Portrait Master, Igor V. Babailov - Established Portrait Painting Procedure & Portrait Fees. Igor V. Babailov, Hon. RAA, KStA PORTRAIT PROCEDURE PLEASE NOTE: or a successful Portrait Painting, especially when photographic references might also be used, it is VITAL for an artist to have the enriched experience and ability to work from life, particularly DRAW FROM LIFE. Such experience enables the artist to portray likeness with the most natural and life-like appearance which truly immortalizes the person, and creates the portrait far beyond its photographic references. F ~ Igor V. Babailov, Hon. RAA U.S. Supreme Court Justice, Samuel Alito. Prime Minister Brian Mulroney - official portrait sitting. Established Portrait Procedure The Master Approach in Preparation for Portrait Painting Since a legacy portrait painting is also a very much personal thing, Mr. Babailov prefers to meet with his portrait subjects, so they get directly involved in the portrait process. The initial meeting usually takes about 1.5 - 2 hours and is scheduled at the artist’s Studio or the client’s location. The overall idea, size and location where the portrait would be displayed are discussed, and Babailov takes numerous photographs to be used as references. During this meeting, Mr. Babailov also masterfully demonstrates his skill of DRAWING FROM LIFE , o ne of th e MOST IMPORTANT steps in preparation for portrait painting, as he captures his portrait subject's perfect likeness fast and within only 30 minutes, in direct communication right in front of the sitter. U.S. Supreme Court Justice, Samuel Alito. In preparation for the official oil portrait. "If one can Draw from life, one can always Paint !" ~ Pietro Annigoni, Royal Portrait Painter The Master Tradition of Portraiture Igor Babailov, Hon. RAA is one of the very few portrait artists today who is exceptionally skilled in DRAWING from LIFE. Thus, his Portrait Painting Procedure resembles precisely those of the Great Masters of Portraiture, such as Ilya Repin and John Singer Sargent , because it begins with DRAWING his portrait subjects from LIFE first - a vital step in preparation for portrait paintings . Just like the Masters of the past, in these studies, Igor Babailov captures impeccable likeness, character and personality in a matter of minutes and seconds, regardless of the sitter's age. This requires the artist's independence from the camera and ability to DRAW a portrait in the timeless academic tradition (or entirely from life), which nowadays is a fundamental challenge for many portrait artists. SAMPLES of Portrait Drawings from LIFE MORE Drawing Studies from LIFE Why Drawing from LIFE matters in preparation for a Portrait Painting Realistic DRAWING from LIFE is a rewarding task that helps to see a pro artist in action right on the spot, because it requires to capture the sitter's likeness in fine details and very fast; Drawing from life prompts artists to take on the challenge of responding to subtle changes in light, expressions, perspective, and use the knowledge of Human Anatomy to create a 3-D image on a 2-D surface, all in real time; It also triggers a more creative and challenging approach, rather than simply copying a ready-made image of a photograph; Since a drawing sketch is usually monochromatic, the focus is entirely on the accuracy of tonal values and precise proportions, leaving no room for errors (which, otherwise, may be camouflaged with bright colors or 'flying brushstrokes' in a colorful Painting sketch). So, in a monochromatic Drawing sketch, even a tiny mistake in likeness would be immediately visible to others; DRAWING from LIFE offers invaluable insight into the sitter's unique facial features, character, and personality through direct interaction, making it the essential foundation for truly capturing the subject’s spirit and soul; Experts say, “Drawing never fails, but often the artist does,” this is why most of today's portrait artists shy away from drawing their subjects from life (specially in front of their clients). However, it is Drawing from Life that has been recognized by the best portrait painters in art history, as a VITAL STEP in preparing for portrait painting. Please also see: What You Need To Know When Commissioning A Portrait Painting Portraits, commissioned as a Surprise, and Posthumous Portraits When a Portrait is to be completed entirely from photographic references, in the instances for posthumous