2013 – Archive of Original Artworks
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Igor Shulman’s 2013 collection of original paintings. This year features expressive figurative works, intimate nudes, thematic series and dynamic compositions capturing emotion, form and the artist’s evolving mastery of realism and modern figurative styles.
Igor Shulman Artworks from 2013
Discover Igor’s 2013 collection of sold and limited edition works, including figurative, nude and thematic series, highlighting his unique approach to color, atmosphere and form.
Boy and Puppy
Boy and Puppy, Igor Shulman captures a quiet, intimate moment between a young boy and his pet. The boy, around six or seven years old, wears a simple white shirt with dark overalls. His posture, slightly turned away from the viewer, cradles the puppy protectively, conveying tenderness and care. The puppy, a brown-and-white spaniel, rests in his arms, gazing upward with calm trust. The embrace emphasizes the mutual affection and bond shared between child and pet.
The background is soft and understated, blending muted grays and browns to focus attention on the figures. Diffused light, resembling an overcast day or gentle indoor illumination, falls evenly across the scene, enhancing the feeling of intimacy. The textures are carefully rendered: smooth brushstrokes for the boy’s clothing, subtly rougher strokes to suggest the puppy’s fur.
Shulman’s approach combines realism with slight impressionistic touches. The artist captures emotional nuance over rigid photorealism, using blended brushstrokes and warm, soft colors to convey atmosphere. The composition emphasizes the relationship between the subjects, with every gesture and glance reinforcing the quiet connection.
The mood is gentle and contemplative, highlighting themes of loyalty, childhood innocence, and companionship. Symbolically, the painting reflects the comfort and security found in bonds of trust and care. By minimizing the setting, Shulman draws attention entirely to the emotional exchange between boy and dog, creating a universal story of affection. Boy and Puppy by Igor Shulman celebrates the simple, enduring moments of love and protection that define human-animal relationships.
Boy and Dog
Boy and Dog (2013) is an original oil painting by Igor Shulman that captures the quiet companionship between a child and his dog. At the heart of the scene is a young boy, reddish-haired and dressed in simple overalls, caught mid-movement as he balances on a rough wooden fence. His expression carries a hint of mischief, a fleeting moment of youthful joy. Below him waits a spaniel-like dog, dark brown with tan markings, seated with calm attentiveness and a tilt of the head that mirrors the boy’s curious gaze.
The setting is stripped of distraction: a split-rail fence, tall dry grasses, and pale sky suggest a countryside landscape shaped by time and weather. The muted palette of earth tones places emphasis on texture—the grain of the wood, the softness of the fur, the brittle grasses swaying in the background.
Shulman’s figurative style reveals itself in the painterly surface. Visible brushwork in the animal’s coat and the natural surroundings creates a tactile depth, while subtle blending of light and shadow lends the figures volume and presence.
The atmosphere is serene, evoking a sense of rural innocence. The fence, while marking a boundary, becomes part of the play—suggesting resilience and freedom rather than division. The shared moment between boy and dog speaks to loyalty, trust, and the uncomplicated bonds of early life. With its balance of realism and intimacy, this artwork by Igor Shulman invites the viewer to recall their own quiet memories of childhood companionship.
Afganistan
27.56 H x 27.56 W x 1.97″ x / 70 H x 70 W x 5 cm
In Afganistan, Igor Shulman captures a young shepherd holding a lamb, portraying themes of responsibility and quiet resilience. The boy, likely around ten or twelve, is dressed in traditional clothing: a dark brown tunic beneath a black-and-white striped shawl, with a reddish-brown hood framing his serious face. His dark eyes hold a weight beyond his years, and the gentle yet firm way he cradles the lamb emphasizes both care and protectiveness. The lamb nestles against him, small and vulnerable, contrasting with the boy’s upright, attentive posture.
The background is minimal and muted, painted in warm browns and tans, suggesting an arid landscape without distracting from the central figures. Soft, diffused light highlights the boy and lamb, creating a subtle glow that enhances the contemplative mood. The textures are suggested through painterly brushwork, visible in the lamb’s fleece and the folds of the boy’s garments, combining realism with a soft, tactile quality.
Shulman’s technique balances realism with expressive brushstrokes. The figures are rendered with careful attention to anatomy and clothing, while the muted, loosely painted background emphasizes atmosphere and introspection. The warm, earthy palette conveys timelessness and tranquility, while the softness of the forms adds to the emotional resonance.
