Diana Malivani Publication by the International Confederation of Art Critics

L’Art de Vivre

Diana Malivani

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Front Cover: “Art De Vivre” Acrylic, oil and gold leaf on canvas, 2018

L’Art de Vivre Diana Malivani

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ICAC

InternationalConfederationofArtCritics

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Table of Contents

Artist Biography

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Artist Statement

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Flowers, Trees & Vivid Gardens Collection

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Organic Beauty and a Lust for Life: A Critical Analysis by Timothy Warrington

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People, Animals & Birds Collection

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Ethereal Landscapes Collection

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Seeing the Invisible Art Project

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Artwork Analysis: ‘Sea of Samsara’

by Christopher Rosewood

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Selected Seascapes Collection

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Exploring Abstraction Collection

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Seeing Music Art Project

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The Importance of Sound: A Critical Analysis by Christopher Rosewood

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The Blue Butterfly’s Dream Art Project

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Artwork Analysis: ‘The Blue Butterfly’

by Timothy Warrington

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List of Works

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“Poppies” oil on canvas, 2019

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Diana Malivani at work

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A Short Biography Artist Diana Malivani is, by her training and profession, a Doctor of Medicine (M.D., Ph.D.). Her works regularly appear in prestigious exhibitions and compete in art contests in several countries as well as being published in international art journals, offered for sale on leading online art market places (notably, on Artsy), and listed in the database of Artprice, the world leader in art market information.

The artist’s creative journey began at birth: Diana was born on the coast of the Black Sea, bathed in the riotous profusion of the colors of the Caucasus. Her love as a child for fairy tales and pictures later developed into a desire to convey, to those hearing and viewing her work, the great feeling for nature which enhances her life and the lives of those she loves.

Diana’s paintings reflect her soul, her love for music and nature, for an infinite variety of melodies and sounds, for shades and colors, for all that nature creates: the rustling of wet leaves and the first rays of dawn, the roar of the sea surf and the scent of a flowering meadow, the flight of screeching gulls and dewdrops on a blossoming rose... As she draws flowers and depicts landscapes (the principal themes of her artwork), deals with marine subjects, creates abstract compositions, and transfers music to canvas (one of the Artist’s main Art Projects bears the name «Seeing Music»), Diana strives to share these feelings with others, to share with others a part of her soul.

Diana Malivani is also the author and illustrator of children’s books published in Russian, English, French and German.

After many years spent in Europe (especially, in France and in Cyprus), Diana returned to Russia and she now lives with her family in Saint Petersburg.

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Artist Statement Diana Malivani is always in the mood to create: this happy inclination and impulse arise spontaneously within her and form an integral part of her life. Nature, for Diana, is the best source of new ideas. A walk along the Mediterranean coast, contemplation of the high crowns of the eucalyptus and palms against the background of the setting sun, and the boundless southern sky create the illusion that the surrounding world is inexhaustible and limitless: this is what fills the artist with energy and inspiration. Diana believes that it is very important for a human being to be in harmony with self and nature. Only then is it possible to commune with all the beauty of the surrounding world, hear the murmur of the trees and flowers, be in touch with the music of waterfalls and torrential rain, and sense the breath of the sea and passing clouds.

The creative process, this special magical world in which the artist is submerged, is invariably accompanied by music, which has always occupied an important place in Diana’s life. Listening to classical and modern music, she is transported to a special realm where different images and pictures appear, sometimes just bright splashes of color responding to each other, which the artist then tries to transfer to canvas. Diana’s artworks reflect the images evoked in her soul as she listens to music. The artist believes that painting and music are interconnected by special deep inner ties having the same foundation as the diverse manifestations of life. With her background in Medicine, Diana is convinced that painting, like music, can heal spiritual wounds and help people find their own life paths.