portraits and those commissioned as a surprise, Mr. Babailov applies his invaluable knowledge of painting from life, acquired through his life-time experience and unsurpassed 16 years of formal academic fine art education (1974-1990) within the master-studios of the historically acclaimed Russian Academy of Arts (founded in 1757) that gave the world some of the greatest artists in art history, including Kramskoy, Repin, Serov and American artist, James McNeill Whistler. Compositional studies After the initial meeting, Mr. Babailov provides his portrait clients with original, artistic and hand-created compositional master-studies of the figure in the background, most suitable for the portrait. Once the decision on the composition is made, the artist professionally prepares the museum quality appropriate weight canvas to start painting the actual size portrait. A 40%-50% deposit (the amount of deposit is determined by the size of the portrait) is required upon the signing of the Portrait Agreement and before the work begins. Mr. Babailov travels extensively to the schedule and convenience of his portrait client’s location and caters to a distinguished professional clientele, in the United States, Canada and around the world. A NOTE for Portrait Clients and their Interior Designers Traditionally and historically, a great portrait painting stands on its own - it is more than a typical decorative item that fits a particular interior style, or caters to a color trend / fashion of a moment in time, because the great portrait painting is timeless and it passes onto children and their children and onto future generations in the family. The great portrait painting also stands far beyond photography, because it is NOT a copy of a split second photographic moment of a physical appearance, but it captures the inner world of the person. Unlike photographs which visibly fade and deteriorate in only a few decades, it takes 450 years for oil paint to dry completely, making a portrait painting truly a Legacy portrait that lasts forever. Fees Igor Babailov's Fees are quoted in U.S. Dollars and available upon request at Info@Babailov.com Prices are determined by the portrait size, number of people, complexity, and medium used. Available traditional portrait mediums are: Oil on Canvas /Linen, Charcoal /Sepia /Graphite and Pastel. Portraits of Men Family and Children Portraits of Women What You Need To Know When Commissioning A Portrait Painting CLICK Testimonials CONTACT US

Family Portraits of WOMEN by Igor Babailov. Full-length portrait of Ann Lemire, oil on canvas. Igor V. Babailov, Hon.RAA, KStA Family Portraits Ann Lemire Oil on Canvas, 54" x 48" To commission a custom portrait by Mr. Babailov and/or for any questions feel free to CONTACT us. PORTRA ITS of WOMEN by Igor Babailov

Portrait of Prime Minister Jean Chretien (Charcoal on Canvas), by Igor Babailov. Collection: Power Corporation of Canada. Igor V. Babailov, Hon.RAA, KStA Recent Official Portraits Prime Minister Jean Chretien 20th Prime Minister of Canada Portrait of The Right Honourable Jean Chretien , 20th Prime Minister of Canada (Charcoal on Canvas, 40" x 30") Collection: Power Corporation of Canada Portrait sitting with Prime Minister Jean Chretien at 24 Sussex, the official Prime Ministers' residence in Ottawa, Canada Original Graphite Portrait Studies, done in a life-sitting with Prime Minister Jean Chretien OTHER OFFICIAL PORTRAITS by Igor Babailov

Igor Babailov, All Galleries, Commissioned Portrait Paintings & Drawings, Murals, Sacred Art, Landscapes & Other Works. Igor V. Babailov, Hon.RAA, KStA ALL GALLERIES PORTRAITS MURALS SACRED ART OTHER WORKS PRESS & NEWS PRESS GALLERY VATICAN SPLENDORS MASTER - CLASSES

Artist Aleksey P. Kholmogorov, renowned Russian artist, was the painting teacher of Valery Babailov, Igor Babailov's father. Художник Алексей Павлович Холмогоров - Народный Художник России и Удмуртской Республики. Igor V. Babailov, Hon.RAA, KStA Teacher~Student Lineage Aleksey Pavlovich Kholmogorov (1925 - 1987) "He was an outstanding artist, teacher and mentor to my father, Valery Babailov ." ~ Igor Babailov Aleksey Pavlovich Kholmogorov was born on March 1, 1925. in the Udmurt Republic. Veteran of the Great Patriotic War, he entered the Palekh Art College, where his teacher was Alexander Korin, the brother of the famous painter Pavel Korin. A year later he transferred to the Kazan Art College, graduated in 1951. In 