In an endless series of styles and trends, landscape art and the genre continue to maintain their strong position. In this context, for the painter Alexander Dokuchaev, the paths of professional development are closely connected with the modernist direction (in the context of style) that clearly developed in the 20th century. Moreover, far from chance, the choice was consciously made by the artist, with the decisive role being based upon deep spiritual traditions that form the constant basis of the outstanding works of the masters of fine classics.

 

Passionately studying all these features, the artist, having creatively processed them, strives to embody them in his own works. The experience of painting in the 20th century played a fundamental role in the formation of the artist’s fluidity and largely determined the direction of his art. This is distinguishable by the grand use of colours and the subtle thoughtfulness of the compositions.

The artist was born in 1970 in Baku, which in our opinion partly explains the peculiarities of the colour scheme and style of his works. Alexander's undeniable ability to paint attracted the attention of his teachers in high school. The Palace of Pioneers and children's art school admitted him straight into the year three class. In addition, the chief artist of the Azerbaijan Drama Theatre, Iskander Avakov, had a serious influence over Alexander's development as a painter. This was the first contact the aspiring artist had with the world of professional art. It was often complex, sometimes difficult and at the same time extremely exciting for him.

“I often say that now the era of enterprising people has come,” Alexander Borovsky, corresponding member of the Russian Academy of Arts and Head of the Department of New Trends of the Russian Museum, expressed his opinion about the artist. “The days are gone when people in general, and artists in particular, would sit and calmly wait for support from various organizations and the Goverment. Today is a completely different environment for life, work and creativity. Today everything depends on the person himself, his aspirations, self-confidence and faith in success. Difficulties and problems arise, but at the same time new opportunities appear. Now no one dictates to truly creative people what direction, genre, or form of art to work in. I highly appreciate this opportunity, which is fully manifested in the painting of Alexander Dokuchaev. He is an enterprising artist, constantly moving forward: he is not interested in standing still, complaining about problems and difficulties.”

     

For Alexander Dokuchaev, an artist with a keen sense of beauty in all its forms, it would be simply unthinkable to remain within the benign traditional functions of fine art. Therefore, the artist’s move to painting was dictated by nothing other than the very nature of his creative personality.

 Features of Dokuchaev’s creative character are, first of all, responsibility, diligence in mastering professional skills, a serious approach to a task, and a desire for active learning. These traits manifested themselves in his youth. 

His works are created carefully and with confidence. One of the most important aspects is the use of different colour combinations, but with an overriding and identifiable colour-dominant. A special mention belongs to the transfer of pattern and textures. The artist adds interest with a combination of a variety of materials, sometimes seemingly difficult to combine. Thus, in a number of his works, the compositions are designed in warm colours, diluted with restrained splashes of cold lilac and blue colours.

 

Turning to landscape painting, as a rule, is the beginning of creative self-affirmation for an artist, when the task is complex and the possibilities are limited by the boundaries of the canvas and palette. Behind the apparent simplicity and freshness of a particular landscape on canvas, there is often hidden a difficult and harsh, but inherently creative overcoming of nature “through the eye and the hand"; the knowledge of nature through its re-creation in a different reality. In fact, each time the artist strives to test his strength, become more confident, and takes a few more steps closer to the inexhaustible secrets of the universe.

      “Being a representative of the older generation of art historians.” Leading researcher at the Russian Museum Boris Kosolapov says about Dokuchaev. "I am extremely pleased that the traditions of the classical school of modernism became the basis of his art. Here we have an example of an artist who never tires of developing his abilities and hard work. I cannot help but note that Alexander has the ability to feel the world around him, to notice the slightest changes in it, he is a sensitive artist, sincerely in love with his life.”

Worthy of note in the art of Alexander Dokuchaev are “the paintings of wanderings”, created by him during various trips to Cyprus or based on impressions brought from the travels. They are sincere, romantic and at the same time invariably truthful. These are the qualities of the artist’s soul that are embodied in his works.

  Art is not a bargaining chip in the pursuit of recognition. Art is life, what fills our souls and controls our thoughts. In his works, the artist tells the truth about himself. This is the condition of the game in which life and creativity are inseparable from each other. Alexander Dokuchaev chose harmony and traditions. He is a romantic who never tires of admiring the beauty of the world and sees what usually eludes the eyes of even the most sophisticated observer. Over the years, professionalism increases but sincerity, which is so important for an artist, remains the same. His ability to subtly feel and listen with his heart to the melodies sounding in space helps him in this regards and it doesn’t matter at all whether it’s a city or deserted nature. The artist hears something that is difficult to convey in words, but can be depicted with colour.

In painting, masters miraculously combine into a harmonious whole, an objective view and an emotionally excited perception. At the same time, the latter is not striking, but exists as if gradually emerging through a masculine, restrained description. The picturesque images created by the master are like a cut in a transparent stone; as soon as you change the perspective, in this case move to a deeper level of perception, other qualities and plans will immediately open up, new facets will shine in the luminous depth.

  Юлия Семёнова, искусствовед