Location: The South of the Crimea (Ukraine). Private hotel with a beautithful view.

The Crimea ( http://en.wikipedia.org/wiki/Crimea ) is extremely popular destination for the tourists. Throughout its great history, the Crimea had seen a great number of the rulers and still bears traces of various cultures and civilizations of the past. Its atmosphere is saturated with the fragrance of the ancient legends of the Olympic gods, amazons, Greeks, Cimmerians, Taurians, Sarmatian, Scythians, Goths and remains here for many thousands years. The gods, as well as the Nature have been incredibly generous to the peninsula. Its fantastic landscapes could take your breath and may challenge the most beautiful views of the world.

Seminar information

The tutor:

Oleg Korolev is working with oil painting for decades, studied and graduated from the Crimean Art College, Painting department; as well as studied the Mische technique with Maestro Ernst Fuchs firsthand in the Apocalypse chapel, St.Egyd Cathedral, Klagenfurt, Austria.

Site of Oleg Korolev http://www.koro-art.com/

The Techniques:

Students of the seminar will have the unique opportunity of studying of
every oil painting technique they wish on the private request:
Ala-Prima, Ala-Prima impasto, Mische (Ala-tempera), Ala-Prima+Mische,
Ala-Prima impasto+Mische, Mische+Ala-Prima glazings etc

During of the Seminar period two works will be painted from life on the “Plein air”

1. Still life
2. A nude in a drapery (half-figure).

Art Supplies:

The students must bring their own oil paints, linseed oil, turpentine
(pinene), brushes ( both: bristle and kolinsky sable), art knife, pallete, a
sketchbook and pencils. One tube of the white color tempera (emulsion).

The Seminar will provide the primed and stretched canvases
( the size is around of 50×60cm or 19.7” x 23.6” inch) as well as the
easels will be given for the time of the Seminar period.

Schedule:

Tuition for the various painting technics includes teaching 6 days per week,
7 hours per day Classes are held 10:00 – 1:00 and 2:00 – 6:00, Mon – Sat.
Your accommodation begins at 1 September and ends at the day of 15
September. The accommodation is in the private hotel, most with 2 people per room.

Price:

To reserve your place, you must register with a deposit.
Last date for reservations is August 20st.

Please contact me and I will supply you with the more detailed information
on the seminar costs.

Total :

Tuition for the 15 days.
15 nights of accommodation at a private hotel.
Breakfast, lunch, dinner.
Art supplies (easels, canvases).

Visa ( Visa free regime ).

VISA-FREE REGIME has been established for citizens of the following countries:

Austria
Belgium
Canada
Cyprus
Czech Republic
Denmark
Estonia
Finland
France
Germany
Greece
Hungary
Ireland
Italy
Japan
Latvia
Lithuania
Luxembourg
Malta
Poland
Portugal
Principality of Andorra
Principality of Liechtenstein
Principality of Monaco
Republic of Iceland
Slovakia
Slovenia
Spain
Sweden
The Holy See (State of the Vatican City)
The Netherlands
The Swiss Confederation
United Kingdom
United States of America

Citizens of the above-mentioned countries do not need visas to enter Ukraine or transit through its territory for the period of time of up to 90 days with a valid travel passport.

Visas are still required for citizens who enter Ukraine with the purpose
of employment, permanent residency, study and work at the diplomatic
missions in Ukraine or with any other purpose if they are going to stay
in Ukraine for more than 90 days.

A Plan of the Intensive Painting Seminar:

1 September (arrival) – Ala Prima
2 September – Ala Prima ( finishing)
3 September – Ala Prima Impasto
4 September – Tempera grisaille + Oil glazing

5 September – Weekend (Theory, personal lecturing, advices)

6 September – Ala Prima Impasto ( finishing)
7 September – Mische
8 September – Mische (finishing)
8 A Still life in a personally chosen technique
9 A Still life in a personally chosen technique
10 A Still life in a personally chosen technique (finishing).
11 A half-figure in a personally chosen technique.
13 A half-figure in a personally chosen technique.
14 A half-figure in a personally chosen technique (finishing).

15 September – Weekend (Theory, personal lecturing, advices) (departure)

_______

4 Ways of Oil technique ( plus additional variations).
13 Practice days
2 Theory days
Tuition for the various painting technics includes teaching 6 days per week,
( 7th day – 3 hours of Theory, personal lecturing, advices)
7 hours per day Painting Practice Classes are held 10:00 – 1:00 and 2:00 – 6:00, Mon – Sat.