1953 Kholmogorov entered the Moscow State Institute named after V.I. Surikov. His Professor was Victor Tsyplakov , a student of renowned artists and teachers, Igor Grabar and Sergey Gerasimov , who studied in the studios of world-famous artists Ilya Repin and Valentin Serov . After graduation in 1959, Kholmogorov returned to Izhevsk. The same year, the art and graphic faculty was opened at the Izhevsk's State Udmurt University. Kholmogorov became one of the first lecturers there, he invited colleagues from other cities, organized the reception of students and the educational process. One of his first students was Valery Babailov whom Kholmogorov regarded as his "favorite student' throughout his life. The intense creative activity and active civil position in the following years were marked by awarding him the title of the People's Artist of the USSR (1967), Honored Artist of Russia (1972), People's Artist of Russia (1981). In the 1970's, for the cycle of paintings "People of my Republic" he became a laureate of the State Prize of Udmurtia. In 1981 for the series of portraits "Women of Udmurtia" and the painting "Consultation" he was awarded a silver medal of the Academy of Arts of the USSR and the State Prize of Russia named after I.E. Repin. two of his works are in the collection of the State Tretyakov Gallery: "Portrait of Zoya Mikhailova" and "Victory Day, Village Veterans." Kholmogorov was the chairman of the board of the Udmurt branch of the Union of Artists of the RSFSR, elected secretary of the Union of Artists of Russia in 1972.. He died on September 30, 1987, in Izhevsk. A young Udmurt mother Grandma Darya Kurbatova from Bagrash-Bigra Portrait of Mikhail Kalashnikov Igor V. Babailov Direct Teacher~Student Academic Lineage CLICK

Official portrait of Peter C. Johnson, former President of Summitville Tiles, one of America's leading producers of ceramic tile, by portrait artist Igor Babailov. Collection: The Spread Eagle Tavern, Hanoverton, Ohio Igor V. Babailov, Hon.RAA, KStA Recent Official Portraits Portrait of Peter C. Johnson (1924-2011) Summitville Tiles, Ohio Portrait of Peter C. Johnson (1924 - 2011) Former President of Summitville Tiles, one of America's leading producers of ceramic tile. ( Oil on Canvas 40"x 33" ) Collection: Summitville Tiles and the Spread Eagle Tavern (Hanoverton, OH) OTHER OFFICIAL PORTRAITS by Igor Babailov

Throughout his life-time career as a portrait painter, Igor Babailov has received numerous awards and honors from Governments, Royalty and his fellow professional artists in art organizations. Awards UP Igor V. Babailov, Hon.RAA, KStA AWARDS and HONORS for Artistic Achievements (Selected Awards) CLICK on the images for information to name a few. SCROLL DOWN FOR DETAILS Ellis Island Medal of Honor 2022 Officially recognized by the U.S. Senate and U.S. House of Representatives, the Ellis Island Medal of Honor ranks as one of the most prestigious awards in America. Recipients of this honor are read into the Congressional Record and include eight U.S. Presidents, several Nobel Prize Laureates, leaders in business, arts, politics, and other. CLICK on the photo George Washington George Washington's Mount Vernon Presidential Award Portrait of George Washington by Igor Babailov. Collection: Mount Vernon. Presented on behalf of George Washington by the President of Mount Vernon. Doctorate Honorary Doctorate Cumberland University 2019 Dr. Paul Stumb, President of Cumberland University ( Photo credit: Krissy Leigh Kimsal ) Igor V. Babailov awarded the distinguished academic degree Doctor of Literary Letters (Honoris Causa) by the historic Cumberland University 2019 Academician Hon. American Academician of the Russian Academy of Arts (est. 1757) "Dear Mr. Babailov, Congratulations to you on your election to the Russian Academy of Arts." ~ Dr. James H. Billington The 13th Librarian of the United States Congress "An Academician is a member of an officially constituted Academy, such as the Russian Academy of Arts (est.1757), to be elected to which is a great honor, the pinnacle of the career of a traditional artist." ~ RAA Previous recipients of this honor include designer Pierre Cardin, HRH Princess Chantal of France and American artist, Andrew Wyeth . Knighthood Chevalier of the Order of St. Anne (est.1735) Order of St. Anne, dynastic order of Knighthood, awarded to Igor Babailov by Her Imperial Highness Grand Duchess Maria Vladimirovna, Head of the Imperial House of Romanov and descendant of the Russian, European and British royalty, including Alexander II and Queen Victoria. Malta, 2017 Hereditary Nobility with the Official Coat of Arms Granted to Igor V. Babailov and his family by decree of Her Imperial Highness Grand Duchess Maria Vladimirovna, Head of the Imperial House of Romanov and descendant of the Russian, European and British royalty, including Alexander II and Queen Victoria. 