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River of the Dead Painting

Mikhail Solovev

Russia

Painting, Oil on Canvas

Size: 90.6 W x 95.7 H x 1.6 D in

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About The Artwork

A myth is one that has truth on the inside and untruth on the outside. The myth is true; of course, it is not true from the point of view of external physical reality, but it quite accurately reflects the psychological situation, that is, the inner inner psyche. Myths are like dreams, and Dreams are messengers of the unconscious, so the sketch for the diploma came to me in a dream. I am not interested in Charon himself, his image and fate. I want to look into the plot about Charon from the reverse side, hiding the main character above the water column, avoiding illustrativeness in the picture. The whole myth is just a pretext for portraying the main thing - the eternal suffering of humanity. The theme provided an opportunity and space for drawing people in sharp angles and with sharp light, plastic solution of the main details and tying people into perspective nodes. I place the image space under the water. I was born on the shores of the Pacific Ocean and I do not perceive Acheron as low water. The darkness and power of the great Ocean approaches the embodiment of eternity much more than a river. As a child, I saw a rare Goya aquatint, it depicts a dead man snatched out of the darkness, and he carries us a sign with the words "nothing". At that moment I felt that I must carry this dead man, that it is inside me. More than 13 years have passed, but this feeling does not leave me. There is great skill in my hands now. What does this mean to me? Eternity and suffering, hatred and contempt for people, immersion and depth, water that attracts and beckons the brilliance of the night ocean, nothing in which we are all, the transformation of nothingness into its temporary substance - life, and return back. Thinking about the meaning of life - after all, the meaning of any phenomenon is its result, and the result of life is death. This is what this nothing from the Goya engraving means to me and what I mean by the River of the Dead. Two narrow vertical flaps close the main part. Here are the rocks that limit the bed of the dead river, on the rocks the generalized and incomprehensible texture of a dump of human bodies and burial trees. On the left - cypress - a southern burial tree, planted in cemeteries by the ancient Greeks. On the right, the northern grave pines are a relict plant that grows in my small homeland, in the Far East, and was a burial tree of ancient peoples.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:90.6 W x 95.7 H x 1.6 D in

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

Mikhail Solovev was born on July 21, 1991, in Vladivostok, a remote eastern city of Russia, to a family of a police officer and a saleswoman. When he was five his father joined a religious sect and left the family. This fact ultimately influenced Mikhail’s art and themes of his paintings. Because of a mother’s new family, he had to live in a small 6-square-meter room and distance himself from them. For almost 15 years, he lived with these people like a stranger. He never talked to his stepfather and had problems with peers at school, so the only solution he found was to create his own world where he could feel comfortable. That is how he discovered philosophy and poetry, and then later painting and classical music. At the age of 15, he started to think, how could he express himself and leave a mark in history? Mikhail chose to paint because it corresponds to his perception of the world. His development as a serious artist started after finishing a children’s art school. The love of painting turned into a profession. At the age of 15, he created his first lino print inspired by Goya’s series “Los caprichos”. In 2008, he got into the Vladivostok Art College and became a teacher of fine arts. After that in 2014, he entered the Ilya Repin St. Petersburg State Academic Institute for Painting, Sculpture and Architecture, the Department of Painting. Moving across the country was a hard decision for him. How could he replace the Pacific Ocean and salty air of Vladivostok with a gray cloudy sky of Saint Petersburg? However, a thirst for art won. The Academy of Arts opened up a new world and access to knowledge about art for him. Mikhail managed to study in several workshops there: of K.V. Grachev (2014-2015), of Professor I.G. Uralov (2015-2016), an easel workshop under the guidance of Professor Y.V. Kalyuta (2016-2018), and another one of Professor and Head of the Department of Painting – V.S. Pesikov (from 2018 until now). In 2015, he took part in plein-airs in Pushkinskiye Gory. In 2016, the Mikhaylovskoye Museum Reserve bought his painting “The interior of A.S. Pushkin’s study”. Also, he went on a creative trip to Crimea, which led to organizing an exhibition in the Museum-flat of A.I. Kuindzhi located in Alupka town. Mikhail is a regular participant of various exhibitions and plein-airs. At the beginning of his journey as an artist, Mikhail did not look for some special plastic language but studied Old Masters’ painting techniques.

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