Yuri Kudryavtsev-Dobrohotov's Profile

From: Russia
Joined: May 22, 2008
www.galby.narod.ru

About symchromy:

I was born Nov. 21, 1944 in Monino –
a tiny air academy city, situated in
the depth of woods near Moscow not
far from two small rivers: the Klyaz-
ma and the Vorya.

Primary art education I received from
my father, N.F. Kudryavtsev (1894-
1989) – a scholar in the aeronaviga-
tion, who still practiced painting (his
historical drawings and sketches
from the fronts of World War I and
Civil War are available on the site:
www.symchromism.com/fam01/
index_1.php ).

1962 – first exhibition of my
drawings, which I had done from
the board of “A.P. Chekhov” steamer
- while traveling by the rivers Volga
and Kama, took place at the
Secondary school where I studied:
(www.symchromism.com/graf/s3.php).
In my long art experience I
appreciate the whole variety of
passionate self-education, then –
the drawing and painting courses,
which I held in 1973 – at Surikov
Art Institute in Moscow and in
1976 – at Repin Art Academy and
Mukhina Art Studios in St.- Peter-
sburg, exhibitions activities and
relations with famous Russian and
Ukrainian painters.

In the abstract and landscape
painting I draw the inspiration,
in general, and also in formal and
color plasticity, – out of symphonic
music, of course, indirectly. From
this I call my style – “symchromism”.
I prefer to paint in oil technique,
using a palette-knife more than
a brush.

The “Art Council” magazine
published two articles: “On the road
to the “color composition” (2006)
and “Landscape study as an indepen-
dent genre” (2007), where I tried to
formulate an aesthetic credo for the
3rd millennium painting which
sounds somewhat like this: compli-
cated harmonies of derived color
multitudes – "symchromy" – in abst-
ract, realistic and "mixed" methods
of the "color-composition painting".

I understand this “symchromism” as
a method based on complicated har-
monies of, as a rule, multitudes of
derived colors, quite definite and
constructive, with permanent search
for color and formal plasticity inno-
vations.

At the same time “symchromism”
rejects some rather wide-spread
traditions, specifically: monochro-
matic harmonies, subdivided pallets,
dominant color fragments and back-
grounds, purely decorative or well-
known color combinations, open
colors, all kinds of formal and color
recurrences, – because those con-
tradict definite, vivid and actual
“color compositions”, dramaturgy
and interaction of color forms, les-
sen the energy coming from the
spiritual plasticity of individual color
correlations.

It is the aesthetic nature of our
“super-local sense of color” that
helps me to create that spiritual,
inner color plasticity, modulations
and harmony of various color forms
– in the abstract, realistic, and
“mixed” painting of this – “symch-
romy” approach. I also call it:
“the color absolutism in its cons-
tructive form”.