Gallery, 2008 – Archive of Oil Paintings
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The 2008 archive showcases Igor Shulman’s original oils and watercolors in Realism, Impressionism, Expressionism, and Modern Figurative styles. Intimate portraits, expressive figures and refined compositions reveal the artist’s evolving mastery and artistic vision.
2008 Archive of Original Oil Paintings
Browse the 2008 collection of original paintings. These works highlight Shulman’s exploration of mood, gesture, and light, offering a glimpse into the artist’s creative process and the diversity of his artistic language that year.
Shop Available 2008 Oil Paintings
View available oil paintings in the catalogue
Monica Bellucci
27.56 H x 39.37 W x 1.97″ x / 70 H x 100 W x 5 cm
Monica Bellucci (2008) is a close-up profile portrait that captures a woman in a moment of quiet inner reflection. The composition centers entirely on her face and upper shoulder, allowing the viewer to focus on the emotional nuance of her expression. Her long, dark hair flows past her shoulders, rendered with soft, understated strokes that imply movement without defining every strand. Her warm skin tone, painted in earthy ochres and siennas, contrasts gently with the pale background, giving the portrait an intimate glow.
Her eyes are closed—or nearly closed—suggesting a meditative or introspective state. The expression she wears is serene yet tinged with subtle pensiveness, as though she is suspended between calm and contemplation. Large gold hoop earrings frame her profile, introducing a touch of elegance and visual rhythm. Her hand is raised lightly toward her neck, fingers gracefully splayed in a gesture that feels natural, tender, and inward-focused.
The minimalist background is an off-white or pale cream, with visible texture that adds depth and tactile presence. The roughness of the surface contrasts with the softness of the woman’s features, emphasizing the immediacy of the portrait. The lighting is gentle and diffused, enhancing the peaceful mood.
The overall atmosphere is intimate and still. There is no movement, no external narrative—just a quiet, emotionally charged moment. The limited palette and the subtle interplay of warm and cool tones create a calm, contemplative environment. The portrait evokes serenity, introspection, and the delicate beauty of a private inner world. Shulman’s signature is discreetly placed in the lower left corner, maintaining the painting’s refined, understated balance.
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Realism
39.4 x 39.4 in / 100 x 100 cm
Realism, Impressionism
39.4 x 39.4 in / 100 x 100 cm
Realism, Impressionism
31.5 x 31.5 in / 80 x 80 cm
Realism
35.4 x 47.2 in / 90 x 120 cm
Expressive Realism
Expressive Realism
Realism, Expressionism
39.4 x 39.4 in / 100 x 100 cm
Realism
27.56 x 27.56 in / 70 x 70 cm
Realism
39.4 x 39.4 in / 100 x 100 cm
Impressionism, Expressionism
39.4 x 39.4 in / 100 x 100 cm
Impressionism, Expressionism
35.4 x 47.2 in / 90 x 120 cm
Expressive Impressionism, Modern Figurative
39.37 x 39.37 in / 100 x 100 cm
Modern Figurative
47.24 x 35.43 in / 120 x 90 cm
Expressive Realism
39.4 x 39.4 in / 100 x 100 cm
Realism
27.56 x 39.37 in / 70 x 100 cm
47.24 x 35.43 in / 120 x 90 cm
A similar painting After Party #77. Nataly in Red OUT OF STOCK
Also, this painting is added to Erotic collection #2
39.37 W x 39.37 H in / 100 x 100 cm
A similar painting Nude #632 OUT OF STOCK
Also, watch a video review on a SUZANNA POSING painting from a very happy customer
27.56 W x 39.37 H in / 70 x 100 cm
46 W x 28.35 H in / 117 x 72 cm
Sold Lot #565 on Auction: mutualart.com
38.58 W x 38.98 H in / 98 x 99 cm
Lot #335 on Auction: mutualart.com
39.4 W x 39.4 H in / 100 x 100 cm
39.4 W x 39.4 H in / 100 x 100 cm
See a sketch for this project – By the Sea OUT OF STOCK
63 W x 47.24 H in / 160 x 120 cm
63 W x 47.24 H in / 160 x 120 cm
27.6 W x 39.4 H in / 70 x 100 cm
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After Ball
35.43 H x 47.24 W x 1.97″ x / 90 H x 120 W x 5 cm
Master copy titled After Party II created in 2016 and Christine, 2010
In After Ball (2008), Igor Shulman captures a solitary woman in a moment of quiet reflection. She is dressed in a flowing white gown, its voluminous folds cascading softly around her, partially concealing a darker bodice with subtle lace details. Her reddish-brown hair is styled up, though partially obscured by shadow, and her head is bowed slightly, conveying introspection and a gentle vulnerability. The warm tones of her skin contrast with the muted, nearly monochromatic background, focusing the viewer’s attention on her form and emotional presence.
The background is abstract and minimal, composed of soft greys, muted browns, and hints of blue, allowing the figure to emerge from an indistinct space. Light falls gently across the woman, highlighting the delicate textures of her dress and the contours of her figure. Shadows are used subtly to create depth, enhancing the painting’s mood of quiet solitude.