The mood is reflective and serene, yet carries the weight of responsibility. The painting highlights the quiet dignity of youth facing hardship, emphasizing themes of care, innocence, and duty. Symbolically, the lamb represents purity and vulnerability, while the boy’s protective stance embodies strength and guardianship. Afganistan by Igor Shulman invites contemplation of human resilience and the balance between fragility and responsibility.
White Rooster, Like the Ghost of the Third Russian Revolution
31.5 H x 23.62 W x 1.97″ x / 80 H x 60 W x 5 cm
White Rooster, Like the Ghost of the Third Russian Revolution is an original oil painting by Igor Shulman, created in 2013 and measuring 80 × 60 cm. The composition brings together two striking figures: a young boy seated on a chair and a large white rooster standing beside him. The unusual pairing immediately gives the scene a sense of tension and ambiguity, while the restrained, earthy palette and direct poses create an atmosphere that feels both familiar and slightly unsettling.
The boy sits with his arms folded across his chest and one leg crossed over the other. He wears dark clothing, including a black shirt and trousers, with his light hair strongly illuminated against the muted brown background. A cigarette hangs from the corner of his mouth, introducing an unexpectedly adult and defiant detail into the otherwise youthful figure. His expression is serious and self-contained, and his direct gaze gives the portrait a confrontational quality.
Beside him stands a large white rooster. Its body occupies a substantial part of the left side of the composition, creating a strong visual counterweight to the seated boy. The bird's white feathers are painted with relatively broad, economical strokes, while its red comb and face provide the most intense accent of colour in the scene. Its head is turned slightly toward the viewer, giving the rooster a similarly alert and almost watchful presence.
The background is deliberately simple. Broad passages of warm brown, beige and muted grey suggest an interior or undefined enclosed space without providing a precise location. The relatively empty setting keeps attention on the two central figures and reinforces the theatrical quality of their arrangement.
Shulman's technique combines figurative observation with loose, expressive brushwork. The boy's face and hands are described with greater precision, while areas of clothing, the rooster's feathers and the background are handled with broader strokes and simplified forms. Strong contrasts between dark clothing, pale feathers and the warm neutral ground give the painting a clear graphic structure.
The artist's original title adds another layer to the otherwise enigmatic scene. By referring to the white rooster as “the ghost of the third Russian revolution,” Shulman introduces a historical and political association without illustrating a conventional revolutionary scene. Instead, the reference is condensed into an unexpected encounter between an ordinary-looking boy and an imposing white bird. The meaning remains open, allowing the title and image to interact without providing a single definitive interpretation.
As a 2013 work, the painting is a distinctive example of Shulman's figurative approach to unusual subjects and psychologically charged compositions. The combination of portrait-like observation, symbolic imagery, expressive brushwork and an unconventional title makes White Rooster, Like the Ghost of the Third Russian Revolution an especially notable work within the artist's archive.
Untitled (Arabian Horse)
In Untitled (Arabian Horse) by Igor Shulman, the viewer encounters a single Arabian horse rendered with meticulous attention to anatomy and form. The horse’s light-brown coat is captured in soft, luminous tones, and its muscular neck and arched posture convey both strength and elegance. A subtle suggestion of another horse in the background adds depth and context, while the primary figure commands focus through detailed rendering of skin, mane, and musculature.
The setting is minimal and dark, composed of deep browns and blacks that recede into shadow, allowing the horse to emerge as the central figure. Soft, warm light illuminates the animal, highlighting the contours of its body and emphasizing its noble presence. The background remains almost entirely indistinct, enhancing the contemplative mood and drawing the viewer’s attention to the subject’s form and expression.
Shulman employs a realistic style reminiscent of classical equestrian portraiture. Brushwork is precise, blending subtle tonal variations and textures to create a sense of weight and lifelike presence. The use of chiaroscuro emphasizes the interplay of light and shadow, giving the composition a timeless, serene quality.
The mood is quiet and reflective, suggesting both the physical power and dignified temperament of the horse. The painting evokes admiration for the animal’s natural beauty, while the shadowed background introduces a contemplative undertone. Symbolically, the horse may represent nobility, strength, and the quiet majesty of nature. Its calm yet alert posture hints at inner vitality and the elegance of restraint, encapsulating a moment of stillness that feels both intimate and profound.
