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Allegorical painting Good and Evil (1996) continues to be a matter of controversy for the audi-ence, attempting to define the boundaries of good and evil, according to their perception of the image. Against the backdrop of a surrealistic landscape, the painting depicts two graceful female figures with cups and flowers in their hands. Their mirror position relative to each other, the lack of ‘eloquent’ attributes makes the viewer think, compare and look for an answer. It is difficult to determine explicitly which of the beauties symbolizes Good and which Evil. And also in real life the good and the evil coexist and divide human life into black and white strips. In the famous painting by Sandro Botticelli The Calumny of Apelles images of slander, malice, envy and igno-rance were also represented by the images of beautiful women, which made the painting become even more acute and expressive. Vystropov’s painting is full of allusions to the passing nature of existence, to the vanity of human life and to the inevitability of the course of history. In the sor-rows of the human arduous path survived ravaged temples, sand-covered cities, Christ’s crown of thorns, and barbed wire from Auschwitz. Good and evil are nearing each other, but there is a huge split between them that is terminated at the horizon by a Ferris wheel which can be inter-preted as the wheel of history. Messiah - the boy in a white neck-to-toe shirt - embodies Hope. His choice will determine the fate of mankind. A little figure, standing between the poles of Light and Darkness represents a guide for a lost pilgrim. Refinement of technique, a virtuosity of style and aesthetics of the means of art make one re-member the tradition of mannerism. However, in the paintings by A. Vystropov the form will never prevail over the content and will not become an end in itself. The philosophy of life of the artist-romantic is often based on the internal need for the ‘subjective experience of time’. He in-terprets the meaning of each of his paintings as an expression of a certain idea by visual means, which is in tune with the present. But he remains the temperament lyricist and philosopher at the same time. He does not try to educate or to instruct anybody. Good and Evil, Love, which trans-forms the world, the eternal search for the ideal, these are the themes that ‘torment the soul of the artist’ who never makes conclusions and who never gives definitive answers. Zdenek Knof-lichek, the Czech art critic, wrote in 2001: “… seemingly incongruous objects, symbols of parts, are combined into a meaningful whole that speaks to the viewer from within the artist’s experi-ence. Each painted figure, and every object has its place and its role in the composite.”
Painting:Oil on Canvas
Size:59.1 W x 47.2 H x 1.6 D in
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Czech Republic.
Andrej Vystropov (26.12.1961) belongs to a generation of Russian painters whose maturing art is fast becoming widely acclaimed not only in their own birth country but also on the European art scene. Andrej had emerged from the balmy bubble of St. Petersburg's prestigious Academy of Fine Arts into painful reality in the early 1990s; now, a decade of enormous talent and will power later, he is the darling of reputable art dealers, curators, wealthy patrons and art-loving neophytes alike. Andrej's meteor-like ascendance into the rarified world of high art is founded on an exceptionally vivid and moving way of communicating with the audience. At the heart of his success is a compelling, meticulous technique which shows affinity the technique of great renaissance masters whose fabled collection of works he had had the opportunity to study in the State Hermitage of St. Petersburg. Andrej's oils are famous for their realistic rendition of their themes, achieved by faithful attention to even the slightest detail and remarkable sensitivity to the powerful interplay-dreamy at times, and harsh and brutal at others-of light and color. The message is delivered via symbolism; seemingly incongruous objects, symbols of parts, are combined into a meaningful whole that speaks to the viewer from within the artist's experience. Each painted figure, and each object, has its place and its role in the composite. The end result provokes continuous search for the meaning, all the meanings, of the reality represented by the artist. Andrej Vystropov is not an easily understood artist. His realistic paintings challenge the viewer to seek out the core of our existence, with all its beauty and all its problems clothed in irony and skepticism. The deep scrutiny is reinforced by superb painting technique, intriguing composition, and sexy combination of color, all of which form the artist's compelling signature that never fails to engage the viewer. Andrej Vystropov is a Russian to the core, but his art is timeless and boundless, and so personal. It's a mirror in which we can each see ourselves as we are. This intimate connection between artist and viewer is the reason why Andrey's art is in such great demand both at home and abroad.
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