Дата публикации: 28 ноября 2013
На выставке было представлено более 50 живописных работ. Богданова Наталья была награждена сертификатом и благодарственным письмом.
A romantic and dreamy idealism, a nostalgic and lingering love for a past long lost in a disciplined and efficient technological world, a fascination with nature’s wonders, a sensitivity for mood and atmosphere, a love for plants and flowers and an overwhelming sweet melancholy, a wistful sentiment for hard, cold winters, rainy, wet days, foggy and misty mornings are the first impressions Natalia Bogdanova expresses in her work. Her academic background is softened by a placidity of mood, by gentle reflection and deep meditation of nature around her. The end result is a pleasant feeling, a touch of tranquillity and serenity, a lyrical and poetic approach the result of internal peace, a primordial silence away from the maddening crowd.
Her love of the Impressionists especially of Pissarro, Monet, Renoir and Degas is explicit and in their style captures again the social realism of the 1870’s with its love of hedonistic entertainment on street and boulevard and their wonder in front of nature’s mystery and spectacle and a great presentiment that its loss is inevitable and imminent in an industrial environment. Nature deified is best expressed in ‘Rouen, France’ (2), ‘Morning, Rouen’ (17) and ‘Sunset, Rouen’ (18). In ‘Rouen, France’ the magnetic tape reflection, the contained movement of the surface ripples, the glory of the pink sky, the contagious silence and peace the scene evokes suggest deep spirituality, a mesmerizing spell at once magical and mysterious. ‘Morning, Rouen’ is a dreamy, hazy, suffused and unruffled scene of great tenderness while ‘Sunset, Rouen’ is a wonderful rendition of the city skyline as seen behind glass wet with burst rain drops in the pointillist technique.
‘Champ Elysee at Night’ (11) so impressionistic suggests the frivolity of night entertainment, a laid-back atmosphere as enjoyed by the newly- liberated bourgeois Parisiansin encroaching bohemian circumstances. The diminutive figures in the manner of L. S. Lowry restrict the importance of the human element in relation to the street environment without mitigating the festive atmosphere. One forgets for a moment that at the time of the Impressionists the lanterns were gas lit.
The most effective as to mood are the works depicting rainy or inclement weather. ‘In the Evening’ (3), with figures under umbrellas scurrying in rainy bleak and grey weather is explicitly Impressionistic; ‘Rainfall’ (14) depicts a downpour with impressive running water and heavy rain effects; ‘Foggy Morning’ (22) creates a most dismal and sad scene in cold atmospherics – the canal water is turbulent, the lone seagull suggests bad weather while the old lantern gives an old touch; ‘Impression’ (4) a fragile tree with bare branches set against a sullen sky in a vast stretch of water or lake expresses solitude or even loneliness yet the spirituality of the scene: a gaseous light that tries to filter through the dense clouds is quite redeeming.
The effect of running water in rivulets against glass or trickling slowly down is best depicted in ‘Rain Knocking on the Window’ (1) and ‘View from the Window’ (20). The former is a romantic and sentimental depiction of flowers with fresh droplets of rainstill stuck in perfect tension while the latter captures light entering through a vast window as seen through water flowing against glass. The space created is impressive. These works reveal the hard, cold winters in Moscow where the artist lives.
In contrast the paintings that depict Malta capture the blazing and blinding light of our fierce summers. The artist uses pastel colours to depict the honey coloured stone in ‘Valletta’ (21) with a ‘karozzin’ against a blank vast wall of light with just a touch of green-painted wood as a point of reference, and ‘Ghajn Tuffieha’ (10) and ‘Silent City, Mdina’ (23) in the manner of our local Doris Micallef using a light-coloured palette.
In a completly different mood and in an Expressionist style is ‘City’ (6) capturing modern Moscow in gaudy lights in a style reminiscent of the American Pollock. This work is perhaps the most vigorous and boldest in complete contrast with her characteristic gentle and delicate style. In complete contrast are the views of Moscow: ‘Old Moscow’ (12) a traditional house in stone and wood almost in monochrome and sepia and ‘Malaya Dmitrovka’ (19) an early 1900 scene going back to the time of the Czar with soldiers guarding a fort and walls. Exquisite is ‘Paris’ (25) in soft pastel depicting a Parisian street at the end of the 19th century in the suffused light of gas lamps. Wonderful’ is ‘Spring, Paris’ (16) with a steel bridge spanning the Seine. The light glimmers and dancers on the river water running in rippled currents in the manner of a painting of Monet’s ‘lilies’ and a suffused misty urban skyline full of mystery and magic in the delicate manner of a Pissarro. This work is perhaps the most delicate and lyrical of all the collection. ‘Paris, the Eiffel Tower’ (8) is in the style of urban landscape of the 19th century while ‘Cathedral, Notre Dame, Rouen’ is is in the pointillist style of Seurat. ‘The Red Tower’ – ‘It-Torri l-Ahmar’ (5) painted against the sky is surrounded by Malta’s wild flowers and plants. This demonstrates the artist’s talent and love for botany and while remaining scientific and is possible to recognize each plant the execution is artistically creative. The plants are living organisms: wild, fresh and natural. They dance in the breeze.
A large section is dedicated to yatchs and yatching, to regattas and winners. ‘The Winner’ (9) and ‘Sunday’ (29) depict expressionistic scenes of yatchs sailing into the wind scudding foam-crested waves in dynamic movement. In contrast is ‘Sunset’ (27) where a yacht sails placidly on rippled water and against a glowing sunset. Her love of boats is contagious and one can almost smell the sea spray. Probably she has studied the depiction of sea in the Russian classical tradition made famous by philatelic designersillustrating the subject on large stamps. Her grasp of the ocean waves is impressive as she changes from ripples, to choppy waters and from crested to rolling waves with a certain effortlessnes. Malta is the location of the regattas she paints as steep mighty bastions rise from Marsamxetto’s sea level to the Valletta skyline dominated by the steeple of St. Paul’s Cathedral and the enormous bulbous Carmelite dome.
‘Venice’ (7) a soft, romantic picture of ‘Il Redentore’ Palladio’s church on the Giudecca in the mist of incandescent light, almost ‘focoso’ in the background with the traditional gondolas jerking at their mooring ropes and vertical posts with a lady in a heavily frilled 19th century costume exposes a gentle and delicate touch, feminine and sensual the hallmark of this collection.
14. 07. 2013
Captions to images:
‘Sunset, Rouen’ (18) detail: vertical from left with steeple
‘Champ Elysee at Night’ (11) detail: vertical from left with lamp-post
‘In the Evening’ (3) detail: choose horizontal band with umbrellas
‘Spring, Paris’ (16) detail: choose centre of image part of the water, bridge above it and bit of suffused skyline
‘Red Tower’ (5) detail: the plants and flowers on the right foreground squarish image if possible
‘Sea Journey’ (13) interesting detail
‘Venice’ (7) detail: church in mist and part of gondola
" Russian Impressions":
место проведения - Cavalieri Hotel , St. Julians , Malta. Куратор выставки - Mr. E.V. Borg. Награждал - Mark Camilleri, general manager, сайт - Art Discussion Group (ADG)