Artwork in background: “Lilac” oil on canvas, 2019 Previous spread: “Bureaucracy” oil on canvas, 2019

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“Strelitzia” oil on canvas, 2018 Previous page: “Pearl Fisher” oil on canvas 2019 16

Flowers, Trees & Vivid Gardens

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“Snowdrops” oil on canvas, 2019

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Organic Beauty and a Lust for Life: A Critical Analysis Diana Malivani passionately conveys her effervescent personality through each graceful touch of paint on the canvas and her use of texture manifests itself as a creative haven upon which she symbolically cultivates organic pastures that possess the ability to simultaneously induce calm and empower the viewer. Drawing upon inspirations from a vast array of artistic sources, Malivani confers a semblance of modernity to the traditional themes to which she gravitates. While her aesthetic is clearly influenced by the Impressionists, diverse movements ranging from the Pre-Raphaelites to Abstract Expressionism can be detected from her involute opuses; a myriad of interwoven visual and philosophical lines of thought act as the catalyst for her conceptions that never lose sight of her primordial essence and vitality for life.

The captivating combination of artistic techniques adopted by Malivani provoke deep intrigue and curiosity in the spectator, who is charmed by the sophisticated and inviting aura as each painting evokes the blissful, uplifting spirit and hopefulness of nature. They Who Aspire exemplifies the union of these visual inspirations; the Impressionistic approach to classical concepts is a delight to observe and, upon close analysis, an element of Expressionism can be detected in the luxurious use of her medium. Bold and emotive brush strokes, as well as an indelible essence of Romanticism in the soft and tender attention that the artist gifts to her subjects, enhances the composition with a profound level of academic complexity. Her nuanced fusion of style masterfully reflects the movement of the cantering horses and the powerful tides of the sea by invoking references to Édouard Manet, Rosa Bonheur and Eugène Delacroix throughout her percipient exploration of the fluidity of water and glory of wildlife.

In regard to Malivani’s landscapes, an influence from Théodore Rousseau and the Nineteenth Century French Realists can be observed particularly in the coruscating array of colours utilised in the scintillating skies of the paintings. Gentle pinks, blues and oranges ebb over the canvas to convey the magnificent horizon in every season and time of day.

Malivani frequently depicts figures congruous with the organic scenes that envelop them, through which the artist contrives strong links to Edgar Degas’ works in oil; the exquisite textures achieved by these artists and personal bond with their sitters provide, in turn, a tangible and irrevocable empathic connection with the viewer that encompasses the tender relationship between artist and model.

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“Garden Roses” oil on canvas, 2019

“Garden Roses” oil on canvas, 2019 20

Malivani also shares with the Pre-Raphaelites a deep affinity to nature, notable through her predilection for painting serene and harmonious figures alongside an abundance of resplendent nature and blossoming flowers; this propensity reflects a philosophical connection with Sir John Everett Millais and John William Waterhouse. Considering In the Shade of the Wood, the exquisite observation of light is expertly conveyed through her brushwork to evoke a true sense of the elements and the simple, yet supreme, ebullience of life itself. Malivani uses vibrant hues to depict the warm air and soft breeze of the environments in her compositions, which transport the viewer directly to the idyllic scenes portrayed and induce a feeling of overwhelming serenity. The delicacy with which Malivani paints each petal of the elegant flora radiates the artist’s passion and spirit whilst demonstrating a firm naturalistic influence. Strong ties can be seen between her and Georgia O’Keeffe through the diaphanous effect they achieve in which the flowers appear almost translucent; each tangible ray of sunlight can almost be felt upon the skin of the observer as it is absorbed into the fibres of the blossom.

While much of Malivani’s work has firm roots in Nineteenth and early Twentieth Century art, her abstract collection suggests an adventurous, curious and inquisitive side to her artistic being. Her use of shape, form and colour as a form of expression solidifies conceptual ties with Wassily Kandinsky and Gerhard Richter while her use of line is reminiscent of Kazimir Malevich and Piet Mondrian. However, Malivani’s abstract line of work is not where these comparisons end. Indeed, when observing Regatta, it is clear that the inspirations of abstraction run far deeper; the harsh and structured edges utilised translate into the rough tides through which the ship must navigate suggesting an inclination to push the boundaries of art through the use and understanding of nuanced artistic techniques. This intelligent application of her superb skills can also be noted in When I Saw This Tree…, which bears a subtle essence of Surrealism and reflects a refined and enlightened approach to her art form. Malivani impeccably coalesces diverse artistic attitudes to convey her meaning through learned visual and philosophical channels.

