What do we know about modern sculptors? Irina Yaroshevich is the master of traditional plastic culture of St. Petersburg ofIrina Yaroshevich was born in 1943. Got art education at Institute of painting, a sculpture and architecture of I. E. Repin (1962 - 1967). The first exhibition in which it participated took place in 1967 then Yaroshevich became the constant participant of city and all-Union exhibitions, participated in foreign exhibitions. In 1970 the sculptor was accepted in members of the Union of artists. Irina Yaroshevich belongs to
to number of masters of traditional plastic culture of St. Petersburg. Works as the artist in various genres of a sculpture. Its works were exposed within the walls of the Russian Museum, in particular, within such large projects more than once as “ Russian impressionism “ “ The Portrait in Russia. 20th century “ “ Portrait of the city and citizens “.
the Period of formation of a creative manner of the sculptor fell on the middle of 1970 - x years when in domestic art the obvious aspiration to dump catalepsy of stagnation, in the period of a wave of updating and hopes for revival of plastic values in art was designated.
the Prompt running start of a sculpture of those years which displaced the accepted genres, types of equipment, expanded it “ graphic territory “ having assigned a part of new install space. The space became the center of searches of the artist in her first known compositions - “ Biantovskaya`s Portrait “ (chamotte, list, 1981), “ Self-portrait “ (bronze, 1987), “ The Boy with a dog “ (plaster, 1985) the shown concentration of a ratio of mobile plasticity, new materials and it is frequent - introduction of color.
Gradually spatial feelings of the “ art and historical “ time become self-valuable. The Russian art culture of a silver age becomes a subject and a subject of plastic transformation. The historical concept (known works of the cycle “ Anna Akhmatova “ (plaster, 1990), “ The Beginning of the century - the Actress, the Poet, the Ballerina “ (the chamotte painted 1987) with peculiar metaphors - images of heroes, the artist enters into the graphic genre which was defined by tradition. Near it remains important “ classical tradition “ which sees each other in the context of the European sculptural monoportrait, A. Giacometti`s plasticity, own St. Petersburg tradition (“ Anna Akhmatova “ (the head, plaster, 1990 - e years), “ Artist`s Portrait “ and gradually its tematizirovaniye.
For Yaroshevich a basis of creative credo became reflections about space, time and a rhythm in a sculpture. In creativity Yaroshevich it is possible to allocate two polar subjects: research of the boundless creative beginning and supervision over the household sketches sating everyday life.
the creator`s Subject for Yaroshevich is personified and is transmitted through Akhmatova, Tsvetaeva, Shalyapin, Brodsky`s images. Her heroes are not built to an inaccessible pedestal, she emphasizes in them a terrestrial essence.
its genre scenes analyze household details of human life, and how the author skillfully turns an ordinary sketch into a work of art is surprising. Yaroshevich it is free treats bible images and therefore household scenes sometimes gain philosophical implication and metaphoricalness of sounding from her.
Art Yaroshevich is subordinated to the special logic of art expression. At it there is a traditional relation to skill, its works are plastically comprehended and ideally executed in material. For the artist - it is process of long sketches - drawings where the movement of a form, its subject existence or color expression is studied. In 90 - e years the St. Petersburg art school to which Irina Yaroshevich belongs remains rather closed, in own way unique art tradition which was not demanded by the latest art.
In each work Yaroshevich is shown the individual hallmark doing them recognizable. The originality of handwriting follows from the artist`s relation to the world as to an infinite variety not only forms, but also psychological, bytiyny situations.
In its works are surprisingly combined grotesque and lyrics, immediacy and monumentalism. Therefore simple action in compositions of its drawings and sculptures from action turns into Action, the Sign, gaining relevancy and extra temporariness. For example, the Small figure at a rack of cafe becomes the Loneliness sign, and two sitting at a table find conciliarity of an orthodox Trinity. Blok, Akhmatova, Pushkin, Brodsky`s sculptural portraits deprived of direct portrait similarity become symbolical images of Poetry, Creativity and Destiny.
of Work of Irina Yaroshevich create feeling of infinity of the movement of life and presentiment of emergence something new, fine. Globality of a creative task of the author gives philosophical sounding not only to sculptural compositions (“ Apollon and Dafna “ “ Chess “) but also to portraits which distinctive feature is not external similarity, but identification of the exclusive internal sign of the personality defining destiny and character of the person.
Though in creativity Yaroshevich prevail easel works, on a way of art thinking and a form of the embodiment of ideas she the sculptor of monuments. Easy and grafichny, at first sight, figures and compositions actually have a strong constructive basis and can sustain any increase. Especially individual plastic language of Irina Yaroshevich according to external characteristics is close to an impressionist sculpture. Resolving issues of space and time in a sculpture, she creates not so much a form how many “ image of the " form;.
In graphic works Yaroshevich addresses the same problems of space, time and a rhythm, as in plasticity, changing only a perspective of their consideration - to the paper planes they gain other concreteness.
Irina Yaroshevich is the participant of competitions on monuments to A. Akhmatova, F. Shalyapin, I. Brodsky. Its project of a monument to I. Brodsky took the third place, among the presented works. there is no
In works of the sculptor glamor, fussy speculativeness, aspiration to follow momentary tastes and addictions of criticism and the viewer. Remaining right own esthetic representations, the artist constantly is in the creative movement, being improved and deepening expressiveness of images. In it is the original present of her creativity.
Personal exhibitions of Irina Yaroshevich were held in the Museum of a city sculpture (1981; 1995; 2006), in the House of friendship with the people of foreign countries (1989), in the museum “ Tsarskoye Selo " collection; (1996), in the Central showroom “ Arena “ (1999), in the State Russian Museum (2003), in " Gallery; Square “ (2007).
of its work are in the State Russian Museum, the Museum of a city sculpture in St. Petersburg, in the State theatrical museum (St. Petersburg), in Krasnoyarsk art gallery, in the Pavlodar museum of literature and art of Bukhar Zhyrau (Kazakhstan), and also in private collections in Russia and abroad.