This original oil painting exemplifies Shulman’s skill in realistic figurative style, capturing both anatomy and emotional resonance in a single, compelling subject.
Untitled (Red Fish)
In this original oil painting, a single dark fish occupies the canvas, its body rendered with meticulous attention to scales and fins. The fish faces left, its slightly open jaw revealing small teeth, hinting at the tension between its strength and vulnerability. Its spiky fins fan outward, suggesting movement and life, even within the stillness of the scene.
The background is a deep red, textured and uneven, amplifying the fish’s presence while creating a dramatic contrast. The simplicity of the setting focuses attention entirely on the creature, allowing its form and energy to dominate the viewer’s experience. Light is diffuse, emphasizing the tonal differences in the fish’s body against the red surface.
Igor Shulman combines realism with expressive brushwork, alternating between fine detail on the scales and looser, directional strokes on the fins. This technique balances precision with spontaneity, giving the painting a dynamic yet controlled quality.
The mood is tense and contemplative, with the red backdrop suggesting urgency or latent danger. The fish, both menacing and fragile, invites reflection on its state: caught, poised to strike, or suspended in a moment of pause.
Symbolically, the painting explores the interplay of power and vulnerability, life and exposure, as well as the human gaze on nature. The red may evoke blood, energy, or the dramatic tension of existence, while the fish represents resilience, primal force, and the quiet intensity of natural life. Red Fish by Igor Shulman is a compelling study in observation, form, and emotional resonance.
Untitled (Winter’s Quiet Passage)
In Untitled (Winter’s Quiet Passage) by Igor Shulman, the quiet drama of a snowy city street is captured with sensitivity and restraint. The main subjects—a man in a dark overcoat and hat walking away from the viewer and a woman carrying an umbrella further back—anchor the composition. The man’s hunched posture and nearly silhouetted form evoke introspection, while the woman moves with subtle purpose, suggesting the anonymous rhythm of urban life. Other figures fade into the snowy background, underscoring the impersonal nature of the city.
The setting is a snow-filled urban street, where muted purples, grays, and browns blend in soft, diffuse light. Buildings are largely obscured by falling snow, emphasizing the transient quality of winter and the quiet moments within a bustling environment.
Shulman’s impressionistic style employs loose brushstrokes and subtle color blending, conveying both the texture of the snowfall and the ephemeral quality of the scene. The emphasis is on atmosphere rather than exact detail, highlighting the fleeting interaction between human figures and their environment.
The mood is contemplative, tinged with melancholy. The diffuse light, falling snow, and isolated figures create an intimate, reflective space within the larger urban landscape. Themes of solitude, the passage of time, and the anonymity of city life are woven into the composition. The central figure, walking away from the viewer, symbolizes withdrawal and quiet introspection, while the snow underscores both impermanence and serenity.
This original oil painting stands as a thoughtful example of Shulman’s ability to merge figurative presence with impressionistic interpretation.
Generations Marathon
27.56 H x 39.37 W x 1.97″ x / 70 H x 100 W x 5 cm
Generations Marathon is an original oil painting by Igor Shulman that captures a fleeting yet powerful human encounter. In this figurative artwork, two men lean from the sides of opposing steam trains, stretching their arms into the narrow space between them. Their gestures are urgent but tender, as if the passing of a small object carries more weight than its physical presence. The men, dressed in working clothes with caps and jackets, embody the resilience and humility of labor, their faces left deliberately indistinct so the moment itself becomes the true subject.
The setting amplifies this tension. Massive steam engines dominate the scene, their dark metal frames crowding the composition. Between them, heavy clouds of steam swirl and obscure the tracks, transforming the industrial space into something almost dreamlike. The muted palette of grays, browns, and sooty blacks contrasts with the soft haze of pale light in the distance, suggesting both the grime of industry and the fragility of human connection.
Shulman’s technique blends realism with impressionistic handling of atmosphere. Broad, expressive brushwork in the steam and background conveys movement, while the figures remain grounded and solid. This interplay highlights the contrast between the permanence of machines and the fragility of human bonds.