Contact:

To take part in the Seminar and reserve your place, as well as ask your
questions, please contact me by e-mail korolev.oleg@gmail.com
Or by Skype: koro3koro3koro3

Oleg A. Korolev ( born 1968).
In 1979 studied in the Studio of the Classical Drawing ( Vilnius, Lithuania)
In 1981 in the Art Studio and in the Art School ( Evpatoria, The Crimea )
From 1984 to 1990 studied and graduated from the Crimean Art College (Simferopol)
1992, 1993 – participated in the group art exhibitions (“The Arnhem gallery”, London, UK)
1994- exhibition of the Crimean artists ” Art-Effect” ( Simferopol)
From 1995 to 1998 – exhibitions in the gallery “KEP” and in the “Privat Bank”" ( Simferopol)
1998 – the international art festival “Russian Winter in Montreal”, Vand-ArtGallery” (Montreal, Canada)
1998 to 2001 – took part in various private art projects with Russian and German art collectors
Since 2000 – a member of the artistic society “Society for Art of Imagination” (the London, Great Britain)
2004 – participated in the art project of the Maestro Ernst Fuchs, as well as studied the painting technique of this famed master, firsthand ( Apocalypse chapel, St.Egyd Cathedral, Klagenfurt, Austria)
2002- “All Media Invitational 2002 Period Gallery , (Omaha, USA)
2003 Ramsey Center for the Art’ (St.Paul, USA)
2006 – “Society for Art of Imagination” The H.R. Giger Museum (Gruyeres, Switzerland), Mall Gallery (London) 2008 – “Society for Art of Imagination” “Fantasmus” (Saeby, Denmark)
2009 – 7-th International Visionary Art Festival “Chimeria 2009» (Sedan, France).

Paintings by Oleg Korolev have been published in art albums for Visionary Art and Fantastic Realism: “Eyes of the Soul”, “Metamorphosis”, “Illuminations”, “Imaginaire I”, in magazines: “Revue 3e millenaire”, “EGOIST generation”, “Magic Mountain N XIII”, “Vestnik actualnih prognozov” Volume 3, “Empire of Spirit” NIII, «Fantasy*Art Magazine» Apr. 2009, in art encyclopedia «Lexikon der phantastischen Künstler».

Art works by Oleg Korolev have been on display in private and corporative art collections of Russia, Europe, North America and Australia.

By Oleg Korolev

The style of Romanticism: ‘Wanderer Above the Sea of Fog’, by Caspar David Friedrich (1818). Within 100 years, it would be followed by the ‘modern art’.

In 1925, the Spanish liberal philosopher José Ortega y Gasset (1883-1955) had written and published his essay “The Dehumanization of Art”. In spite of the work , it represents a sort of a tendentious reflection on the current developments of the art process; it has actually become the program for the next generations of modern artists, all the way up to our times.

In this work, Ortega y Gasset explained how the perceptions of some of the elite members of art society have become tired of the “melodramas” of the traditional “old art”. At the same time, how this traditional “old art” was “dishonestly” provoking the viewer to cry and laugh, or to feel some semi-utilitarian pleasures, because the ordinary viewer’s “aesthetic enjoyment doesn’t make a difference, in principle, from the emotional experiences that they have in the everyday life”. He, without any hesitation, has appointed himself and those who will appreciate the new trends in art as clever and intellectually greatly advanced, but those who would stay loyal to the old, classical traditions in art–which contain a human emotionality–as just stupid, narrow-minded “masses”.

At the same time, he greeted the “new art”, which somehow acted in the context of the ideas expressed by one of the European classics in the phrase “Human, All Too Human”, and has refused all that which is “human” in art. The “new art” of Modernism has exterminated all the living forms in art, and has hermetically closed up the art process within the boundaries of a simple-minded dialectics, never giving a chance to penetrate inside to anything that is connected with the emotional or spiritual experience of the human being. It was going even further and has become, actually, a totally dead mechanical mental construction for a nihilistic game of the straying in the aberration, human mind, which insensibly for itself has rejected the human soul as an unnecessary old fashioned feature of the slow-witted, narrow-minded “masses”. It went on to totally forbid even the mentioning of the “transcendence” as the ultimate point of the human soul itself.

