Ptyuhin Vasiliy

Painter Vasily PTYUKHIN was born in 1948 on the island of Iturup on the Kuril Islands at the foot of the volcano Bohdan Khmelnytsky. He graduated from the far Eastern Institute of arts on a speciality "Painting". Now lives and works in the ancient Russian city Vologda. Member Of The Union Of Artists Of Russia. The winner of the international Fund "Cultural heritage". The participant of regional, all-Russian, international and foreign exhibitions. His works are in private collections in Russia, England, France, Netherlands, USA, Germany, Spain, Portugal, Abkhazia, Ukraine, Hungary and Yugoslavia, as well as in museums and art galleries.
Exhibition activity began in 1975 in the far East. It was the regional exhibition, which took place in the cities of Khabarovsk and Komsomolsk-on-Amur. Then followed countless collective and personal exhibitions in the cities of Tomsk, Krasnoyarsk, Vologda, Kirov, Yaroslavl, Great Novgorod, St.-Petersburg, Moscow.
The artist works in the manner of the realistic school of painting, of its direction, tends not to maximize the naturalistic image, and the symbolic comprehension of the plot. First of all, it is worth noting the fact of the artist to history, so uncharacteristic for contemporary art. It is the property of the person who has something to say and who can Express their thoughts on canvas.
Born and raised among the oceanic expanses, he seems to have absorbed the energy of the free sea breeze, an ocean scale, and a sense of independence. It is not limited, as is often the case, stories of the place to which it is bound geographically. Fragments of ancient history, the gospel story, scenes from Russian history – became the topics of works by Wassily Ptukhina. Terse and laconic in composition, in a sufficient measure conditional on color, they approach a kind of signification (such, for example, the canvas "Debate", "Domitian, you're wrong", "the Tsar's bride", "Towards new shores", "Alarm").
Refer to some of them. For example, the "Debate". Medieval Inquisition. It would seem that where the middle ages, and where we are, but there is nothing accidental in such stories – in our time the name of the Lord people are humiliated, tortured and killed around the world. What does the secular Inquisition! The artist with a kind soul cannot pass by indifferently. But back to the painting itself. Figure conditional, nothing more. Academic training in harmony with the subordination of nature to the creative intent of the author. Unnatural fractures, impaired perspective – does not interfere with the perception of the picture, but help to create a compositional space. However, the artist uses the techniques developed during the Renaissance, as if implying to the viewer that, despite the relevance of the topic, we are still talking about distant times. Attentive and thoughtful audience will even know you are talking about. If you look closely, on paper that is holding the monk is a diagram of the movement of the planets. Gaze into the face of a man, chained to the wall and holding a candle – Yes, we guessed, of course, is Philip Giordano Bruno, but not the elegant young man, whom we remember from the well-known engraving, and aged, unshaven and exhausted. Anyone who is familiar with the protocols of the Inquisition, might say, "it was not so. In these interrogations, hypocritically called debates, the prisoner was made to kneel in the middle of the hall, and his torturers stood on him, as if Recalling that they are the representatives of God on earth." All this is true, but if the artist has reproduced and documented all the action on the canvas, it could be a good illustration of these documents, and art would gain nothing by it. I would like to note the skillful use of light: two light sources – the dominant yellow, the symbol of fire, as if anticipating the fate of the hero, and a small amount of blue, glowing like a faint hope - successfully illuminate the face and clothes of the characters. Don't know, did the master of these associations, but it turned out very well. Painting in the late twentieth century,