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EurasianGalleries

Eurasian Galleries

Eurasian Galleries

Eurasian Galleries

Works on paper, photography, and decorative art from Armenia, Georgia, Russia, and Ukraine.


For more information on artists and works contact the gallery.


3D exhibitions

  • Eurasian Galleries

    Aron Zinshtein

    01 May 2022 – 01 May 2023

    Life Deciphered Through Paint Aron Zinshtein has played an active role in the Saint Petersburg artistic community for almost thirty years. His free and seemingly careless art is a delightful shock to many art lovers. Yet, I know people who fell in love with art because they saw Aron’s works. His paintings became the gate through which many people entered the world of art. His art has strong therapeutic powers. Within Aron Zinshein’s paintings, reality is transformed in such a way that it appears to be quite suitable for a happy life. Aron Zinshtein mastered numerous artistic techniques. He works expertly in printed graphics, oil on canvas, overglaze paint on porcelain, and, of course, gouache and tempera on paper. Aron's primary compositional element is the gesture. Broad, all-encompassing brush strokes move the viewers almost to participate psychically in a picture's creation. His method corresponds perfectly with the fluid mobility of the ink paint. We could say that gouache has finally found its natural artist in Aron Zinshtein. Together they both — the paint and the artist — work wonders, and with mutual understanding, transmit the most subtle observed feelings with great precision. It is difficult to ascertain what the author likes most: nature, cities, children, their mothers, men and women, gas stoves, football or pool players, or simply the paint always ready to convey these impressions. It seems as if the paint itself chooses what to depict — so naturally, does it respond to the objects that Aron sees. The paint marks where necessary, then moves either in broad strokes powerfully and dynamically on the surface to wherever it is needed, or sometimes it just flows and executes various inventive, yet unpredictable acts on the paper to reveal the very essence of what you are seeing. Aron Zinshtein harnesses the paints' versatility with high professionalism and keen sensitivity. Anatoly Zaslavsky St. Petersburg Artist ©Aron Zinshtein – Contact: aron@bk.ru

  • Eurasian Galleries

    Tatiana Reshetnikova-Momdji

    01 May 2022 – 01 May 2023

    Biography and Information Tatiana Reshetnikova- Momdji 1952 – Born near Nizhny Novgorod in Sarov 1959-1969 – Studied at Secondary school, music and art 1969-1975 - Studied at Leningrad State University 1975-1985 – Worked at the Leningrad Institute of Nuclear Physics Since 1987 – Participated in exhibitions Since 1998 – Member of the St. Petersburg Artists’ Union Since 2002 – St. Petersburg Society of Watercolourists Member 2003 – Personal exhibition in Etlingen (Germany) 2004 – Personal exhibition, "Spring Symphony" in the hotel ‘Russia’ (St. Petersburg) 2005 – Personal exhibition at the Tretyakov Gallery (St. Petersburg) 2002 - 2004 – Cooperation with the magazine Novaya Vesna [New Spring], with publication in "Gallery of Archetypal Symbolism" section 2004 - 2011 – Permanent exhibition participant at the Manege, St. Petersburg 2004 - 2009 – Consultant at Art Paint Factory 2004 - 2008 – Master-Class trainer in various Russian cities 2005 - Exhibited at Third International Biennale "Art Bridge-Watercolour", Manege, St. Petersburg 2006 – Exhibition "Watercolour of Pure Water", Water Museum, St. Petersburg 2007 – 4th International Biennale "Art Bridge-Watercolour", Union of Artists, St. Petersburg 2009 – 5th International Biennale, Smolny Cathedral Exhibition Hall 2009-2012 – Compilation of Catalogue raisonné for G. A. Izrailevich, with presentation at the G. V. Golitsyn Memorial Library in St. Petersburg 2017 – Curator, "Leningrad Lithography: Meeting place", Exhibition dedicated to 1960s Leningrad lithography at the Anna Akhmatova Museum. Co-creator exhibition book 2018 - Exhibition on Ivan Kupala "When the Fern Blooms" in the Anna Akhmatova Museum 2018 - Personal exhibition in Ludwigsburg (Germany), with Natalia Simonenko 2019 – Curator, with M. Stock and R. Brown, "Lithography from Leningrad – The Adventures of Eric Estorick in the World of Soviet Art", Estorick Collection of Modern Italian Art, London, UK Works held in private and museum collections in Belgium, Canada, Germany, Italy, Israel, the United Kingdom, and the United States of America. © 2022 Tatiana Reshetnikova-Momdji Contact: tat.resh@mail.ru

