In order to write about Fedor Elizarov's art one should turn to shortened hexameter as it was done in the classic translation of "Iliad" by Nikolay Gnedich or in the interpretations of Horace's odes by Afanasiy Fet. Huge canvases, which are sometimes difficult to be sweeped at a glance, are bringing back the pathos and spirit of the historical painting. However Fedor Elizarov is not a history painter. In 2005 he graduated from the Moscow State Academic Art Institute named after V.I.Surikov, Studio of Scenic and Decorative Painting supervised by M. Kurilko-Ryumin. In should be mentioned that the theme of his final project was the "Demon" opera by Anton Rubinstein. This signified the young artist's interest to the art of the turn of the 19th century.



Fedor Elizarov's art resonates with the language of the French modernism that one can most evidently see in the portraits by the young master. Artistic techniques of Cezanne, early Picasso, Van Gogh, Modigliani make part of his poetic repertoire. In that one can find a youthful show of muscles as well as an ability to give a lofty strain to a friendly caricature. For example, a light lyrical blue drawn from Picasso's Blue Period and a little from Degas highlights the friendly nature of the author's relationship with the model in the portrait "Dudya". The cold contrast reminding of Frederic Remington's night westerns, that is used in the "Portrait of my father", is a device picturing the best not only the steel gaze of the model, but the whole probable range of relationships between the father-artist and the son following in his footsteps. Fedor Elizarov's early portraits (2009-2012) seem to be more theatrical. Laconism of the figure and moderate expressive means turn the model into a mask, as for example in the "Portrait of a sick man". We can however clearly unravel the evolution of specific artistic empathy revealing the ambiguity of the portrayed and the artist's attitude towards him.

When it comes to modernism we get unconsciously caught up in a game called "guess the artist's style". While the author combines, matches and blends stylistic techniques in the proportions needed. Still the master focuses on a certain task: to avoid decorativeness, kitsch, salon cynicism and eclecticism. Thus Fedor Elizarov uses postimpressionstic techniques as a kind of ready-made solution. It's expressly seen, for example, in allusions to Edward Munch. There are some references to the norwegian expressionist's works in the "Path" project landscapes. But Fedor Elizarov's paintings are lacking Munch's sore psychologism. From psychoanalysis only the analysis remains proposed while any allusion to perversion of the soul is rejected. Thus his works are borrowing the moderninst's visionariness, though leaving the decadent frailty to its creators.



"And no man putteth new wine into old bottles", and old truths get replaced by one's own faith.

The artist Fedor Elizarov adopts a kind of pantheism. In his art practice the context for creation of works originates from the asceticism and meditation. His landscapes reveal close, almost mystical interaction with nature. It's important that the landscapes that Elizarov shows to the viewer are intentionally lacking human presence which leaves the post-apocalypic echo of emptiness and timelessness. For a meditative immersion in the subconscious Elizarov uses vague obscure forms with fading outlines and balances on the verge of abstraction. Such works as "Calanque d'en Vau in spring" and "Illusion of a journey. The dunes" become a poetic metaphor, a natural philosophy invitation to self-discovery. It might well be that the same mist was eddying on the canvas of the "Unknown masterpiece" by master Frenhofer, marking the end point of the romantic painting evolution. And no one will forbid us to assume that Balzac's masterpiece was a prediction for a century and a half ahead.



Ulyana Dobrova

Critic, Ph.D. in Art History