4 November, 2020 Madrid, Spain Vatican Medal Official Bronze Medal of the Pontificate of His Holiness Pope St. John Paul II Vatican City Secretariat of State Vatican, 2003 Gen. Petraeus General David H. Petraeus Award "For Excellence" Presented by General David H. Petraeus, U.S. Military Commander, CIA Director, for the work on his portrait for the West Point Academy Museum. Yankee Stadium ~ Official Major League Baseball ~ Award for Portraiture Presented to Igor Babailov at Yankee Stadium, New York City Joe DiMaggio Awards, 2011 Udmurtia Honored Artist of the Udmurt Republic Presented by President of the Udmurt Republic, Ushakov A.A. Senate Award The Tennessee Senate Resolution N69 "To recognize Igor Babailov and celebrate his artistic achievements." Signed into Law by Governor Bill Haslam and presented by Senator Jack Johnson For Service to Art Order 'For Service to Art' (The Golden Star) Presented by the President of the International Academy of Culture and Art, Stronsky P.T. Hon. Academician of the International Academy of Culture and Art Official ceremony in Malta For extended list of Awards and Honors see 'About the Artist'

In this article, portrait artist Igor Babailov speaks out on the need to return to traditional academic training for visual artists.  Featured in the "International Artist" Magazine Why we must keep the traditions alive Igor Babailov speaks out on the need and the opportunities to return to traditional academic training for visual artists. by Igor Babailov Traditional academic education has become a touchy subject in the contemporary debate over what an art education should be. In the second half of the 20th century, the majority of art schools rejected the traditional approach in their programs, creating not only confusion and chaos in students' minds, but a diminished appreciation of fine art in viewers' eyes. Going back through centuries of art history, generations of artists agreed that traditional studies were a "must" for every art student, encompassing all "views" and "visions", Art, just like a house, needs a strong foundation to prevent it from falling apart in the future, and an academic education provides that foundation. But in the last few decades, human anatomy and drawing - the fundamental necessities for developing true artistic skill - have been completely erased from the pages of students' books. These subjects have been replaced by canvases covered in dribbles and splatters of paint, or by simple geometric colored shapes, and then they are told to believe that these are somehow as great as the old masters. What could possibly be more destructive to a sound art education? In the past 10 years of my teaching career, with students from around the world, I have met many "victims" of such modern-day programs whose talents were imprisoned in the bush of "free expression.." I see them seeking the guiding light of strong traditional instruction wherever it's available. Outposts of tradition Fortunately, academic training has not been completely stamped out. I received a sound traditional education when I was a student at the Surikov Academy of Fine Arts in Moscow, one of the very few old art institutions left in the world that has not been infected by the epidemic of "modernism". The Florence Academy of Art in Italy is another school of this nature, where I had the opportunity to instruct a figure painting class last summer. My good friend and a wonderful artist Allan R. Banks from Florida introduced me to this school. I was very happy to discover that the discipline of step-by-step academic curriculum is the main requirement for students of the Florence Academy. The Florence Academy of Art is a branch of the International Academy of Realist Art, and like the Surikov Academy, it is dedicated to the intensive study and teaching of the Old Masters' methods and techniques. It was founded in 1991 by Daniel Graves, who studied with Richard Lack in Minnesota and later came under the influence of Piertro