  • Eurasian Galleries

    Grigori Izrailevich (1924 - 1999) - Petersburg Artist

    15 Sep 2021 – 15 Sep 2022

    Grigori Aleksandrovich Izrailevich (1924-1999) 1924 Born in Rostov-on-Don 1930 Moved with his family to Leningrad 1941 Volunteered for the army, and sent to a military school 1946-1951 Studied at the Arts' Academy Architectural Department 1951-1957 Worked at Design Bureau, as an architect 1959 Joined the Artists’ Union Graphics Section 1960-1970 Worked at the Artists’ Union’s Experimental Lithography Workshop alongside famous artists such as Anatoli Kaplan, Grigori Vereisky, Gerta Nemenova, Vera Matyukh, and Aleksandr Vedernikov. In 1961, a group exhibition of the workshop’s lithographs was held at the Grosvenor Gallery in London. An article was published in 'Studio' magazine about the group and featured Izrailevich’s work. Subsequently, the Grosvenor Gallery exhibition opened in New York city at the AAA Gallery. In addition, with 13 other Soviet artists, Grigori’s works were included in a USA travelling exhibition of thirteen Soviet artists. 1960-1966 Worked in sculpture, created portraits of A. Solzhenitsyn, S. Richter, Boyar Morozova, Archpriest Avvakum, as well as portraits of friends. From 1960-1980 Engaged in interior design of public buildings in Norilsk, Murmansk, Vorkuta, Sochi, and Khost. 1990-1996 created a number of Jewish-themed works: 'Tallits', 'Jews', and 'Prophets' (in sculpture). He completed three major paintings: Prayer, the Collapse of the Empire, Prayer for Russia. 1990-1999 Created sculptural portraits of A. Blok, V. Khlebnikov, V. Mayakovsky, B. Pasternak, A. Akhmatova, N. Gumilyov, S. Prokofiev, D. Shostakovich, A. Galich, I. Stravinsky, and O. Mandelstam. 1994-1995 A new direction was devised, the art of ‘Drovism’, involving the creation of images from wooden logs. At an exhibition, 50th Victory Anniversary, at the Artists’ Union, he exhibited ‘Soldier’ made in this manner. 1996-1999 Wrote his memoirs as vignettes and anecdotes. The first edition was printed in 2001 with the title, Puskaya mylnye puzyri. Shchepki drovinisma [Blowing Bubbles: Acute Traces of Absurdity]. 1999 Passed away at the age of 75 in St. Petersburg, Russia. http://www.art-for-home.ru/sculptures.html ================================ Григорий Израилевич (1924- 1999) 1924 родился в Ростове-на –Дону. 1930 переезд с семьей в Ленинград. 1941 ушел добровольцем на фронт, был направлен в Военное училище. 1946-1951 учеба на архитектурном факультете Академии художеств. 1951-1957 работает в ГИПРОГОРе архитектором. 1959 вступление в Союз художников (секция графики). 1960-1970 работает в Литографской мастерской Союза художников вместе известными художниками А. Капланом, Г. Верейским, Г. Неменовой, В. Матюх, А. Ведерниковым. В 1961 г. состоялась групповая выставка литографий в Grosvenor Gallery (Лондон) и вышла статья в журнале «Studio» о коллективе. После этого в составе 13 советских художников Григорий участвовал в передвижной выставке по Америке. 1960-1966 работает в области скульптуры, создает портреты: А. Солженицына, С. Рихтера, боярыни Морозовой, Протопопа Аввакума, а также портреты друзей. 1960-1980 занимается интерьерами общественных зданий в Норильске, Мурманске, Воркуте, Сочи, Хосте. 1990-1996 создает ряд работ на еврейскую тему: серия «Таллесы», «Иудеи», «Пророки» (скульптура). В области живописи выполнены работы: Молитва, Крушение империи, Молитва за Россию. 1990-1999 создает скульптурные портреты А. Блока, В. Хлебникова, В. Маяковского, Б. Пастернака, А. Ахматовой, Н. Гумилева, С. Прокофьева, Д. Шостаковича, А. Галича, И.Стравинского, О.Мандельштама. 1994-1995 придумывает новое направление в искусстве «Дровизмы»- создание образов из деревянных поленьев. На выставке «50-летие Победы» в Союзе Художников выставляет «Солдата», сделанного в этой манере. 1996-1999 пишет воспоминания в виде миниатюр, которые были напечатаны уже в 2001г под названием «Пуская мыльные пузыри». 1999 уходит из жизни. http://www.art-for-home.ru/sculptures.html

  • Eurasian Galleries

    The Scientist's Eye

    19 Jun 2021 – 19 Jun 2022

    Robert M. Brown, Jr. was born on the wind-whipped foothills of the Rocky Mountains. He was raised in a tiny town on the American steppes. Only when he left for Doane College did have his first opportunity to explore beyond the prairie grass. He grew up loving science. He earned a Ph.D. in Chemistry, with an emphasis on analytical chemistry, so he mastered computers, electronics, optics and light. Work assignments took him to Armenia, Belarus, Japan, Mongolia, Russia, Ukraine, U.A.E., and everywhere he took photographs. His work has exhibited in the U.S.A., U.K., Russia, Armenia, and other locations.

  • Eurasian Galleries

    The Leningrad Lithography School

    14 Feb 2021 – 27 Dec 2022

    The Leningrad Lithography School garnered fame and admiration among Russian and foreign art connoisseurs. The finest period is associated with the Experimental Lithographic Workshop at the Leningrad Artists’ Union (1933-1996). From its inception, the Lithography Workshop was a place of refuge for many artists whose creativity did not align with the prevailing canons of Socialist Realism. Leningrad lithography encompassed not only recognisable names, Ermolaev, Kurdov, Matyukh, Nemenova, and Vedernikov. There were also dozens of first-rate artists passed through the Workshop doors, and left their mark on the Leningrad Lithography School. The 44 works presented are from the key period in the Workshop's history - from the 1940s through to the mid-1990s.

