Mikhail NEFEDOV: “THE MOST EXCITING MOMENT IS THE FIRST STROKE”

Artist Mikhail NEFEDOV lives in Raifa, right next to the monastery. Touching, lively, sensual landscapes, psychologically subtle portraits, emotional, dynamic historical canvases, paintings on religious themes, philosophical works, made in the original, unique style of ancient frescoes - all this is Mikhail Nefedov. At an auction in Paris, three of his works were bought by the former chairman of the European Economic Community. Many of the paintings are in private galleries abroad. Now Mikhail Kuzmich is preparing his personal exhibition, which will open in the fall in Moscow, in the exhibition hall of the creative union of artists of Russia on Gogolevsky Boulevard.

<strong>- Mikhail Kuzmich, you have works in the genre of realism, impressionism, and suddenly you came to a strange, unexpected style of an ancient fresco...</strong>

- It did not happen suddenly. I entered this manner very timidly. Intuitively searched for such a style that smelled of THAT time. And the audience accepted it. The other day, a simple man came up to me, looked at my works for a long time, and then asked: “What, are your paintings so old because of time?” He felt the spirit of the times!

<strong>- It must be interesting and difficult to dive into the past so seriously and for so long?</strong>

- In fact, it’s not easy. The pace of life has changed, and people have changed too. Previously, an artist could work on a painting slowly, for years. For example, Ivanov worked on “The Appearance of Christ” for 20 years. He could afford it, because he was supported by the emperor. But a modern artist has no opportunity to suffer over one canvas for decades. Besides, if you work like that today, your whole life will pass you by. And people’s consciousness is now clip-based, when everything is changing rapidly and you need to try to correspond to this time in everything, so you have to work quickly.

<strong>- Where do you get the historical information for your paintings?</strong>

- From books, chronicles, or maybe an interesting newspaper article or an old magazine “Science and Life” will accidentally fall into my hands, or I will see some TV program - information comes from everywhere. I have always been interested in history. We all went through a communist upbringing, when for 70 years they tried to cut off all our historical roots. Therefore, it is as if we arrived from another planet and are beginning to comprehend and understand the history of our land anew.

<strong>- Living near a monastery sets a certain mood...</strong>

- Yes, I have paintings on religious themes, about the life of a monastery, but still I am a secular artist. Although if I had been born earlier or later, I probably would have become an icon painter.

<strong>- I wonder what it takes to decide to paint an icon?</strong>

- If earlier an icon was an object of reflection, prayer, now it has become a secular, beautiful picture. This is due to the strong influence of Western art, the Western way of life that exists today. And a real miraculous icon is an icon that has been prayed over. But for this to happen, a lot of time must pass. That is why the old icons of the Rublev school are so highly valued - in spirit, they are closer to the truth.

<strong>- In those days, an artist would prepare for a long time to paint an icon: he would fast, float away on a raft to the middle of the river or go into the forest, in general, he would isolate himself to overcome all his passions, to purify himself...</strong>

- And now an artist, even a secular one, needs solitude, an escape from reality, to paint a picture. And for this - at least on a raft, at least in a cave, at least in a dacha, at least in a workshop, where you can lock yourself away from everyone, turn off the phone...

<strong>- Mikhail Kuzmich, you sell your works at an impromptu vernissage, constantly open near the walls of the Raifsky Monastery. Isn't it awkward to offer your works yourself?</strong>

- Thanks to Father Vsevolod for allowing artists to exhibit near the walls of the monastery and earn a living. At first it was really awkward. My wife jokingly calls it a panel. But I sell the result of my work: if you like the work - buy it. I don't impose my paintings on anyone and I don't deceive anyone - if the sketch is not very successful, I still put my signature. And there are artists who do not sign their works, because they know in advance that they are doing hackwork, something secondary, for which they themselves are embarrassed.

An artist and money is a very difficult topic. I believe that you should not chase big money. Extra money means extra people who flock to it like flies to honey. They take away time, strength, energy. In this regard, money and fame interfere with creativity.

<strong>- What is the most difficult thing in your work?</strong>

- The most difficult and exciting thing is the white canvas and the moment of the first brushstroke... Every time you experience this feeling in a new way. An artist must be able to conquer the canvas. And to do this, you need to clearly set a task for yourself. I tell young people: don't be shy, set the most daring tasks! You need to be the master of the situation in front of the canvas, otherwise nothing will work out.