Malivani is undeniably a talented artist who has a resoundingly sharp understanding of her creative power through which she is able to eloquently and articulately communicate the fluid rhythm of nature and contain its proud personality. In each artwork, Malivani effortlessly forms a complex language through which to share her glorious and uplifting perspective of the world.

Timothy Warrington International Confederation of Art Critics 21

“Lemons Still Life” oil on canvas, 2019

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Detail of “Lemons Still Life” oil on canvas, 2019

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Previous page: “Sunflowers” oil on canvas, 2019 “Spring Flowers” oil on canvas, 2017

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“Summer Flowers” oil on canvas, 2019

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“Sisters” oil on canvas, 2019

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People, Animals & Birds

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Previous Page: “Sparrows” oil on canvas, 2018

“Blooming Willow” oil on canvas, 2019 & detail (left)

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“Forest Bluebells” oil on canvas, 2019

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“They Who Aspire” oil on canvas, 2018

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“Autumn” oil on canvas, 2019

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Ethereal Landscapes

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“Summer in Provence” oil on canvas, 2019

“The richness I achieve comes from Nature, the source of my inspiration...”

Claude Monet

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“Pond With Water Lillies” oil on canvas, 2018

“In the Garden” oil on canvas, 2019

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“Fish” oil on canvas, 2019

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“Koi Fish” oil on canvas, 2019

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“Pond” oil on canvas, 2018

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“Disapprobation” oil on canvas, 2019

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Seeing the Invisible

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“The Sea of Samsara” oil on canvas, 2019

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Artwork Analysis: ‘Sea of Samsara’ Diana Malivani’s heterogeneous and comprehensive oeuvre reflects her dexterity and visual acuity in every artwork, however while considering her wider collection I instantly found Sea of Samsara particularly compelling as it is so axiomatic of its subject. Malvani effortlessly and sedulously translates the ethos of Samsara via remarkable compositional features and her astute application of medium; indeed, the cyclical motion of the piece visually references philosophical ideas of rebirth, reincarnation and overlapping narratives. Sea of Samsara proffers an astounding emotional journey that calls upon a myriad of elements with roots in vast swathes of art history dating from the very earliest evidence of creativity, and yet still maintains an undeniable sense of modernity that demands unequivocal recognition of its nuance and grace.

The recurrence of history is artfully expressed in Sea of Samsara by the contrast between representations of primitive creative endeavour and the artist’s impeccably refined execution. The textures harnessed in the piece seem to depict an enduring chronicle; each miniscule element encapsulates a trove of magnificently mysterious wonders that suggest a cognitive conjunction with Jean Dubuffet. Sea of Samsara seamlessly juxtaposes the essence of Egyptian hieroglyphs and rudimentary cave drawing with sophisticated movement and captivating colours, demonstrating a flair that is aligned with Richard Pousette-Dart. Indeed, it is this extraordinarily bold use of colour and volcanic energy that evokes a rich and primordial sense of fire; this acknowledgement of the elements reinforces Malivani’s cerebral intentions and fundamental message that is exponent in the work and stimulates academic thought in the viewer.

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“A Contrario” oil on canvas, 2019

“Souvenirs” oil on canvas, 2019 48

Malivani’s aptitude for utilising art as a social mirror and tool for societal comment proffers powerful connections with Alexander Rodchenko and Aleksandra Ekster, as well as the quintessence of the Constructivist movement as a whole.

Malivani’s interpretation of Samsara is evident through the diverse spectrum of animals, shapes and objects that form intricate tableaus, which are layered as a rich tapestry to illustrate the circle of life.

In this sense, Malivani is both physically and psychologically constructing art; the passage of time is given radical phrenic importance in Sea of Samsara as the viewer can observe stages of artistic manifestation that documents boundless progression, not only of creativity, but also of humanity itself.

Sea of Samsara exhibits a profound relativity between Malivani and Cubism in her redolent use of line and shape; certainly, her adroit capability to convey a multifaceted story through a simple suggestion of form indicates a commonality with Louis Marcoussis. The strong, angular shapes found within the fibres of the painting obtain visual comparisons with Kenneth Noland and Josef Albers, while her vehement use of medium appears congruous with Emil Nolde and artists associated with Die Brücke, and simultaneously casts reflection on urban graffiti artists such as Futura 2000. By enabling the viewer to ponder such a divergent array of artistic practice, Malivani’s virtuosity comments on the evolutionary aspect of contemporary art, whilst undoubtedly securing herself within its realm.

