Jalansky Andrey Viktorovich – the painter, the National artist of Ukraine, a member of the National Union of artists of Ukraine
10/19/1959 was born to Kiev.
1977-1978 studied in V.I.Zaretskogo’s private studio
1978-1984 training at the Kiev state art institute which has ended in masterful easel painting of the professor of V.Shatalina
1988-1991 passed training in creative workshops of Academy of Arts of the USSR at professor T.N.Golembievsky.
The continuer of high traditions of subject realistic painting, gives special attention to an open-air, studies effects of the sveto-air environment, works in all genres, but mainly in a genre of a classical traditional landscape of a realistic direction. The choice considers as creative credo, without aspiring to be «the fashionable innovator». Its landscapes are filled by breath of human presence, even if the person “behind a shot” as architectural motives are often represented. It can be and a warm man-made Ukrainian hut, and St. Mark’s cathedral to Venice, and magnificent architectural constructions of Paris or London.
Teaches in fine arts and architecture Academy, is the senior lecturer of chair of painting and a composition, the dean of faculties of the fine arts.
From 1981 products of the artist are exhibited at domestic exhibitions
From 1986 products of the artist are exhibited at the international exhibitions
Exhibitions:
1995 Toulouse, France
1996 Bordeaux, France
(October, 1996th) an exhibition «Realism and Impressionism from Ukraine», in art centre Aberdeen, Scotland
1997 Seoul, South Korea
1997 Edmonton, Canada
1997 works were exposed and on sale at auctions Phillips and Cristie’s
(March, 1997th) an exhibition «Realism and Impressionism from Ukraine», gallery «Hanover Fine Arts», Edinburgh
(July, 1997th) «Art from Ukraine», gallery “Pembroke”, Windsor
(August, 1997th) «the Ukrainian landscapes», gallery “Hanover”, Liverpool
(November, 1997th) «Pictures from Kiev», gallery «Roy Miles», London
1998 Kyotos, Japan
1998 gallery «Roy Miles», Liverpool, London
1998 works were exposed and on sale at auctions Phillips and Cristie’s
(March, 1998th) an exhibition «Representing Ukraine», the European Reconstruction and Development Bank (the European bank of reconstruction and development), City, London
(June, 1998th) an exhibition «Oil Paintings from Ukraine», art centre “Gracefield”, Dumfries, Scotland
(July, 1998th) «Art from Ukraine», gallery “Scott”, Scotland
(August, 1998th) «Art from Ukraine», gallery «Hanover Art», Edinburgh
1998-1999 exhibition in Royal Academy of arts, London
1999 International art festival EUROP’ART (Palexpo), Geneva (the organizer – gallery “Yana” (Kiev)
(August, 1999th) «Art from Ukraine», the Museum “Tweeddale”, Peebles, Scotland
1999 exhibition in Royal Academy of arts, London
1999 works were exposed and on sale at auctions Phillips and Cristie’s, London
1999-2018 constantly operating exhibition in gallery “Yana”, Kiev, Ukraine
(June, 2000th) «Art from Ukraine», art centre “Horsham”, Sussex, England
(July, 2000th) «Art from Ukraine», gallery «Farnham Maltings», Surrey, England
(October, 2000th) an exhibition «Retrospective of oils by Yalanskiy», gallery «Hanover Fine Arts», Edinburgh
2000 Florence, Italy
2000 International art festival EUROP’ART (Palexpo), Geneva (the organizer – gallery “Yana” (Kiev)
2000-2010 annual exhibitions in London and Edinburgh, (the organizer – management centre Danusha Fine Art)
2001 Krakow, Poland
(May, 2002th) «Art from Ukraine», a museum «Haslemere Educational», Surrey, England
(October, 2002th) an exhibition «Still life and landscape», the art centre «Oxmarket Arts», Sussex, England
2002-2003 exhibitions in the art market in New York (Art Expo New York)
2003 St.-Petersburg, Russia
2003 Gent, Belgium
(October, 2003th) «Art from Ukraine», gallery «St. David’s Hall Foyer», Cardiff, the Wales
