Search results for 'Olga Zelinska' at the museum of art

Olga Zelinskaya created her own unique pictorial authorial style, which is subject to figurative reflections of the complex philosophical universal questions. This style continues and develops the great traditions of European Art Nouveau, the Vienna Secession (Gustav Klimt, Egon Schille). The artist reinterprets the creative tools of the classics to implement modern concepts in understanding the relationship between personality and outer space, theories of esotericism and the latest discoveries in the field of the emergence of wildlife. In her paintings, Zelinskaya continues to develop the emblem of style, the composition of an object in canvas and uses a special planar spatial construction. However, the essence of Art Nouveau in the works of Zelinsky is traditionally preserved: the transformation of society through beauty. The author boldly undertakes to translate the metaphysical concepts of earthly elements into visible artistic images (“Air”, “Fire”, “Water”, “Ice”). Refined female silhouettes are located in different compositions in relation to the square of the canvas: horizontal, arms thrown behind the head, relaxed Water; a woman-woman sitting on the ground and looking up; Air diagonally taking off with Isis wings; frozen, half a turn from the back of a woman-Ice, symbolizing the duality of matter. The clothes of silhouettes, among other things, as in many paintings, are a form-forming fabric from small mosaic-fragmentary spaces inscribed in a contour drawing that have their own colorful pattern in the unity of linear and color rhythm. Forms are asymmetric, flexible and mobile, full of life energy. Many formations within closed circuits can be interpreted as separate works of decorative art, causing a deep emotional mood and at the same time, being part of a whole artistic image, unusually elevate the aesthetic impact and penetration into the idea of ​​a work.
Zelinsky’s appeal to the mythological images of India and Greece is logical. The artist gives a modern interpretation of the female images of the goddesses in the paintings: “Lakshmi”, “Persephone”, “Virgin-Undins”, “Heavenly-Virgin” and others. The unusual form-forming harmony of images is accompanied by a picturesque background decor of iconic unearthly calligraphy, sometimes with elements of rock prints of ancient nature or with emerging ornamentalism from the harmony of the whole. The images of the goddesses are monumental, imbued with ephemeral inexplicability and fabulous power. Female characters are given in philosophical melancholy expectation, in a state of meditation and sensual affectation. The author managed to create the reality of the audience waiting for a meeting with ancient cultures.