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Tatiana Nesvetailo

Art critic, Senior staff specialist of
The State Russian Museum,
Member of St. Petersburg Union of Artists.


"Azat Galimov's Art: Changing Consistency".

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Искусствовед Руслан Бахтияров

Ruslan Bakhtiarov

Art critic, researcher at the State Russian Museum,
a member of the Association of Art Critics (AIS)


“The World of Full Beauty and Harmony. Azat Galimov's Art”


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Photos. Presentation of the exhibition.
27.08.2009 Varna, Bulgaria
Anatoly Panagonov (Bulgaria)
Vesco Radulov (Bulgaria)
Andrew Soldatenko (Russia)
Azat Galimov (Rusiya)
Art historian Plamen Dimitrov-Racheva

Bulgarian-Russian exhibition of painting,
Art Gallery, Varna.

Plamena Dimitrova-Racheva,
art historian.

" Азат Галимов в живописта си се изявява като даровит пейзажист и романтичен наблюдател на градския живот.
Извън традиционния възглед за пейзажа и класицистичната естетика той открива за изкуството си нови естетически проекции.
Художникът сам определяя степенна на приближаване до реалността и отдалечаването от нея. Неговото умение се открива в колорита,
който отразява реалността точно иживо. Пейзажите му са живи портрети на натурата и в тях погледът ни плавно следва движението
на цветните преходи в пространството.
Желанието на художниците да се приближат до природата и така да се предаде на картината
непосредственото чувство на нейното въздействие е в тадицията на руското пейзажно изкуство
след началото на 19 в. Тази традиция и днес непрекъснато се обоготява и развива.
В пейзажите на Азат Галимов светлината влиза в пряко взаимодействие с натурата.
Тя се свързва с цветовете , които в импрессионистичен маниер започват да оживяват и да преобразвят
пространството в пищна цветност. Живописните мазки и щрихи носят лекота на изпълнението, отразяват живото и бързо възприятие на художника.
Обичайно той рисува пейзажните си мотиви в диагонален ракурс, както е Узуновата къща. Операта и залива във Варна, и така показва прекцията
на личното си възприятие за ситуацията, която наблюдава".

Text in full
Comments art critic:

Photo art critic.


Painting A.Galimov.

"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.

Painting A.Galimov.

Montenegro. Yachts in the Bay of Kotorsky.
oil/canvas 70cm x 60cm 2008 year.

"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.".
Comments art critic:

Photo art critic.

Marina Dashkova.

Painting A.Galimov.

Late autumn. Summer Garden .
oil/canvas 30cm x 40cm 2010 year.

" 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.

Painting A.Galimov.

" Guards at the Griboedov Channel. The Lion Bridge".
Like many other of his landscapes, A. Galimov's work Guards at the Griboedov Channel. The Lion Bridge, is devoted to one of St. Petersburg's corners. The artist scrutinizes the city's signs over again, such as the older buildings emergent in continuous row along the channel framed in cast iron and granite, a small pedestrian bridge, the sculptural decor of the city. The composition that the artist creates is fragmentary and based on the intersection of diagonal rhythms which are counterbalanced by the verticals of trees and the sculpture of lion at the left part of the canvas. The painter works with bold, broad brush strokes, at the same time emphasizing the few details that contribute according to his scheme to create a lyrical image. The monochromaticism of coloring is only seeming as the canvas is painted by numerous fine tinges of white, blue, yellow and brown combined with flickering accents of gray, lilac, green and pink. Thus the recognizable Galimov's winter St. Petersburg appears on the canvas, the snowy and deserted city lacking any bright colors as if bleached by snow and time.
Comments art critic:

Tatiana Tkacheva

Painting A.Galimov.

Fontanka. View over the Church of St. Simeon and St. Anne.
canvas/oil 64cm x 46cm 2008

" 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”.
Comments art critic:

Chigoshvili Anna

Painting A.Galimov.

Autumn in Varna. Bulgaria.
50cm x 60cm 2010

“Autumn in Varna ”
In spite of its steady triangle composition, lyrical open-air landscape “Autumn in Varna ” by Azat Galimov looks immensely dynamic. Due to the rhythmical alternation of colored spots, umbrellas and shapes, the spectator clearly catches the movement, that of people hurrying to hide from the foul weather. Painted schematically with broad pastose strokes, they seem to dissolve in the fog and the murk of rain. Unusual for portrayal of the gloomy day, yet amazingly balanced coloring with prevailing of red is still rich in cold tinges, and silvery asphalt and leaden sky remind of Monet's impressionistic landscapes. Galimov's characteristic feature — impeccable grasp of coloring — reveals itself fully in his “Autumn in Varna ” landscape. One of the facets of the artist's talent is his capacity to convey fine and changeable moods of nature. Rain for the artist is not only an opportunity for interesting and unexpected play with color and shape, but a conventional sign, that creates the feeling of inevitableness of oncoming autumn and the state of light romantic melancholy.

Painting A.Galimov.

Hot stones on the coast of Cyprus.
50cm x 40cm 2010.

“ Hot Stones of Cyprus Shore”.
Looking at the painting “Hot Stones of Cyprus Shore” one could feel the heat almost physically, due to expressiveness with which Azat Galimov depicts that scant, on the face of it, seashore landscape. Confining himself with small amount of objects and focusing his attention on the huge coastal boulders, the artist thoroughly examines their plasticity, using various color means. The landscape is characterized by lushness and finesse of color gradation, formed by blue and turquoise tinges of sea-waves, stones enlightened by the bright sun, and sharp southern shades. Active contrast between the sparkling sea and rocky shore immerse us in the atmosphere of the painting, dragging the spectator into the very heart of its composition, divided by the inclined coastline. Small figure of the lonely fisherman inscribed harmoniously in the environment, increases the peaceful and contemplative mood of the landscape and demonstrates the power and mightiness of nature.

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