Annigoni. Graves envisions the Academy as an institution with the potential to turn out a select group of highly skilled Realist painters. Here, internationally varied students can receive training from professional painters of different nationalities and educational backgrounds. The core of academic training Teaching at the Florence Academy was a great experience for me as well. Naturally, I was compairing it to the Surikov Academy, and the similarities in the educational approach were apparent. Both schools emphasize studying the human form, working from life and copying the Old Masters. Drawing and anatomy - the two most important subjects that every artist should know as well as the "two-times table" - are highlighted in both programs. In these courses, most of the hours are devoted to understanding and solving the problems of form and proportions, tonal (value) relationships and chiaroscuro. The students are also required to study composition, human anatomy, perspective and the technology of art materials - all of the ABC's for mastering an artist's skill. In drawing class, students learn the Old Masters' sight-size method of drawing: You stand in the same place in relation to the subject and to your absolutely upright easel, and draw the subject in the same size you see it. Working from a single vantage point marked on the floor, you take visual measurements by sighting along a plumb line. After this study, you step forward to work on the drawing from memory. The benefits to be gained from this exercise are enormous. It trains your visual memory, intensifies your ability to see proportions and foreshortenings, and coordinates your eye. As I always tell my students, the importance of good drawing skills cannot be overemphasized. In the words of Nicolas Poussin, "Drawing is the skeleton of what you do and color is its flash." Painting with the Masters Perhaps one of the most essential exercises in learning to paint is the copying of master works in the museums, a practice that's still maintained by both of these traditional academies. As a student at the Surikov Academy, I was fortunate to have access to such museums as the Pushkin Museum, the Russian Museum and the Hermitage. The students at the Florence Academy have similar opportunities, as the school is located in the center of the city, a short walk from the Duomo, the Accademia and the famous Uffizi Gallery. Academy students are given special permission to draw from originals at the Uffizi Gallery's Old Masters Drawing Room. Of course, copying involves more than expressing your feeling of the subject and reproducing it in your own words. To create a copy, you literally follow step by step after the master artist's procedure, getting to know his method, understanding his philosophy of the "stroke- treatment" and so on. Such practice allows you to understand how the great artists from the past translated three-dimensional form into two dimensions. The copying experience cannot be conveyed in just a few words. When your easel is only a couple of inches away from an original painting or drawing by, let's say, Rubens, it's as if you're having a dialogue with that master. This feeling is indescribable. And to have such an experience while immersed in history, surrounded by Renaissance sculptures, architecture and museum treasures - the whole atmosphere of Florence - is an incredible inspiration, generating a hunger for learning the secrets of the Old Masters. The academic experience The curriculum of the Florence Academy of Art is based on the tradition begun in Italy and developed in the academies of northern Europe, particularly in the major Realist ateliers of 19th-century Paris, best exemplified by that of Jean-Léon Gérôme. Similarly, the system of training in the Surikov Academy is based on the best traditions of Russian as well as European Realist schools, including French Academic tradition. Today's students in both the Surikov and Florence academies find themselves in the privileged situation of having models available almost all day, every day. As they work, they receive criticism that is continuous, precise, non-compromising and gauged to the individual progress. I believe that only by seeing the mistakes can you really learn. The Florence Academy of Art is continuing another tradition, in which artists are trained to master more than a single genre or medium, working in sculpture along with painting. Skill