Red and gold Venus


We see a beautiful woman in a picture. It does not matter if this corresponds to the canons of beauty, adopted at some historical moment. She is always beautiful, just as the women of Rubens, Rembrandt or Titian are beautiful. Andrei Surnov refers us to the images of these artists.

Of course, there are quotes from Klimt in the picture, but the main story is contained in the painting technique of Rubens, Rembrandt and Titian. This art is a real picture, where color sculpts a form, creates it, literally melting it from the light.

We see a complex and rich painting, although the artist’s palette is limited. This picture is in itself a narrative. Brush strokes overlap, making light and skin real. The first picture is presented in shades of red, which range from pale pink to bright pink, blood red, scarlet and fiery, from purple to almost black. We see something similar in Titian in his famous “Pope Paul III with Alessandro and Ottavio Farnese.”

The second picture with brightness, with a gold coating, repeats Rembrandt’s “Danae”. A beautiful female body arises literally from the golden light, and everything is permeated by it.

Andrei Surnov is one of the few real artists because his work is not just a concept, not just an illustration. His work is real painting. There is an understanding of color, ways of mixing it, an understanding of the principles of working with it. In the artist’s paintings there is no imitation of traditional materials. Uses one round brush, does not use any textures. The whole range of his paintings is a genuine painting with strokes, the color of which he always draws from the palette in the same way as an ordinary artist.

Andrey perfectly combines decorativeness and realism, turning his paintings into a real pleasure for the eyes.
The author not only pleases us with his color scheme, but also tells us a story full of tenderness and sympathy.

The expression of concentration and question on the face of a naked woman, supported by the incompleteness of the gesture of raised hands, is surprisingly subtly and reverently conveyed.
The action seemed to freeze half a word, half a movement and, as soon as we turned away, continued again

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