Elena Barkhatkova
1965年5月24日出生于明斯克州斯卢茨克;
1977-1980 就读于斯卢茨克艺术学校,师从 V. Sadin;
1980-1984年就读于明斯克格列博夫艺术学校,师从O. Lutzevich;
自 1993 年以来一直住在明斯克附近的 Khoruzhi 村。
Elena Barkhatkova 的作品最初散发出幸福、纯洁、和谐、清新的情感;它们给人以生命胜利的感觉。她似乎汇集了她最好的情感,倾诉着她内心深处和激动人心的感受,激发了她的创作艺术——对土地、动物、鲜花的热爱……她慷慨地有能力以声音和欢快的色彩塑造她的愿景, Elena 只取材于大自然,将微妙的色彩技巧带入焦点,让风景充满光线和空气。她的画作的精神体现在爱和光明之中。无论她的画作有什么不同,它们都有共同的美德——艺术家构思的和谐完整,体现在生动如画的效果中。阳光透过树冠,或穿过一束鲜花,以柔和的色彩丰富画布,通过不同强度的色调强调空间的深度。以风景画和静物画为主,Elena掌握了自由洒脱的空气画法。在法国、荷兰、意大利等国举办的许多展览让 Elena Barkhatkova 的名字广为人知,并被公认为空气画大师。但条条大路通回家。在她偏远的乡村画室里,她通过与自然的和平接触获得精神上的安慰,心满意足地画出她的本土主题。
公共和私人收藏:
白俄罗斯当代艺术博物馆
白俄罗斯文化部,白俄罗斯
白俄罗斯马斯列尼科夫莫吉廖夫美术馆
白俄罗斯格罗德纳国家历史和考古博物馆
白俄罗斯国家艺术博物馆,白俄罗斯
Justus Frantz 收藏,德国
Magli 系列,意大利
Romualdo del Bianco 基金会,意大利
德国伍尔特收藏馆
探索Elena Barkhatkova的当代艺术品,浏览最近的艺术品并在线购买。 分类: 当代白俄罗斯艺术家. 艺术领域: 绘画. 帐户类型: 艺术家 , 加入会员自2017 (出生国家 白俄罗斯). 在Artmajeur上购买Elena Barkhatkova的最新作品: Elena Barkhatkova:发现惊人的作品的当代艺术家。浏览艺术品,购买原创作品或高档的印象。
艺术家的评价, 传记, 艺术家的画室:
承认
传记
1965年5月24日出生于明斯克州斯卢茨克;
1977-1980 就读于斯卢茨克艺术学校,师从 V. Sadin;
1980-1984年就读于明斯克格列博夫艺术学校,师从O. Lutzevich;
自 1993 年以来一直住在明斯克附近的 Khoruzhi 村。
Elena Barkhatkova 的作品最初散发出幸福、纯洁、和谐、清新的情感;它们给人以生命胜利的感觉。她似乎汇集了她最好的情感,倾诉着她内心深处和激动人心的感受,激发了她的创作艺术——对土地、动物、鲜花的热爱……她慷慨地有能力以声音和欢快的色彩塑造她的愿景, Elena 只取材于大自然,将微妙的色彩技巧带入焦点,让风景充满光线和空气。她的画作的精神体现在爱和光明之中。无论她的画作有什么不同,它们都有共同的美德——艺术家构思的和谐完整,体现在生动如画的效果中。阳光透过树冠,或穿过一束鲜花,以柔和的色彩丰富画布,通过不同强度的色调强调空间的深度。以风景画和静物画为主,Elena掌握了自由洒脱的空气画法。在法国、荷兰、意大利等国举办的许多展览让 Elena Barkhatkova 的名字广为人知,并被公认为空气画大师。但条条大路通回家。在她偏远的乡村画室里,她通过与自然的和平接触获得精神上的安慰,心满意足地画出她的本土主题。
公共和私人收藏:
白俄罗斯当代艺术博物馆
白俄罗斯文化部,白俄罗斯
白俄罗斯马斯列尼科夫莫吉廖夫美术馆
白俄罗斯格罗德纳国家历史和考古博物馆
白俄罗斯国家艺术博物馆,白俄罗斯
Justus Frantz 收藏,德国
Magli 系列,意大利
Romualdo del Bianco 基金会,意大利
德国伍尔特收藏馆
- 国籍: 白俄罗斯
- 出生日期 : 1965
- 艺术领域: 具有认证艺术家价值的艺术家的作品,
- 团体: 认证的艺术家 当代白俄罗斯艺术家
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认证与Akoun,在关于艺术市场信息的全球领导者自1985年以来的合作。
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ELENA BARKHATKOVA
ELENA BARKHATKOVA — a springtime person — was born on May 24, during the blossoming of the gardens and the awakening of the powers of the earth. Maybe that’s why in her paintings the sun shines so bright, the flowers and the fruits sparkle so cheerfully, and the touch of the wind and the scent of the grass are so palpable. Elena unites still life and landscape in a single painting naturally and effectively: be it a contrasting chiaroscuro, a counter light of verdure, translucent in the sun like a stain-glass, or the miracles of the optical tricks of perspective. Some of the elements of Elena’s style or all of them together will enchantingly affect even those who know nothing about either the realistic tradition in painting or the dynasty of the Barkhatkovs. Elena depicts the world that surrounds her in everyday life: her and her husband’s house, garden, fields around it, the flowers and the trees that she herself looks after. The birds and the animals, all the inhabitants of her own cosmos are under her protection and care, and it may be said that the painter Elena Barkhatkova is the creator of both her paintings and the reality they depict. Powerful vitality, strong character and incredible diligence allowed a young painter Elena Novik to develop her creative individuality in the family of famous Belarusian painters Barkhatkovs. In the