Robert Andersen

My decision to become a painter was unconscious, I enjoyed painting because of aesthetic feelings I had while working. This kind of activity was often bringing me satisfaction and self-confidence, providing an opportunity to unveil my potentials. Painting has always given me strongest emotional uplift and moreover it has been a way to permanently fix not only the feelings and emotions but, which is most important to me, the power of one's will, the level of skills and the internal moral state. In my works I see reflections of myself - the way I am - brave, indecisive, truthful or unable to see things in the right way. Every painting also contains elements of the environment surrounding artist, somethings from his previous life and his attempts to see the future. In this sense the objects of fine arts are of an uppermost value for me. I am also supporting the idea that the cognition of the world is an intuitive process happening through art and not by means of rational scie ntific methods.


Possibly, this attitude defines myself as a person of artistic character but at the same time I feel I have more logic in my life than intuition. Considering the influence of certain artists on my creative development, I would say I am a follower of realism in its strongest manifestation. My most favorite artists are Velaskes, Rembrandt, Chardin, Dega. Edgar Dega appeared to have very strong connections with the painters of previous generations but remaining a realist he was at the same time quite a unique artist capable of understanding and accepting the next generation of artists that started to picture the world in their own ways - impressionists Monet, Pissaro, Renoir and others. I appreciate a lot the realists of the 17th century for their strong monumentality and generalization of characters, for subtle transitions of colors. At the same time I love the impressionists for the airiness and freedom in colors. Finally, the third group of artists that also impresses me much are the post-impressionists who showed to the world that there exists a large variety of methods an artist may use to present the nature and this variety is still being explored in the top levels of the global art.


In my work I have been always trying to learn all the best things from the best artists of previous generations and using their most successful techniques to create my own works and my own creative style. I definitely see myself as a part of continuously evolving artistic tradition that has accumulated a huge heritage and at the times of chaotic attempts to understand myself and to find my own way I always return to artists of the past, their methods and attitudes. I have a clear plan to leave a number of very strong works behind me. Most of my works belong to the figurative art or to the portrait. Compositions are especially important for me. Working on a composition I'm often trying to forget about the literary and ideological moments and more interested in the searching for poetry and metaphors. I begin to work only when I feel myself both technically prepared and in the possession of a certain reserve of internal emotion.


As for the materials, I have chosen oil and canvas. I use three brushes - the thick one to for filling backgrounds, the middle-size one for working on shapes and the thin one for details. In rare cases I use mixed techniques, for example, the underpainting methods, I make my first color relationships with gouache and put the later layers with oil. Almost for every painting I first draw a sketch but when I feel I can paint directly on canvas I start working without a preliminary sketch. I try to avoid the concept of "piece of canvas". For me it is important to see everything as a whole and every time I work on details I keep the entire picture in my eyes. Everything must be in harmony. Actually, harmony is my uppermost priority. Everything can be an inspiration for my work, be it a man passing nearby or an occasional thought. However usually I'm more influenced by things I take from my inside than from the outside. These can be my thoughts or visual imaginations. So, my fantasies are stronger incentives for me comparing to material objects. If I need a material object to transpose my thoughts on canvas, I just find it.

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