(December, 2003th) an exhibition «LineArt Gent 2003», Belgium
2003-2004 exhibition in Dublin, Ireland
(February, 2004th) «the Solar world», gallery “Avantgarde”, London
(February, 2004th) a charitable exhibition of the Ukrainian art for St. Anna’s church, Lajmhaus, London
(March, 2004th) an exhibition «View from the garden», Wotton House, Buckinghamshire, England
(August, 2004th) an exhibition «The oil paintings by Yalanskiy», gallery “Avantgarde”, London
(October, 2004th) gallery «Hanover Fine Arts», Edinburgh
(March, 2005th) «Artexpo», New York, the USA
(March, 2005th) an exhibition «Zurich Art International 2005», Zurich, Switzerland
(April, 2005th) the International art festival EUROP’ART (Palexpo), Geneva
(June, 2005th) an exhibition «From Sotz-Realism to Psychotronic Art», Gallery 54, London
(July, 2005th) an exhibition «Art from Ukraine», gallery «David Young gallery at Marie Curie Cancer Cary House», Edinburgh
Exhibition «Solar world», gallery «The Gallery in Cork Street», London
(October, 2005th) an exhibition «Born in the USSR», gallery “Phoenix”, Edinburgh
2005 (November, December) have been invited by fine arts Institute to Nanking (China) for carrying out of “master class” of drawings and painting.
2006 Exhibition of the Ukrainian artists with participation Jalansky in Shanghai (China).
2006 (June, August) «A.Jalansky – Monet from Ukraine», gallery «David Young gallery at Marie Curie Cancer Cary House», Edinburgh
(October, 2006th) «Born in the Soviet Ukraine», gallery «The Air», London
(November, 2006th) «A.Jalansky – Monet from Ukraine», Lyon and Turnbull, Pall Mall, London
(December, 2006th) an exhibition «Go to the nature», gallery “Phoenix”, Chester
2007 personal exhibition of the author in gallery “Ann – Gallery” Kiev.
2008 personal exhibition in the National museum of T. G.Shevchenko in the city of Kaneve.
2008 personal exhibition in the city of Edinburgh (Scotland).
(February, 2009th) a personal exhibition in London (Great Britain).
(August, 2009th) a personal exhibition in the Pushkin house in Paris (France).
(September, 2009th) two personal exhibitions in a city of Wuhsi, a province Dzjan Tsu (China).
(October, 2010th) «the Retrospective exhibition of the Deserved artist of Ukraine A.Jalansky», royal Academy of arts, Bristol, Great Britain.
2010 group exhibition devoted to Independence Day of Ukraine, under patronage of embassy of Ukraine in Austria. Gallery “P-12”, Vienna (Austria)
2011 personal exhibition in the National museum of T. G.Shevchenko in the city of Kanev (Ukraine).
2012 personal exhibition in the Center of the modern art of Wuhsi, a province Dzjan Tsu (China)
2012 personal exhibition in the National museum of T. G.Shevchenko in the city of Kanev (Ukraine).
2013 personal exhibition in the National museum of T. G.Shevchenko in the city of Kanev (Ukraine).
2013 group exhibitions Art Fairs International, Guangzhou (China).
2013 group exhibition Art Fairs International, Shanghai (China).
2013 – 2014 exhibition in Uzhgorod regional state administration, Ukraine.
(March, 2014th) a personal exhibition in University gallery of the city of Chendu, China.
(April, 2014th) a group exhibition of the Ukrainian artists in modern art gallery in Ningbo, China. (June, 2014th) a personal exposition at Art festival «International Arts Festival» in Guangzhou, China. (October, 2014th) a personal exposition at Art festival «Shanghai China International Arts Festival» to Shanghai, China.
(February, 2015th) a personal exhibition in city gallery of the city of Chekiang, China.
(April, 2015th) a group exhibition of the Ukrainian artists in University gallery of the city of Chendu, China.
(September, 2015th) the exhibition of the Ukrainian artists devoted to the 2500 anniversary of a city of Yangchou, China.
