Лого на Софийска Градска Художествена Галерия
Анимация по време на зареждане


OUT OF MYSELF Mariela Gemisheva. Danail Starbanov

18 April 2002 - 28 April 2002


To experts and viewers Mariela Gemisheva is known as a prominent fashion designer working in the field of experimentation. 

In the present exhibition- photographic installation, we are going to see her in a new role– as a model. This is a new role for her before Danail Shturbev’ s camera– and experiment with the different states of the female image carrying the risk regardless occupation, age, physique, and social pertinence. 
The photographic installation provokes our traditional notion of it. It consists of 13 colorful posters, organized in the space as a ‘static’ fashion show.







BULGARIAN WORLDLY PAINTING SOFIA ART GALLERY COLLECTION 1864-1928

01 November 2001 - 01 December 2001


The exhibition presents 51 authors with 170 paintings owned by the SAG. These works were created between the end of 19th and the beginning of 20th century.


The period spotlighted is exceptionally rich in stylistic trends. It started with the first academic artists in Bulgaria, educated abroad and later created the bridge between religious and worldly painting. Ivan Dimitrov, Nikolay Pavlovich, Georgui Danchov are among them. 

Then follow the representatives of painting of country life, which became the main and leading genre after the Liberation in 1878:
Ivan Murkvichka, Ivan Angelov, Anton Mitov, Yaroslav Veshin. 

The works of the defendants of symbolism and secession in Bulgarian art are of major interest: Stefan Ivanov, Ivan Milev, Sirak Skitnik, Nikolay Raynov, Goshka Datzov, the early works of Vladimir Dimitrov Maystora. 

The development of the impressionism could also be traced in the exhibition through its earliest representatives: Nikola Petrov, Assen Belkovski, Elena Karamihaylova, Elissaveta Consulova-Vazova, Nikola Mihaylov, Nikola Marinov, Nikola Tanev and others. 

Viewers will have the possibility to get familiar with the establishment of the separate genres in Bulgarian painting: portrait, landscape, still life, naked body, which started exactly at the beginning of the 20th century. The exhibition clearly demonstrates the opening of our art towards the most topical trends in Europe in the 20 s and their mastering in the conditions of the specific local situation. 

Historically, the period is visualized through everyday objects, kindly provided by the National Historic Museum, The Museum of History of Sofia, and the Ethnographic Museum. 







HRISTO STEFANOV A RETROSPECTIVE EXHIBITION

27 June 2001 - 31 August 2001


This is the first time when the artist Hristo Stefanov presents his huge comprehensive creative work collected on the occasion of his 70th Jubilee. The admirers of this famous Bulgarian artist will meet with his versatile creative work and will trace his exceptionally rich artistic life from his earliest ages (his first picture preserved was drawn when he was 12 – a remarkably precise and full of life portrait of the artist’s uncle), through the popular then Plovdiv period from the 60s, to his most recent paintings. The main line in the author’s creative evolution is found in his numerous portraits – a genre, in which Hristo Stefanov is a renowned master. Among the celebrities of national and international scale that attracted the painter’s trained eye, there are a lot of contemporaries who will have the chance ‘to meet themselves’ through the prism of the artist’s expressive painting. Favorite themes in Hristo Stefanov’s figurative compositions are his family, traces left from human suffering, poetic optimism, nature. The topics provoking restlessness are predominant in his latest painting cycles- the end of the century, entomological compositions, landslides. Abundant exquisite small-scale still life works create vivid accents. Using canvass or paper, sumptuous oil paste, liquid water color or fine nib Hristo Stefanov is an indisputable master; close in his sensitivity both to the reserved Bulgarian iconic painting heritage and to the emotional Latin American and Spanish artistic expression, but preserving the intransitive individualism of his strong creative personality through his whole artistic development.







INSIDE THE CONTEXT OF THE EXPRESSIVE AND OUTSIDE IT Vesselin Nachev, Ivaylo Vasilev, Ivan Kunchev, Krassimir Roussev, Roumen Bogdanov

01 June 2001 - 01 July 2001


On the surface, this exhibition appears to be a fortuitous meeting of artists from different generations and with different plastic methods. This is an exposition with a conglomerate structure and despite its uniting motto; it should not be referred to as a search of relation, proximity or similar concepts and ideas. 







