Gallery, 2015 – Archive of Oil Paintings
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Explore Igor Shulman’s 2015 archive of original oil paintings, including expressive figurative works, intimate nudes and thematic compositions.
2015 Archive of Original Oil Paintings
This year features a rich variety of thematic series, figurative and realism compositions, and intimate portraits, showcasing Igor Shulman’s continued mastery of oil painting and his evolving modern figurative style.
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View available oil paintings in the catalogue
Untitled (Boy with a Glass)
Boy with a Glass by Igor Shulman is an original oil painting created in 2015 that captures the intimate, fragile moment of childhood reflection. The main subject is a young boy, around six years old, seated at a table with a glass of dark liquid in his hand. His dark hair frames a face marked by quiet thought, his gaze turned slightly away from the viewer as though absorbed in private concerns. One hand rests against his cheek, a gesture that intensifies the sense of introspection and unspoken worry. The simplicity of his dark clothing suggests modest means, allowing the focus to remain on his expression and posture.
The background is reduced to a deep palette of browns and muted blues, painted with visible brushstrokes that provide texture without distraction. The dim, directional light falls from above, illuminating part of the boy’s face while casting the other into shadow. This contrast heightens the sense of solitude and places the child in emotional relief against the subdued backdrop.
Shulman’s style in this work combines realism with impressionistic technique. The details of the boy’s face are carefully observed, yet the surface remains expressive, with textured edges and softened transitions. This balance emphasizes mood over exact detail.
The mood is contemplative and tinged with melancholy. The glass may symbolize both sustenance and fragility, an object that anchors the boy in the scene while opening the door to broader interpretation. Themes of vulnerability, isolation, and quiet resilience echo throughout the painting, making it a poignant meditation on the emotional landscape of childhood.
Untitled (Silent Crossing)
In Untitled (Silent Crossing), Igor Shulman presents a rainy urban scene where three men move across a crosswalk, each absorbed in his own thoughts. The central figure, more prominent than the others, conveys quiet introspection, while the flanking figures recede into the muted cityscape. Their dark coats and hats blend with the subdued palette, emphasizing anonymity and the feeling of solitude within a bustling metropolis. A blurred car and a fleeting pedestrian appear in the background, reinforcing the transitory nature of urban life.
The setting is a rain-soaked street, with tall buildings looming in the background and a traffic light visible, hinting at structure amid the city’s chaos. The wet pavement reflects light softly, mirroring the figures and enhancing the reflective quality of the scene. Colors are muted—grays, purples, and blues dominate, punctuated by subtle whites in reflections. Brushwork is loose and fluid, capturing the gentle movement of rain and the ephemeral atmosphere rather than precise architectural detail.
Shulman’s technique blends impressionistic elements with a fluid, painterly approach. The diffuse lighting and soft textures create depth and mood, allowing viewers to feel the damp, quiet ambiance of the rainy street. The emphasis on atmosphere over sharp detail draws attention to human presence and emotional resonance.
The mood is contemplative, tinged with melancholy. The painting explores urban solitude, highlighting the anonymity and detachment experienced within large cities. Rain and muted tones contribute to a sense of introspection, while the positioning of the figures underscores isolation amid the movement of daily life. Symbolically, the work reflects the tension between human agency and the overwhelming scale of urban environments, offering a meditation on quiet observation and the emotional landscape of city life.
This original painting exemplifies Shulman’s impressionistic style and figurative approach, capturing both environment and human emotion in a single moment.
Pragues Meetings
Prague Meetings by Igor Shulman, painted in 2015, is an original oil artwork that captures an intimate moment of love hidden within the winding streets of a historic city. The main subjects are a man and a woman, their figures pressed close together in the quiet shelter of a narrow alley. The woman leans into the man, her hand resting gently on his shoulder, while he draws her close in a protective embrace. Their clothing contrasts—her light dress against his darker form—yet both figures are softened by expressive brushwork that suggests rather than defines.
The setting is an old cobbled lane, its high stone walls rendered in warm earthy tones. Iron street lamps hang along the walls, their glow diffused into the surrounding air. The perspective of the alley draws the viewer’s eye into the distance, toward a pale, luminous opening that hints at the larger city beyond. The damp cobblestones reflect traces of light, adding a subtle sense of atmosphere and depth.
Shulman’s impressionistic style emphasizes mood over detail. The brushstrokes are visible, textured, and slightly rough, imbuing the scene with energy while leaving forms suggestive and dreamlike. Light and shadow play an essential role, heightening both intimacy and mystery.