The ‘new art’ in the early 20th century: ‘The Black Square’, by Kazimir Malevitch (1915).

So, the philosopher Ortega y Gasset concluded: a “non-transcendence”, a “dehumanization”, a “striving to understand art as a game, no more”, an “avoiding of the natural forms depiction” and a “deep irony”, have become the main premises of this “new art”. And he also stated: “As a symbol of the new art now becomes the magic flute of Pan, which forces the kids to dance at the edge of a forest”. Here we have to notice that the last statement has obviously become a hidden joy of the servant of “Pan”, which was happy to involve the art world in his darkness, barring the path to the transcendence, magic, at the same time pointing out some of the pagan images which had appeared in the art of the Renaissance period, thus attempting to attach the “new art” to something great. I must admit that Ortega y Gasset was a really sophisticated manipulator, and this trick of his has become quite effective.

Since the “new art”, he wrote, was neither “popular”, nor recognized by “folk”, the philosopher made a conclusion that a society from now on will have to be forever separated between those who will understand such “new art”, and on the other hand, those who will never be able to do this. Proceeding from the fact that already in his time the “European Enlightenment” postulate of the “equality of people” was recognized as an outdated concept, the author announced the existence of the two newly established classes of society, divided by the sign of understanding or non-understanding of this “new art”: “Two orders, or ranks – an order of the prominent people and an order of the unexceptional people”. Additionally, offering a quote from the Bible: “Be not like a horse or a mule, without understanding, which must be curbed with bit and bridle, else it will not keep with you”, he pointed to the so-called “unexceptional people” as being the “mules”.

It is really amazing to see how the Biblical quote which applied to those people who cannot realize the spiritual, transcendental things as being the “mules, without understanding” was used against the spiritually adjusted and emotionally receptive, instead of to the opposite part–the spiritually aberrated, nihilistic “new art” representatives of the Modernism. They are the real “mules, without understanding” of the Holy Scripture. So, he tried to support the anti-spiritual statement by a spiritual one! This is a verbal trick with a purpose to sacralize the desacralized! The phrase has become a simple substitution of the notions, made by the proud, but spiritually ignorant man who confused not only himself, but a great many artists and art lovers who followed. If we wish to find a great example of obscuration by the perverted, but devious human mind, we have to recall this case.

Also, he proclaimed that from now on, the less the portrayed human being looks as a man or a woman, the more free is this new art from the “vile and utilitarian icon emotionality”. He called the “new art” as a new “iconoclasm”, a fight against the sacralization of the “image”.

The Gothic Style: Madonna ‘Belle Verriérre’ from the window in the south side of the choir at the Chartres Cathedral (13th century).

Ortega y Gasset gave some historical examples of alleged similar cases in the world art history, where the contemporary Cubism “period of the art geometrism” and “iconoclasm”, to when other ancient barbaric “geometric” and “”iconoclastic” styles were changed by some “searches for the new living natural shape” and then the trend changed itself to the opposite, etc. The same happened also during the Renaissance, after the times of the Gothic style.

Of course, he wished to say about the simple pendulum of mind principle, which was reflected in the influences on the development of the art history, swinging between the polarities, similar to the movements of a snake. However, he has only confused that art Modernism is striving to get rid of the “living shapes” in the same way that “the Renaissance art tried to escape the “nightmare the Gothic geometric canon”. All is vice versa! Modernism is against the living and human, but Renaissance is for it!

Modernism and Renaissance are two opposing things: the first is a way toward “dehumanization” and “geometrization”, while the other is a search for the living human shape, a humanization and a refusal of the geometrism of the Gothic style.

His attempt to attach the anti-spiritual and nihilistic “new art” of Modernism to the spiritual and religious art of Renaissance, as to a symbol of the new greatest art, is understandable (the same tricks are practiced by the present adepts of this already quite old “new art”!). It is even significant that they look so hard for the authorities of the past to prove their own weak art-historical positions, that they cling to the prestigious time-proved things like religion and great art , but it doesn’t prevent them from the obviously illogical and plainly dishonest look of the manipulators. Of course, it is possible to imagine that Ortega y Gasset had hoped to present a similarity between Modernism and the Renaissance art movements in a certain loss or a refusal of the spiritual. That is typical for all the adepts of the “new art”! He, like all of them wished to see that Renaissance would have a lesser connection to the Transcendence than the Gothic, and that it is almost like their “new”, dehumanized “art”, but he again made an easy mistake. The point is that in spite of the fact that the Renaissance movement had a sort of an addition to the mainstream Catholic Christian teaching of certain patterns of Greek-Roman pre-Christian, as well as Hermetic doctrines, it still had the brightest transcendentalist’s features; it still said about the divine in man, but already in the perfect living human body! So Renaissance brought more of human emotionality, passion, sensuality and sexuality to art–precisely those factors that were unacceptable for Modernism.