Shulman employs an Impressionistic approach, blending realism in the figure with painterly, expressive brushstrokes in the dress and background. The brushwork remains visible yet soft, creating fluid transitions and an ethereal quality. The interplay of light and color draws the viewer into the internal world of the subject, emphasizing mood over detailed narrative.
The painting evokes introspection, serenity, and a touch of melancholy. Symbolically, the white gown suggests purity or surrender, while the bowed head and solitary pose emphasize reflection and emotional weight. After Ball invites viewers to witness a private, contemplative moment, highlighting the fragility and depth of human emotion. This original oil painting by Igor Shulman blends impressionistic sensitivity with figurative elegance.
The October
35.43 H x 47.24 W x 1.97″ x / 90 H x 120 W x 5 cm
Similar to Winter Morning, 2010
In The October (2008), Igor Shulman captures a contemplative moment as a young woman observes a flock of migratory cranes across a winter landscape. Positioned slightly off-center, the woman wears a dark, short-sleeved dress with a modest v-neck and a thin belt, her auburn hair pulled back neatly. Her hand rests on a low railing, her gaze following the cranes with quiet attention. Her posture is relaxed yet pensive, and her expression carries a subtle melancholy, inviting viewers into her private reflection.
The background depicts a flat, snow-covered expanse stretching toward a distant line of muted trees. The cranes are rendered in soft greyish-brown tones, their wings frozen in mid-flight, emphasizing movement against the serene stillness of the winter landscape. The pale, subdued sky and smooth, blended textures create a sense of calm and tranquility. The contrast between the woman’s dark dress and the bright, snowy ground reinforces her presence as the central focus while connecting her visually to the expansive scene.
Shulman blends realism and impressionistic approaches. The figure is anatomically precise and detailed, while the cranes and distant trees are more gestural, with expressive brushstrokes suggesting motion and atmosphere. Soft, diffused light enhances the peaceful mood, casting no harsh shadows, and emphasizing tonal variations in the snow, trees, and clothing.
The painting evokes reflection, introspection, and a sense of yearning. The migrating cranes symbolize freedom, travel, and the passage of time, while the woman’s contemplative stance emphasizes connection with nature and the transient beauty of life. The October is an original oil painting by Igor Shulman that meditates on solitude, longing, and the quiet moments that frame human experience.
Untitled (The Ballet: Quiet Preparation)
In this original oil painting by Igor Shulman, a young woman is seen from behind, her arms raised as she gathers her hair into a ponytail. The pose captures a quiet, private moment, the gentle arch of her back and the soft folds of her slip suggesting ease and natural grace. Warm tones illuminate her skin, emphasizing the subtle play of light across her shoulders and arms.
The background is kept deliberately ambiguous, composed of dark grays and muted browns rendered in expressive brushstrokes. This contrast draws the eye to the figure while creating a sense of intimacy and stillness within the space. The loose, painterly technique blurs the boundary between figure and environment, giving the composition a fluid, contemplative quality.
Shulman’s approach combines realism in the figure’s anatomy with impressionistic touches in the background, allowing light and shadow to define form while leaving room for atmospheric nuance. The brushwork is visible yet controlled, providing texture and movement without overwhelming the subject.
The mood is introspective and calm, a moment of preparation or self-reflection, emphasizing the private, unobserved aspects of daily life. The figure’s back-turned pose suggests both modesty and focus, inviting the viewer to consider the quiet dignity of this solitary gesture. The interplay of light, color, and subtle detail reflects themes of feminine presence, privacy, and the understated beauty of simple acts.
This artwork illustrates Shulman’s skill in balancing figurative realism with expressive brushwork, capturing a transient moment with thoughtfulness and sensitivity.
Untitled (Ballerina)
In this original oil painting by Igor Shulman, a ballerina is captured in a quiet moment of contemplation. Seen in profile, her dark hair is neatly tied into a bun, and her expression is pensive, reflecting the emotional weight of dedication and discipline. She holds a pointe shoe in her hands, a subtle reminder of the artistry and precision inherent to her craft. The white tutu contrasts with her warm skin tones, rendered in gentle oranges and browns, creating a soft interplay between figure and surrounding space.
The setting is minimal, with a largely white background that emphasizes the ballerina’s presence. Light is diffused, casting soft illumination across her form and enhancing the textures created by the artist’s expressive brushwork. The simplicity of the environment draws attention to both the physical elegance of the dancer and the quiet introspection of the moment.
Shulman’s style balances realism with impressionistic touches, capturing anatomical accuracy while allowing brushstrokes to convey emotion and movement. The painterly surface gives a tactile sense to the tutu and leotard, as well as subtle shifts in light and shadow. The mood is contemplative, intimate, and slightly melancholic, reflecting the solitude often accompanying artistic practice.
The painting explores themes of dedication, reflection, and the emotional nuances of creative life. The ballerina’s pose and the presence of her pointe shoes speak to the discipline and vulnerability of performance, offering a glimpse into the private interior world of an artist in preparation.
Some archived artworks may be available as prints upon request. Learn more.