The portrait genre occupied a significant place in the oeuvre of the Ural artist Misha Brusilovsky. The artist mostly portrayed his like-minded acquaintances, including those who were in one way or another involved in the field of fine arts. In fact, Brusilovsky used his paintings as means of expressing gratitude and kindness to his friends, as was the case with the portrait of Galina Kholodova, created by Misha Brusilovsky in 1977.
That year, Galina Sergeyevna Kholodova, the future well-known Ural art critic and member of the Union of Artists of Russia, had just graduated Gorky Ural State University. She was born in Sverdlovsk and dedicated years of her life and art critic career to this city. She worked for workshops of the Art Fund of the USSR and spent many years collaborating with the Sverdlovsk Museum of Fine Arts. For some time, she headed the National Gallery of Art Generations Fund in Khanty-Mansiysk. During the last years of her life, Kholodova was working with the Yekaterinburg branch of the Union of Artists of the Russian Federation. As a critic, she was the author of many publications, primarily on contemporary local art. She also acted as a guest expert in a number of television programs dedicated to the work of Ural artists. Apart from theoretical studies in the field of fine arts, Galina Kholodova practiced cold wax batik painting and textile collage.
The masterfully crafted portrait by Brusilovsky reveals his sincere and caring attitude toward the sitter. The way he portrayed Kholodova’s face with large sad eyes, chiseled cheekbones and a chin dimple, and her short wavy hair is truly fascinating. Brusilovsky used his powerful insight to reveal the inner state of the sitter.
This painting belongs to Brusilovsky’s early years. It fully demonstrates his masterful skills of academic painting. The portrait is also characteristic of the artist’s early painting style with its restrained color scheme and almost indistinguishable strokes, which would later be replaced by a more expressive and exultant manner of color contrasts and impasto.
That year, Galina Sergeyevna Kholodova, the future well-known Ural art critic and member of the Union of Artists of Russia, had just graduated Gorky Ural State University. She was born in Sverdlovsk and dedicated years of her life and art critic career to this city. She worked for workshops of the Art Fund of the USSR and spent many years collaborating with the Sverdlovsk Museum of Fine Arts. For some time, she headed the National Gallery of Art Generations Fund in Khanty-Mansiysk. During the last years of her life, Kholodova was working with the Yekaterinburg branch of the Union of Artists of the Russian Federation. As a critic, she was the author of many publications, primarily on contemporary local art. She also acted as a guest expert in a number of television programs dedicated to the work of Ural artists. Apart from theoretical studies in the field of fine arts, Galina Kholodova practiced cold wax batik painting and textile collage.
The masterfully crafted portrait by Brusilovsky reveals his sincere and caring attitude toward the sitter. The way he portrayed Kholodova’s face with large sad eyes, chiseled cheekbones and a chin dimple, and her short wavy hair is truly fascinating. Brusilovsky used his powerful insight to reveal the inner state of the sitter.
This painting belongs to Brusilovsky’s early years. It fully demonstrates his masterful skills of academic painting. The portrait is also characteristic of the artist’s early painting style with its restrained color scheme and almost indistinguishable strokes, which would later be replaced by a more expressive and exultant manner of color contrasts and impasto.