Works are stored in meetings of the National art museum of Ukraine (Kiev), the National museum of T.G.Shevchenko in Kaneve, the Tretyakov gallery (Moscow), in museums of cities of Ukraine: Kiev, Donetsk, Lvov, Odessa, Perejaslav-Khmelnitskiy, Krasnograd, Simferopol, Feodosiya, Chernigov, Chernovtsy and in private collections of collectors of the countries of Canada, the USA, Great Britain, Scotland, France, Belgium, Switzerland, Poland, Austria, Czechia, Spain, Greece, China, South Korea, Japan, Russia and Ukraine.
Fragment from Anna Kodisek’s article «Andrey Jalansky – Monet from Ukraine»
It is completely not difficult to guess, as Andrey Jalansky became the Deserved artist of Ukraine. Its deep understanding of painting and visual reliability is only acknowledgement of its talent.
Andrey Jalansky does not try to find a new art form. The gifted artist by means of traditional means reproduces this or that subject in a new fashion. From its each picture and blows as freshness. Using various palettes, Jalansky adds to the pictures shine and how much impressing structure, and it would be desirable to touch them…..
Anna Kodisek
Article of the doctor of art criticism of Olga Lagutenko from an album «A.Jalansky’s Creative works»
«Whether the way to one thousand begins with the first step»… And still: «without leaving from a court yard, it is possible to learn the world,»… These sayings of Lao-Dzy, without demanding acknowledgement, are carried out in life and creativity or in life as creativity — by itself.
Andrey Jalansky’s painting does not open new art directions, the master does not invent new «измы». In it there is no need when wisdom allows to see in the world true. Still ancient Greeks have realised that the true of a universe proves through beauty, or short formulating, «the beauty and is true». But to this greatest top of simplicity to come nearer feasibly little. To realise it suddenly, once and for all, as true as a matter of fact it is invariable, though proves in metamorphoses, in a stream of changes. In Andrey Jalansky’s landscapes Ukraine and China, but not in forms of known architectural monuments, axiomatic landscapes, and in images daily, most естественнных, not ostentatious are presented.
In Ukraine Andrey Jalansky mainly works on an open-air in Kaneve. Not exit open-airs, and многолентее stay in this finest corner where there is no time Taras of Shevchenko dreamt to live. As it is known, in letters of last years to the brother, Shevchenko from cold capital Petersburg sent requests to buy the house in Bakers under Kanevom. Already in those days to the great poet and artist Tarasu Grigorevichu of Shevchenko Kanev and its vicinities saw as the most picturesque places in rich on a variety of beautiful landscapes to Ukraine.
For Andrey Jalansky the love to Kanevu has begun with student’s summer an expert on painting, after all the creative base of the Kiev state art institute where many and many generations of young artists created picturesque каневские landscapes here has been located. And for Jalansky these summer experts had continuation already as the teacher. And at last – he has bought the house for the family, for parents, having proved in Kaneve «a patrimonial nest». This feeling приращённости to a place, residing at its daily rhythms, in its different conditions – so submits in landscapes of the master.
For modern culture the feeling of the traveller who is filling up luggage of impressions by change of places, cities, the countries became habitual. Or a condition of the wanderer going through landscapes and distances in search of far relics. Other sensations are granted «cultural номадизм», by free travel to different layers of cultures and непривязанность to one of them.
In каневских Andrey Jalansky’s landscapes to us something opens, apparently, opposite. A constancy of motives, places, time and action. But not as at classical theatre, and as in a natural slow stream of the human life, surrounded with the world of the nature, shipped in this natural world. And still, in pictorial works the world big, existing in outside the limits of visible, and the world of cultures poured in an essence of paints is notable also. The variety of nuances of feelings and conditions, aesthetic associations intentionally does not leave for sides of the image of the ordinary things closest, constant. Actually we in picturesque cloths will not meet an image of the person, but its presence, affairs, heat, feelings penetrates all space of landscapes. Because it would be desirable to call them “landscapes-genres”, they are close by definition to a genre household. But in this case in classification “household” as key concept “life” acts. Deep philosophical generalisation is dissolved in landscapes where creation of hands human, human life and nature life not simply adjoin, and naturally join each other.
