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Articles.
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Tatiana Nesvetailo
"Azat Galimov's Art: Changing Consistency". |
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Ruslan Bakhtiarov
“The World of Full Beauty and Harmony. Azat Galimov's Art”
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"Prism" Plamena Dimitrova-Racheva, " Азат Галимов в живописта си се изявява като даровит пейзажист и романтичен наблюдател на градския живот. Text in full |
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NesvetayloTatyana. |
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"View from the hill on the roofs of ancient Kotor allows the author to create a composition which seems rather unusual for a landscape. The blue stripe of sky traditionally forming the space of every landscape is completely absent here. The painter skillfully meets the challenge creating compound pictorial fabric with the help of connivent kinds of ochre thoroughly sorted out by tinge and shade. The ochre tones are gradually increasing as they approach from the background towards the viewer, which is balanced by the countermovement of the pink shades that become more and more intense as they grow from the foreground inward, reaching their crescendo at the Cathedral bell tower. Though the size of canvas is small and rendition is rather generalized, details are finely and delicately worked through. They do not reveal immediately, though, but only with lasting poring over. Being so overwhelmed with volumes the painting still preserves its vivacity and airiness. |
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"The painting is performed in confident Realistic style. Using the zigzag composition the artist unfolds the space and reproduces multilayered impression given by this spot of nature, where water, earth and sky elements unite with the hand-made rhythm of yachts and masts. Interlacing relative white and green wedges, each repeated twice, such as green-covered hill and its vibrating reflection in the water, the bulk of yachts and the ephemeral silhouette of the mountain in the background, the painter opposes the real and tangible with the changeable and unsteady. The upper and lower parts of the canvas - water and sky - are connected with verticals of masts, real as well as reflected. The author’s craftsmanship is evident not only in masterly portrayal of space filled with air, but also in the endless variety of stroke techniques, that, though the color range is rather restraint, grant the impression of richness to the pictorial texture.". |
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Marina Dashkova. |
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" Late Autumn. The Summer Garden". Azat Galimov's painting Late Autumn. The Summer Garden is not the only sample of the author's address to the image of this famous place, which everlasting beauty excites him in any season of the year. On presented canvas the artist creates an unusual, almost unreal landscape of this beautiful corner of old St. Petersburg. Among the falling yellowed trees and bushes against the background of sparse tinges of green on the distant view, at the deserted lane covered with the tapestry of autumn leaves and powdered with early first snow, the three white 18th century Italian marble sculptures stand frozen, and their loneliness adds the canvas lyric notes of melancholy and tunefulness. The work is painted with dynamic staccato brush strokes and its laconic coloring is based upon the few but expressive tinges of ochre that turn sometimes to yellow, and sometimes on the contrary, to deep brown, dark tunes, and also upon the consonance of green and white, erasing the contours and angles of the objective world and lending the canvas exquisite poetry and impressionism of the author's eye. |
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" Fontanka. View over the Church of St. Simeon and St. Anne". Every artist residing in our Northern Capital establishes his own deeply personal connection with St. Petersburg. Such is the magnetic power of charm that this city, “the most fantastic city in the world” as Dostoyevsky called it, has. And Azat Galimov, well-known St. Petersburg’s artist, has also fallen under its spell. St. Petersburg’s landscape became one of the basic and favorite themes of his art. It may be said that the artist deals with the city reverently, keeping his admiration and worship for its stately harmony deeply in his soul. His St. Petersburg is the city of water and bridges, and certainly of churches and cathedrals. In Azat Galimov’s St. Petersburg the weather remains always fine, be it a soft damp snow, or chilly overcast summer day, or pale and subdued and therefore particularly warm sunny evening. The painting with a view over the church of St. Simeon and St. Anne is one of the best in the artist’s collection of St. Petersburg’s themes. Mighty monumentality of the cathedral contrasts unexpectedly with dark mass of rippled and movable water. The cathedral seems to hover above the water without any support though the composition itself is absolutely and decidedly realistic. The chosen angle allows the painter to illustrate perfectly the conception of St. Petersburg as of an unreal phantom without the past, “that shadowy Palmira”…. Beyond the canvas’ scope a spectator might guess the scale and strength of the big city, the city of guest houses and industrial manufactures. The bridge arc over the water compressed by granite, the classic St. Petersburg’s color range of grey and yellow, its considered architectural beauty – the painter has caught it all and conveyed the polysemantic image of St. Petersburg with the subtle keenness that immediately transfers the painting from the category of landscapes into the category of pictorial “Einfuhlungs”. |
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Comments art critic: |
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“Autumn in Varna ” |
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“ Hot Stones of Cyprus Shore”. |
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