The Renaissance style: Madonna Litta by Leonardo da Vinci (1490)

So, there is no legitimate way to connect Modernism to Renaissance, based only on Modernity’s own proclamations that both styles could be viewed as revolutionary. Those art revolutions had different, and completely opposing directions!

The era of the Modern in the history, as well as Modernism in art is a totally new situation, which cannot be compared to any previous periods. For the first time in the world history, the common man of the “masses” of the great “Archaic” period of the Pre-Modern, got a chance to become more educated than a priest, a bishop or a King. Of course, it has become a result of the work of the European educational institutes. So, a talented and cultural man, even being a representative of a low social status could get a right for own opinion and own answers to the existantional questions. And if in the 15th century it was possible only for the unique geniuses like Leonardo, from now on, the way is opened for the social majority. So, the “modern man” got own will to act and his own, non-tribal or confessional intellect.

It has never happened before in the history of mankind, even if one goes back to the shamans of the Paleolithic era. But the lonely “modern” mind without the “archaic” religious system and control has very soon become too proud and “objectified”. The Modern state of society brought about a great progress in science, and in this sense it has become a very positive phenomenon; but at the same time in many cases it has become a total aberration, and cut off of the human soul from the Transcendent, which is an impasse for the spiritual evolution of the person. This is what we can see in the Modernism. Modernism is a spiritual dead end!

The ‘new art’ in 1960s: ‘Pink Lady’ by Willem de Kooning (1965).

On reflection, Ortega y Gasset obviously jumped to our times, when Post-Surrealistic styles (Mystical Realism, Visionary Art, Fantastic Realism) are fighting for survival not only with the “nightmare” of today old fashioned Cubistic “geometrism”, but with the all derivations of art, which as own source has a “dark night of the soul”, a separation from the Transcendence. The new spiritual Visionary Art is trying to remain alive under a heavy pressure of the heritage of the Dehumanization&emdash;which is today represented by the “Contemporary art”–to keep the new spiritual in the “living shapes” of the total anthropology. Of course, it is not the same, but still looks somewhat as it was in the time of the Renaissance!

To avoid confusion due to similarly sounding words, I must recall that “Modern” is a period of philosophical and social consciousness, but “Modernism” is a movement in art. (“Art Modern” is an art style, also called “Art Nouveau” or “Jugendstil”, etc).

Similarly,”Post-modern” is a philosophical and social system of views, but “Post-modernism” is a period in art. (“Contemporary art” is an art style).

So, today, not a Modernism with its initial dehumanization, but already a Post-Modernism with its total refusal of any plot and sense, has become an obsolete, almost a medieval totalitarian canon, more moody and jealous in defence of it’s postulates, than Gothic to its own.

“Contemporary art” of Post-Modernism has been randomly “citating” some elements of the art inventions and discoveries of the great art styles of the past. It itself produces nothing, except of the naked irony, as well as “citating” of own “art citations” in progression up to the number of Pi.

Post-Modernism today recalls the ever ironic “Pan”, which “deep humor” has exhausted in Modernism and in the stage of Post-Modernism has come to an complete marasmus.

Returning to José Ortega y Gasset, who had found a very good quotation from the Holy Bible, “Be not like a horse or a mule, without understanding, which must be curbed with bit and bridle, else it will not keep with you”, we already clearly see a totally opposite sense of that one which he wished to illustrate and corroborate! So, a “non-transcendence”, a “dehumanization”, a “striving to understand an art as a game, no more”, an “avoiding of the natural forms depiction” and a “deep irony” have become the main premises to be the “mule, without understanding “of the spiritual and the divine. These are the premises of the aberrant mechanical consciousness of the most vile and stupid animal, mentioned in the Bible’s Psalm .

I also believe that the idea of Ortega y Gasset’s to divide the society into “two classes, or ranks–a class of prominent people and a class of unexceptional people”–is great, but it has to be applied completely the other way around!

