This artistic approach has something in common with the asceticism, practiced by romantic landscape painters of the XIX century. Simple, natural feelings undergo inflation. There is little of interest in quotidian and routine Odyssey of a common citizen, while the artist has his unforgettable encounters and experiences even behind the wheel of a car. The very next page of the diary unleashes harsh criticism of Viktor Tsoi, a new ruler of the minds and an artist-citizen who has become a cultural hero. For someone, whose youth coincided with war, the reflections on peace, humanism, beauty and the comprehension of art could not be reduced to the ready-made rhetorical phrases. In preparation of the journey, the artist would bind his own hardcover book, using fine watercolour paper. In the case of Vladimir Vetrogonskiy, a creative trip, the Soviet practice, most likely originating from The Grand Embassy of Peter the Great, was fully consistent with its name.
Easily recognizable Petersburg of these paintings seems to turn into a very generic city, filled with a somewhat angular modernist architecture. Some of the works were done, however, exclusively with watercolours, which require a firm hand and a skill. Compared to his father, Andrey Vetrogonskiy leads a more settled way of life, working in comfortable family studio on Literatotov Street that has become — along with Dom Matyushina — a local landmark of Petrogradskaya Storona. For 50 years of teaching and successful academic career Vladimir Vetrogonskiy had the chance to travel all around the world. Careful attention should be given to the hurried, illegible notes and drawings that testify to the encounters with masterpieces. In the case of Vladimir Vetrogonskiy, a creative trip, the Soviet practice, most likely originating from The Grand Embassy of Peter the Great, was fully consistent with its name. There is no place there for the descriptions of dinners, hunting for rare consumer goods, or the list of expenses, all that is so offending to the eye in the diaries of great masters. His first trip to Europe took place right after the blockade was broken: In preparation of the journey, the artist would bind his own hardcover book, using fine watercolour paper. The artist experiences the beauty in everyday life of a city dweller so intensely that he has to employ all the possible tools, ranging from the spray paint true to the spirit of the street art to painting brush, or oil pastels. Drawings from the diaries as well as some of the artworks presented at the exhibition were made on the spot with several pencil lines. This assertion, filled with abstract concepts and ideas, seems almost indecent in its sincerity, and in tune with the semi-official rhetoric. In his diaries, Vladimir Vetrogonskiy addresses the subject of the school and upbringing on numerous occasions. Back at the studio, Andrey Vetrogonskiy evokes his colour impressions from the Television Tower experienced afresh or from the golden arcs of fast food restaurant, glowing with yellow light. Petersburg has turned into vibrant European city. The conflict was left behind long time ago. Vladimir Vetrogonskiy — is the father and Andrey Vetrogonskiy is the son, born in Simple, natural feelings undergo inflation. Its very sound, or, perhaps, internal dynamism of this surname, evokes the images of sea adventures and vast expanses. There is little of interest in quotidian and routine Odyssey of a common citizen, while the artist has his unforgettable encounters and experiences even behind the wheel of a car. For example, why does the Soviet Union fall behind in arts despite its achievements in science and technology? He was more interested in eternal, timeless views, such as that of the Seine, or St. It is about encountering the light. He takes the position, familiar to many of his contemporaries, of an artist and a citizen who bears both the burden of his own soul and responsibility for his disciples and the traditions of the School. To date, Andrey Vetrogonskiy himself has a year-old teaching experience, gained by observing the mistakes and delusions of developing artists.
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