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"Fan" Silver Braces series Painting

Bella Matveeva

Russia

Painting, Oil on Canvas

Size: 29.5 W x 33.5 H x 0.8 D in

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About The Artwork

Work of Silver Braces series, a picturesque sequel to photographic portraits. You can guess that it all began in the East. Ishtar rose and reigned in the great Sumer and Accad bordello. Oh, Bella, what didn’t happen to that poor creature! Primordially fit with all imaginable divine properties, she grumbled. Then the fa- ther of the world and the gods – who probably felt burdened by his Fatherhood – was so deeply intoxicat- ed by the insane beauty of his creation that he brought in a new role. And he made that melancholy little goodness the amphora for his loneliness, for his secret and bitter hostility toward the Universe And he made her the source of that sweet strength that would save the world from perishing. Pouring out and satiating herself f with the flesh of the Cosmos she drew the Creator to his own Creation. No, he did not desire sobriety. In defiance of all those eternally bellied mother goddesses whose breasts hung down to their navels, and whose laps were reminiscent of stinking springs, he introduced the role of the Whore: single, hostile and seducing.

Details & Dimensions

Multi-paneled Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:29.5 W x 33.5 H x 0.8 D in

Number of Panels:2

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Bella Matveyeva’s “St. Petersburg Hoffmanniana”, painter, who had become in a way a myth of this city. Strange and piquant visions, arrogantly disregarding all signs of the present time, captivatingly and proudly pass through her canvases, proving that it is always Silver Age in Saint – Petersburg that time is not master of in and that there’s nothing more natural for a St.Petersburger, then feeling of oneself as a personage of a risky game, or as a bohemia poseur, which in essence is nothing other than epic of heroism. Now sharp and penetrating, now obscure and incoherent, they interlace into an ornament of sleepy fantasy of the past, which is so far that has become modern. Maybe one can tell that they are raving or chance caprice of innermost desires, but the ornamental alternation of naked bodies is almost tragic – and they are so fragile, so touching, so open, - like abandoned children, like our own city, lost in the century that is not understandable and is not understood.

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