in drawing lies at the core of both these disciplines. In addition to the Drawing and Painting Program, the Florence Academy now offers two new programs of study - Sculpture and Intensive Drawing. There is hope As the spiral of modern art history continues to wind down, we can see the increasing demand for tradition in the visual arts. Although much damage to academic education has been done, there are more and more artists, organizations and schools around the world trying to bring the traditions back, to restore the values left to us by the Old Masters. Ultimately, the aim of such schools of Realist art should be to train artists who are able to draw to a very high standard; have a deep understanding and knowledge of anatomy, perspective and composition as foundations for great painting; have positive attitudes toward life and nature, and see it and express it in their works with uncompromising truth; and have a great knowledge of the Old Masters' methods and techniques, and apply them to their own works in order to preserve these methods for future generations of artists. Now, more than ever before, we Realist artists should join together in a worldwide effort to achieve these educational goals [for example, as found in the work of the American Society of Classical Realism (ASCR), The Art Renewal Center (ARC), the American Society of Portrait Artists (ASOPA) and other sound organizations, dedicated to a renewal in the visual arts]. Regardless of the geographical location and differences in "mother tongues", we have the same idols and the same principles. Our language of communication is our Art. Sharing it with each other and teaching it -- that is the key to the success and never-ending beauty and harmony of Realism. _________________________________________________________________________________________ International Artist Magazine is a Fine Art Magazine, published in Australia. This magazine has wide distribution and is read by serious and professional artists around the world. Mr. Babailov's article on Why we must keep the traditions alive is a direct result of his teaching at the Florence Academy of Fine Art, Italy. It is candid description of his personal views on Classical Realism and his experiences as a professional artist and teacher. The article has generated very positive response from its readers, worldwide. Why we must keep the traditions alive is featured on pages 18-20 of the February/March issue, 2000 of the International Artist Magazine. Igor Babailov's students, Figure Painting class Florence, Italy after K. Flavitsky's "Portrait of an Italian girl" by Igor Babailov Museum copy, Surikov Academy, 3rd year

Artist V.N. Zabelin was one of the preeminent artists and teachers in Russia in the end of 20th Century. He was Igor Babailov's last teacher of Painting at the Surikov Academy. Igor V. Babailov, Hon.RAA, KStA Teacher~Student Lineage Vyacheslav Nikolaevich Zabelin (1935 - 2001) He was my last Professor of Painting and one of the preeminent artists of the late 20th century with whom I was fortunate to study. ~ Igor V. Babailov Vyacheslav Nikolaevich Zabelin was born in 1935 in Khamovniki, an old region of Moscow. Zabelin recounts his childhood as having “passed by during the years when my country was engaged in a heroic war against fascist Germany”. After the war, in the late 1940’s, he had the opportunity to work in the studio of M.A. Slanov. One day as he was working in the studio, the famous artist Konstantin Yuon ( student of Valentin Serov and Konstantin Korovin ) came to visit. Yuon took notice of Zabelin’s work which resulted in Zabelin’s acceptance to the “1905” Moscow Art School in 1956. His studies here continued until 1961 when he enrolled in the Surikov Institute. Zabelin spent the next six years at the Surikov, obtaining his diploma and continuing on to get his post-graduate degree. Yuon would continue to help direct Zabelin along his educational path as well as inspire his work. Like most Russian artists, Zabelin was strongly influenced by the Russian world around him. He said “I was born and grew up in Moscow…the old streets, the hidden quirks of this place, the Novodevichii Monastery, made me into an artist. These are my native areas, my small homeland”. His most favorite place to paint was in the Old Russian city of Rostov, from where a large majority of his paintings originate. He loved Russian architecture because of its wonderful