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Urban Winter by Julia Scorupsky

Sat, 16 Feb 2013 01:45:53 MST

24"x20", 2013 There is another Moscow, but I like these old districts trying to see beauty through ugliness. I have used modeling paste to show maximum 3D effect.

Winter by Julia Scorupsky

Mon, 17 Dec 2012 06:50:05 MST

oil on canvas, Boston 1997

Summer Lights by Julia Scorupsky

Tue, 13 Nov 2012 08:41:17 MST

Boston, Arnold Arboretum 1999

Rocks - Sculpture Painting by Julia Scorupsky

Fri, 02 Dec 2011 08:44:35 MST

15"x24" relief painting 2011

Over the Hospital Campus by Julia Scorupsky

Fri, 28 Oct 2011 10:00:45 MST

2011 acrylic on board, fantasy, 30"x40"

Behind the Gate by Julia Scorupsky

Wed, 20 Jul 2011 07:34:58 MST

This is Russia, and an exit from my garden the way it looked in 2004.24"x20"

Rain Forest Sculptural Painting by Julia Scorupsky

Tue, 14 Jun 2011 13:00:53 MST

24"x22" acrylic, acrylic mediums creating relief 2011

Let It Be by Julia Scorupsky

Mon, 11 Apr 2011 15:03:28 MST

experimenting with various acrylic mediums. I also used luminescent colors to accentuate on the light 50"x30" 2011

Running after Shadows by Julia Scorupsky

Tue, 01 Feb 2011 04:23:18 MST

24"x10" acrylic on stretched canvas, 2011

Winterscape by Julia Scorupsky

Tue, 28 Dec 2010 02:24:53 MST

18"x14" 2010

Blog Entry - December 25, 2011

Sun, 25 Dec 2011 06:03:48 MST

12/25/2011 Thanks a lot for your responses to my blog messages! Would be nice to know who sends them in order to respond adequately! But THANK YOU for visiting, anyway!

Blog Entry - June 13, 2011

Mon, 13 Jun 2011 15:39:02 MST

05.13.2011 Trying to convey physical presence or rather physical impression of the subject... This one is Rain Forest (Puerto Rico).

Blog Entry - May 09, 2011

Mon, 09 May 2011 15:30:20 MST

On the question of freedom in art... Is it really necessary? Once, a group of American vanguard artists (I believe, they belonged to the New York School) send a telegram to P. Picasso (who lived in France at that time) asking the latter to support their efforts to "liberate" art, in other words, "break the ice", let artists have the utmost freedom of expression by removing any sort of restrictions/rules in the process of creation. Picasso refused to give his support to this way of thinking. He argued (and his words were recorded by his mistress Francoise Gilot), that art is strong when it has to struggle against academic rules set by a classical school of art. This fight between the old (academic) school and the new (modern) art - is what gives art strength, and this is what pushes it forward. If there is no struggle - there is no movement, art simply does not have the necessary firm ground to push off! For Jackson Pollock, for instance, such a springboard was his teacher Thomas Benton. Pollock was able to push off his master very far to get where he got and to become what he finally became. In the meantime, Pollock himself left no ground for the future artists by his "breaking the ice"... Do we need a time machine to go back in the past and, maybe, try to restore the Academy???

Blog Entry - June 08, 2009

Mon, 08 Jun 2009 20:36:29 MST

To the question of continuity of tradition in the history of art, from Leonardo to Pollock. From the book by Andre Chastel "The Genius of Leonardo Da Vinci" (translation Copyright 1961, by the Orion Press, Inc; Copyright Club de Libraires de France, 1960): "... Leonardo gives the painter his secret - what Leonardo calls... the informed sketch. Contrary to all tradition, this consists of putting down on paper the mass of forms dictated by the unconscious without first working out the details. It is objectified when the painter daydreams before confused stains and splashes on old walls, and it is intended to make the observation more pliable and to give practice to the rapid interpretation of the inexhaustible depths of things." "... this secret permits him to freeze the instant at which the mind feels actively connected with the totality of things, for this "chaos" that the artist projects and explores on paper is like an outcry from nature itself." "This discovery throws some light on the fate that led Leonardo to leave several important works unfinished. The importance of these statements is confirmed by Leonardo's decision, about 1501 or 1502, to introduce non-completeness (non finito) into painting in order to enhance its fullness. Finally, it should not be overlooked that the master who sets such store by the possibilities of the informed sketch, takes pleasure in the drawings of his last years in the swirling and roiling visions of catastrophies and cosmic disasters that turn even chaos and the blind forces of the universe into the final aims of his art." "The conclusion of the unprecedented effort to be objective - to embrace the structure of things, the organization of forms, and the perfection of relief - is the final triumph of the subjective".

Blog Entry - May 18, 2009

Mon, 18 May 2009 11:45:41 MST

"Artist should be alone..." (L. da Vinci) "When you're alone you possess everything, when you're together you possess only a half..." (L.da Vinci)

Blog Entry - May 18, 2009

Mon, 18 May 2009 11:41:58 MST

My very first "serious" painting I made about 20 years ago.

Blog Entry - November 21, 2008

Fri, 21 Nov 2008 18:09:55 MST

11.21.08 Art doesn't need any meaning from the outside; meaning emerges from the art itself.

Blog Entry - November 18, 2008

Tue, 18 Nov 2008 20:00:01 MST

11/18/08 And how about mocking at the post-modern culture? Mocking at the mockery itself?? Is this the way?

Blog Entry - November 18, 2008

Tue, 18 Nov 2008 17:31:10 MST

11/18/08 I keep returning to this issue of the art future. Hope it alarms not only me. Where is art, specifically painting, going? Is it dead indeed, as the forecast goes? I can't believe it; I believe it will live as long as natural human emotions and feelings exist. What will come after post-modernism??? This is the question. Since post-modernism is the extreme, there seems to be nowhere else to go, I feel that art will come back, meaningfulness, emotion, sentimentalism should come back as the opposite of what we have now. However, the face of art will be different, it will absorb all previous experience and rise to a new level. I think new artists should make use of everything that has been worked out by previous generations, post-modernism being not an exclusion. I try to employ "dripping", "finger", "air brush". "splashing", collage - all sorts of techniques (and ideas!) - to produce representational, meaningful, emotional, deep (in its classical sense) art. To me, this is the way out of the absurdity and chaos we have today.

Blog Entry - March 31, 2008

Mon, 31 Mar 2008 21:31:17 MST

03/31/08 I think that at least one feature that distinguishes REAL ART from a fake is ... PAINSTAKING... there should be smth that makes artist struggle for, try to achive. Otherwise, art is impotent, and the goal is too easy to achieve.