Portrait Gallery

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THE COOPERATIVE WORK PROCESS
(From an interview by Professor Nikita Pokrovsky with the artist Anton Kumankov)

V

Y. Riabinkina

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don't do many portraits. But when I do accept portrait work, among the portrait models I choose can be the most simple people, whom I might have met anywhere: on a visit, in the street, on trips. Sometimes they can be famous artistic figures, politicians, businessmen, scholars. Through mutual acquaintances I establish a connection and agree on the sittings. Although, by the way, I don't actively hunt for celebrity models. But, in any case, it's important for the person to be interesting to me and for the face to be expressive. Sometimes it happens (or rather used to happen), that I simply give (gave) away the portrait. This always happened somewhat automatically, like an impulse of the soul or something. If the portrait model is from the art world, then he understands the meaning and significance of this act. However, unfortunately, it has happened that my gift was not understood, as if to say, "O.K., so he drew my picture and so what." They accepted my gift as if it were a chocolate bar. Naturally, I'm not looking for reciprocal gifts, but rather some kind of internal appreciation that, I think, I had a right to count on. These days, I keep many portraits in my studio as a part of my collection.

don't create ceremonial "gala"-type portraits, full of internal solemnity, varnished and reminiscent of images in 19th century paintings. I admit that this genre does not coincide with my interests. I prefer a psychological portrait, romantic and lyrical. Through the methods and means of art, I want to tell a story about a person, relate his history, disclose the inner motives of his soul, and not simply to "sculpt" a monument for the edification of society. Other artists manage gala portraits well. I work in a different key.

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