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Lyudmila Titiova

Lost Eden



Published in Russian: Ãàçåòà «Èçîãðàô», ¹ 2, 1999 ã.

Sergey Zagraevsky New Year


Sergey Zagraevsky. NEW YEAR



The following text was translated from the Russian original by the computer program

and has not yet been edited.

So it can be used only for general introduction.




Sergei ZAGRAEVSKY calls himself a happy man. He is much given, and a lot of it does. The range of his activities is very wide - from painting to business. Sergey belongs to a generation to fully explore the possibilities provided by the change of the social order.

Systematic art education has received in childhood from his father, an architect. A huge influence on the creative character of the son had his mother - a poet Inna Zagraevsky. Figurative structure of her poems emerge later in the painting of Sergey. Children's purity and spontaneity, happy naivety of its lines appeared in his paintings:

"Butterfly on the snow -

Yellow on blue

Early on a late,

Summer of winter.

Since childhood, Sergey Zagraevsky wanted to become a professional artist. But fate, and the family, too, decided otherwise. Having at one time technical education and becoming a candidate of technical Sciences, then he, with his usual pressure and energy went into business, including banking. This never stopped painting. The decision to do professional art was only the second attempt - after the outbreak in August of last year's economic crisis. Sergey, however, believes that, strictly speaking, a business he has not left (the art business do you want), and painting is not started, because it always worked.

Attention! - the artist-one. Apparent at first glance, such a huge spread, this discrepancy different sides of personality is not so unusual. Art history knows such examples. Apparently, the creative person has a need to Express themselves with integrity, avoiding the inferior one-sidedness, but purely practical side of life intensifies irrational, deep manifestation of his personality.

Naive art, or art primitive, as it is called, always the deepest layers of the human psyche, extracting from these depths meanings and forms like supratemporal that belong to eternity, and therefore always simple in its basis and understandable to the heart of each. There is no conflict between the spiritual and the material, between the personal and the public, between the private and universal. Conflict as a basis of life and art are not allowed here naive and solid, like children, consciousness, recognizes no dichotomy. This kind of primordial state of the world, nature and man, not burdened with original sin of the knowledge of good and evil. This is a lost Eden.

In the works of Sergey Zagraevsky and nature and man, and even the city - it is also present here - is equally natural, childishly naive and incredibly clean. This ignores the vital drama of art captures the viewer the emotional elation. Here all festive and happy. Glad rushing mountain stream, in joy snow melts and exposes the groove, happy fairy flower erupting volcano, and even the rain comes as a happy, showing the bright colours of autumn.

The decisive role in creating these images is happy, of course, color. Decorative generality of color makes it easier and at the same time concentrate form, giving it exacerbated expression. It is the color - outdoor and rich, - makes the viewer intensely compassionate artist.

Attention! not like a straight line. Its rationalism and one-dimensionality abhorrent to the artist. The line in his works usually arched and therefore acquires a special character, such as the trunk line festively decorated Christmas tree, made in the snowy darkness of the window in the picture "New year". Even the prospect of using the artist avoids direct lines, round out their, leading from the dreary monotony. Curved roof plane, road and river, stretching to the horizon. Repeated in a picturesque system of Sergey Zagraevsky some universal principle - either the sun, or the eye of the Lord, looking down from heaven on the earth.

In the work of Sergei Zagraevsky felt echoes of national lubok, which appear completely organic, but not always explicitly. The artist, for example, willingly uses decorative methods, similar in meaning to the ornamentation, frequently repeating one and the same motif within the painting. It can be tentatively identified flakes of snow, and rain, and multicolored mosaic floors and walls, and clumps of vegetation, etc.,

And, nevertheless, is a professional art, style, released from the womb of art searches late XIX-early XX centuries and finds its adherents today, maybe even more than it has ever been. Attention!, it seems, has taken a worthy place in this series, found his own creative character and entered the artistic life of the capital as a Mature artist.



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