Dmitrieva Anastasia Dmitrievna
Born on March 14, 1959 in Moscow. In 1984, she graduated from the Moscow State Art Institute named after V.I. Surikov, Faculty of Graphics. Participated in republican and all-union exhibitions. Since 1987, she has been involved in painting. Since 1989, she has collaborated with several galleries in Italy.
Works in collections
Works are held in private collections in Russia, Italy, France, USA, UK, and Cuba.
Exhibitions and auctions
1982 "Youth of the Country," All-Union exhibition dedicated to the XIX Congress of the Komsomol, Central Exhibition Hall "Manege," Moscow;
1982 Participation in the competition for the best poster about traffic rules, exhibition, third prize, M. Gruzinskaya 28, Moscow;
1984 Graduation exhibition, Academy of Arts, Moscow;
1987 Exhibition dedicated to the International Women's Congress, House of Artists at Kuznetsky Most 11, Moscow;
1987 Seventh All-Union Poster Exhibition, Moscow;
1988 Moscow Youth Exhibition, Central Exhibition Hall "Manege," Moscow;
1992 Exhibition at the University of Naples, Italy;
1992 Exhibition for the opening of the "Melikhov" gallery, Museum of Folk Art, Moscow;
1993 "In Bright Memory of the Tishinsky Market," M. Gruzinskaya 28, Moscow;
1993 New Year's Exhibition, M. Gruzinskaya 28, Moscow;
1994 Solo exhibition, Lavrushinsky pereulok 15, Moscow;
1995 Exhibition of paintings by Russian artists, Russian Enterprise Museum, Stremyanny pereulok 28, Moscow;
1995 "Contemporary Russian Art," "Helicon" gallery, Moscow;
1995 "Tsvetnoy Boulevard," "Raissa" gallery, Erfurt, Germany.
Author about himself
Romanesque style in architecture is the closest and most resonant for me. I am attracted by its simplicity, conciseness, and complete absence of decoration. Everything in it comes from the content.
In my works, I strive to achieve at least part of the same. I love large forms and masses; I try to avoid excessive detail and specifics. For me, there are three fundamental concepts that allow a work to exist: composition, color, content. Only when these 'components' are combined in the right proportions can the viewer experience joy from interacting with a painting or any other work. I believe that, above all, a person—both viewer and artist—should derive joy from a work of art. Art should not be straining; it has no right to be!
In my works, I try to achieve a feeling of joy through the play of color. This is a wonderful, fascinating game that first the artist, then the viewer, plays. The most pleasant part is the opportunity to paint a local, at first glance, picture, incorporating all the charm and riot of a child's kaleidoscope.
But color cannot exist without composition. It must be flawless. My teachers’ explanations of what composition is never took root in me. I am guided by a phrase my grandmother (G. Shubina) said in response to this question: "Let your hand go and it will draw by itself as needed!" I understand this deeper and deeper with each new painting.
The content of my works is quite simple: still lifes, landscapes, portraits, and of course, my favorite animals.
In any work, I discard total transfer of everything seen to the canvas. I only accept the most careful selection. I try to avoid randomness. When working, I communicate with a single object or character, giving it all my attention, care, and interest. Studying it, merging with it, loving only it, admiring only it—this I learned from D. Krasnopevcev.
About all my works I can say that they are pure realism, because all my paintings are sensations from absolutely real things, people, events, nature, animals.
R.B. Klimov "Nastya Dmitrieva" 1994.
Critic
...Her painting is characterized by a distinct sense of homeliness, the comfort of a familiar environment, regardless of the genre chosen by the artist. Nastya's painting could be called 'domestic'. Even the landscape becomes 'domestic'. Emphasized rounded lines and an extremely balanced and muted color scheme may remind attentive viewers of many things. The principal position emphasized by the artist has its roots, above all, in the traditions of Russian art.
The artist loves the play of color spots and, importantly, is interested specifically in "play", not simply the juxtaposition of color planes in a composition. The highly memorable Falk-like plasticity of the color spots is again found in Nastya's equally melancholic Moscow painting.
Sharif Shukurov
Bibliography
Arutyunova-Ilikhina "Melikhov paintings are displayed alongside folk art", "Kommersant-DAYLI", N12, 26.01.1993;
A. Shundrin "Impulsive painting near the Tretyakov Gallery", "Utro Rossii", N13, p.2, 31.03.1994;
A. Shundrin "Anastasia Dmitrieva appeared in her homeland", "Vecherniy Klub", N65-66, p.1, 26.03.1994;
O. Sergeeva "Not stokers and not carpenters, but a dynasty as well", "Delo", N15, p.8, April 1994;
"Surikov Institute diplomas", "Vechernyaya Moskva", 29.07.1984;
"Drei Generation Russische Malerinnen stellen in der Galeria 'Raissa' aus Erfurt, 'Thuringische Landeszeitung', 17 November 1995.
Works 10