LANDSCAPE Exhibition Contemporary art form Britain

21 May 2001 - 21 June 2001


A large-scale event that you cannot overlook – 20 contemporary artists form Britain are presented with a total of 47 works with different strategies for reflection and presentation of scenes- genuine, imaginary or lurking in the memory, and a wide range of artistic means inclusively sound, text, slides, video materials, photography, realistic or abstract drawing and sculpture. 


The exhibition consists mainly in works that have recently entered the British Council collection and offers the possibility of investigation of the long-lasting interest of contemporary British artists towards wealth and the complexity of the landscape and the landscape tradition in art. 







SPARTAK DERMENDJIEV - PARIS EXHIBITION OF SCULPTURE PORTRAITS

08 May 2001 - 28 May 2001


THERE ARE NO HAPPY BULGARIANS

(Happy are those who do not have conscience and the madmen)

Spartak Dermendjiev - Paris shows 50 portraits of his friends and intellectuals. They were created in the course of one year - 2000-2001. The sculptures are made of terracotta (baked clay). They were made from nature and in an impressionistic manner.

The sculptor (born in 1954) gained scandal popularity with his paintings and plastic works of naked female bodies. Now, he is offering a ‘timid’ exhibition of realistic portraits. The artist, though, is looking again for the challenge. And it is in the name of the exhibition and the meaning placed in it. 







120 PAINTINGS OF ENCHO PIRONKOV

01 March 2001 - 01 April 2001


This has been the first exhibition in Sofia of the great Bulgarian artist Encho Pironkov for 6 years. 120 paintings painted in the past 10 years are presented. The works are shown for the first time in public. 


The paintings are mostly figurative compositions in the typical for the author expressionistic style. The largest ones are 2х2 meters and the smallest - 20х30 sm.







SOCIALIST REALISM

15 January 2001 - 15 February 2001


The Social Realism exhibition comprises the period from the end of the 40s to the end of the 50s. Some later works, thematically and stylistically continuing the same trend, are also featured. 80 paintings, graphic works, and 20 sculptures by 70 artists are shown.

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\r\nrnrnThe period spotlighted is one of the gloomiest in Bulgarian art. After the initial enthusiasm that accompanied the events from 1944 came a period of monstrous repressions against artists. The majority of them stopped painting, other emigrated, and the rest, in order to survive, had to conform to the officially imposed art policy. Thus, together with completely forgotten names, the works of famous authors such as Dechko Uzunov, Stoyan Venev, Vaska Emanuilova, Nenko Balkanski and others can be seen. 
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\r\nrnrnAt the end of the 40s, Vulko Chervenkov and the official instruments of the cultural policy brutally imposed the new ‘artistic method’. It required creators to conform to strict guidelines regarding themes and artistic shapes. Genres such as still life, interior, and landscape were marked bourgeois and capitalist. The building of the new socialist life and the ‘new person’- multiply skilled machine worker and holder of an order became topical. In portraits, the images of political leaders were the most popular: Georgui Dimitrov, Lenin, Stalin, portraits of workers, and typified portraits of shock-workers and brigadiers. The figurative composition, which was a leading genre in the period, was completely dedicated to historic events from the revolutionary past and to topics connected with the new building. 
\r\nrnrnIn terms of style, solely academic development of the shape and the realistic authenticity were valued. All deviations were proclaimed as formalistic. This led to the unification of the artistic styles and to the introduction of the unique ‘collective method’ of painting. 
\r\nrnrnIt is for the first time when the Social Realism exhibition treats in depth a period, which was neglected for decades. Most of the paintings have not been shown since the time of their entering the gallery collection. Bulgarian viewers have the unique chance to get familiar with a period that lasted 15 years and sacrificed the talent of numerous Bulgarian artists. 
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\r\nrnrnThe exposition features documentary materials from newspapers and magazines dating back from that period.

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