painter born in 1956
Rasikh Akhmetvaliev was born in 1956 in Bashkortostan, Russia.
He has lived in Ufa, Russia and France.
Since 1993, he has been a member of People’s Artist of Russian Federation.
In 1994, he won the First Prize of the Independent Culture Logical Turan Foundation in Turkey.
Since 1979 he has been exhibiting in prestigious galleries across Europe, including London, Paris, Vienna, Salzburg, Barcelona, Istanbul, Megève, Courchevel, Honfleur and St Paul de Vence. He also took part in many exhibitions in St. Petersburg, Moscow, Ufa, and Yekaterinburg.
Having an excellent reputation in Russia, he is recognized by collectors and experts. His works are in public collections and prominent museums in St. Petersburg, Moscow, Novosibirsk, Ufa and Kazan, such as:
- State Tretyakov Gallery, Moscow, Russia
- Moscow Museum of Modern Art, Moscow, Russia
- National Art Museum of Bashkortostan M. Nesterov, Ufa, Russia
- National Museum of Fine Arts, Novosibirsk, Russia
- Cultural Centre Kazan, Kazan, Russia
His fame spreads across the Russian borders, throughout Western Europe and the United States of America. His works are in private collections in Russia, France, Great Britain, the USA and in many other countries.
Extracted from "Rasikh Akhmetvaliev - Paintings"
Moving from one area to another on the planet, everyone brings their own universe across. Which, admittedly, is fed by this travel, and enriches the travel of the past...
My method of study and creation of a painting is:
the artist lifts his gaze above reality, reaching for another dimension of feelings...
then the Muse might deign to visit him...
The key is that the artist is fully immersed in the space of his painting, transmitted through a specific mood and every time different...
The riders - who are they?
They are our souls at the crossroads of space and time...
The young girls - for their part - often come out of the Garden of Eden and come into our world - physical, daily. Then they materialize and try to live a life on our side...
And when coming from far, someone is greeted by a benevolent curiosity of our own universe; it feels like recognition for this look.
Two Riders - Oil on canvas
51.2 x63.8 in (130 x 163 cm)
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Article written by Serguei Kuskov (1957 - 2008)
The painter embodies his ideas particularly through the self-assessing plastic virtues of painting, through the life, perceived by the sense of feeling, pulses of his generous and delicate strokes of brush, changing but recognizable, through colour, texture, space and many other traditional painting values and qualities that have been re-evaluated in a new key.
These paintings are not at all devoid of intellectual and philosophic “dimensions” of their own: there is a hint of a complex and subtle variety of themes branching out into various associations and poetic metaphors, but in this case all the semantic levels are inseparable from the metamorphoses of style perceived by the sense of felling, from the “aura” of coloristic clarity and other qualities directly seen in the canvas surface itself, which, as a result, gives a special structure of the internal space and a special rhythm of time that are inherent to the painter’s outlook. (...)
Akhmetvaliev’s paintings, purely plastic, question the relationship between the surface plane and the surface depth, between the “abstract” and the “figurative”. In other words, between imagery and absence of object, what points to some innate spiritual experience behind him, and this is not only a metamorphosis of his manner and method of painting, but rather a gradual disclosure and revelation of various facets, layers and levels in the essentially integral and whole representation of reality, which is shaping up from many of his individual paintings (...)
For instance when figures and shapes look as if dematerializing right before our eyes, as if losing their flesh, becoming transparent, beginning to resemble incorporeal-and-linear arabesque, sometimes even acquiring immaterial phantom quality, becoming semi-phantasmal, as if shedding or peeling off their contour, with the background light of the “aura” coming through and from the inside, but at the same time not losing their recognizable shape, reality, their strange and detached picturesque attributes.
Anyhow, many things can be recognized and recalled here: the inspirited arabesque patterns and ornaments of the Islamic culture of the ancient east, together with the tangible reminiscences of the refined imagery found in Iranian miniatures with their inspirited sensuality that probably finds accord in the painter’s outlook. Equally tangible are the lessons so willfully and harmoniously absorbed by the painter from the western painting culture of the early 20th century.
And it doesn’t strike one as surprising that through the layers of European, quite refined art of painting we can see the powerful and explicit symbols of Euro-Asian Archaics – as if the very spirit of the great steppe were embodied here in the majestic image of the Rider – a warrior, hero, and nomadic-traveler. Again and again he appears so bold and enigmatic in the pictures of boundless sunshine and light-bearing expanses of the flat plains as a kind of leitmotif with the steadfastness of a dominant and recurring theme.
As is for ages his silhouette is imprinted in the fogginess of the light environment that was partially predicted in some “abstractions” and now is reincarnated in the generalized landscape image where the symbolic image of the Rider embodies the spirit of the place and is regarded as the sentinel of the memory of the entire Euro-Asian continent emerging from the horizon of the outgoing century, as the herald who has come from the depths of ancient times to deliver the sacramental message of tradition – the covenants of the mystic Asia.
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