscapes, though, have been inspired by St Petersburg.
Shikhanov’s canvases present the northern capital, awaken from nearly centurylong lethargy, in all its beauty and glorious splendour: with luxurious décor of the palace facades, in colourful variety of streets, in the outburst of blazing billboards and curiously illuminated signs.
A certain achievement is mostly impressionistic-looking, attractive portraits of the city by night: the vista of the shining and iridescent in thousands of lights Nevsky Prospekt, the panorama of Admiralty and English embankments flood with neon lights and spectacular in its monumental grandeur Winter Palace looking phosphore cent against the grey Baltic sky. Artistic skill, powerful painterly talent and violent temperament of the master show in the above works with a special force and expression.
For people who professionally associate themselves with fine art St Petersburg’s major attraction is, of course, the Hermitage Museum. The numerous rooms of this great treasury house works of art representing all styles and trends of art. Shikhanov-Kublitsky finds as the most interesting in this endless treasury of rarities the collections of French paintings of the late nineteen and early twentieth centuries. They, by the way, include more than the Impressionists.
As a man hungry for knowledge, never satisfied with what has been achieved, Shikhanov-Kublitsky seriously and methodically studies the artistic discoveries of the Postimpressionists and Cubists analysing the achievements of the Fauvists too, among those Matisse and Derain in the first place. He tries to understand Picasso’s aesthetic principles as well, and not to forget the Expressionists.
The artist’s new ideas have already shown in his portraiture and still-lifes. We can probably expect them to be also conveyed in his landscapes in the very near future.
The young master’s desire to feel, to breathe, to see and to hear, that is perceive with all possible senses, the atmosphere and rhythm of a modern megalopolis amazes and delights. At the time of digital technologies and Photoshop, painting from life in the middle of the city roads seems to most of his colleagues rather weird, if not a false
bravado. It is well known that in modern practice painting from photographs or slides has become practically a norm. The energetic, sometimes mystic component of urban motifs — «the spirit of the time» is, no wonder, missed in such pictures. Unfortunately, the views of the «dead» streets, squares and embankments, painted with the help of
digital technology, can be found not only in souvenir shops meant for incompetent foreign tourists but in art salons and galleries frequented by professional and sophisticated customers.
Shikhanov-Kublitsky, who is thought to be a
«weirdo», plunges himself and, consequently, his viewers into the energy fluids emitted by the epicentres of modern
civilization in Europe, Asia or Africa painting rationally and conceptually. As he puts it, without drive, without letting high voltage pass through your neurons the light and colour dynamism of the portrayed motifs is practically impossible to convey.
It is not town that Shikhanov-Kublitsky tries to depict in his paintings but the force shield of town. In the nineteenth century, Eugène Delacroix declared such way of painting in the famous words: «I do not paint a sword but the shine of a sword»
Those views of the objectives of fine art were shared by the Impressionists.
It is worth noting that derived from the French word «impression», the widely
used term «impressionism» defines more than the well-known trend but also an artistic method.
If we are to speak about the impressionistic elements of Shikhanov-Kublitsky’s method, we should note that they are quite individual. On the one hand, the master is a determined follower of the system of outdoor painting introduced and developed by the French artists of the nineteenth century. On the other, he boldly introduces in his own outdoor paintings some elements made of gold and silver leaf, a technique unknown before. That know-how looks as quite an attractive artistic way. Reflection of the precious metals add elements of unpredictability characteristic of the present-day postmodernist aesthetics.
Smooth, fragment-by-fragment painted metal surfaces of the picture acquire the quality of mirrors. The metal insertions reflect both the paint they are covered in and the illuminated part of the interior where the pictures find themselves. With the change of the interior Shikhanov’s gold and silver landscapes change their tonality and attract new sources of light and new shades of colour looking completely different.
In search of fresh and powerful impressions Shikhanov-Kublitsky travels a lot, and what is more important, the result of his travels is always fruitful. His collection of cityscapes is constantly growing.
Most of his landscapes, though, have been inspired by St Petersburg.
Shikhanov’s canvases present the northern capital, awaken from nearly centurylong lethargy, in all its beauty and glorious splendour: with luxurious décor of the palace facades, in colourful variety of streets, in the outburst of blazing billboards and curiously illuminated signs.
A certain achievement is mostly impressionistic-looking, attractive portraits of the city by night: the vista of the shining and iridescent in thousands of lights Nevsky Prospekt, the panorama of Admiralty and English embankments flood with neon lights and spectacular in its monumental grandeur Winter Palace looking phosphore cent against the grey Baltic sky. Artistic skill, powerful painterly talent and violent temperament of the master show in the above works with a special force and expression.
For people who professionally associate themselves with fine art St Petersburg’s major attraction is, of course, the Hermitage Museum. The numerous rooms of this great treasury house works of art representing all styles and trends of art. Shikhanov-Kublitsky finds as the most interesting in this endless treasury of rarities the collections of French paintings of the late nineteen and early twentieth centuries. They, by the way, include more than the Impressionists.
As a man hungry for knowledge, never satisfied with what has been achieved, Shikhanov-Kublitsky seriously and methodically studies the artistic discoveries of the Postimpressionists and Cubists analysing the achievements of the Fauvists too, among those Matisse and Derain in the first place. He tries to understand Picasso’s aesthetic principles as well, and not to forget the Expressionists.
The artist’s new ideas have already shown in his portraiture and still-lifes. We can probably expect them to be also conveyed in his landscapes in the very near future.