The mood is quiet, contemplative, and tinged with melancholy. The scene feels like a moment suspended in time—a symbolic handover across generations, across journeys, across the unstoppable flow of life. The trains may continue on their separate paths, but for a brief instant, the two men meet in an act of recognition and exchange. Themes of connection, impermanence, and the weight of small gestures give the painting its enduring resonance.
Reflections №3
39.37 H x 27.56 W x 1.97″ x / 100 H x 70 W x 5 cm
Reflections №3 is an original oil painting by Igor Shulman that captures a quiet moment of intimacy between two figures. A man and woman stand close together, their bodies relaxed in a tender embrace. Only their lower bodies and bare legs are visible, yet the closeness of their stance conveys intimacy more powerfully than any explicit gesture. Shulman’s choice to obscure their faces shifts the focus toward posture, presence, and the emotional resonance of the scene.
The setting is pared down to essentials: a shallow body of water that acts as both stage and mirror. The surface reflects the couple with near-perfect clarity, but the reflection is subtly altered, as though bowed in a gesture of reverence. This interplay between physical form and mirrored image deepens the sense of introspection, encouraging viewers to look beyond the surface of human connection. The palette is soft and muted, with shades of gray, violet, and brown dissolving into one another, creating an atmosphere that feels both tranquil and dreamlike.
Executed in a figurative realist style, the painting relies on nuanced brushwork and delicate transitions of tone. The reflection in the water is not merely technical but symbolic, suggesting themes of duality, self-awareness, and the hidden depths of a relationship. The overall mood is contemplative, intimate, and almost meditative, as if the figures themselves are absorbed in their own inner dialogue.
Through this restrained composition, Shulman presents not just a scene of closeness but a meditation on reflection—of the body in water, of the self in another, and of the meaning carried in moments of quiet connection.
Nina
24.02 H x 24.02 W x 1.97″ x / 61 H x 61 W x 5 cm
In Nina (2013), Igor Shulman captures a moment of quiet introspection, presenting a young woman standing against the backdrop of a glowing city night. Her shoulder-length reddish-brown hair falls naturally around her face, slightly tousled, while her dark dress with thin straps leaves her shoulders bare. She holds her hands near her mouth, her posture inward and protective, as though caught in a private thought suspended in time.
The background dissolves into soft golden lights, rendered with loose, impressionistic brushwork. These shimmering orbs suggest the energy of a bustling city, yet remain blurred and distant, emphasizing the contrast between external liveliness and inner stillness. The figure, painted with careful realism, glows softly in the warm light, her skin tones illuminated against the surrounding darkness.
Shulman’s figurative style merges realism with expressive touches, balancing finely observed detail with atmospheric suggestion. The composition relies on contrasts—sharp focus against blurred light, stillness against implied motion, solitude against the hum of the unseen world. His brushwork guides the viewer’s attention toward the subtle emotional tension within the scene.
The mood is contemplative, intimate, and slightly melancholic. The young woman appears withdrawn into her own world, her closed posture and thoughtful expression suggesting vulnerability, self-reflection, or the weight of unspoken emotions. The glowing backdrop may symbolize life continuing around her, a reminder of the distance between inner feelings and outer appearances.
Nina by Igor Shulman is an original oil painting that reflects the artist’s ongoing interest in the complexities of human emotion, offering a poignant study of solitude within the context of modern life.
Nina (Remastering)
Remembering Last Summer
23.62 H x 23.62 W x 1.97″ x / 60 H x 60 W x 5 cm
Lot #373 at auction (MutualArt).
Remembering Last Summer (2013) by Igor Shulman portrays a solitary woman immersed in a moment of silence and mystery. Seen from behind, the nude figure sits partially submerged in shallow, dark water. Her posture is slightly hunched, her form outlined by soft light that seems to come from an unseen source above. A faint garment clings to her lower body, and a small earring glimmers at her ear, subtle details that add humanity to an otherwise haunting image.
The surrounding space is almost entirely consumed by darkness, with only glimmers of gold and orange light dancing across the water’s surface. Thick, painterly strokes emphasize texture, especially in the skin tones and rippling water, contrasting the figure’s vulnerability with the heavy, velvety atmosphere. The palette of deep browns, blacks, and fiery highlights intensifies the drama while preserving intimacy.
