Andrey Remnev, Artist: (Russian, born 1962) My birth place is Yakhroma town in the vicinity of Moscow. It is situated on high hills, from where broad Bruegelian vistas are open. The uneven terrain with significant differences of high and low; a canal between the Moskva River and the Volga; small rivers, woods and villages; a nearby ancient town of Dmitrov, which is equal to Moscow in age; ships cruising the canal and trains outdistancing them — all this I saw from my window since my early years. It was a view that embraced all the diversity of the world. This is why I can say that the impressions of my childhood and youth — beautiful nature and remarkable people — are the most important ones.

In the museum of Moscow’s St. Andronic Monastery I copied the best examples of the old Russian painting of the 15th-17th centuries. My own style evolved from ancient icon painting, Russian art of the 18th century, the compositional innovations of the World of Art group, and Russian Constructivism.

As with painters of the past, I use natural pigments bound with egg yolk.

Colm Rowan, Art Dealer: Tales from an Art Dealer’s Life

In art as in life I sometimes marvel at how it seems that one small event can lead on to another, and before we know it, we find ourselves at a far remove from where we began, and engaged in an enterprise we never foresaw or expected to embrace.

Such is the tale of what happened to me one morning some years ago when I opened an email from an old friend, Peter McMillan, whose acquaintance I had first made at University College Dublin. The email in question was of the briefest sort, amounting to no more than three words, and written in bold capitals. It read: YOUR NEXT ARTIST. Accompanying it was a photograph of a painting, a work of such luminous beauty that it became the reason for my landing nearly two years later on a chilly April morning in Moscow. There I came face to face for the first time with the artist, Andrey Remnev, who, after much correspondence between us, was at last convinced of my serious intent, and agreed to meet me in person. We spent two memorable days together, during which time he introduced me first hand to his art; treated me to some delicious fare at a Georgian restaurant accompanied by his wife and a beautiful young translator; led me on foot through an evening mist to Patriarch’s Ponds, scene of the opening chapter in Mikhail Bulgakov’s literary masterpiece, “The Master and Margarita”; and last but not least gave me a personal tour through the spellbinding collection of Russian art at the Tretyakov Gallery. All of it took place against the uncertain backdrop of the annexation of Crimea, an event not a month old when I arrived in Moscow, and one which threatened to derail the hard-won, post Soviet Union détente between the United States and Russia.

Back in Philadelphia more than a year would go by before any paintings made their way to me, long enough to question my own artistic judgement, and wonder if my time and resources might not have been better spent on some surer bet in the world of art. When I finally saw the paintings, I realized the wait had not been in vain, and that far from doubting myself I knew I had my old friend, Peter McMillan, to thank for the tip-off of a lifetime.

micheal madigan: artist’s statement on gallery/artists relationship

I’ve been working with gallerists across the country for the past 37 years. I’ve been in grand relationships, and horrid ones….barely “relationships” at all. Presently, I’m working with three different galleries in the U.S., each with an established degree of success presenting my works to a wider public. My relationship with Ruth Morpeth at Morpeth Contemporary in nearby Hopewell is the longest established. Over the past 20 years, Ruth and her ensemble have been
such valuable partners in presenting my work to the region and have helped establish an important supporting base for my painting.

The artist/dealer relationship has a particularly unique dynamic. A degree of commitment by each partner…and it is a partnership…needs to be based on two very important components; Commitment to the Artworks presented and trust in the intentions of both partners to do what is in the best interest of presenting the work to the people.
As an artist, my commitment to my own work carries through to the gallery. I make it a point of honor to create and present works to Morpeth that she will be proud to share with her audience.I know and trust her decisions as to how and when to present….and I depend on her
to know how to spark the interest; how to be the best publicist for the work. My best efforts go to creating paintings. Ruth’s best efforts go to taking my creations and giving them a public voice and an enriching environment in which to be seen.

As far as worldly matters (sales)present issues for artists and dealers, there is ,again, a degree of trust that ,in my experience with Ruth Morpeth, has lasted through the years. We make our livings from the creation and presentation of art to the larger world. One might imagine that both good times and bad come our way…and one would be correct. Trusting that both the artist and gallerist will do their best to weather the storms and celebrate the good harvests is an important part of the relationship. Knowing that each believes in the work they do instills confidence and continued commitment.

September 2017