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Igor Smirnov, a son of famous Russian landscape artist Vasili Smirnov, expression in visual art. It may be said that the twentieth century
began painting when he was very young. Eventually, he developed his had indeed manifested an insatiable thirst for the interpretations
own unique style of “symbolic realism.” It bears no resemblance to and reinterpretations of time. There were a number of attempts of
either socialistic realism or any of the numerous avant-garde ‘isms’ of reformation, transformation and even refutation of the basic concepts
the twentieth century. The artist considers a piece of art as a source of art in the search for the fourth dimension reverberating echoes of
of information presented in symbolic form that is associated by time in visual art. Following the new theories of philosophy, physics and
contemporary audience as a virtual space of our spiritual life. Smirnov’s psychology which appeared in this century, the visual art created a new
art is based on a deep understanding of eternal values and the language for the representation of time. Thus, time became not only the
subconscious effect of art forms and colors on human psyche, emotions key point of life but of art as well, allowing us to evaluate art in the light
and well being. It brings positive associations to the audience and thus of its relationship to the temporality.
enhances the global spiritual atmosphere.
In the beginning of the third millennium the tendency to immerse in fin
Smirnov’s works are recognizable by their distinctive framework and du siecle esthetics became very popular and is reflected in the content
color structure that create the impression of stained glass or enamel of visual art. The apocalyptic nature of this era creates emotional
along with a feeling of mystery. A precise linear framework that prevents stress and the feeling of instability. The artist finds himself in an almost
the transformation of the painting’s surface into chaos of colors unforeseeable situation, when everything in his world tumbles out of
achieves this effect. The assurance and boldness of the lines recalls the control without stability in a state of permanent flux. Moreover, the
works of Picasso done between 1910 and 1920. But the resemblance course of global events and the radical increase of tempo of modern
to the famous cubist artist ends there. Smirnov is not interested in the life lead to the transformation of consciousness and the alteration of
analytical division of objects into their components. His method is really the processes of perception, evaluation and interpretation of art by the
the opposite. It is the melding of forms rather than their destruction, audience. As a result, in order to find a place in the context of modern
harmony, not dissonance. People, beasts, birds, fish, fruits, flowers, art art, the artist has to realize how he can create the symbolic equivalent
objects, everything is united by the beauty of Igor Smirnov’s harmonious of a constantly changing external world.
fantasy world that stands before us like the embodiment of music in line
Due to the desire to reflect the values and ‘realities’ of the world around
and color. (“Between the Moment and Eternity: Artwork of Igor Smirnov”
them, many artists create the art that is restless and momentary.
by Irina Alievsky and Reena Judens, Authorhouse, USA, 2006).
However, if we examine the artworks that are considered to be
Igor Smirnov began his art career at the College of Fine Art. Then he masterpieces, such as the art of Italian Renaissance, Classicism, and
obtained M.S. in Engineering & Design at the Naval Academy, where his the art of the beginning of the twentieth century, we will find that
rich depth as an artist was enhanced by the knowledge of geometric they always reflect eternal values along with the concrete moments
forms and proportions. Later he spent two years restoring priceless of time and life. The act of evaluation and interpretation of art, and
icons and paintings at RUSSIAN MUSEUM OF ART and MUSEUM OF by extension the creation of great art, is not a momentary act of
URBAN SCULPTURE in St. Petersburg, Russia. From early 1980’s he observation and passive acceptance. It is an active immersion in the
participated in the movement of non-conformist or “underground” art art work and in your own subconscious. Contemporary art demands
in Russia. the same involvement and, in fact, is even more pretentious in its own
way than already culturally assimilated old masters, but the technique
Igor Smirnov’s art works attracted the attention of John Whitehead, the
for evaluation is absolutely different. The contemporary art viewer is
US Deputy Secretary of State, when he visited Moscow in December
brought up in a computerized, technological environment and is familiar
of 1987 in preparation for the meeting between President Reagan and
with virtual space from his childhood. The viewer is accustomed to
Soviet leader Mikhail Gorbachev. Following Mr. Whitehead’s personal
deal with symbolic forms through the associative thought process as
request to Soviet Minister of Foreign Affairs Mr. Shevardnadze, the
well as through the modern technology. In the modern world art and
authorities of USSR let Igor Smirnov to immigrate to United States. The
technology are mixed and coexist together. The audience of the twenty
artist happily settled in California enjoying the benefits and stimulation
first century can perceive art in both ways – as a piece of art and as a
of the new environment.
source of information presented in symbolic form.
Since that time Igor Smirnov gained world wide recognition with his Symbolic art of Igor Smirnov expresses this new tendency of art
paintings displayed in museums and galleries in the United States, perception and interpretation. At the same time it is focused on eternal
Europe, Asia and Russia. The relationships between time and space values and affects the emotional and mental state of the viewer through
always were at the forefront of philosophical thinking and found the process of associative thinking.

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