Awaiting Andrey Rublev
A year ago, while visiting the exhibition of Rodin in the Tretyakov
Gallery, I witnessed the following conversation of two visitors:
“It’s so good that there is a chance not only to admire the works
of Rodin from our museums”, said one of them, “but also to enjoy masterpieces from
French and Swiss museums.”
“Yes, the display is small, but very interesting.”
“In fact you are traveling a lot abroad. Can you see works of our
modern masters, I mean sculptors there?”
“Yes, certainly. You know, the building of the European Parliament in
Strasbourg is decorated with ‘The Rape of Europe’.”
“And who is the sculptor?”
“Vitaly Patrov, a Russian, who lives abroad.”
Vitaly Patrov was born in 1936 in Siberia. In 1964 he graduated from
the Kharkov Fine Arts School. After graduation, for 30 years he taught at the well-known
Grekov Odessa Fine Arts School.
Already in his student’s years, Vitaly Patrov participated in
exhibitions of the Soviet Union. And afterwards he took part in exhibitions in Moscow,
Kiev, and Odessa. Then his works were presented abroad – in the USA, Italy, Japan, and
Poland. For example, in 1997 he became a winner at the exhibition of the German National
Society of Sculptors. Some of his works are in private collections.
In the area of sculpture, Vitaly Patrov proved to be a many-sided
master. He does all types of sculpture. He is known both as a monumentalist, and as a
master of small forms.
 He is the creator of a series of monuments. It is necessary to mention:
Monument to the Fallen in World War II (Zlotoust, Russia).
Monument to the Aviators of the 69th Fighter Regiment (Odessa,
Ukraine).
Memorial to Medical Researchers (Odessa, Ukraine).
Monument to Marshal Zhukov (Odessa, Ukraine).
Vitaly Patrov works with different materials: metal, wood, plaster,
stone. His sculptural works are varied in form and subject: statues, sculptural portraits,
torsos, busts, bas-reliefs. Some of them are the “Violoncellist”, sculptural portrait
of Tsiolkovskiy, “Beauty as Beauty” and others.
Historical mythology and faith have become his favourite direction, as
evidenced by his works of the last decade (The Rape of Europe, Cleopatra on the Lion,
Andrey Rublev, sculptural images of saints).
Nowadays, Vitaly Patrov lives in New York, teaches at the Bridgeview
School of Fine Art founded by Russian immigrants – the greater part of students there
are Russians. School teaching is conducted in the traditions of academic art, based on the
art of European masters, among whom our artists of the past feature, such as Repin,
Surikov and Serov.
Presently along with teaching activity, Vitaly Patrov continues to
sculpt and takes part in exhibitions and competitions. He participated in the competition
for a memorial to the September 11 victims in New York. People say that he is always full
of creative plans and novel ideas. New York gallery owners value his talent highly,
considering him one of the great sculptors.
 It
is unfortunate, but in recent times some representatives of the creative intelligentsia
were forced to leave Russia for reasons unrelated to artistic ones. Times have changed,
fortunately; some have already come back home, others work and live in two homes: there
and here. Yet others are still outside Russia.
There are different reasons for this. It is remarkable that those who
are related to literature and the arts return from emigration first of all, and they
return not because they’re not praised there. They do it for different reasons. The
people of artistic professions more than others need native sources, native environment,
not only for living and working, but for creating.
It has already been mentioned that there is a theme of faith in Vitaly
Patrov’s works. Nostalgic notes began to sound in the sculptures related to this
country. His bronze figure of Andrey Rublev was displayed at one of New York’s
exhibitions in 2002. It is senseless to attempt to describe works of art. It is certainly
possible to say: talented, unique, delightful; but it is necessary not only to see with
the eyes, but also to probe with the soul and heart. And nevertheless, the heart is
touched, when one is looking at the bronze figure of Andrey Rublev: his head is thrown
back, there is an impression of aloofness in the look. This sculpture magically revives,
before our mental glance, icons, frescoes and pictures of the great icon painter. The work
makes one wish to stand quietly, light a candle, and pray.
Soon there came a chance to interview Vitaly Patrov over the phone. And
certainly the first question was about his creative work.
Where do the ideas of your works come from?
“At first glance it is just by chance. But it is only at first
glance, because a chain of circumstances occurs … that already forms a tendency. And it
is intuitively necessary to be ready to face such a moment.”
How did you start “The Rape of Europe”?
“With weather,” he began to laugh. “Once there was bad weather
with a strong wind. A few trees fell and were burnt. I found a large burnt snag, brought
it home, and put it in a corner. And in the morning I looked closely and saw the contour
of the snout of a bull. It was a kind of inspiration; a sign, if you will.”
Different artists referred to this theme at different times:
Veroneze, Tintoretto and our Serov. Did everybody find something of their own?
“For me personally, the myth of Zeus appearing as a bull and raping
Europe, contains the beauty-will-rescue-the-world idea. But another ‘chance’ was my
admiration of ancient Greek culture.”
Will you lose your connection with Russia?
“Certainly not. I am Russian, born in Siberia, work in Ukraine, teach
in New York. My present students are not only Russians, but of different backgrounds. You
should see how they absorb our culture, especially now. You know, you caught me here by
phone quite by chance. I am leaving.”
 And where to?
“To Odessa.”
To stay?
“No. My studio is there and I work there.”
You are renting a studio?
“No. It is my own studio. Sometimes I work there.”
Your works are authentically Russian. For example, Andrey Rublev.
Near this sculpture one wants to be quiet and pray. Why not exhibit it here?
“I would like not only to exhibit, but to give it to Moscow.”
What are your current creative plans?
“To begin to work on the sculpture of Feofan Grek and set it, as well
as the sculpture of Andrey Rublev, anywhere in a quiet place in Moscow.”
Thank you for your generous talent. We are looking forward to seeing
your works in Moscow.
“See you in Moscow.”
By Nora Garkunova
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