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Personal information
- Organizations
- Self emploid artist
- Groups
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Professional experience
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- to present
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(Only visible for registered members)
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yunett, http://www.yunett.weebly.com
Industry: Arts & Crafts
- Employment status
- Entrepreneur
Educational background
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Kiev College of Art
Fine Art
Drawing by pencils, sanguine, sepia, charcoals, pens. Painting by different media, such as oil colors, acrilic, woter colors, pastels and so.
- Languages
- English (Fluent), Russian (First language), Hebrew
About me
As a child I did not posses any special talents in music, not in ballet, and not in the art of painting. In fact, the opposite is true. I did not paint any better then any other children, nor even did I like to paint. From an early age I recognized the difference between my scribbles and the paintings of the real artists, and I refused to create something so inferior.
Perhaps, my gift of painting did show up in some strange ways. When my mother tried to teach me reading, she would show me a letter and than ask: “What letter is it”? I would answer – “yellow”, or “green”, or “blue”. “I”, for example, was turquoise. My mother thought that I not very smart, and it never occurred to her that the artist in me was speaking.
When I was seven years old, I used to tear the pages from the Russian magazine “Ogoniek," in which reproductions of work by Leonardo Vince, Titian, Michelangelo, and others from the Hermitage collection, were shown. I hid them under my pillow, and when no one was around, I would stare, fascinated, studying them for hours. Indeed they were my childhood's secret treasure.
In those days in Russia, I knew nothing about religion. I was not familiar with any of the Bible stories. Maria Magdalene, Judith, Madonna meant nothing to me. Yet, somehow I recognized the "divinity" in great art.
During my adolescent years I went to study art with a private teacher, because the neighbor’s girl, Irene, went. Irene wanted to be an artist. I desperately wanted to learn to draw anything, despite my lack of abilities. After a few lessons I realized that I knew it. I knew how to look at an object, how to copy it’s shape, how to shade it from light to dark. I understood the main principles of painting, the rest was practice and technical details. This knowledge was inside of me. The teacher just revoked it.
I read everything I could get about art and artists. When my peers asked for a new a bicycle, I asked my parents to take me to the museums in Moscow and St. Petersburg. And they did.
I remember my first visit to Hermitage - the dizziness while passing the Rembrandt’s room and standing motionless in front of Titian’s “Maria Magdalena”; nearly fainting at the site of “Madonna with a Flower” by Leonardo de Vinci.
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However, at the age of 16, when I graduated from high school, painting was still not my choice of career. I did not choose Art. It chose me. I always was an artist, but I did not know it yet.
A few years later, when my family immigrated to Israel, I began to study fashion design, drawing, art.
Being an artist in our time does not mean being a painter. Modernism does not require one to be a skillful drawer. You have to be creative, to have a good sense of color, to be eloquent and original. Originality of an idea became a paramount requirement from a piece of art. And I went with the main stream.
I used to glue fabric, dyed in acrylic paint, to the canvas in the shapes resembling men and women, which were surrounded by graphic images of musical instruments.
In 1990 I moved to New York. It was there that my career began to flourish. I began to exhibit my works in the galleries, and occasionally to sell them, but it did not bring me any satisfaction.
I was experimenting with original ideas and innovative techniques. I enjoyed doing so, but I could not get rid of the feeling that I was participating in a kind of a “conspiracy,” and that I was not being truthful to myself. Most of contemporary masterpieces looked pitiful in comparison to the “Flora” by Rembrandt or “Odalisque” by Ingress. I was haunted by the mystery of the “divinity” that distinguishes the works of olds masters. The idea that all the knowledge of the past - the techniques carefully mastered and perfected through the centuries by Leonardo de Vince and Michelangelo, Van Dyck and Rembrandt, Delacroix and Ingress were mostly neglected by avant-garde and countless styles that it produced, became more and more disturbing to me.
Is this Fine Art? What have all these urinals and human excrements to do with the art of painting? In the absence of a “smart” statement, most of the contemporary masterpieces look meaningless to the extent of being absurd. Perhaps, it is another form of art and should be properly defined.
On the other hand, the Academism and realistic painting in the midst of the 19th century reached its height and exploited its possibilities. The traditional themes - portraits, landscapes, and sceneries were, in a way, limiting intellectually. In this sense, the contemporary Art had a liberating effect. It made an attempt to express more than any scene or portrait did, or was capable of doing. It introduced and established a trend to emphasize a concept. So, why shouldn’t I to try to combine those qualities together – a concept with the technique of realistic painting
All these thoughts, constant doubts, intensive search and self-examination preceded the development of the style that I define as Conceptual Realism.
Conceptual Realism is an idea, a concept, abstract in its nature, but carried out in a realisticly.
Since 1996 I began to work in this manner.
In 2004 I resived a Grand Gold Medal at M.C.A. Cannes, France. I concider it a sign of recognition of my efforts.
Currently my web site is under constrraction. Up on request I can send the pictures of my works by email.
Who ever is interested can contact me: neyud11@yahoo.com
My paintings are posted at
http://www.netta.artnow.ru
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