Christopher Rosewood International Confederation of Art Critics

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“At Sunset” oil on canvas, 2019

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“Regatta” oil on canvas, 2018

Selected Seascapes

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‘A man is never lost at sea...’

- Ernest Hemingway, The old Man and the Sea 53

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“Gulls” oil on canvas, 2018 Previous spread: “The Sea Turtles” oil on canvas 2018 Image opposite: Artist Diana Malivani pictured in the midst of painting a seascape

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Exploring Abstraction

“Upgrade” oil on canvas, 2019

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“Le Charme Ancien” oil on canvas, 2019

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“Movement I” oil on canvas, 2018

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Seeing Music

“Versatility” oil on canvas, 2019

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“Sea Breath” oil, gold and copper leaf on canvas, 2018

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The Importance of Sound: A Critical Analysis Cascading with poetry and emotion, Diana Malivani brings joy and music through a diverse and stimulating range of profound elements.

There is a fervent academic depth to her works of art that eloquently reference the creative disciplines that are represented by the boundless facets of her artistic endeavour. It is overwhelmingly apparent when considering Malivani’s collection that she is fundamentally moved by music; her series of work entitled ‘Seeing Music’ radiates with the vitality of life and vibrates with an intense sense of movement that has the rare ability to encompass the magical aura of complete concertos and symphonies. Indeed, the individual brushstrokes passionately expressed in Summer Silence seem to embody the distinct musical notes dancing across the canvas that seamlessly bridge the chasm between the aural and visual arts with majestic albeit fluid harmony.

The explosive tones and gestures within In A Summer Garden create a subtle but powerful connection with Amadeus Mozart, who is famously said to have seen sounds through hues. Whilst the abundance of colour allows the spectator to observe a manifestation of synesthesia, the correlations run far deeper; Mozart’s predilection for composing uplifting divertimenti for dances is vivaciously rendered through the prodigious sense of joy that exudes from Malivani’s work. Mozart’s study of irregular phrase lengths reflects his rejection of Baroque styles of music, which is mirrored in Malivani’s avant garde approach that shares the philosophical exploration of unprecedented creative methods with the Futurist artistic movement, particularly when considering the visual creations of such artists as Giacomo Balla and Umberto Boccioni as well as the musical scores of Filippo Marinetti.

Malivani’s deep, analytical and conceptual approach is further exemplified in her work The Overture, a composition that propels visual parallels with the graphic musical scores of John Cage and of the subsequent Fluxus movement. The motifs depicted across Malivani’s canvas are reminiscent of the experimental symbols indicating sound, and at once the spectator can tangibly experience the invigorating crashing of cymbals through the artist’s expressive iteration of movement and audio. The sensorial ties between divergent elements cast cognitive comparisons with Gerard van Honthorst’s striking scenes that harbour the raucous atmosphere of music and dancing.

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Not only does Malivani coalesce the visual and aural arts, but she also incorporates an undeniable element of performance in her works; Show Must Go On fully engages the mellifluous energy of a live orchestra, while Waltz of the Flowers (Triptych) encompasses the graceful movement of Tchaikovsky’s ballet with each gesture. In this regard, Malivani effortlessly brings together the spontaneous tenor of Gino Severini and Jean Beraud, whose representations of movement and the primordial euphoria that music brings to an audience is flawlessly translated by the finesse of Malivani’s emblematic style.

Despite the highly abstracted structure of Malivani’s works, there is a notable essence of Pointillism that is particularly demonstrable in State of Mind. The dramatic brushstrokes impactfully evoke thoughts of Andre Derain and simultaneously demonstrate the staccato notes of Antonio Vivaldi’s Storm from the iconic Four Seasons concertos. The evolving accelerandos of the piece are reflected in the combative application of paint and crescendos of colour thus contained that have ethereal connections with the art of Gustav Klimt. Yet Malivani demonstrates an extraordinary versatility throughout her artwork; indeed, Listening to Chopin (Triptych) finds discernable links with J. M. W. Turner through the elegant and hazy light of the misty scene presented, which instantly brings to mind the lyrical and refined melodies of Frederic Chopin with a genteel and peaceful touch.