  • Eurasian Galleries

    Gershov Conquers London from Leningrad

    23 Sep 2020 – 23 Dec 2021

    Соломон Моисеевич Гершов 23 сентября 1906, Двинск, Российская Империя — 14 июня 1989, Ленинград, СССР К юбилею международного дебюта В 1965 году в галерее Alwin в Лондоне состоялась первая персональная выставка художника Текущая выставка посвящена этому событию и творческому пути художника. Соломон Моисеевич Гершов родился в 1906 году в Двинске в семье ремесленника. Семья переехала в Витебск в 1910 году. С 1916 года Соломон учился рисовать в Витебске в частной Школе рисования и живописи Ю. Пэна. Затем юный художник обучался в 1-м Высшем художественном училище с 1919 по 1922 год у Ю. Пэна и на пленэре у М. Шагала до 1920 года. После окончания учебы в Витебске в 1922 году, по рекомендации он уехал в Петроград. В Петрограде Гершов пытался поступить в Академию Искусств, но не мог сдать экзамены по математике и по физике. Поэтому он поступил в Художественно-педагогический техникум, где обучался с 1922 по 1924гг у А. Эберлинга. Потом во Вхутейне с 1924 по 1928гг художник учился у А. Рылова и в мастерской П. Филонова. С 1926 по 1927гг был членом коллектива П. Филонова «Мастера аналитического искусства». Одновременно он посещает Государственный институт истории искусств, где он учился у К. Малевича. Международные выставки Соломона Гершова в Англии (1965) и позже в США (1972) организовали Герберт Маршалл и его жена Фредда Брильянт. Герберт Персиваль Джеймс Маршалл (1906-1991) был британским писателем, и также занимался кинематографом, театральным дизайном и режиссурой. У него было университетское образование по специальности «русская литература» и в Москве учился в Государственном институте кинематографии у С. Эйзенштейна. Фредда Брильянт (1903-1999) родилась в Лодзи, Польша и была скульптором и актрисой. В 1935 году, когда оба жили в Москве, встретились и поженились. С 1934 года Гершов тоже жил в столице и был членом Московского Отделения Союза Художников. К счастью, на выставке искусств, Маршалл познакомился с творчеством Гершова, и оно сразу произвело на него сильное и прочное впечатление. Маршалл и Брильянт переехали из СССР в Лондон в 1937 году. Затем началась война. Контакт между Гербертом и Соломоном прекратился. Гершов уехал в 1941 году из Москвы с МОСХ-ом в эвакуацию в Новосибирск. В 1946 году он вернулся в Москву, а весной 1948 года был арестован по ст. 58 и сослан в Воркуту на Север. После войны Маршалл искал художника в Москве, где ему сказали, что Гершов переехал в Ленинград. Там к радости в 1963 году в Ленинграде на очередной выставке в залах Ленинградского союза художников (ЛОСХ) они вновь встретились. После встречи Герберт Маршалл захотел познакомиться с другими работами Гершова. Гершов пригласил его в мастерскую, где показал свою живопись и графику, сделанные за эти годы. После внимательного просмотра работ Маршалл заявил, что хочет сделать выставку Гершова в Лондоне и хотел бы купить 15 работ. На выставке 1965 года в Лондоне в галерее Alwin было выставлено более 50 работ художника. Большая часть работ на еврейские темы: история, Библия, духовный мир и бытовые сцены. После успешной выставки в Лондоне в 1965 году Маршалл еще дважды прилетал в Ленинград и купил еще почти 50 работ темперой, гуашью, маслом. В 1972 году Маршалл организовал еще выставку работ художника в США. К этому времени, он работал директором Центр изучения СССР и Восточной Европы, и был профессором в Southern Illinois University. Выставка открылась 26-ого марта в Вашингтоне (округ Колумбия) в Klutwnick Exhibition Hall. Называлась она First American Showing of Living Soviet Artists. Работы Соломона Гершова были красиво выставлены вместе с работами Анатолия Каплана и Александра Тышлера, Александра Фалька и Леонида Пастернака. Потом, в конце апреля, выставка еще побывала в Сан-Франциско, в Нью-Йорке, в Кливленде, в Далласе - всего в девяти штатах. К сожалению, сам Гершов на выставках в Лондоне и Америке не присутствовал. С четырех лет и до конца своих дней Соломон Гершов был и оставался художником. Его талант не погиб и не остался в прошлом. Он с перерывом (ссылки на 12 лет, война), но вернулся к художеству, к искусству. Обладая огромными возможностями как графика, так и живописца Гершов продолжил работать, размышлять об искусстве, о жизни. Он творил в различных техниках: карандаш, фломастеры, акварель, темпера, гуашь, масло, любил смешанную технику, создавая на холстах и бумаге, фольге и газете эмоционально взволнованную подвижную живописную среду. По мнению одного искусствоведа, словно проецируя, он «бросает музыку на лист». Работы художника находятся в многочисленных музейных собраниях России, в том числе в Государственном Русском музее, Государственном музее истории Санкт-Петербурга, Государственном музее истории религии в Санкт-Петербурге, в музее Академии Русского балета им. А.