asymmetry that could have been so easily balanced by some small window or arch on its façade (N.N. Vizzhilin). Zabelin said “We live in a time when historical cities and environs are losing their individuality and there is no end in sight to this process.” This realization brought great sadness to the artist as he so highly valued his Russian homeland and the beauty its historic structures and landscape possessed. Zabelin felt much the same way about the patterns he saw emerging in the art being created around him. In 1967 Vyacheaslav Zabelin was invited to teach at the Surikov Institute which he graciously accepted. About his teaching approach he once said “In my pedagogical work, I have attempted to help facilitate my students to find their own voice and for them to understand their souls, and help those souls create, in an unrepeatable language.” This was, he felt, one of the most important lessons that his students could learn. It was his belief that “individuality in art…is often understood to be a necessity to produce works reflecting the anger of our time, satisfying the fleeting whims of the public”, which of course he felt certain would not stand the test of time. Zabelin was a major supporter of artistic education and training that was deeply rooted in tradition and achievement. He was not fond of “amateur” or “homegrown”art. He felt that "when a school of training was not present, it was often replaced with “a self-sufficient manner and attempt to pander to the public and draw the attention of amateurs by superficial tricks, which are always used to hide incompetence.” V.N. Zabelin’s close personal friend, the famous journalist N.N. Vizzhilin, wrote of comments made at the opening of an exhibit of works by Zabelin’s students, that “In the process of teaching, Zabelin motivates his students to master not his way of painting, not his view of things or his method, but the principles of art. ” The artist and teacher himself said “Really, if one perceives life from the position of creative work, from the position of a search for the truth, if we perceive it, not putting all the schemes and dogmas into the bed of Procrustes, then life will open up before us in every way more unexpected, fresher, and interesting.” One of his student’s, Svetlana Smirnova, recalls Zabelin teaching her that “composition is of the utmost importance” and that it “is necessary to work on it all the time.” Vyacheslav followed this very principle in his own work. His friend Vizzhilin also remembers that “Before beginning any painting, he would carefully study the nature, consider the composition, [and] select the lighting. Because of this, he lived weeks on end in other cities, barely noticing the lack of physical comforts there.” Vyacheslav Nikolaivich Zabelin was a member of the Moscow River School of painters. He taught at the Surikov until his death in October of 2001. His friend, and journalist Vizzhilin later wrote “The things that made V.N. Zabelin stand out as a central figure in the Russian arts were his wholehearted search for aesthetic sense; his deep knowledge of Russian painting and literature; and his delicate understanding of the interdependence and inevitability of the changing of artistic styles, the richness of which is ever apparent in Russian culture.” He says also that the very essence of Zabelin’s work is that it “rose up from the traditions of Russian art and [had] its roots in the deepest strata of Russian life.” Zabelin has been called the greatest Russian artists of the last quarter of the 20th Century. Artist’s Thoughts: “I was born and grew up in Moscow…the old streets, the hidden quirks of this place, the Novodevichii Monastery, made me into an artist. These are my native areas, my small homeland” “We live in a time when historical cities and environs are losing their individuality and there is no end in sight to this process.” “In my pedagogical work, I have attempted to help facilitate my students to find their own voice and for them to understand their souls, and help those souls create, in an unrepeatable language.” “Individuality in art…is often understood to be a necessity to produce works reflecting the anger of our time, satisfying the fleeting whims of the public.” “When a school of training is not present, it is often replaced with a self-sufficient manner and attempt to pander to the public and draw the attention of amateurs by superficial tricks, which are always