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Painting

The Bear Hunting. 2002.

vision and feelings, to portray the world was Raishev’s early works. It is worth comparing the head and face is taken conditionally. The
to overcome existing rules and go against the his two self-portraits of 1962 and 2005 years chest-high image looks like a sculpture, with
established assessment criteria of the social as well as the composition “Men in the its look directed ahead, past a viewer. The
realism art and its genre system. Russian Sauna” and “The Russian Sauna” of enormous shadow behind the body symbolises
The artist’s creative rise was taking 1968 and 2007 years in order to make sure. the space of past years. The naked body that
place in the years of study (1954-1959) in In the early self-portrait, there is a fauvist is a favourable motive for many painters is
Leningrad. In the Hermitage exposition, contrast of a yellow scarf and the neutral interpreted in an absolutely different way in
his special attention was attracted with the light-blue background drawing attention to Raishev’s works. His “Russian Sauna” (2007)
works of Gaugin, Van Gogh, and Matisse. In the face painted in the dark colour gamma. resembles antique mosaics by the same precise
the Russian museum halls, it was done with The dynamic turn in three-quarters, a strict drawing of men’s bodies and the absence
the painting of “The Knave of Diamonds”. tensed look under a wide-brimmed hat. It is of extra details. It seems that “Men in the
In these very years, chambers with works of the artist who regards the auditory but not Russian Sauna”, with its circle composition
the artists, who had been called “formalists” vice versa. Another conception is inherent and flaming contrasts of red and green, as in
once, were opened for the audience. These in the self-portrait of 2007 from the series Matisse’s “The Dance”, is painted by another
were full colours, broad painting technique, “Shadows”. Everything is tranquillity, artist. Raishev’s style is to remain diverse.
and freedom in choosing a picture motive quietude, and concentration in the glimmering I would dare to call one of his works
that had already been typical for G.S. of warm ochre-red strokes. The contour of programmatic. It is “Grunyakha, the Poet’s

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