Я. Вагановой, в Государственной Третьяковкой Галерее, в Музее изобразительных искусств в Архангельске, в Псковском государственном объединенном историко-архитектурном и художественном музее-парке, в Музее “Творчество и быт ГУЛАГа” Общества «Мемориал», в Владивостоке в Приморской государственной картинной галерее, в Беларуси в Витебском художественном музее, в Грузии в Государственном музее искусств Грузии, в Латвии в Латвийским национальном художественном музее и в Даугавпилсе в Арт-центре им. Марка Ротко, также в США в коллекции Нортона Доджа, Zimmerli Museum в штате Нью-Джерси, and the Derfner Judaica Museum + The Art Collection at the Hebrew Home at Riverdale, в Нью-Йорке. ******************************* Solomon Moiseevich Gershov September 23, 1906, Dvinsk — June 14, 1989, Leningrad To Mark the 55th Anniversary of the Artist’s International Debut In 1965, the artist’s first solo exhibition took place at the Alwin Gallery in London. The current exhibition is dedicated to this event and the artist's creative path. Solomon Moiseevich Gershov was born in Dvinsk (present-day Davgaupils, Lativa) to a family of artisans. In 1910, the family moved to Vitebsk. From 1916, Solomon studied drawing in Vitebsk at Yu. Pen’s private art school. From 1919-1921, Solomon Moiseevich attended the First Higher Art School and studied plein air with M. Chagall until 1920. Although, Chagall left the country in 1920, Gershov often mentioned him as an important mentor. After completing his studies in Vitebsk in 1922, on recommendation he left for Petrograd. There, he tried to enter the Academy of Arts, but did not pass entrance exams in mathematics or physics. Instead, he entered the Art and Pedagogical College, where he studied from 1922 to 1924 with A. Eberling. He later attended Vkhutein (1924-1928) and studied with A. Rylov, and also in P. Filonov’s workshop. He became a member of P. Filonov’s "Analytical Art Masters" group (1927-1928). During this time, he also attended the State Institute of Art History (ГИИИ) and studied with K. Malevich. The international Solomon Gershov exhibitions in England (1965) and USA (1972) were organised by Herbert Marshall and his wife Fredda Brilliant. Herbert Percival James Marshall (1906-1991) was a British writer who also worked in film, theatre design and directing. He had an education in Russian literature and in Moscow studied with Sergei Eisenstein at the State Institute of Cinematography. Fredda Brilliant (1903-1999) was a sculptor and actress born in Lodz, Poland. In 1935, while both were living in Moscow, they met and married. From 1934, Gershov too was living in the capital, and had become a member of the Union of Artists’ Moscow Division. In these pre-war years, at a Moscow exhibition, Marshall was fortunate to discover Gershov's paintings and was immediately impressed with the artist’s talent. In 1937, Marshall and Brilliant moved to London. Then the war started. Herbert and Solomon lost contact. Gershov evacuated to Novosibirsk with the Moscow Artists’ Union. After the war, Marshall looked for the artist in Moscow, where he was told that Gershov had moved to Leningrad. Fortunately, in 1963 in Leningrad, at a regular exhibition at the Leningrad Union of Artists they met again. Herbert Marshall seized the opportunity to see Gershov's other works. Solomon invited him to his studio and showed paintings and graphics that he had made over the years. After carefully viewing the works, Marshall immediately decided that he wanted to mount an exhibition of Gershov’s works in London and would like to buy fifteen paintings. All the works were exported officially by Herbert Marshall through the USSR Ministry of Culture. At the 1965 Alwin gallery exhibition more than 50 works by Gershov were debuted. Most of the works are on Jewish themes: history, the Bible, the spiritual world, and daily life. After a successful exhibition in London in 1965, Marshall flew to Leningrad twice more and bought almost 50 more works in tempera, gouache, and oil. In 1972, Marshall arranged another exhibition for the artist in the USA. By this time, Marshall was Director of the Center for Soviet and East European Studies, and a professor at Southern Illinois University. The exhibition entitled First American Showing of Living Soviet Artists first opened on 26th March in Washington, DC at the Klutwnick Exhibit Hall. Works by Solomon Gershov were exhibited together with works by Anatoli Kaplan, and Alexander Tyshler, Alexander Falk and Leonid Pasternak for a month. At the end of April, the exhibition travelled to San Francisco, New York, Cleveland, and Dallas, visiting nine states, in all. Unfortunately, Gershov himself was not present at any of these exhibitions. From the age of four until the end of his life, Solomon Gershov was and remained always an artist. His talent did not die and did not remain fixed the past. Despite the interruptions of exile and the war, he consistently returned to his art. He had significant talent both as a graphic artist and as a painter. Gershov continued to work, reflecting on art and on life well until the end of his life. He mastered various techniques: pencil, felt-tip pens, watercolours, tempera, gouache, oil. He loved mixed techniques, creating on canvas, paper, foil and newspaper an emotionally exciting moving pictorial environment. It was as if he was projecting art. According to one art critic, as if projecting, he "throws music on a sheet". The artist's works are found in numerous museum collections, in Russia, including the State Russian Museum, State Museum of History of St. Petersburg, State Museum of Religious History in St. Petersburg, the Vaganova Russian Ballet Academy Museum, the Tretyakov Gallery, at the Archangelsk Art Museum, the Pskov State United Historical-Architectural and Art Museum Park, Memorial Society’s Museum of "Gulag Creativity and Everyday Life", in Vladivostok at the Primoskaya Gosudarstvennaya Kartinnaya Galereya [Primorsky State Picture Gallery], in Belarus at Vitebsk Art Museum, in Georgia at the Art Museum of Georgia, in Latvia at Riga’s National Art Museum and in Davgaupils at the Mark Rothko Art Centre, as well as in the USA at the Norton Dodge Collection, Zimmerli Museum in New Jersey, and the Derfner Judaica Museum + The Art Collection at the Hebrew Home at Riverdale, New York.

