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Michail Schnittmann received an excellent education at the
Art College of Odessa (Ukraine) and the Academy of Arts Tiflis
(Georgia). During the last thirty years he has worked and
played a rich variation on the keyboard of the picturesque
form repertoire.
Michail Schnittmann is a confessed, experienced artist, who
has found long ago his manuscript, his style and his subjects.
What is fascinating and also impressing in his achievements
of works is that his style does not become stiff or firm when
suddenly - quite different colours give new subjects an altered
Malduktus.
Michail Schnittmann is a fine, alert observer; no voyeur,
rather an onlooker finding and forming something out of snapshots,
from apparently accidentally unimportant pictures.
We can see thanks to the work of the artist, to his consciousness
something what we would never see so probably what would remain
unnoticed.
And because we are only accidental witnesses, passing, we
cannot disturb in the pictures shown. They are natural, harmonious,
and proud. The open, natural originates thanks to the special
painting manner which Michail Schnittmann practises. Some
his pictures appear in the immediate sense as blurred. The
applied coats of paint become careful and, nevertheless, energetically
again wiped away. Because this happens in the level, from
the right to the left, more seldom also from the left to the
right, an astonishing movement originates. Do we drive, or
run past the shown? Are they on the move? We do not know it
exactly. But we see that nothing is static. Only the artist
is able in his pictures to captivate what has already changed
at the next moment and is the past. Otherwise identified and
nevertheless, similarly in the openness of his latest work,
the "Pigeons", dynamically on the way-picture. They seem quite
graceful and light-handed not only in the motives, also in
the painting manner. To the place of a rather earthy, from
red tones and brown tone dominated painting, to the place
where energetically again would be wiped away to give an outworn
light blue tone painting. In the flooded light, the coexistence
of the spots of colour a breath of impressionism is perceptible.
However, the dynamic, is openly reached by the frame of picture,
the inclined lines of the city railroad compartment, the unsuspected
almost stepping out of single people from the picture, thus
with the "Pigeons". The person is with Michail Schnittmann
- no matter whether a contemporary, prophetic figure or historical
personality - always embodiment as something significant,
important. He is a symbol for Position. Over a period of five
years, between 2004 and 2008, resulted works in different
colourfulness and Duktus, the picturesque has increased the
nuances are more varied, more igneous. Only selective working
out of the bodies, the form-giving linearity, and the powerful
colour order is common to the works. The pictures are - Delacroix
to be cited - "A feast to the eyes" Michail's Schnittmann
works are concrete, but they can be also figurative to abstract.
To scoop from the fullness of the form repertoire, is a basic
principle of the artistic freedom of Michail Schnittmann.
Therefore, his aesthetic estimate can be determined as postal-modern
which offers different and even contradictory approaches for
him. The quiet question reveals itself for Schnittmann as
means for the purpose, but not as a definition of his artistic
creating. His work asks questions and ushers you into the
world of thought and considerations of the artist. Nevertheless,
easy answers do not present themselves. Therefore, an examining
look protrudes in a judgemental manner out of some pictures,
critically as a self-portrait of the artist. It ushers optically
into his work and opens a mental reflecting space which must
be selected. Thus the picture didactics of the artist from
the quick movements of the public subjects and pictures hail
very concisely. Michail Schnittmann invests in his works rather
conceptual experiments which owe themselves often to a mounting
principle.
Thus contradictory is combined with each other and brought
in as a connection. But also many stories being inherent breaks
are to the artist a continual incentive for his works. Although
the conceptual aesthetics Schnittmann allows expecting a rational
access to the pedagogic art, the chance in his creating, plays
a big role. Often these are short moments, visual experiences
which can inspire a subject and release the artistic working
process. Also usual press photographs give impulses for a
new work. Then it is a matter of filtering out the core concealed
in the picture association. Thus Michail Schnittmann retains
integrity a basic openness which itself can discover a picture
in the colour mixture of the palette in his artistic creating,
and in it he has discovered one of his creation principles:
his palette is often a canvas, his palette becomes the picture,
and in his pictures impressions, questions and optical associations
mix. To the painter it is important to make clear single forms,
to let them, however, partially in secrecy, so that they complete
themselves only in the head of the viewer. The working process
with Schnittmann is complicated and differently in the execution.
In total a sketchy impression arises where nothing is pressed
in a final form. Here everything develops from the moment
which is unique and unrepeatable or in other words: the pictures
bring the action of the creative inspiration understandably.
Everything is in becoming or in the crossing to complete itself
only in the perception of the viewer.
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