The real art aristocracy–the “prominent people” are those who understand and accept the transcendence of the divine in the human soul and the immanence in the “natural living forms”, reflected in true art. The art plebeians–the “unexceptional people” are the “mules” who have no such gift of the divine.

It is good to mention that not all artists in the recent art history worship the Baal of the Dehumanzation, de-spiritualization and exclusion of the Transcendence in art. God always keeps those ten righteous men, who will save the town from the ultimate annihilation! About this, in the next installment.

Oleg Korolev is a Russian Mystical, Religious and Visionary artist, painter. His art works have been on display in private and corporate art collections in Russia, Europe, North America and Australia. The official site of Oleg Korolev: www.koro-art.com

www.facebook.com/Korolev.Oleg

www.myspace.com/oleg_korolev

Reprinted with thanks from Prometheus issue 151
MUSEUM OF EUROPEAN ART
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Admission is by reservations only: Guided tours start at 10 am, 1 & 3 pm, Monday to Friday, and Saturdays, 10 am & 1 pm. Free admission. Contact MEAUS by E-mail: info@meaus.com , or by phone at 759-6078 for reservations.

Oleg Korolev – “Michael”, Oil, Canvas 215cmx150cm 2009

Once we pronounce the name “Michael”, which means “Who is like God?”, we ask the challenging question, which directly relates to the problem of evil.

A goodness, and an evil, are two concepts from Positive theology and philosophy. Sometimes we think that this is only the way of thought, which can exist…

A “Positive theology” without a “Negative theology” very often creates idols ( and the idolatry it is a reasons of all wars). Via the narrowing of our perception to the everlasting circle of the dualistic conflict, we establish a basis of war. This same process is evident also in philosophy, ideology and politics. A man believes in his conceptions as ‘real things’, idolizes them via an absolutization, and then associates himself with the own mentally constructed “absolute values” and the association becomes a total aberration of a consciousness.

This is a state of an everlasting non-freedom (even if a man fought for ‘good side”, for “good guys” or even “for God”, which he has only imagined)… In this total aberration, a person cannot see that confrontation and war is only in his own human mind and nowhere else.

So to give a hint to the approach and my own understanding of my art work, I would also offer to recall ( or to read ) the text of Mystical theology by St. Dionysus the Areopagite).

St. Dionysus the Areopagite’s Negative ( Apophatic ) theology gives a way to the liberation from the idols, born by the ordinary misinterpretation of Cataphatics. Knowing it, it is possible to realize how do I consider the angelic order…

It is good to imagine Angels as the rays of the Sun of Mind, – God. The Sun is shining to us and destroys the darkness in us and around of us, but at the same time we should not forget that God Himself it is an Absolute, beyond all the conventional borders, base of our own consciousness!

1 Corinthians 13 12 “For now we see in a mirror dimly, but then face to face. Now I know in part; then I shall understand fully, even as I have been fully understood.”

When one sees that the “dimly” conventional borders between man and God is an illusion, which because of the realizing disappears, then we get an answer to the question : Who is like God?

- Oleg Korolev, Jan 2009

Links
www.koro-art.com
The Contemplative Visionary Art of Oleg Korolev

“Beautiful rhythms come when fear is gone and affection leaves. Perception is clear when the mind is calm, and becomes pure and virgin, when dualities are overcome. Consciousness returns to its Source… Son returns to his Father.”

Oleg Korolev

Daniel
When did you decide to be an artist ?

Oleg Korolev
I have never decided it. I always drew and painted. It is my natural inborn state.

Daniel
What spiritual influences find their way into your work ?

Oleg Korolev

Well, this is complicated question, because usually the influences are higher than a realizing of the fact of the influence.

To put it simply, I am Christian and have respect for the Internal part of the teaching, like Hesychasm. For maybe 12, 13 or more years I have studied various kinds of theology, philosophy and psychology, so for sure these influences can speak for themselves, reflecting in my paintings

Daniel
Many people attribute religion as the cause of war. What are your thoughts on this ?

Oleg Korolev
Only an external religious approach can be a reason of a war. Internal mystic schools see the world as an illusion ( maya) and a divine play ( lila .. or as it is in Christianity : “this world is evil one” ( means it is an illusionary world of the social relations). An Illusion can not be changed ever “to the better”, because it actually doesnt exist, but a perception of the givenness can be changed, so the Ultimate reality will manifest Itself.