  • Eurasian Galleries

    The Etchings of Faith ~ Вера в офортах

    15 Sep 2020 – 15 Nov 2021

    To commemorate 110 years since Vera Matyukh's birth, art historian Nikolai Kononikhin, publisher Kirill Avelev, and sponsor Igor Sukhanov, together have created a limited-edition album of five Matyukh etchings printed from her original zinc plates, recently discovered by her grandson. The Album complements the monograph: Faith: The Life and Creativity of Vera Matyukh released in August, 2020 on the artist's birthday. Highlights from the monograph and Vera's work are presented in the complementary exhibition, "Вера - Faith". Vera Fedorovna Matyukh (1910-2003) lived a long life, and was intensively active in her craft for over 70 years. She had managed to absorb Russian avant-garde traditions first-hand. She learned about Constructivism during her studies in Kharkiv from Vasili Ermilov; the Mikhail Matyushin, Pavel Filonov and Kazimir Malevich systems from Pavel Kondratiev; the GINKhUK (State Institute of Artistic Culture) methodology from Lev Yudin and Konstantin Rozhdestvensky; and lithographic plasticity from Georgiy Vereisky and Nikolai Tyrsa. After the war, she worked at the Leningrad Experimental Graphics Workshop alongside Aleksandr Vedernikov, Boris Ermolaev, and Anatoli Kaplan. In 1961, works by this group were featured at the legendary exhibitions, organised by Eric Estorick, in London and New York. ************************************* К 110-летию со дня рождения художника Веры Матюх, искусствовед Николай Кононихин, издатель Кирилл Авелев и попечитель Игорь Суханов издали альбом офортов - 40 нумерованных экземпляров и IV авторских комплекта - отпечатанных с оригинальных авторских цинковых досок. Альбом дополняет монографию "Вера: жизнь и творчество Веры Матюх", вышедшую в августе 2020 года в день рождения художницы. Ключевые работы Веры представлены на выставке "Вера-Faith". Вера Федоровна Матюх (1910-2003) прожила длинную жизнь. Творческая деятельность длиною в 70 лет до последних дней шла с нарастающей активностью. Она впитала традиции русского авангарда из первых рук: конструктивизм от Василия Ермилова в годы учебы в Харькове, системы Михаила Матюшина, Павла Филонова, Казимира Малевича – от Павла Кондратьева, методологию Гинхука - от Льва Юдина и Константина Рождественского, пластику литографии – от Георгия Верейского и Николая Тырсы. После войны она работала в Экспериментальной литографской мастерской бок о бок с Александром Ведерниковым, Борисом Ермолаевым, Анатолием Капланом. В 1961 году участвовала в легендарных выставках ленинградских художников-литографов в Лондоне и Нью-Йорке, устроенных Эриком Эсториком.