Any, most modest motive becomes in a picturesque cloth Jalansky the beauty phenomenon, its self-disclosing there where the stream of daily affairs proceeds. Because pleasure by picturesqueness is brought by compositions, the hero and which events absolutely correspond to names of pictures. In “Beehives” as if nectar of colourful contrasts of the warm and cold colour strips painting their walls is collected. These houses of bees and honey storehouse tower over stalks of grasses, and dab accents in the energy grasses, vertically going from the earth. Crowns a composition a sprawling tree with its foliage rustling from flaws, movements of dabs are prompt, разнонаправлены, in them both greens, and blue, and горенье a fireplace.
The condition of tranquility, summer luxury, silence, blissful недеяния or slow work in collecting of ripe fruits – are poured from a picture in a picture, supplement each other that as a whole gives rise to sensation of happy harmony, растворённости human lives in nature rhythms. The nature world ennobled the person in its any act – physically strained or rasslablenno-contemplate as the nature embodied by Andrey Jalansky, is fine and inexhaustible in game of nuances of colour. Forms do not disappear, are not dissolved, but colour dominates and translates a wall of the house turning pink in the sunset sun or a lilovo-silvery dust of the earth in a jewelry.
The beauty of the nature is divided together with the person by pets and birds — a cat, a cock and hens, geese on a spring field or going home when twilight is condensed. The artist as if internally merges with these creations, feels the world through them. Доверительность relations of these living things to the artist proves that they allow to observe of themselves, pose and continue to live in the desires and emotions. All so is simple, the love radius however increases.
Special charm works from “a Pumpkin” series possess. The artist surprises again здителя with that selects the most unpretentious, absolutely modest in hierarchy «aesthetically comprehended» natural обьектов motive. The pumpkin, besides, in the Ukrainian folklore does not enjoy love owing to its symbolical role in matchmaking ritual:« To bring гарбуза »(to present a pumpkin) – to give refusal to the groom. However Andrey Jalansky has managed not only to level this negative association, but it is convincing to extol true beauty of this natural creation. Yellow and orange pumpkins in its works as if have incorporated energy, radiant heat of the sun, and the elastic is dense-fleshy forms warm deserted pepelno-violet fields. The master in picturesque compositions slightly varies forms, parities, shades of colour and – harmony turns out ideal – orange and violet contain in itself all completeness of a colour circle (according to chromatics laws). It is interesting that in Andrey Jalansky’s painting the European school of a great skill is very well presented. Many associations of its picture cause with lyrical landscape cloths of the Ukrainian painters of a classical XIX-th century. And still the spirit of its pictures more all is close to attitude of artists of medieval China. This special spirit of an eye, vision as revealing of internal installations and accords appears in all works Jalansky. It can be most indicative in this respect its compositions devoted to the image of colours.
At examining of pictorial works of Andrey Jalansky from a series “Poppies”, reflexions from well-known «Words about painting from the Garden about mustard grain» are involuntarily remembered: «There are different flowers – big and small, in full blossom or opened half, located highly or low, turned obverse or an underside. And when they grow together, there are no absolutely similar colours».
The master represents, as a rule, not a unique flower, and group of colours, irises as usual grow in a garden, or randomly as poppies are sowed in the field. The iris involves the artist with difficult structure of the petals, proud вертикализмом a stalk and an inflorescence. That carefully tracing each petal transforming it in quivering размытость a colour stain, the master contrastly compares refinement, fancifulness of an anthodium and the powerful co-ordinated rhythms of leaves and stalks. In compositions with poppies interesting variety of movements and turns of scarlet colours against the green world of grasses. Grasses do not allocate themselves with anything, but in their ability to serve strengthening of beauty of a flower — humility and noble greatness. And the artist finds set of colour values to reveal natural and free in the spontaneity beauty of native-grasses.