Deep ochre and umber hues contribute to the cataclysmic and intellectually provoking juxtaposition between nostalgic and extant notions found within Renaissance Music, which at once evokes the unequivocal spirit of past eras with the lightness of William Byrd’s lilting arrangements for vocals and strings, whilst also reflecting the essence of modernity found in Marcel Duchamp’s paintings through their elevated abstraction and evocative transience. By modernising the traditional elements of Renaissance music, Malivani expands the limitations of creation as she visually translates a harmonious relationship between entrenched historical and contemporary academic ideals.

Diana Malivani possesses an inspirationally innovative approach through which she brings together various artforms and presents her limitless imagination and creativity. Her thirst for new approaches incites an enlightening visual and cerebral experience that leaves the spectator roused by her energy but free to explore the boundless meanders of colour, gesture and rhythm.

Christopher Rosewood, International Confederation of Art Critics

“Venice” oil on canvas, 2018

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“Listening to Chopin” (Triptych) oil on canvas, 2019

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“Waltz of Flowers” (Triptych) oil on canvas, 2019

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The Blue Butterfly’s Dream

“Solitude” acrylic and oil on canvas, 2019

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Opposite: “She Who Flies” oil on canvas, 2019 and detail (above)

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“The Blue Butterfly’s Dream” mixed media on canvas, 2019

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Artwork Analysis: ‘The Blue Butterfly’s Dream’ Diana Malivani’s tender and complex representation of the female mind is sincere and empowering in her ability to reflect a thought provoking and powerful combination of womanhood. Malivani herself said that “one of the most difficult goals of artists depicting the moods of the woman’s heart on canvas is to convey their force, depth, and meaning in abstract compositions”; certainly, this is a goal that the artist resolutely challenges herself to exceed, as she shows strength and aspiration within the narrative of each of her subjects.

Her fervent attitude towards these depictions creates cerebral ties with the philosophical thoughts of Frida Kahlo, as both artists transpose a clear and communicative expression of their subjects integral thoughts, balanced with recurring motifs that encompass their gentle femininity - for Kahlo this is found in the form of flowers, while Malivani frequently includes butterflies in her works, particularly in her collection entitled The Blue Butterfly’s Dream.

The psychological depth of the figures that Malivani paints suggest connections with James McNeill Whistler and Leonardo da Vinci. Pieces such as Dying in the Rain and Lily convey an intellectual element through the determined gaze held by the subject. These works impeccably combine Realism with Abstraction, as the execution contains both elements of Renaissance techniques, as well as a sense of Abstract Expressionist vigour in the brushwork, which aligns Malivani with artists, such as Arshile Gorky, through the use of strong pigment and avant garde form.

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“The Illusion of Presence” oil on canvas, 2019

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Upon deep analysis of Contemplation, the same innate philosophies can be detected, however in this instance they possess a more abstracted form. Parallels with Surrealism can be surmised through Malivani’s structural balance between abstraction and definable elements; indeed, her proclivity for eyes and the symbolic exploration of vision is certainly one which the artist shares with Rene Magritte as both artists draw an emblematic correlation between sight and agency.

In Contemplation, Malivani asserts an overpowering sense of motion through the coalescing red and green hues and fluid use of line, which give the impression that the butterfly is in flight alongside the three sets of optics as the figure is aligned with the allegorical use of nature in the work.

These somewhat opposing elements rest in a harmonious equilibrium that reflects the contrasting elements of femininity, while allowing the viewer a treasured opportunity for self reflection while they reflect on their own interpretations of the artwork.

Malivani’s thoughtful depictions of women and children firmly align with Pre-Raphaelite painter Sophie Gengembre Anderson, who famously depicted women amongst nature with conscientious souls and playful personalities, which mirrors Malivani’s relationship with femininity that she expresses through her paintings. Observing pieces such as She Who Aspires and Solitude, the viewer can sense both the might and the fragility of the central figure, as the artist continues to depict rounded and complex female characters that provide an insight into the experience of womanhood.