So Internal meditative schools see all differently and usually never take part in “this world vain passions”… though their adepts act in the outside, even participate in the wars only when the Spirit moves them, but not because of some political, patriotic, moralistic or other reasons.

Daniel
One thing that interests me is how you paint. How you approach your compositions. Do they arise through contemplative activity. Do you draw them all out and paint them, or do they arise as you work with the paint ? Do they come from dreams and visions, or though aiming to evoke the highest sentiments that you can ?

Oleg Korolev
Well, I think that all things manifest themselves starting from the abstract and unspeakable in the noumenal, subjective to the phenomenal objective reality. A painting follows the same principle. An individual artist directs an attention to some subject, age, place or a person, sending an energy and activating the information in the consciousness.

Prodigal Son

Images appear as a reflection in the mirror.., and the stronger the concentration on the noumen, the clear the image as a phenomenon, the brighter the impression and a realizing of it. An artist contemplates the realities and sees not necessarily the essences, but better to say a contemplator sees “how to be” the essence. A visual manifestation comes spontaneously, and here the less from the artist, from his ego, the better for the Art.

But when we mention ego neutralisation, using our “spiritual knowledge” taken from books, we have not to cheat ourselves. The point is we approach all the incoming information only be means of all our consciousness layers. We have influences of all previous generations, from our genetics, gender, nationality, religion, culture, education of all sorts, political preferences etc. , which still exist.., stay with us and built our self reflection.

In the Absolute all these relative things cease themselves,( Colossians 3;11 Here there cannot be Greek and Jew, circumcised and uncircumcised, barbarian, Scythian, slave, free man, but Christ is all, and in all.), but before the Absolute condition all the consciousness levels remain and rejecting them by some thinked-up reasons, we do not neutralize them , but only suppress to a subconsciousness space. That is why a not mutilated Art must contain all influences of all the previous generations, from genetics, gender, nationality, religion, culture, education of all sorts, political preferences in that measure, in which they really present.

All these must work, and energy must go through all of them and manifest all the personal consciousness compounds, only this will bring an artistic truth. Otherwise if an artist still has not reached a personal level of an ultimate enlightenment, where “Christ is all, and in all” and where “cannot be Greek and Jew”, but by some ideological reasons tries to show in his art that he has no any influences from which his person (gender, nationality, religion, culture etc) consists of, than his art will not be authentic and pure, it will false, but he himself, suppressing all these, will get a neurosis. So in Art almost always must be reflected a gender, nationality, religion, culture etc of the artist, even an artist as meditator individually stay transcendent.

Returning to the art production, I can say that at first spontaneously making sketches ( I call them “irresponsible sketches”)., on some sheet of paper, I do not think about them as about “piece of art” or something which relates to it. This is just something non-realized.., sometimes the images appear and I just try to let to the flow to manifest itself on a paper surface and the less I control them the more authentic and pure they may come of. Later, using the sketches, I work with a painting further, more and more going to the objective artistic criteria, not avoiding a dialectical way.

Apophatic Summertime

Daniel

Your experiences with Maestro Fuchs, did you find this valuable

Oleg Korolev
I participated in the St.Egyds chapel murals project of Maestro Ernst Fuchs in Klagenfurt, Austria. Formally, I studied the famous “Mische” technique, but since according to my diploma I am an Art teacher myself, and by myself I can learn various techniques, so to study some technical issues in a time when Maestro Ernst Fuchs is one of the most greatest living masters in the world, would be a great mistake.

All that I studied from Maestro Fuchs has a different level of education. Ernst Fuchs is a unique person, who has reached unique levels. What there is to be learnt from him is how to be such a unique person and how to reach the unique levels.

Actually he is just an object for a contemplation, and object for a meditation. He teaches by his presence, his emanation. To cognize a master we have to listen him by all our essence. He is like a sort of a magical music, it is necessary to come to such an inner silence where the melody can be perceived and understood.

As for the other outer technical things, yes he is a brilliant painter and illustrator. It is pleasant and even aesthetic spectacle to see how he holds his brush and works with it. I find a communication to such a master not just “valuable”, but a precious gift of the divine.

Daniel
Thankyou for sharing something of your incredible craft with Lila.

_______________________________________

Many thanks to Oleg Korolev for spending time helping to put this together,
and granting permission for his outstanding images to be shown on Lila.

To see more amazing paintings by Oleg Korolev go to http://www.koro-art.com