Inspirations .... 

This painting draws inspiration from the European School of the 19th century, showcasing the beauty and depth of landscape artistry. Crafted in Romantic style, it captures the essence of nature's splendor and the emotional resonance it evokes. The interplay of light and shadow invites viewers to immerse themselves in this serene landscape, evoking a sense of nostalgia and wonder. Experience the timeless allure of this artistic tribute to nature's magnificence.

This painting was born from a simple but powerful attraction: the mesmerizing colors of water. The shifting shades of blue, the golden reflections, and the interplay of light dancing on the surface drew me in and became the central focus of this piece.

​

While the figures and boats provide a narrative setting, my real inspiration came from observing how water transforms under sunlight—how it moves, reflects, and glows. I wanted to capture that fleeting beauty with expressive brushstrokes and a rich, vibrant palette.

​

There’s a quiet moment unfolding—perhaps a mother and child watching the boats—but it’s the water that holds the emotional weight here, acting like a mirror to both nature and the stillness of that scene. This work is an ode to light, reflection, and the colours that water carries so effortlessly.

This painting is inspired by the iconic work of Gustav Klimt, whose symbolic language, golden palette, and sensual compositions have deeply influenced my artistic journey. Drawing from Klimt’s legendary “Golden Phase,” I sought to honor his rich visual vocabulary—ornate spirals, mosaic-like patterns, and opulent use of gold leaf or gold tones.

​

The subject of maternal love echoes Klimt’s reverence for human connection and emotional depth, especially as seen in his “The Three Ages of Woman.” I reinterpreted his style with a contemporary touch, layering decorative abstraction with personal expression. The interplay of pattern and figure, the ethereal glow, and the dreamlike closeness between mother and child are meant to evoke both intimacy and timelessness.

​

This work is a celebration of love, protection, and unity, wrapped in the symbolic richness that Klimt made so unforgettable.

Based on a decorative panel created in 1896 by Alphonse Mucha, a prominent figure in the Art Nouveau movement.

This piece is inspired by the timeless elegance of Alphonse Mucha, whose Art Nouveau masterpieces have long captivated me. Mucha’s signature style—characterized by graceful female figures, organic forms, and ornate decorative elements—deeply influenced the composition and aesthetic of this work.

In this painting, I aimed to echo Mucha’s harmonious blend of beauty and nature. The figure’s flowing drapery, stylized floral elements, and elongated form are direct nods to his sensuous, ornamental approach. The background texture and soft yet vibrant palette reflect my interpretation of his romantic and ethereal visual language, while the composition remains uniquely my own.

By drawing from Mucha’s legacy, I sought to create a contemporary homage that celebrates the divine feminine and the poetic rhythm of nature.

This is a piece inspired by the painting "In the Caucasus Mountains" by Lev Feliksovich Lagorio. 

Lev Feliksovich was born in Feodosia in the family of the Neapolitan vice-consul. His father, Felice Lagorio (1781-1857) was a Genoese merchant serving as Vice-Consul for the Kingdom of the Two Sicilies.From 1839 to 1840, he received his first artistic training in the studios of Ivan Aivazovsky. In 1842, with the support of Alexander Kaznacheyev , the Governor of Taurida, he was able to enroll at the Imperial Academy of Arts. Later, he was able to obtain financial assistance from the Duke of Leuchtenberg, the Academy's new President. Among his teachers there were Alexander Sauerweid, Maxim Vorobiev and Bogdan Willewalde.
In 1850 Lagorio graduated from the Academy of Arts with a gold medal. In 1850, he received the title of "Artist" for his painting "View of Lakhta" and, two years later, became a Russian citizen. He was also awarded a pension to study abroad, visiting Paris first (1853), then Rome, where he stayed until 1859, the last two years at his own expense.
After his return, in 1860, he was named a Professor and exhibited the works he had created in Italy. He travelled to the Caucasus in 1861 and presented a series of landscapes from there to Tsar Alexander II, who presented him with the Order of Saint Anna.
He returned to the Caucasus in 1863 and 1864, with the entourage of Grand Duke Mikhail Nikolayevich, where he participated in the Caucasian War. Afterward he settled in Saint Petersburg, spent the summers in Sudak and often travelled abroad.  

The painting shown is my perspective on "La Scapigliata" by Leonardo da Vinci.

 
Th original Leonardo painting is oil on wood panel depicting a woman with disheveled hair, which is what "scapigliata" means in Italian.
It is believed to be an unfinished work by Leonardo da Vinci, dating to around 1500-1508.
The painting is known for its sfumato technique, which creates soft, hazy outlines and blends colors seamlessly.

"La Scapigliata" is currently housed in the Galleria Nazionale di Parma, Italy.