  • Eurasian Galleries

    Gerta Nemenova - Leningrad Parisian - 115th Anniversary Exhibition

    16 Oct 2020 – 16 Sep 2022

    Gerta Nemenova (1905-1986) People who knew Gerta Nemenova remember her as, “An unusual artist and a very unusual person. Her way of thinking, way of life, her art, all were strange and unacceptable for some, and highly attractive for others. The obvious talent, conviction of views on art, and undoubted decency attracted many to her, and she had a stable group of loyal friends of various ages”. (1) Gerta Nemenova (1905-1986) was born in Berlin, where her father, M. I. Nemenov, future founder of the Institute of X-Ray and Radiology (1918) and Leningrad Military-Medical Academy X-Ray Department Head, was studying to be a doctor, She studied at the Academy of Arts in Leningrad (1925-1929) with Petrov-Vodkin and Nathan Altman. She participated in exhibitions from the age of eighteen, and first presented work at the 1923 Exhibition of Paintings of Petrograd Artists of All Directions, and then in the Third Exhibition of the “Circle of Artists” in 1929. For Nemenova, travel to Paris (1929-1930) became the turning point in her life and creativity. There, she studied at the Academie Moderne with Fernand Leger. Natalya Goncharova and Mikhail Larionov looked after her. Larionov on occasion even introduced her to Pablo Picasso. During the little over a year spent in Paris, Nemenova used her time productively. “Autumn 1930, she managed to exhibit one of her canvases at the Salon d'Automne, and five at the 3rd Salon des Indépendants. It was an unquestionable success, and Gerta Mikhailovna carried the memory through her entire life. Overall, the comparison to Paris and to contemporary French art remained a theme for her until the end of her days. Would her new works compete with the French? That thought was always troubling her, wounding her at different periods of her life, right up until her last years. Perhaps, for this reason, participation in Leningrad and domestic exhibitions in general was not of interest.”(2) During the 1950’s, she was a frequent visitor to Anna Akhmatova at the Fountain House, and in 1957 she made a few pencil sketches which became the basis for the [portrait] lithograph [of Akhmatova]. “Evidence of Akhmatova’s affinity for the art of Gerta Nemenova is evidenced in a dedication inscription in one of the few poetry books from those years, “To Gerta Nemenova – author of strident and interesting portraits. Akhmatova 18 Apr. 1961.” (3) The N. V. Gogol portrait (1959) brought Nemenova world-wide success, and became one of the portraits from her gallery of artistic and cultural portraits not executed from life: Franz Kafka (1966), F. Dostoevsky (1968), A. Blok (1970), A. Greene (1973), A. Pushkin (1976), B. Pasternak (1977), Charlie Chaplin (1970’s) and K. Malevich (1985). Izrailevich along with Nemenova, were introduced to Valentin Levitin and Zhanna Brovina (and Zhanna’s portrait, Nemenova completed later) and through them they met other representatives of the unofficial Leningrad culture scene. In the 1970’s, Nemenova’s place became a hub for artists, poets, artists of the underground. The poets K. Kuzminsky, V. Eril, E. Bogdanov visited her, as well as the artists, A. Belkin, and E. Mikhnov-Voitenko. In the 1980’s, Timur Novikov, future leader of the neo-academics movement also visited. All of them were attracted to the bright personality and unusual artistry of Nemenova, her honesty and the strength of her art. On one of the posters for a posthumous Nemenova exhibition the artist’s words are quoted: “Everything in art is permitted – thus I take the path of tyranny and oppose it (this way) in all systems. This “visible” tyranny consists of components, the inter-connection is subject to tight control “within oneself” in the process of work. It is selection and judgement and experience that is the unexpected arising in the process of the work, then to be either accepted or rejected. The advantage of this path – it is genuine, not invented after everything has been done by someone. It is difficult to work each time like the first time; but if you win, you have created something unlike anything else ever. These systems are also arbitrary. A few rules, diagrams and methods help to do something, but these schools, without your own processing will remain mechanical imitation, or at best – a deviation.” (4) Recollections of Grigori Izrailevich (1929-1999) It brings me great joy to think about and remember her. This was a person of tremendous talent, taste and goodwill. When I was being admitted to the Artists’ Union Section Bureau, I organised an exhibition, well actually kind-hearted Pavel Ivanovich Basmanov organised it. Ten people were present at the Bureau. The Section Chairman Vetrogonsky, a deeply unprincipled fellow, said: “In controversial instances I have two votes and vote against”. A long uncomfortable silence reigned. When suddenly – a miracle: the door swung open and in came Vera Matyukh, a Bureau member. “What wonderful works. I vote – Yes!” Suddenly, the situation turned in my favour, 5-6. Gerta was pacing outside the door the entire time and worrying. “Congratulations!”, she said. “So, there is justice.” My candidacy passed to the Board unanimously. Gerta usually would come to print at the workshop at the end of the day. It seemed that she would always be caught up in some escapade. She was often backstage at the theatre, first they would let her in, then not let her in, then there would be some stories of strange encounters – and I would listen attentively, understanding nothing. Her appraisals were always sincere. Once, I showed her some of my monotypes. She commented, “I cannot understand, is it rubbish or wonderful?” Incidentally, that always remained a question for me as well. Gerta called and asked to stop by to collect some works. I said to her, “Gerda dear, no matter what you do, it is always Nemenova, everything else is unimportant”. She as no one else had mastery of sketch art. Always sharp, laconic and interesting. She drew in such as way as to feel her subjugation of the material. There was a tension, a strength. She expressed haute culture. The fact that she lived for a long time in Paris with Larionov and Goncharova, studied with Fernand Leger was evident. She had exquisite taste and most importantly sincere appraisals. Gerta loved to discover people, I would not say talents. And in a way, she collected them. She was ill for a long time. I visited her at the hospital, sat next to her, offered her fruit that I brought, or water. With a weak gesture, she once shooed me away, as if she wanted to sleep. I told the duty nurse that I would walk in the Sosnovyi Park nearby and return in two hours, but by then she was gone. The last years, she would say when she saw me, “Shave that vile beard! You were such a D’Artagnan!” Most of all I enjoyed looking at her drawings – the drawings and sketches were closer to my heart, especially the drawings that were executed as if with one line. If for the Japanese, or Chinese artist this is natural, a European injects more into a picture, to perfection, to busyness. I love the sketch, but especially the one in which there is both tension and though, and naturally a sketch must be laconic, as a rhyme. Gerta Nemenova’s great creativity distilled into her concise drawings. She despaired that few bought her works, I assured her that this was out of ignorance.(5) 1. Yuri Rusakov , Gerta Nemenova, Exhibition Catalogue, Muzei Akhmatovoi v Fontannom Dome, (St. Petersburg: AO “Arsis”, 1993) 2. Ibid, p. 4 3. Ibid, p. 9-10 4. Kononikhin, Nikolai, Leningrad Lithography: Meeting Place, St. Petersburg: 2017 5. Izrailevich, Grigori, from: Puskaya mylnye puzyri. Shchepki drovinisma [Blowing Bubbles: Acute Traces of Absurdity], 2nd Edition, Moscow: 2003.

