Логотип Арт-город

Kurov Vadim

Graduated from LVPHU named after V.I. Mukhina. Painter. Member of the SP SHR and the International Federation of Artists. The works are in the collections of the Museum of Theatrical and Musical Art of St. Petersburg, the Ministry of Culture of the Russian Federation, the Directorate of Museums of St. Petersburg, the State Museum of Fine Arts of Kazan (Tatarstan), the Georges Pompidou Museum, Dimon Hill, the Los Angeles Cultural Center, the Museum of Modern Art (Miami, USA).


White constant rains stand over the city most of the time of the year. A person needs to be a truly optimistic person in order to paint bright, excited canvases here, on the banks of the silver-lead Neva. And if this piercing brightness does not disappear even in our restless, anxious time, then the artist who owns such a secret is truly talented.

Vadim Kurov is bright, multifaceted and fantastic. In our sober time, he does not have time to admire women, dances and dancers, the great mysteries of the past of Russian culture. “The Princess of the Silver Age” – Anna Akhmatova, the female bard of our days – Veronika Dolina. The muse of the inspirer of I. Turgenev, Polina Viardot, and the feminine, excited literary heroine “Lady with a Dog”, a ballerina preparing for a benefit and a poetess rushing in front of the image of future lines that appeared out of nothing.

The artist himself appears to us as a poet of painting.

Usually the painters of St. Petersburg paint gray, graphic and, most importantly, literary canvases — compositions. Delicate pink, bright green, piercing blue, filled with pure noble color paintings by V. Kurov affect primarily emotionally, touching with brightness or sadness, excitement or thoughtfulness. His portraits are not collected academic images, but uninhibited reflections of the master before what he just saw in front of him.

Vadim Kurov is a participant of exhibitions in the Central Exhibition Hall, a member of the four expositions “New Romantics of St. Petersburg”, surprises his audience every time, offering new and new images, solutions and major finds.

Here is a series of pictorial masks invented by himself – good and evil, fantastic and philosophically cold. From such masks and images, still lifes are formed in the restrooms (dressing rooms) of actresses behind the stage, they form the idea of a portrait of “Marlene Dietrich” with a mask on her head. Finally, in a community with gloves, icons, glass household items, they — masks – organize unique still lifes – in which they live a mysterious life.

His series “galactic” and “chess”, with a subtle color sound, make you think about the meaning of life, about the bitterness and sweetness of the relationship between a man and a woman, wealth and poverty, talent and mediocrity.

As if trying to fit the opinion of masters who have left art, V. Kurov paints portraits of “his” Matisse, “his” Dali, “his” Toulouse-Lautrec, and we understand, looking at these restless faces, that each of these giants of painting was able to reveal to the Russian master, if not his own secret, then the ways of comprehending himself. And this is really true – you can’t confuse the artist’s painting with anything, you don’t get tired of being surprised by it and finding harmony with your own heart.

The undisputed inventor recently discovered a move that turned his canvases into even more theatrical and scenic. Using a simple frame from the painting painted on canvas, he, as a brave director, “let out” his heroes and heroines from this closed fence to meet with the viewer. One of the paintings in this series bears the symbolic name “The Holiday of Russian Art”.

Spots and planes on the canvas shimmer like the facets of a precious stone, and ballerinas and gypsies, musicians with drums or violinists appear from them, which means that painting as a theater, as music can fascinate, attract and be remembered, thanks to the talent of the artist.

Yuri Gogolitsyn (art critic), 1996.