The ardent expression of liberation is tangible in Harmony and Escape as the artist communicates her fundamental thoughts with tender and deliberate attention. Through the delicate combination of contemporary and traditional techniques, Malivani is able to cast an astute perspective on the history of the womanhood through an avant garde form of powerful visual communication.

Timothy Warrington, International Confederation of Art Critics

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“Awakening” acrylic, oil and gold leaf on canvas, 2019

“Endeavor” oil on canvas, 2019 76

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“Comeback” acrylic and oil on canvas, 2019

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List of Works “Art De Vivre” acrylic oil and gold leaf on canvas, 42 x 30cm, 2018 “Poppies” oil on canvas, 50 x 40cm, 2019 “Bureaucracy” oil on canvas, 70 x 100cm, 2019 “Lilac” oil on canvas, 40 x 50cm, 2019 “Pearl Fisher” oil on canvas, 100 x 150cm, 2019 “Strelitzia” oil on canvas, 90 x 70cm, 2018 “Snowdrops” oil on canvas, 50 x 40cm, 2019 “Garden Roses” oil on canvas, 80 x 80cm, 2019 “Garden Roses” oil on canvas, 80 x 80cm, 2019 “Lemons Still Life” oil on canvas, 50 x 40cm, 2019 “Sunflowers” oil on canvas, 120 x 150cm, 2019 “Spring Flowers” oil on canvas, 50 x 100cm, 2017 “Summer Flowers” oil on canvas, 40 x 80cm, 2019 “Sisters” oil on canvas, 50 x 40cm, 2019 “Sparrows” oil on canvas, 70 x 100cm, 2018 “Blooming Willow” oil on canvas, 40 x 50cm, 2019 “Forest Bluebells” oil on canvas, 50 x 40cm, 2019 “They Who Aspire” oil on canvas, 90 x 120cm, 2018 “Autumn” oil on canvas, 40 x 50cm, 2019 “Summer in Provence” oil on canvas, 80 x 120cm, 2019 “Pond With Water Lilies” oil on canvas, 120 x 90cm, 2018 “In the Garden” oil on canvas, 50 x 40cm, 2019 “Fish” oil on canvas, 150 x 120cm, 2019 “Koi Fish” oil on canvas, 50 x 40cm, 2019 “Pond” oil on canvas, 50 x 40cm, 2018 “Disapprobation” oil on canvas, 100 x 100cm, 2019 “The Sea of Samsara” oil on canvas, 150 x 120cm, 2019 “A Contrario” oil on canvas, 90 x 90cm, 2019 “Souvenirs” oil on canvas, 100 x 100cm, 2019 “At Sunset” oil on canvas, 40 x 50cm, 2019 “Regatta” oil on canvas, 120 x 150cm, 2018 “The Sea Turtles” oil on canvas, 80 x 120cm, 2018 “Gulls” oil on canvas, 100 x 100cm, 2018 “Upgrade” oil on canvas, 90 x 70cm, 2019 “Le Charme Ancien” oil on canvas, 80 x 60cm, 2019 “Movement I” oil on canvas, 100 x 100cm, 2018 “Versatility” oil on canvas, 80 x 60cm, 2019 “Sea Breath” oil, gold and copper leaf on canvas, 120 x 120cm, 2018 “Venice” oil on canvas, 70 x 50cm, 2018 “Listening to Chopin” (Triptych) oil on canvas, 60 x 60cm, 2019 “Waltz of Flowers” (Triptych) oil on canvas, 90 x 90cm, 2019 “Solitude” acrylic and oil on canvas, 50 x 40cm, 2019 “She Who Flies” oil on canvas, 2019 and detail above “The Blue Butterfly’s Dream” mixed media on canvas, 45 x 90cm, 2019 “The Illusion of Presence” oil on canvas, 150 x 120cm, 2019 “Awakening” acrylic, oil and gold leaf on canvas, 42 x 30cm, 2019 “Endeavor” oil on canvas, 50 x 40cm, 2019 “Comeback” acrylic and oil on canvas, 50 x 40cm, 2019 “She Who Aspires” oil on canvas, 42 x 30cm, 2018

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