The mood is romantic and secretive, steeped in the hush of a private encounter away from the city’s noise. Themes of hidden love, urban intimacy, and the contrast between public space and private emotion resonate strongly. The painting becomes not just a depiction of two lovers, but a meditation on connection found in unexpected, sheltered corners of the world.
Untitled (Woman and Piano)
Untitled (Woman and Piano) by Igor Shulman, created in 2015, is an original oil painting that reflects on beauty, sensuality, and the dialogue between art forms. At the center of the composition lies a young nude woman, reclining against the dark surface of an antique piano. Her posture is languid and unguarded—head tilted back, eyes half-closed, body softened into curves that the artist traces with delicate light. The pearls that fall across her chest lend both elegance and fragility, emphasizing the quiet intimacy of the scene.
The piano, rendered in deep tones of brown and black, forms a strong counterbalance to the woman’s pale skin. Its polished wood and heavy frame suggest age and permanence, while her form, alive and delicate, introduces vulnerability and impermanence. Against this, the muted yellow-beige background provides space and stillness, with textured brushstrokes that prevent the flatness of silence.
Shulman’s style here merges realism with impressionistic tendencies. The figure is anatomically precise, but the background and textures are suggestive, painted with visible strokes that keep the work alive with movement. The palette is restrained, relying on warm skin tones and soft light to draw the viewer into the subject’s contemplative state.
The atmosphere is serene yet deeply sensual, carrying undertones of inspiration and artistic reverie. This is not a portrayal of overt sexuality but rather of introspection, a muse resting between sound and silence. Themes of femininity, creativity, and the timeless relationship between body and art are woven into the painting, allowing the viewer to interpret both the woman and the piano as symbols of human expression.
Untitled (Woman in a Bad)
Untitled (Woman in a Bed), painted in 2015 by Igor Shulman, presents an intimate scene of vulnerability and sensuality. At the center of the composition lies a nude woman with long blonde hair, reclining across soft lavender-white sheets. Her form is partially adorned with black lace lingerie—stockings, garter belt, and possibly a bra obscured by her posture. The combination of lace and nudity heightens the tension between exposure and concealment, fragility and confidence.
The woman’s body stretches across the bed in relaxed surrender. One hand rests near her thigh, while the other supports her head. Her closed eyes, tilted face, and parted lips suggest quiet pleasure or dreamlike introspection. The curves of her body are modeled with Shulman’s refined mastery of light and shadow, which emphasize both physical presence and emotional atmosphere.
Behind her, a warm reddish-brown wall, textured with vertical strokes, creates a backdrop that deepens the painting’s sense of intimacy. The wall’s darkness contrasts with the pale sheets and luminous skin, directing the viewer’s gaze toward the figure. A soft glow, emanating from the upper right, highlights her torso and legs, adding volume and sculptural depth.
The painting balances sensuality with quietude. While the lace suggests erotic allure, the woman’s tranquil demeanor conveys calmness and acceptance. Themes of femininity, intimacy, and vulnerability are central, as Shulman captures not only the beauty of the human form but also its emotional resonance. This work transcends eroticism, offering instead a layered reflection on female identity, self-awareness, and the quiet poetry of repose.
Untitled (Woman Back in a Bed)
Untitled (Woman Back in a Bed), painted in 2015 by Igor Shulman, is a contemplative scene of solitude and intimacy. At the center of the canvas sits a nude woman with dark, slightly disheveled hair. She is turned away from the viewer, her back exposed, lending a sense of privacy and vulnerability. Her posture, slightly hunched forward, suggests deep thought or quiet self-reflection. A cigarette held in her hand underscores the mood of stillness, hinting at a fleeting moment of escape or introspection.
The setting is a modest, dimly lit bedroom. She sits on an unmade bed with rumpled sheets in muted tones of lavender, dusty rose, and cream. The background reveals a deep indigo wall and a nightstand with a lamp, whose soft glow creates a chiaroscuro effect across the woman’s form and the folds of the bedding. Shulman employs visible brushstrokes and textured layers, especially in the linen and wall, contrasting with the smoother rendering of skin. The play of light and shadow gives the scene depth and emotional weight.
The painting’s mood is quiet, meditative, and tinged with loneliness. By turning the figure away from the viewer, Shulman enhances her isolation, inviting empathy and imagination rather than direct connection. Themes of solitude, female vulnerability, and the introspective search for meaning resonate throughout the work. Rather than overt eroticism, the canvas conveys the dignity and poignancy of a private moment, rich with unspoken emotion.
Some archived artworks may be available as prints upon request. Learn more.