Throne of Dali. Portrait of Sa
published on Oct 17, 20
Canvas, oil My painting "Throne of Dali. Portrait of Salvador Dali" is dedicated to the world famous Spanish artist, the most prominent representative of the surrealism movement - Salvador Dali. Drawing teacher Valery Cheryomin introduced me to his work. It was 1989, I was 12 years old and I studied at the Children's Art School No. 1 in Ryazan. Valery Erikovich brought the magazine "Young Artist", which contained an article about the work of Salvador Dali and illustrations of his paintings. This was perhaps one of the very first publications about Dali in the USSR. Valery Erikovich Cheryomin, an art teacher at the Children's Art School No.1, laid in us the need to find our own style in art, showed us illustrations of paintings by such artists as: Aristarkh Lentulov; Wassily Kandinsky; Pavel Filonov; Kazimir Malevich; Pablo Picasso; Vincent Van Gogh; Paul Gauguin; Viktor Popkov and many other authors distinguished by their pronounced manner of writing. The teacher told us: "Try to express yourself in your works, create your own world. Let your works be not so beautiful at first, perhaps ridiculous in comparison with the paintings of some contemporary artists who copy the style of already famous authors, walking along the beaten track. , a style unlike anyone else - this is creativity and real art. " Of the whole series of world famous artists, whose work Valery Cheryomin introduced us, I really liked the work of Salvador Dali. I got carried away by his world and even got acquainted with his literary work, - I read his diaries. Dali was interested and puzzled by the question of a new style in art and often asked the question: "What will be the new style?" I very much remember his phrase: "I am the forerunner of a new style in art, I can already see how it is born in the future, revealing its beautiful acanthus leaf!" Until 1995-1996, in my compositions, I imitated the work of the great surrealist. In 1996, an insight descends on me and I begin to see the world in my own way - woven from patterns, signs and symbols. All information: visual (color, linear, volumetric-spatial); auditory; olfactory and tactile and even intuitive, in my perception it is transmitted in the form of an ornamental code. I paint a series of paintings in this "key" and later give the name to the style I invented - "ornamentalism". His concept is a synthesis of reality with patterns that are everywhere and everywhere, surround us, and appear through the image in the form of a whimsical lace veil. There is also a feedback - so carpets and various ornamental motifs on household items, they give me multi-layered information, it contains all the senses, right down to smell. Through the pattern, I can feel the perfume of the carpet or dress on the girl, even if in fact no one sprinkled this carpet or dress with perfume or cologne. Also, through these patterns, you can feel information about the events of the past, present and even the future. Until now (2020) I have been creating paintings in the style of ornamentalism that I developed. During this time, I have painted over two hundred different subjects on canvas. With some of them I tried to make author's repetitions, and it never succeeded - a different picture turned out. It is like fingerprints, patterns of which have no analogues in the whole world, or snowflakes - each of them is original. Nature never repeats. With such author's "repetitions" of my paintings, at the moment I have already collected more than four hundred ornamental paintings in my creative piggy bank. For twenty-five years of creativity in the style of ornamentalism, I have created more than one hundred million hand-drawn patterns, without the use of stencils, stamps or any other devices that accelerate the artistic process ... In 2019, I come to the idea of portraying a portrait of my creative teacher, Salvador Dali. It took me over a year to work on the painting. Before looking for the composition of the plot, I studied the work of many artists on this topic. There were a lot of such works. I tried not to repeat any of these authors in my picture. First, I created a detailed pencil sketch for the painting. For a long time I was looking for all the nuances of the composition, changed a lot, "honed" everything to filigree, and already in the sketch laid the outlines of future ornaments. I set myself the task of portraying the surreal world of the Spanish artist through the prism of my style of ornamentalism. As a result, the effect is very strong. At first, I painted a plot without patterns on canvas, it was extremely surreal - Salvador Dali was surrounded by images and symbols of his creative world. The famous "soft clock" by Dali serves as the back of the throne of El Salvador, the giant eggs are the armrests. The head of the surrealist is decorated with a headdress made of spherical bodies. The artist's right hand rests on a cane. Drawers are pulled out of the main character's torso, as if from a cabinet, one of which contains an apple. In the picture, I also depicted one of the favorite symbols of my work - to the right of the hero, a steam locomotive is moving up the bridge. In heaven, the viewer sees the artist's muse, Elena Dyakonova, born in the Russian city of Kazan, who later became known as Gala. She was the main, constant source of inspiration for Dali, his art manager, protection and support in everything. In the nude female figure, I laid the image of not only Gala, but also the features of another beloved of the surrealist - Amanda Lear. The figure has the proportions of her physique. In general, this image personifies the symbol of the Muse and the inspirer for creativity ... Before transforming the surreal painting with my style of ornamentalism, I photographed it for memory and for experimental purposes. Then I started painting my ornamental structures on canvas. They were built from layering images of large snowflakes on the subject of the canvas. In the visual arts, I was the first in the world to use the image of a snowflake in easel painting, combining it with reality, making it a full participant in the composition. There are more than fifty of them in the picture, and none of them is repeated. I got the kennels of snowflakes by cutting out of paper. Then I put them on a sheet of other paper, traced them with a pencil and got an image, which I transferred to the canvas using a ballpoint pen. The reverse side of the sheet I previously rubbed with charcoal. In this way, I transferred the contours of the snowflakes into the plot of the canvas. After the entire surface was filled in, I painted all the snowflakes with a thin freehand brush, color, oil paint. I also introduced into the picture very small patterns written with the finest brush. They cover the sky and the orange jacket of Salvador Dali. There are about several thousand of them in the plot. When the ornamental part of the work was completed, I took another picture of the painting and compared two photographs - a surreal version and a completed canvas made in my style - ornamentalism. I was amazed how much ornamentation can bring a picture to life! They created the effect of fluttering, air transparency, atmosphere and stereoscopicity. The picture seemed to come to life, it sounded with music, voices and even smells. She began to talk to me, talk about many events of the past, present and future ... In the creative "box" of my portrait gallery at the moment there are already such celebrities as: Konstantin Tsiolkovsky; Sergey Yesenin; Isadora Duncan; Alexander Pushkin; Yuri Gagarin; Vasily Shukshin; Inna Churikova; Patrick Suskind; Vladimir Lenin; Matryn Luther King; Alla Pugacheva; Vladimir Putin and now a glorious Spanish artist, my creative teacher is Salvador Dali ... When I remember the words of Salvador Dali: "I am the forerunner of a new style in art, I can already see how it is born in the future, revealing its beautiful acanthus leaf!" It involuntarily occurs to me that he was talking about ornamentalism ...
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