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"Poppea" The Coronation of Poppea series Painting

Bella Matveeva

Russia

Painting, Oil on Canvas

Size: 39 W x 78.7 H x 0.8 D in

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About The Artwork

A series of works The coronation of Poppea consists of 7 paintings. 5 works are presented (one work in the author's ownership and another in the private collection Belgium). Personal exhibition was held in St. Petersburg - Rizzordi Art Foundation. The theme corresponds to the libretto of Claudio Giovanni Antonio Monteverdi. The work continued from 2013 to 2015, filling with details. The curator is Arkady Ippolitov. "Because in a large, still only sketched, picture, I was shown an amazingly modern experience of bodily plasticity, an experience that has been put into the Red Book for a long time in a section marked "on the verge of extinction". The picturesque experience of the plastic often begins with the fact that fixing turns into a creation, corporeality can not become outdated - it is placed outside of time. We have long been accustomed to the fact that today the performances of many Baroque operas seem much more avant-garde than the "Lulu" by Alban Berg or even the opera by Louis Andrissen, while Baroque painting we call the "old", is known to everyone, where the corporeality has moved . Bella's composition impressed me on the fact that it coincided - literally coincided, although Bella could not have known it - with my intense aesthetic experience, the last time I took most of all - with the production of Monteverdi's opera The Coronation of Poppey at the Opera House in Oslo, with scenes from her." Arkady Ippolitov

Details & Dimensions

Multi-paneled Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:39 W x 78.7 H x 0.8 D in

Number of Panels:2

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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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