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    Вера - Faith

    20 Aug 2020 – 20 Nov 2021

    Vera Matyukh (1910-2003) absorbed Russian avant-garde traditions first-hand. She learned about Constructivism during her studies in Kharkiv from Vasili Ermilov; the Mikhail Matyushin, Pavel Filonov and Kazimir Malevich systems from Pavel Kondratiev; the GINKhUK (State Institute of Artistic Culture) methodology from Lev Yudin and Konstantin Rozhdestvensky; and lithographic plasticity from Georgi Vereisky and Nikolai Tyrsa. After the war, she worked at the Leningrad Experimental Graphics Workshop alongside Aleksandr Vedernikov, Boris Ermolaev, and Anatoli Kaplan. In 1961, works by this group were featured at the legendary exhibitions, organised by Eric Estorick, in London and New York. As a German woman, born in Berlin, where she lived until the age of 13, Matyukh perceived Russian reality with a particular insight. She was independent and acted in her own style, able to shape ideas that she gathered from listening to others into her own personal forms. Thus, she managed to express so prodigiously a “plastic image of the time” from the Thaw to perestroika. Vera Matyukh is a recognised master of coloured lithography. For the first time, other aspects of her oeuvre are presented including painting, and watercolour. In the book published for the anniversary, Faith: The Life and Creativity of Vera Matyukh, her etchings, drawings, and book illustrations are also included. Works exhibited are from the Matyukh family’s bequest, the private collections of Anna and Leonid Frants, Marina and Nikolai Kononikhin, Marina and Mikhail Karasik, and other collectors. Вера Матюх (1910-2003) впитала традиции русского авангарда из первых рук: конструктивизм от Василия Ермилова в годы учебы в Харькове, системы М. Матюшина, П. Филонова, К. Малевича – от П. Кондратьева, методологию Гинхука - от Л. Юдина и К. Рождественского, пластику литографии – от Г. Верейского и Н. Тырсы. После войны она работала в Экспериментальной литографской мастерской радом с А.Ведерниковым, Б.Ермолаевым, А.Капланом, в 1961 году участвовала в легендарных выставках в Лондоне и Нью-Йорке, устроенных Эриком Эсториком. Немка по рождению (родилась и до 13 лет прожила в Берлине) Матюх особенно остро восприняла российскую действительность. Она слушала многих, но делала все по-своему, и оказалась способной воспринять и развить полученные идеи в свои формы, монументально выразить «пластический образ времени» от «оттепели» до «перестройки». Ее искусство не имеет аналогов. В. Матюх – признанный мастер цветной автолитографии. Впервые здесь представлены и другие виды творчества художника: живопись, акварель. В книге, будут тоже ее офорты, рисунки, и книжные иллюстрация. Произведения выставлены из семейного наследия В. Матюх, частных собраний Анны и Леонида Франц, Марины и Николая Кононихиных и других коллекционеров. About the Author Nikolai Kononikhin, an art historian and collector, knew Vera Matyukh in the 1990s. He interviewed her in 1999. He transcribed the personal correspondence of Pavel Kondratiev, an important mentor for Matyukh. At the author’s request, the artist chronicled her own recollections about Kondratiev. Since 2015, Kononikhin has been studying and inventorying Matyukh’s creative legacy. In addition to Matyukh’s oeuvre, Kononikhin researches artists from Pavel Kondratiev’s circle and the Leningrad Experimental Graphics Workshop. The author has penned art history articles for publications including, Artists of the “Apollon” Society (1999, Praksis), Vera Matyukh: A Plastic Image of Time (2015, Central Exhibition Hall, Manege, St. Petersburg, RF), Vera Matyukh and Boring Places (2016, DK Gromov, St. Petersburg, RF), Vera Matyukh: Watercolours (2017, “Tsarskoe Selo Collection” Museum, St. Petersburg, RF), Leningrad Lithography: Meeting Place (2017, Museum of Anna Akhmatova, St. Petersburg, RF), Vera Matyukh: Experiments (2018, Museum of the Petersburg Avant-Garde, St. Petersburg, RF), Vladimir Zhukov: In the Circle of Pavel Kondratiev (2018, Museum of Non-Conformist Art, St. Petersburg, RF), Lithography from Leningrad: Eric Estorick’s Adventure in Soviet Art (2019, Estorick Collection of Modern Italian Art, London, UK). The Frants Art Foundation is a private initiative founded to support artistic developments in Saint Petersburg. The Foundation's activities include art album and book publishing, art exhibitions and festival organisation, and direct support for Saint Petersburg artists with grants and scholarships. The Foundation supports CYLAND Media Laboratory (2006-2020), Cyberfest Festival (2007-2020), as well as exhibitions and publications including: "Valentina Povarova", "Maria Gorokhova", "Lyudmila Kutsenko" (all 2012), Drugoi LOSKh" (2015), "Leningrad Lithography: Meeting Place", and "Personal Motive" (2019). Об авторе Николай Кононихин (р.1959, искусствовед, коллекционер) был знаком с В. Матюх в 1990-е годы, сделал с ней интервью (1999), расшифровывал письма П.Кондратьева, по его просьбе были написаны Воспоминания В. Матюх о П. Кондратьеве. С 2015 года разбирал и систематизировал наследие В. Матюх. Исследователь творчества В. Матюх, художников круга П. Кондратьева и Экспериментальной литографской мастерской. Автор искусствоведческих работ для изданий: «Художники общества «Аполлон»» (1999, Прэксис), «Вера Матюх. Пластический образ времени» (2015, ЦВЗ «Манеж»), «Вера Матюх и скучные места» (2016, ДК Громов), «Вера Матюх. Акварели» (2017, Музей «Царскосельская коллекция»), «Ленинградская литография. Место встречи» (2017. Музей А.Ахматовой), «Вера Матюх. Эксперименты» (2018, Музей петербургского авангарда), «Владимир Жуков. В круге Павла Кондратьева» (2018, Музей нонконформистского искусства), «Lithography from Leningrad. Eric Estorick`s Adventure in Soviet Art» (2019, Estorick Collection of Modern Italian Art, London) и др. Фонд Frants Art Foundation — частная инициатива, основанная c целью поддержки художественных процессов в Санкт-Петербурге. Деятельность фонда включает в себя публикацию альбомов и книг по искусству, организацию выставок и фестивалей искусства и поддержку художников Санкт-Петербурга посредством грантовых программ и стипендий. Основатели фонда осуществляют поддержку медиалаборатории «CYLAND» (2006-2020), фестиваля «Киберфест» (2007-2020), а также выставок и изданий: «Валентина Поварова», «Мария Горохова», «Людмила Куценко» (все 2012), «Другой ЛОСХ» (2015), «Ленинградская литография. Место встречи», «Личный мотив» (2019) и другие.

