Even in the era of pointless creativity, artists continue to appreciate those periods in art when it strove for the geometric organization of composition - that is, what Plato said: “Colors and sounds are all the more beautiful when they strive for geometric shapes according to the inspiration they deliver ...”. The beauty of the construction of the works of medieval icon-painting art - just like Velazquez and Zurbaran - was lost by the following generations, then to reappear in Poussin, and then in Cezanne, who discovered again that everything is spherical in nature. Cezanne's geometric object-spatial constructions enlivened even the still life of still life. Then the Cubists, following the idea of Plato, began to build geometric structures. Vasily Kandinsky came to the musicality of the fugue - the consonance of graphic elements, to their maximum freedom in the sound of color designs. His like-minded Boris Smirnov-Rusetsky, who knew Kandinsky personally, as well as Nikolai Roerich, paid for his stay in the Gulag to preserve this continuity in his work. The last lifetime work of the master, belonging to his pointless cycle, opens the exhibition “Signatures of Platonic Ideas”, like a thread leading from the Silver Age - and from the era of the Russian avant-garde - to which he had the happiness to belong, like a relay race, like a message from Vasily Kandinsky and Nikolai Roerich transferred to the artists of modern Petersburg.
Exhibitors: Boris Smirnov-Rusetsky, Alexey Talashchuk, Alena Alferova, Larisa Astrain, Vladimir Zagorov, Alexey Smolovik, Alexander Kozhin, Mikhail Tsarush