Stylistically, the painting blends expressionism with realism. Visible brushwork, impasto surfaces, and bold contrasts of light and shadow create volume and emotional depth. The resulting mood is contemplative, vulnerable, and enigmatic—a moment frozen in both darkness and illumination.
Symbolically, the black water hints at the subconscious, the unknown, or the emotional depths. The woman becomes a symbol of introspection and solitude, her illuminated body standing as both fragile and resilient against the surrounding void. The work invites viewers to engage their own reflections on vulnerability, memory, and the human condition.
Thinking of You
23.62 H x 23.62 W x 1.97″ x / 60 H x 60 W x 5 cm
In Thinking of You (2013), Igor Shulman presents a quiet, private moment of contemplation. A woman reclines on a bed, her long dark hair spilling across her shoulder, her gaze turned downward as though immersed in thought. She wears a dark sleeveless dress with a bold black-and-white striped hem, its sharp pattern contrasting with the softness of her form. Gold hoop earrings glint in the dim light, adding a subtle accent to her introspective presence. Her posture, though relaxed, carries a trace of tension, hinting at emotions kept beneath the surface.
The setting is intimate and subdued. The darkened bedroom is warmed by hints of orange and brown, perhaps from a fading light beyond the window. The crisp white bedsheets stand in stark contrast to the surrounding shadows, drawing the viewer’s focus directly to the figure. This interplay of light and dark creates a space that feels both enclosed and quietly charged.
Shulman works in a figurative style, leaning toward realism while allowing painterly strokes to remain visible. His use of chiaroscuro sculpts the figure with precision, emphasizing the woman’s expression and presence. The brushwork in her hair and dress lends energy to the stillness, while careful highlights suggest texture and depth.
The mood is contemplative, intimate, and slightly melancholic. The woman’s solitude invites reflection on themes of vulnerability, longing, and inner complexity. The dark setting may symbolize uncertainty or emotional struggle, while the patterned dress hints at the duality between outward appearance and private thought. Thinking of You by Igor Shulman captures the delicate intensity of a quiet, reflective moment.
What Moves Stirs
In What Moves Stirs (2013), Igor Shulman turns his attention to the figure of a reclining woman, poised yet relaxed on a pale chaise lounge. Her reddish-blonde hair glows against the darkness, her body framed by a black lace corset and stockings. Arms resting behind her head and gaze angled slightly away, she presents herself with calm assurance, her presence felt rather than demanded.
The background dissolves into near-blackness, reducing the setting to shadow. This lack of environment heightens the intimacy of the encounter, as the woman’s pale skin and the chaise emerge from the dark like shapes from memory. The stark contrast brings theatricality to the composition, where light becomes the defining element of form and atmosphere.
Shulman’s figurative style, leaning toward realism but softened with painterly brushwork, allows the painting to breathe beyond strict detail. His mastery of chiaroscuro sculpts the body through luminous highlights and deep shadows, suggesting sensation rather than exact description—light grazing skin, fabric dissolving into shadow.
The atmosphere is sensual without overt provocation. Confidence merges with introspection, conveying a woman fully at ease within her own world. The corset and stockings acknowledge the language of erotic art, yet her serene expression shifts the theme toward empowerment and self-possession.
At its core, What Moves Stirs by Igor Shulman is less about seduction than about balance—between light and dark, privacy and openness, vulnerability and strength. It exemplifies Shulman’s ability to merge erotic presence with contemplative depth, offering an intimate meditation on identity and desire.
Akt N19
In Akt N19, Igor Shulman presents a nuanced study of the nude female form, blending sensuality with quiet introspection. A young woman stands against a pale, textured wall, her slender figure caught in a thoughtful pose. Her reddish-brown hair falls loosely around her shoulders, partially obscuring her face, and her gaze, slightly averted from the viewer, suggests both intimacy and distance. Light from the upper left softens the contours of her body, highlighting the gentle curves and subtle tonal shifts of her warm skin.
The interior around her is minimal, defined by muted browns and grays. A darker section of the wall, marked with horizontal lines, hints at wood paneling, creating contrast with the smoothness of her skin and the soft shadows that fall across her form. This simplicity focuses attention on the figure, allowing the quiet interplay of light and shadow to shape the mood.
Shulman’s painterly yet realistic approach reveals careful attention to anatomy and texture. The brushwork is visible but restrained, capturing the tactile qualities of both skin and surroundings. The muted earthy palette reinforces a calm, reflective atmosphere, emphasizing introspection over overt sensuality.
