Выставка «С любовью в Россию...»

Venue: Tatiana Nikitina Art Holding

Time: September 26 - October 20

Year: 2007

Exhibition of works by Nathan Brutsky, Yuri Tremler and Mikhail Rosenwein.

Nal Podolsky "Taming of colors"

Works of art live their own lives, and now the canvases of three remarkable artists have arrived from America, Israel and Canada to meet each other at the exhibition “To Russia with Love ...” in the “Picnic” gallery and to please the St. Petersburg audience with sonorous colors and bright picturesque temperament.

At these canvases, the viewer has an acute sensation that everything visible with the eye is just a facade, an outer shell through which only the painter's brush can penetrate. The paintings of the exhibition, possessing irresistible color activity, captivate not only enlightened connoisseurs of painting, but also captivate the eyes of even an inexperienced viewer. Featuring a metaphysical fullness, these canvases, nevertheless, are capable of carrying purely decorative functions, they can decorate any interior and fill it with their energy. All paintings are clearly cheerful, they radiate extremely positive emotions.

But each artist has a different view of the structure of the world.
For Nathan Brutsky, the foundation of all that exists is energy, the carriers of which are form and color.
Yuri Tremler sees the world as a combination of material objects, he loves the subject, as such.
And for Mikhail Rosenwein, the world is primarily an optical phenomenon.

The canvases of Nathan Brutsky are powerful emitters of energy, many of his paintings seem to be hot, they can be burned. The first tool in his arsenal is form. Even the ancient Egyptians knew the energetic power of form - remember at least the pyramids. Nowadays, the radiation of forms is widely studied and classified. Brutsky uses exclusively energy-emitting forms and lines. You will not find pacifying spherical surfaces with him. Its lines are parabolas and hyperbolas. In his still lifes there are neither round cups or saucers, nor rectangular books - they are all contoured by hyperbolas and have pointed emitting angles. His favorite three-dimensional form is asymmetric cone-shaped bodies, in which a hyperbola serves instead of a straight line of the generatrix. Brutsky brought these forms to such a degree of universality that one has to admit - he managed to create, albeit a bizarre, but his own plastic concept. This was a success for a few artists. The hyperbolic forms of Brutsky are unusually expressive. Suddenly, at his canvases, you come to the conclusion that exquisite and perfect anthropomorphic figures made up of hyperboloid cones are nothing more than an idealized project of the human population.
In the universality of form - a cosmic element of Brutsky's creativity. But in painting, the energy of the form is greatly enhanced when it is saturated with color, and Brutsky takes maximum advantage of this effect. He releases paint into the wild, like a herd of wild mustangs, and in front of the audience he tames them - that is, subordinates them to form. In conditions of energetically saturated space, he can afford frantically bright and sonorous colors, keeping them, like a tamer, in obedience and balance.
Looking at any picture of Brutsky, try to answer the question: how much do the objects depicted there weigh? And here is the paradox - it is impossible to feel their severity, but at the same time it cannot be said that they are weightless. Because, in fact, Nathan Brutsky does not represent matter, but energy.
It’s hard to leave Brutsky’s canvases. The viewer seems to be present when pumping a powerful laser - it seems that a blinding ruby ​​ray is about to blaze and tear the Universe apart. Fortunately, this does not happen, because a person cannot see this and stay alive.
Brutsky’s paintings infect the viewer with his energy and inspire him to vigorous activity.

But Yuri Tremler is precisely the material essence of everything visible. He with great love, even with tenderness, refers to the objective world. Near his paintings, the viewer feels comfortable, for they certify the beauty, goodwill and reliability of our reality. The composition of his works is strong and rhythmic, one might say - architectural. Many paintings by Tremler could serve as the basis for monumental paintings. His palette contains bright colors, but he uses exclusively warm tones of the color scheme. In his world, a person is comfortable.
Tremler's plots are taken from everyday life. For example, the people behind the bar - we are surprised to see that they do not behave as they please. Each character takes a strictly prescribed place in the prescribed position, as if taking part in a certain ritual, one might even say - in the temple action. Tremler does not register the faces of people anywhere so that they do not bring their facial expressions and personal passions into the solemn ritual. So-called inanimate objects also take part in the ritual. All of Tremler’s objects are alive, just look at least at “Rest in blue tones”. The sacralization of everyday life inevitably leads one to think of Chagall. Tremleranet has a direct appeal to him, except for rather distant allusions in such works as Fantasies or Cocktail for Two. But there is a metaphysical relationship. From here comes a barely noticeable slight sadness, which at first seemed strange in such a purely positive art.

The world of Mikhail Rosenwein is colorful and weightless, because it is, above all, an optical phenomenon. The artist depicts exactly what his eye sees, and he sees only the celebration of light and color. The word "impressionism" cannot be bypassed here. But as part of the impressionist vision of reality, Rosenwein discovers obvious independence. His specific concept of working with light is impressive. Light for him is not a means of emphasizing, but an independent life-giving element, along with color. Rosenwein’s light takes an equal part in building a common picturesque whole and can even become an object of the image, which makes the paintings especially festive. Rosenwein has human figures in a dance rhythm enhanced by the rhythm of light and color, and music clearly sounds in all his canvases. After talking with Rosenwein's paintings, we take away the feeling of a holiday.

Nal Podolsky

Exhibition catalog: http://artholdingtn.ru/f/s_lyubovyu_v_rossiyu.pdf