Minsk Glebov Art School, a painter and a distinguished pedagogue Oleg Lutsevich effectively passed on to his talented student Elena the principle of vision which he regarded as the most important for an artist: every object is a volume in space — be it a human figure or a semitransparent sphere formed by a bundle of willow twigs. Thus, through the synthesis of different influences during her education, Elena established her relationships with Space and Colour — the main instruments of the creation of the effect of physical presence that unavoidably appears around the works of Elena Barkhatkova. Each of her canvases is a pleasant trap prepared for the viewer in advance: we are immediately inside this landscape, already have visited all its surroundings and are looking at them from a distance through the bunch of flowers that we have recently plucked ourselves. It seems that while constructing the composition the author takes us, spectators, into account as a kind of «volumes», elements of composition in the space of her painting. Without being aware of it, we form a part of her works and we are assigned in this composition a specific place on our side of the spectral boundary of the canvas. But who, in turn, looks at us from the depths of her paintings through the same still life that stands between these parallel worlds? Maybe it is the Arab horses Zabava and Chatabi or their friend Fadel, walking freely around their farmstead in the village Horuzhi near Rakov — family members and art models of the married couple of the Barkhatkovs? Or maybe it is Elena herself? In any case, there are quite complicated relations between reality and illusion in her paintings; her paintings are in fact very theatrical, because Elena plays her very own game with nature. This life is far from being still and the hidden drama in it creates a kind of tension that is much appreciated by the viewers, as much as Elena’s painting technique itself, energetic, even dashing — and, at the same time, disciplined and thorough. Look at the table-stage on her canvases, at the spectacular postures of the main heroes (flowers-fruits) situated there, at the arrangement and lighting of the corps de ballet (hens, horses, dogs, cats, sometimes — staffage human figures)! Look at the scenery and wings (apple trees, sheds, lilac bushes, blooming and dry grass), at the slightly exaggerated (in the same degree as the perspective) contrasts of the tones and colors (is it something like a light make-up — the «actress Spring»?), at the wonderfully painted landscape background! Are we the spectators or the extras, staffage figures that somebody sees from the depths of the canvas, or the dear guests, of the beautiful homestead of the hostess Elena — we cannot understand anyway. It is Elena’s two sons who are more used to working with abstract notions and terms — the art historian Igor and the philosopher Anton Barkhatkov. «Facts are the most fantastic thing in the world». If we change «facts» for «reality», this idea may well give a new impulse to the development of the realistic painting that survived safe and sound here in Belarus up to the XXI century, in particular, thanks to the bright and sincere art of Elena Barkhatkova.
T. Bembel