Daud Akhriev was predisposed to like Venice since he went to school in St. Petersburg, Russia, which is one of the cities often referred to as the Venice of the North. As part of his schooling, there were two months of plein air painting every summer. He says, “Painting outside is much less comfortable because everything is constantly changing. The practice of plein air helps you see color more vividly, while training you to deal with the moving clouds, changing reflections and other variables. Venice is the most extreme example of that: the sun is moving, the water changes, the clouds move....your hands have to follow the changes and make executive decisions about what to keep. Sometimes you get lucky and you get it right.”
The many times he got it right will be shown in the exhibition An Italian Accent at Gallery 1261, on view from March 26 through April 30.
Campiello dei Calegheri, pastel on paper, 22 x 30"
Two blue rectangles of the sky and its reflection in the calm water of the canal anchor the composition of Campiello dei Calegheri. Akhriev explains, “This location was between our apartment and the Campo San Anzolo, and it was a narrow canal without winds, which meant the water was often perfectly still.”
One of the many joys of Venice is discovering something beautiful and picturesque around every corner. “Spending time in Venice,” he says, “one begins to discover little pockets of the town, where one finds aesthetic details which I find delightful; 13th-century window details, for example. Venice favors rosy colors, variations of reds and terra cottas, which I also love. When I’m in Venice, I feel like I need to paint without resting, because if one likes complex shapes and textures (which allow you to compose more intricate compositions) then Venice has everything you crave.”
Campo San Beneto, soft pastel on paper, 22 x 30"
Number Seventeen, oil on linen, 32¼ x 23¾"
He continues, “In general, when I’m composing in Venice, I leave the house with an idea about a place I saw, or a bridge I want to paint, but when I am on the ground, things are always different and whatever catches your eye is where you stop. I am basically dealing with surprises to which you have to respond. Most of my Venetian compositions involve balancing the architecture with the reflection morphing below. Because of the consistent aesthetics of Venice, almost any corner is a potential composition. The Venetian sense of color, the workmanship, the variety of detailing of the palazzos and the richness of texture resulting from the sea air working on fine materials....the appeal is infinite.” —
Gallery 1261
1261 Delaware Street, Suite 1 • Denver, CO 80204
(303) 571-1261 • www.gallery1261.com
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