The image of blossoming bushes of a lilac on classification of medieval Chinese treatises should be carried to «painting of plants with древянистым a stalk». Again lines from “Word” are remembered: «In all infinite variety of grasses and colours it is impossible to define and allocate all wood plants. Forms and colour they decorate all cultural world though the nature and did not reflect, creating them. But unless they do not testify to harmonious force ци?» To this conclusion it is difficult to add something. And in Andrey Jalansky’s devoted to the image of a bush of a lilac the works, the symbolics is evident and emotionally convincing. Probably, the hobby of the master for art and philosophy of China goes back to student’s years, to the middle 1980 when “passed from hand to hand” in the Kiev art environment of the book of Elena Zavadsky and Vladimir Maljavina, texts «Words from the Garden about mustard grain» and texts of Lao-Dzy. But the trace of the hobbies, the endured high conditions is important not simply, that enters into life is significant and remains in it for ever. For Andrey Jalansky the essence of texts became essence of its vision of the world, sensation of in the world, an internal tuning fork. Travel to modern China, possibility to live and work creatively, for a long time, on one and a half month, became really a gift presented not casually. And in the same degree, it became test. After all it is possible to receive disappointment, comparing dream and a reality, it is possible to search infinitely for traces of the ideal born by painting of great masters of the past. But it has not occurred. In Andrey Jalansky’s painting there was an image of China modern, through penetrated by spirit of former cultures and traditions, surprising, sincere, not passing in values spiritual.
To the landscapes created in Shanghai and its vicinities, coloristic complexity, accord of soft transitions silver-grey, dark green, black and light pink is peculiar. Already coloristic register causes sensation of noble restraint, internal concentration, in it is paradoxical are combined refinement and безыскусность. The artist at all does not imitate a classical manner
“Mountains-waters” or «people and subjects». Its works are executed in tradition of the European picturesque picture, in the technician a canvas, oil. On classification they concern a landscape genre. Because “waters” are present at compositions not in an is conditional-symbolical image, and in rather realistic image of channels, on which движутся small ships. But in these works, despite absolutely other figurative code, also as well as in a traditional landscape roll integrity of the represented world in its variety is notable.
It is interesting that in landscapes Jalansky there are motives of “mountain-water”, only besides, they are solved in a key of the European painting. Most obviously is a combination the East-West, it is shown in a composition “Arbour” where over a deep stream of waters on pink stones of rocks the heroine of work – the wooden arbour bearing четырёхскатную a roof as if the stood wave of wings towers. Painting пастозна, colour is laid by wide dab so that brush movements are obvious.
In compositions «the Buddhist temple» and «the Old pagoda» powerful temple constructions grow like mountains over a lake smooth surface. The natural motive is comprehended by the artist in a symbolical key where the temple associates with mountain — a spirit ascension. But that this “mountain” is man-made – has so powerful value. Legendary diligence, skilfulness of the Chinese masters – handicraftsmen and fine heavenly or internal heights of masters spiritual an expert evidently appear relatives each other. Current, mobile water recovers itself energy of parks with their graceful easy arbours, terraces and galleries for walks, for slow contemplation. The artist embodies these chamber kinds with delight as if enjoying each movement of plastic architectural forms, beauty of natural colour of a tree of silvery roofs, the gentle accents brought by a red varnish covering of arms-dougunov and колон. The architecture is included organically into the nature world, it is conformable with it, but is not dissolved in it. Game of colour of stones in it is artificial created “rocks”, deep blinking of waters, the flexible bridges surrounded with aura-dymkoj of trembling leaves and colours – all inspires the master on creation of new and new picturesque compositions where images are perceived in various foreshortenings and conditions.
The special silence fills landscapes where the Court yard in a Buddhist temple », space« In a Buddhist monastery »,« Before a temple »is represented«. It seems that ritual rhythms have changed these spaces, chamber and majestic simultaneously. Ritual practice assumes an action and contemplation unification. In works Jalansky this unification is shown through возжигание ritual fires, and even more – in an image of the fixture which is similar to heavy ancient bronze vessels of an epoch of Shagg, and is topped by the form of a pagoda of the period of Sun. Cast forms of altars, абрисы many-tier wooden pagodas and the massive temple roofs covered with a tile, repeat – rhyme the flexible elastic lines, branches of fur-trees reminding by the outline, wings of the bird, prayerfully combined hands.
Embodying images of Buddhist temples, the artist never resorts to ostentatious броскости, superficial appeal. At its works there is a certain sacrament the unification shown and hidden is religious also aesthetically intelligent life. Honouring is shown as fidelity to the deepest sources of human experience, as trust to life, as comprehension дейсвенности beauty. Фрагментируя images, submitting only «Roofs of a Buddhist temple» or “Small lamp”, the master, nevertheless, keeps sensation of integrity of environment, uniform aura of a place. Focusing on details only strengthens the moment эстетизации and contemplate tranquility.