The painting conveys vulnerability alongside a subtle sense of strength. The nude figure invites reflection on female beauty and solitude, while the contrast of light and shadow hints at inner dualities. In its stillness, Akt N19 by Igor Shulman evokes a contemplative intimacy, drawing viewers into a moment of quiet presence.
Akt №30
27.56 H x 39.37 W x 1.97″ x / 70 H x 100 W x 5 cm
In Akt №30, Igor Shulman presents a study of the nude female form that balances vulnerability with quiet self-awareness. A young woman stands slightly angled, her short reddish-brown hair gently tousled, one hand resting lightly on her lips. Her gaze meets the viewer with a subtle mix of confidence and introspection, inviting an intimate connection while maintaining a sense of guarded contemplation. The rendering of her skin captures the delicate play of light and shadow, emphasizing the gentle curves and natural warmth of her body.
The background is an abstract composition of muted tones, with deep burgundy contrasting against off-white or light gray areas. This interplay of dark and light draws focus to the figure, while the soft, diffused illumination sculpts her form with a three-dimensional quality. The textures are smooth yet nuanced, enhancing the tactile realism of the skin against the subtly defined background.
Shulman blends realism with painterly abstraction, using controlled brushwork and chiaroscuro to convey depth and presence. The atmosphere is quiet and intimate, evoking a moment of introspection rather than explicit eroticism. The painting hints at themes of female identity, sensuality, and self-reflection, with the gesture of the hand suggesting thoughtfulness or hesitation. Through the contrast of light and shadow, and the balance of exposure and composure, Akt №30 by Igor Shulman captures the complexity of the female form and the private strength within moments of contemplation.
Akt №25
In Akt №25, Igor Shulman captures a moment of quiet intimacy as a young woman reclines on a bed bathed in warm sunlight. Her long, dark brown hair frames her face as she lies at a gentle three-quarter angle to the viewer, one arm draped across her chest and the other resting near her hip. The soft, velvety tones of her skin are highlighted by the golden light, emphasizing the natural curves and contours of her body. Her serene expression and relaxed posture convey both vulnerability and self-possession, suggesting a private moment of reflection or simple enjoyment of the warmth surrounding her.
The room is suggested as a boudoir, with lightly colored, rumpled sheets creating subtle textural contrast. A large window allows sunlight to spill across the scene, casting soft shadows and creating a luminous atmosphere. Warm browns, ochres, and golds dominate the palette, evoking a feeling of intimacy and calm. The textures are rendered with care: the smoothness of skin contrasts with the soft folds of linen, while the hair is painted with visible, expressive strokes that add depth and movement.
Shulman’s figurative realism blends precise observation with painterly technique, using light and shading to model the form naturally. The painting communicates a sense of quiet sensuality and comfort, celebrating the female form in a domestic, personal space. It evokes themes of inner beauty, self-acceptance, and the understated pleasures of solitude, highlighting the harmony between body, light, and environment.
Wet Glass
27.56 H x 27.56 W x 1.97″ x / 70 H x 70 W x 5 cm
Wet Glass (Мокрое стекло) is an original oil painting by Igor Shulman, created in 2013 and measuring 70 × 70 cm. The square composition presents a close-up portrait of a young woman whose face emerges from a dark, atmospheric field of deep violet, blue, burgundy, and black. Much of her face is partially obscured by shadow and dark hair, leaving one eye and the central features illuminated. Her restrained expression and direct, almost distant gaze give the portrait a quiet and introspective character.
The title Wet Glass provides an important visual clue to the painting. Numerous small, pale marks are scattered across the surface surrounding the woman's face. They resemble drops of water, reflections, or points of light seen through a wet pane of glass. Rather than functioning as precisely rendered objects, they become part of the painting's surface and atmosphere, separating the viewer from the figure while simultaneously bringing her face into focus. The effect suggests the experience of looking at someone through rain-covered glass, where details appear softened, fragmented, and partially concealed.
The background is deliberately indistinct. Dark purple and blue tones surround the figure, while a lighter area in the upper left introduces a subtle change in illumination. The contrast between the illuminated face and the surrounding darkness gives the portrait considerable depth without establishing a specific physical setting. The woman's dark clothing or wrapped fabric blends into the surrounding tones, further emphasizing her face as the central point of the composition.