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    Lithography from Leningrad: Eric Estorick's Adventure in Soviet Art

    19 Nov 2019 – 27 Dec 2022

    This virtual exhibition is a recreation of the commemorative show held in November 2019 at the Collection. drawn from private collections in Russia, United Kingdom and United States and is a recreation of an important exhibition organised at the Estorick Collection of Modern Italian Art in London. Lithography from Leningrad Eric Estorick’s Adventure in Soviet Art During the early 1960s, when Eric Estorick was running London’s Grosvenor Gallery, he developed a strong interest in Soviet art alongside his passion for modern Italian painting. He had visited Leningrad’s Experimental Graphics Laboratory (LEGL) in 1960, and was so impressed that he bought several hundred works on the spot. In 1961 he mounted a landmark exhibition of Soviet prints titled Lithographs by Twenty-seven Soviet Artists, fifteen of whom are represented in this small display. The 1961 exhibition created a sensation in London, and for a number of years Estorick’s gallery hosted a stream of shows featuring work by artists from the Soviet Union. For the first time since the Russian Revolution, Westerners were able to see and acquire contemporary art from the USSR. In contrast to prevailing stereotypes about Socialist Realism, garnered at government-sponsored shows, these lithographs expressed an unexpected vitality, modernity and humanity, evoking simple pleasures and the poetry of everyday life. The artists’ commitment to the medium of printmaking was of fundamental importance, allowing them to make their imagery accessible to the widest possible audience. Grigori Izrailevich, one of the artists associated with LEGL, later recalled: “It was a remarkable place in our Leningrad artistic life, where freedom reigned during the darkest times […]. It was a place where the spirt of art prevailed, where it was possible to create lithographs with no worry of Party dictates.” The prints produced by LEGL are a testament to the fact that imagery produced at the ‘periphery’ of the art world can be just as stimulating and rewarding as that produced in the acknowledged centres of stylistic innovation, evolving in its own distinctive manner. If there are distant echoes of Modigliani and Picasso in the figures of Aleksandra Yakobson’s Scoreboard, her images remain quintessentially Russian in character, as do the prints of Yuri Vasnetsov, which evoke the style of popular lubki, and Boris Ermolaev’s depictions of farm workers, whose simple forms recall the mannequin-like peasants painted by Malevich during the late 1920s. Following Estorick’s initial London show, other private collectors and museums began to acquire works by these artists. Coinciding as it did with a resurgence of cultural ties between the Soviet Union and the West, Estorick’s adventure in Soviet art proved to be something of a historical milestone. With thanks to the Estorick Collection of Modern Italian Art, Michael Estorick, Roberta Cremoncini and Christopher Adams. The next exhibition in the series planned for 2021.

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    Aron Zinshtein: City Life Musings in Paint

    27 Aug 2021 – 22 Jun 2022

    Aron Zinshtein lives and works in St. Petersburg, Russia. His masterpieces are found in major museums and private collections in Russia, Europe and the United States. Aron’s individualised style and joy-filled depictions of city life garner him the moniker "Russian Matisse". Life Deciphered Through Paint by Aron Zinshtein https://www.amazon.com/dp/1006588272/ref=cm_sw_r_tw_dp_4VGQMXG66RHAKDKYX144

    latest works

    • Aron Zinshtein

      Zagorodny Prospect, 2008
      62 x 86 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Motya, 2020
      62 x 44 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Players, 2007
      50 x 70 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Regatta on the Fontanka, 2020
      46 x 64 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Family, 2019
      75 x 54 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Conversation, 2016
      60 x 46 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Tanya and Sam, 2007
      70 x 50 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Ancient Music Ensemble, 2001
      50 x 75 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Philharmonic, 1997
      55 x 75 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Aleksandrinsky Theatre, 2018
      60 x 80 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Festival on the Neva, 2014
      60 x 80 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Escalator, 2003
      70 x 55 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      In the Metro, 2001
      70 x 50 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Houses on the Petrograd Side, 2019
      80 x 60 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Winter on the Fontanka, 2019
      49 x 64 cm (h x w)
      #Gouache on Paper
    • Aron Zinshtein

      Dancing Couples, 2019
      60 x 50 cm (h x w)
      #Gouache on Paper
    • Tatiana Reshetnikova-Momdji

      Rozhanitsa
      50 x 50 cm (h x w)
    • Tatiana Reshetnikova-Momdji

      Makosh
      50 x 50 cm (h x w)
    • Tatiana Reshetnikova-Momdji

      Harlequin, 2019
      50 x 40 cm (h x w)
      #Acrylic on Canvas
    • Tatiana Reshetnikova-Momdji

      Hey, You over there!, 2021
      70 x 45 cm (h x w)
      #Acrylic on Black-Paper