The attention to a deep stream of life has led the artist to creation of a series of the landscapes, embodied images of the Chinese village. Here, as well as in Ukrainian каневских landscapes, the essence of not ostentatious internal life of heart reveals. As it is known, in даосизме the true is comprehended by means of subject practice of the person. In the most ordinary proceeds and clears, strengthens itself the highest.
Andrey Jalansky opens beauty there where, apparently, it is lost, erased by time stream. He reads traces of former epoch on the peeled off walls of the houses, the fallen down tile, the erased steps of a rural temple. Walls become the selected picturesque object, they – the archive of memory of this place where have taken place destinies of many generations of the people who have not entered into the annals stories by sonorous names, but thanks to it exists a fabric of human life. Old walls have organically joined surrounding landscape, have grown to the earth and to people, on it living. Thus, the artist, without aspiring to convince in something of the spectator, naturally removes distinction between culture and the nature.
It would be desirable to live in Andrey Jalansky’s pictures. Its cloths not only bring pleasure by high picturesque culture, feeling of an art step. They adjust a tuning fork of perception of the world, trust to that surrounds outside, and that is inside. In them – the pacified attention to a deep stream of life, чувствование not passing qualities of things which are merged with qualities aesthetic.
Without pathos, language of the painting, language of internal sight of heart, the master convinces us of about what knew both Chinese, and Ancient Greek masters: «the Beauty also is true». But true it becomes only when is born in personal experience. Only about personal it is possible to testify.
2009
Article of the chairman of Association of artists of Wuhsi of mister Ljan Yuan from an album «A.Jalansky’s Creative works»
On a table the album «Creative works of known modern Ukrainian artists» lies. Andrey Jalansky — the Deserved artist of Ukraine, a member of the union of artists of Ukraine, the dean of faculty of painting. Spectators admires not only its great skill, an original point of view, a dexterous stroke and accurate colour transitions of 4 seasons, but also an emotionality and poetry of its painting.
Absolutely other sensation arises after consideration of the works representing the Chinese landscape. For example, a picture «Pagoda of Sishi». In a picture silent reflexion of long gallery on the bank of lake Lihu and various shades of colours of trees is represented. Executed on contrasts light and dark, black and white, light and a shade, the form and colour, whole and parts, the picture transfers cleanliness and silence of southern gardens. Landscapes of classical Chinese gardens contain in Andrey Jalansky’s painting as east motives, and bear in itself lines of the present. We saw many the Chinese pictures where mountains and lake Tai Hu waters but when we have seen A.Jalansky’s picture «pagoda of Sishi», executed by oil have been represented, we have been admired by this remarkable work which gives the chance to feel beauty of lakeside gardens in interpretation of the representative of other outlook.
The Soviet realistic painting has made strong impact on the Chinese painters of the whole generation in 50th years of the XX-th century. I have grown in atmosphere of printing editions in which it was possible to meet reproductions of pictures and drawings of Russian and Soviet artists, e.g., Repin, Levitina, Surikova and Jablonsky. All these works made upon us very strong impression. Gallery “Greenwave” of Wuhsi created by the industrialist by mister J.Jaomin, creates a platform for an art exchange between Ukraine and China. Being the big fan of art, he repeatedly invited the Ukrainian artists in Wuhsi for carrying out of cultural researches and creative work. It has organised an exhibition of works of artists of Ukraine on a theme «Wuhsi – a good place» in 2008 and an exhibition of works of the Ukrainian artists under the name «the Earth coasts on cloths» in 2009. These exhibitions were the first step for Wuhsi on a way to an open world cultural exchange. At the same time they have played the big role for acquaintance to Wuhsi.
Modern artists of Ukraine, continuing cultural traditions and, simultaneously updating the art form, search for pluralism in art language. It they draw attention of the Chinese artists. The Chinese and European cultures influence against each other. We are assured that Andrey Jalansky will necessarily achieve still the big successes in the field of art.
2009