Sergey Podmaryov was a Mari painter whose artistic interests included almost all existing genres of painting. Podmaryov’s art was inextricably linked with the Mari region, which inspired the artist to create beautiful works.
Sergey Podmaryov was born in the Gorky Oblast. His father worked in a local printing house and brought his son scraps of wove paper, on which the future artist made his first brush strokes and sketches. In the fifth grade, he tried to draw from nature, and in the seventh he already led an art group at the House of Pioneers. After finishing school, he entered the Gorky Art College and at the age of seventeen took part in an exhibition on a par with professional artists for the first time. Hence, painting became a necessity for him. After graduating, Sergey Podmaryov was assigned to the Mari ASSR. Upon arrival, he immediately became interested in the national culture of Mari and joined the creative activities of a group of Mari artists.
Most often Sergey Podmaryov turned to the genre of landscape, in which he glorified the beauty of the Mari region, combining love for nature with his own knowledge of it. In his work on landscapes, he adhered to the following methodology: creating a pencil sketch from nature and starting with an accurate depiction of the place, the artist chose a specific pictorial manner with which to paint based on his impression. He always skillfully used his time en plein air and painted, moving from his memory and impressions, from his imagination.
The artist subordinates the pictorial space to the ultimate conceptual generalization of the motif to derive a symbolic, synthetic formula. The development of this method allows the artist to focus on the fairytale-like and magical principle in the landscape. Podmaryov does not depict a linear geometric space, but instead a mental one that exists in perception and memory, which gives art experts the right to compare his vision with the ancient pagan perception of animate, deified nature and mythologized fauna that was characteristic of the Mari. Podmaryov was one of the first to turn to Mari folklore in painting.
“Dawn over Markitan” is an image of the awakening morning forest. The horizontal format, the soft trajectory of the flying birds and the golden-gray color palette make it possible to convey the state of peace and quietness in the early morning. The landscape is painted with dense brush strokes.
Sergey Podmaryov was born in the Gorky Oblast. His father worked in a local printing house and brought his son scraps of wove paper, on which the future artist made his first brush strokes and sketches. In the fifth grade, he tried to draw from nature, and in the seventh he already led an art group at the House of Pioneers. After finishing school, he entered the Gorky Art College and at the age of seventeen took part in an exhibition on a par with professional artists for the first time. Hence, painting became a necessity for him. After graduating, Sergey Podmaryov was assigned to the Mari ASSR. Upon arrival, he immediately became interested in the national culture of Mari and joined the creative activities of a group of Mari artists.
Most often Sergey Podmaryov turned to the genre of landscape, in which he glorified the beauty of the Mari region, combining love for nature with his own knowledge of it. In his work on landscapes, he adhered to the following methodology: creating a pencil sketch from nature and starting with an accurate depiction of the place, the artist chose a specific pictorial manner with which to paint based on his impression. He always skillfully used his time en plein air and painted, moving from his memory and impressions, from his imagination.
The artist subordinates the pictorial space to the ultimate conceptual generalization of the motif to derive a symbolic, synthetic formula. The development of this method allows the artist to focus on the fairytale-like and magical principle in the landscape. Podmaryov does not depict a linear geometric space, but instead a mental one that exists in perception and memory, which gives art experts the right to compare his vision with the ancient pagan perception of animate, deified nature and mythologized fauna that was characteristic of the Mari. Podmaryov was one of the first to turn to Mari folklore in painting.
“Dawn over Markitan” is an image of the awakening morning forest. The horizontal format, the soft trajectory of the flying birds and the golden-gray color palette make it possible to convey the state of peace and quietness in the early morning. The landscape is painted with dense brush strokes.
