Stanislav Dulatov

Stanislav Dulatov

Stanislav was born in Leningrad (now named Saint Petersburg) in 1980. Since 1991 he studied in «The 8th School of Arts». In 1993 he entered the Middle School of Arts named n.a.  B.V. Ioganson, where he studied till 1999. Since 1999, he entered the faculty of Fine Arts of the Russian State Pedagogical University. In 2002 Stanislav entered the St. Petersburg Academic Institute of Painting, Sculpture and Architecture named n.a. Ilya Repin. Since 2004, he has been studying in the workshop of painting under the guidance of A.A. Mylnikov.
Author's works are in state and private collections of Russia — State Park Museum «Pushkinskiye Gory», Vologda State Historical-Architectural and Art Park Museum, “NIMAH”-Research Museum of the Academy of Arts of Russia, private collection of president of Russian Federation Dmitry Medvedev; Switzerland, China, Finland, Ukraine, United States, France and Italy.

Stanislav participated in the following exhibitions:

1998 — The exhibition dedicated to the 850th anniversary of Moscow.
2003-2008 — The exhibitions of the summer practices in the institute n.a. Repin.
2003 — «Landscape», Group Exhibition, Pushkinskiye Gory.
2003 — Group Exhibition, Business Center «Neptun».
2005 — «Art index», St. Petersburg, «LenExpo».
2006 — Exhibition, Business Center «At Petrogradka».
2006 — Group Exhibition inBelozersk city, Vologodskaya region.
2006 — Group Exhibition in Imatra city (Finland).
2006 — Group Exhibition in Lahti city (Finland).
2007 — Group Exhibition, Business center «Morskoi Kaskad».
2007 — «Leningrad-Petersburg, Leningrad citizens, St. Petersburg citizens — 5».
2007 — Exhibition «Landscape» Siverskiy city, Leningrad region.
2007 — «7 years later», Art Lyceum, St. Petersburg.
2007 — «Hope», The House of Union of Artists, St. Petersburg.
2007 — «Landscape», Elagin Palace, St. Petersburg.
2007 — «250-and the anniversary of the Russian Academy of Arts», Chapel, St.Petersburg.
2008 — «Russian Landscape», Shanghai city (China).
2009 — “Otrazheniye” (Reflection), Personal exhibition in the «Artist» gallery, St. Petersburg.
2009 — Participation in the Mobile Academy of Arts (Social Fund of Cultural Initiatives, Ministry of Culture of Russia, Directorate of International Programs, Mayor's Office of Yaroslavl Administration of the city of Sergiev Posad) project under the patronage of the First lady of Russia S.V. Medvedeva
2009 — «My Russia» — Yaroslavl
2009 — «My Russia» — Sergiev Posad
2010 — «Training Drawing in the Academy of Fine Arts» — St. Petersburg
2011 — Personal exhibition «Altai» —museum-apartment of Vladimir Nabokov, St. Petersburg


“Nature doesn’t need to be decorated, but you have to feel its heart and release from randomicities”. I. I. Levitan


Any kind of art is the expression of the artist’s soul, expression of his experience and feelings. It leads very often to birth of special spectacular technique which turns into cliché in future. Or an artist can waste and spray his emotions that don’t let him concentrate on the completed incarnation of his emotion on the painting. However, we can find whole persons who are able to avoid such dangers. Stanislav Dulatov is one of them.

Stanislav concentrates on a pretty difficult type of painting – scenery. At first, apparent ease of the performance of such type of work and variety of means of artistic expression doesn’t always let to find unfamiliar motive and certain composition of interest or image of the scenery. Neither does it let to make the scenery expressive and significant so it would touch the viewer and move his soul. Many artists experiment with means and technique of performance and seek external new forms and refinements.
Stanislav works, in contrary, attract with classic scenery drawing-up. It doesn’t mean that he doesn’t introduce new features to this genre. Artist uses personal unique style and paw. Stanislav is not captured by the desire to show obvious effects; he doesn’t use cheap techniques in order to impress the viewer. No, there is something different. Artist can be called “a master of lyric, philosophic scenery”. His works are not a window to the garden, not a piece of nature printed on the canvas. Like complicated mosaics his paintings consist of numerous precious colorful particles of the nature. They form one single piece and obey will of artist. You can notice the similarity to mosaic in thorough textured draw-up of the canvas. Low strokes imitate soft play of checkered light and shade. It gives flicker aura to the scenery.

His works doesn’t have obvious composition move. Moderate and reach details and millions of shades, color, inside peace, light formality of impersonation, love for late afternoon time, frequent pictures of water, and general symbolism of his works put Stanislav in common with members of “World of Art”. Artist is perfectly skillful in showing passing condition of nature. He chooses high horizon line and by this mean shows to the viewer the whole story about peaceful sunset on the north lake shore or about final warm beams that stay for a little while on mountain tops.

The language of scenery has become poetry – the way to express great feelings of the artist. Now it is the part of the art where deep and important truth is revealed. You look closer to scenery works of Stanislav Dulatov and listen for the narrated story and his way of showing the nature. And we learn to understand the creation, love for humankind and for the world.

Art scholar Olga “Ivolga” Ivanova


Dulatov understands his work as development within the «classic tradition». When we consider his work in relation to his intention we discover that what he means by that is different from the current paradigm of reactionist and postmodernist ideologies. It is a sign that his interpretation (and expression) is unhindered by the processes of historicism. He (unconsciously) acts en avant about the past beyond the structure of «Art History». This has implications for the meaning of the «classical tradition», as well as similarly constructed periodical and stylistic ideas.

However, this is not his direct subject; it involves no meta-art processes- another sign en avant. In common with classicists, such as G. F. Watts, Pablo Picasso and Joseph Beuys, he has faith in an objective knowledge and that art possesses transcendental power. He does not paint a landscape. He communicates the eternal Landscape pregnant in us all and, importantly, ever present in the linguistics of paint ante rem.
Dr. Chris Barlow