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CARELIN
VYACHESLAV DMITRIEVICH
(1938 - 2018)
Crimean artist-painter, whose career from the twentieth century to the twenty-first, is full of drama and devotion to art. This is the path of a bright individuality, full of internal contradictions, of a bright character, which turned out to be at the turn of two centuries.
In 1966 he graduated from the Crimean Art College. N.S. Samokisha (design department). Teachers - E. Geyts, V. Sobol, K. Chursin.
Since 1969 - a participant in city, regional, republican and all-Union exhibitions (Simferopol, Kiev, Moscow, Odessa, Lviv). He was a participant in the exhibition of modern livestock * Blue Roads * in the Manege (Moscow), in the 1980s - in the exhibitions * Southern Avant-Garde * (Moscow, Odessa).
Since 2009 - Member of the National Artists Union, and since 2014 - Member of the Union of Artists of Russia.
The works of V. Karelin are stored in many private collections in Ukraine, Russia, Poland, Germany, France ...
Singer of the Crimea, an optimist whose life purpose was painting and communication. He expressed all the power of love for the Crimean land, for the Southern coast of Crimea in his canvases. The sincerity and truthfulness of the work of Vyacheslav Karelin, who always balanced on the verge of the permissible, on the verge of the possible, not only could, but also irritated the professionals, brothers in the workshop. And yet he was recognized, adopted in this difficult world, despite the properties of character so special, so unique that it remains to pity those who did not know him personally. Confirmation of these qualities can be people far from art, intuitively drawn to his paintings, as if they recognized in them the truth about the world, understandable from birth, accessible to absolutely everyone.
The artist’s approach could seem unnecessarily simple, at times rude, but this is far from the case. In the complete absence of external pathos attributes, he was a true gourmet of painting. Painting was not a profession, it was his essence. He never acted spontaneously. Every
the study became the study of the laws not so much of composition as of being itself.
The first thing that strikes you when you get acquainted with the artist’s painting is the enormous freedom and variety of what can be called a way of living at a certain point in time. The word "reception" is not suitable here. This concept is not from his world at all. His specific decision in a specific work is marked by the fresh breath of the moment, expresses a lively reaction to living circumstances of life. Here is the weather, and the place, and the company,
and lack of company. More than once, being an eyewitness of his leisurely battle with the canvas, I can attest to how deeply he penetrated the essence of the motive. Being firmly attached to nature, to plein air, he was not in her slavery. Invented by him, was invented by nature itself.
VYACHESLAV DMITRIEVICH
(1938 - 2018)
Crimean artist-painter, whose career from the twentieth century to the twenty-first, is full of drama and devotion to art. This is the path of a bright individuality, full of internal contradictions, of a bright character, which turned out to be at the turn of two centuries.
In 1966 he graduated from the Crimean Art College. N.S. Samokisha (design department). Teachers - E. Geyts, V. Sobol, K. Chursin.
Since 1969 - a participant in city, regional, republican and all-Union exhibitions (Simferopol, Kiev, Moscow, Odessa, Lviv). He was a participant in the exhibition of modern livestock * Blue Roads * in the Manege (Moscow), in the 1980s - in the exhibitions * Southern Avant-Garde * (Moscow, Odessa).
Since 2009 - Member of the National Artists Union, and since 2014 - Member of the Union of Artists of Russia.
The works of V. Karelin are stored in many private collections in Ukraine, Russia, Poland, Germany, France ...
Singer of the Crimea, an optimist whose life purpose was painting and communication. He expressed all the power of love for the Crimean land, for the Southern coast of Crimea in his canvases. The sincerity and truthfulness of the work of Vyacheslav Karelin, who always balanced on the verge of the permissible, on the verge of the possible, not only could, but also irritated the professionals, brothers in the workshop. And yet he was recognized, adopted in this difficult world, despite the properties of character so special, so unique that it remains to pity those who did not know him personally. Confirmation of these qualities can be people far from art, intuitively drawn to his paintings, as if they recognized in them the truth about the world, understandable from birth, accessible to absolutely everyone.
The artist’s approach could seem unnecessarily simple, at times rude, but this is far from the case. In the complete absence of external pathos attributes, he was a true gourmet of painting. Painting was not a profession, it was his essence. He never acted spontaneously. Every
the study became the study of the laws not so much of composition as of being itself.
The first thing that strikes you when you get acquainted with the artist’s painting is the enormous freedom and variety of what can be called a way of living at a certain point in time. The word "reception" is not suitable here. This concept is not from his world at all. His specific decision in a specific work is marked by the fresh breath of the moment, expresses a lively reaction to living circumstances of life. Here is the weather, and the place, and the company,
and lack of company. More than once, being an eyewitness of his leisurely battle with the canvas, I can attest to how deeply he penetrated the essence of the motive. Being firmly attached to nature, to plein air, he was not in her slavery. Invented by him, was invented by nature itself.