Shulman's handling of the paint is expressive and painterly. The facial features are built through controlled transitions between warm skin tones and cooler shadows, while the surrounding areas contain looser marks, visible strokes, and fine linear scratches. The pale circular forms across the surface contrast with the darker ground and create the impression of water, reflected light, or condensation on glass.
The painting does not provide a specific narrative. Instead, Wet Glass concentrates on a fleeting visual encounter: a face seen through a layer separating the viewer from the subject. The combination of darkness, reflected light, obscured features, and the woman's quiet expression creates an atmosphere of solitude and contemplation.
With its restrained palette and strongly atmospheric treatment of the female portrait, Wet Glass demonstrates Shulman's interest in combining figurative imagery with expressive surface and ambiguous visual space. The work belongs to his 2013 period and is documented as an original 70 × 70 cm oil painting on canvas.
Business Lady
39.37 H x 27.56 W x 1.97″ x / 100 H x 70 W x 5 cm
Energy is a 2013 original oil painting by Igor Shulman portraying a woman walking directly toward the viewer with a composed, self-assured presence. She wears a fitted dark dress beneath a loosely draped jacket, dark sunglasses, and carries a handbag in one hand. Her long reddish-brown hair falls behind her shoulders as she moves forward, while the relaxed position of her arms and steady posture give the figure a strong sense of direction and purpose.
Shulman keeps the composition focused almost entirely on the woman. Her figure occupies most of the canvas, creating an immediate visual connection with the viewer. The dark clothing establishes a strong central shape, while warm skin tones and reddish hair provide contrast against the cooler grey, white, and muted background.
The face is rendered with restrained detail, with the sunglasses becoming an important visual element. They partially conceal the eyes and give the figure an anonymous, contemporary character. Rather than presenting a traditional formal portrait, Shulman captures a person in motion, suggesting a moment observed in passing.
The painting combines figurative realism with loose, expressive brushwork. The clothing is built through broad tonal passages and visible painterly transitions, while the background remains deliberately understated and atmospheric. Light areas around the figure help separate her silhouette from the darker vertical form on the right side of the composition.
The title Energy reflects the physical presence of the figure and the forward movement suggested by her pose. The painting is less concerned with a specific narrative than with capturing the confidence, rhythm, and visual force of a contemporary woman moving through her surroundings.
The Familiar Dancer
31.5 H x 19.69 W x 1.97″ x / 80 H x 50 W x 5 cm
The Familiar Dancer captures a female dancer in a complex, suspended movement, her body folded into an expressive pose that combines physical strength, flexibility and controlled balance. One arm extends above her head while the other crosses in front of her body. One leg stretches downward and outward, while the other bends sharply beneath her, creating a series of strong diagonals across the vertical composition. Her head is lowered and partially obscured by flowing blonde hair, keeping the focus on the movement and physical language of the figure.
The dancer wears a dark, close-fitting costume that provides a strong contrast with her illuminated skin and the pale, loosely painted surroundings. Shulman uses warm flesh tones to define the body while allowing parts of the figure to soften and merge with the surrounding paint. The pose feels caught in an instant, as though the dancer has been frozen between two movements rather than placed into a conventional static portrait.
The background is deliberately open and atmospheric. Pale whites and warm creams dominate the surface, interrupted by washes of lavender, violet, soft pink and peach. Loose brushstrokes, splashes and translucent layers remain visible throughout the surrounding space. Rather than describing a specific stage or interior, Shulman creates an undefined pictorial environment that gives the dancer room to move.
The painting demonstrates Shulman's expressive figurative approach, combining careful observation of the human body with energetic, gestural application of paint. The dancer's anatomy is more clearly articulated than the surrounding background, while selected edges dissolve into the loose layers of colour. This contrast between definition and abstraction reinforces the sense of movement.
The composition also makes deliberate use of negative space. The largely open left side contrasts with the concentrated figure on the right, allowing the extended limbs and sweeping movement of the dancer to become the dominant visual structure. The result is an original oil painting focused less on narrative than on the physical experience of dance — balance, tension, movement and the fleeting beauty of a body caught in motion.
Some archived artworks may be available as prints upon request. Learn more.