Young Artist — a portrait from life, created in the artist’s studio in three sessions. The girl studies fine arts from an early age, is completely passionate and immersed in the world of art. On this canvas, she makes the first sketches of a new picture. And although the whole idea is already clear to her, it is born from light pencil sketches. She is beautiful and fresh, like a beautiful flower at the very beginning of its flowering.
Conveying the naturalness of her skin is a difficult task for the author. The skin should glow from the inside, be absolutely gentle on the look and please the eye of the viewer. This effect is achieved by the artist with an internal combination of the image of orange pulp, peach skin and grapes. And also the mastering of this technique requires many years of study and practice from the artist.
Нandmade oil painting
See other paintings by Evgenia Zragevskaya here: Portrait of a young couple
The young artist is very serious and focused, her movements seem to be dictated by childish wisdom. With the responsibility of the creator, she creates more and more masterpieces.
Art has no female name, although it has a female face. Throughout the history of art, women have been undeservedly deprived of attention and rights. The inability to study painting officially, sexism in the selection of works for exhibitions, life in the shadow of famous male artists … All these are the realities of the very recent past, the echoes of which can still be found today.
Among feminist artists there were also those who believed that special female art was not born here and now, but had existed for a long time — it was just that, like other achievements of women, they had not paid attention to it.
No matter how much we love the Russian avant-garde women of the early 20th century, Vera Mukhina and the artists who worked in the «male» genres of abstract expressionism or monumental sculpture, their art cannot be considered feminist. Building their careers according to the «male» scheme and entering into competition in the art market, these artists, in fact, accepted the existing rules of the game. Our contemporaries put themselves in the same conditions, denying their «femininity» and declaring that discrimination in the art world and beyond it does not exist — it is they who often treat feminitives painfully and demand that they be called artists, not artists, that is even in the language they did not make a «correction for gender.»
It is all the more interesting to study the methods that feminist artists were the first to use: their art has had a huge impact on the entire modern culture, and techniques that once seemed revolutionary have entered the usual arsenal of artists and political activists. In the 60s, the first feminist artists realized that new forms were needed for the subjects they wanted to talk about, and put away brushes, paints and clay until better times. In all forms of «high» art, one way or another, there was a male gaze — which means that they were clearly not suitable for artists who were trying with all their might to get rid of the shackles of the dominant culture.