used to hide incompetence.” Awards: (partial list) • Member of the Artist’s Union of the U.S.S.R. • Head of the Moscow painting section of the Moscow Union of Artists • Chairperson of the committee on the Protection of Monuments in the Union of Artists of Russia • Member of the City Building Council • Award for The Interior of the Annunciation Cathedral as the best work of 1980 in the Moscow Department of Artists’ Union • Diploma awarded for the creation of the paintings that were on display at the VI Republican Art Exhibition “Soviet Russia” dedicated to the XXVI Congress on the CPSU, awarded by the Counsel of Ministers of the Russian Federation, 1981 • Titled Honored Artist of the Russian Federation, by the Artists’ Union of the Russian Federation • Diploma awarded by the Academy of Arts of the USSR for his paintings The Petrovski Boulevard and The Bolshoi Theatre, 1987 • Honoured Worker of Arts of the Russian Federation, 1990 • The Professors Degree, 1991 • Silver Medal of the Presidium of the Russian Academy of Art, July 10, 1995 Collections: (partial list) Works shown frequently at Lazare Gallery, Charles City, VA; Walls Gallery, Wilmington, NC; Wallace Fine Art, Longboat Key, Fl; as well as James Yarosh and Assoc., Holmdel, NJ. Zabelin has over 300 paintings in the world’s museums including: Tretyakov Gallery (Museum), Moscow - Spring Evening in Rostov the Great, 1981, 64.5 x 69 cm. - Spring Evening, 1983, 88.5 x 88.5 cm. Russian State Museum, St. Petersburg - Interior, Church of Christ the Savior in Rostov, 1987, 50 x 40 cm. - Interior of Church, Ascension, 1988, 60 x 80 cm. Art Fund - Interior of Christ the Savior Church, 1984, 70 x 50 cm. - Suzdal Grey Day, 1966, 47 x 70 cm. - Interior of Resurrection Church, 1968, 30 x 40 cm. - Clear Field, 1978, 50 x 70 cm. - Home Above the Cellar, Rostov Kremlin, 1980, 60 x 80 cm. The Rostov Kremlin Art Museum [has an enormous memorial hall dedicated completely to his works, including:] - Lilacs, 60 x 50 cm. - In Rostov, 1997, 50 x 70 cm. - Rostov, Washing Yard, 49.7 x 79.7 cm. - Center of Rostov the Great, 1978, 50 x 69.5 cm. - Old Estate, 2000, 50 x 40 cm. - Sunrise/Sunset in Rostov?, 1970, 50 x 70 cm. - Green House, 1999, 41 x 56 cm. - Portrait of Wife, 1972, 89 x 89 cm. - Grey Day, 1997, 60 x 80 cm. - Rostov Beauty, 1968, 72 x 50 cm. - View of Rostov Kremlin, 1969, 49.7 x 70 cm. - View of Inner Yard of Rostov Kremlin, 1969, 49.5 x 70 cm. - Street in Rostov, 1985, 60 x 80 cm. - Pink House, 1991, 50 x 60 cm. Russia Artists’ Union - Interior of Resurection Church in Rostov, 1983, Oil on Canvas, 41 x 55 cm. - Winter, Borisogleb, 1993, Oil on Canvas, 55 x 82 cm. Russian Art Museum, Kiev Picture Gallery Museum, Tver Rjazan Fine Arts Museum, Rjazan Jarosalv Fine Arts Museum, Jaroslav Kaluga Fine Arts Museum, Kaluga Kurjan Fine Arts Museum, Kurjan Taganrog Picture Gallery Museum, Taganrog Orenburg Fine Art Museum, Orenburg Orlov Fina Art Museum, Orlov Kostroma Fine Art Museum, Kostroma Novosibirsk Fine Art Museum, Novosibirsk Nizhnij Novgorod Fine Art Museum, Nizhnij Novgorod Artist Architectural Reserve Museum, Rostov Ekaterinburg Fine Art Museum, Ekaterinburg He has become a favorite of well-known private collectors such as James Yarosh (USA), Larry and Pat Merriman (USA), and Stefano Pirra (Italy). Additional Information: He suggested and organized the All-Russian Art Exhibitions “Monuments of Motherland” which became an important event in the artistic and cultural life of the country. Zabelin has been included in many survey books of Russian art and has had several books published on his work including his first coffee table sized book, with full page color plates, cataloguing all of his known works due out in 2006. List of books that include information about Zabelin: Path of Russian Impressionism 100 Years of Russian Artist Union Published in Moscow 2003 In thy Name Russian Artist Union Published in Moscow 2004 (This book was published commemorating the 2000th birthday of the birth of Christ and primarily promoted Russia’s greatest artist who did religious paintings during the 20th century. It is a major book documenting the artist’s works who displayed at one of the Russian Artist’s Unions greatest shows. The Great Painters Published in Moscow 2001 A Dictionary of Soviet and Russian Painters Active 1900 to 1980 Published in London, 1998 Russian Landscape, Great Collection Published in Moscow 2004 List of known books published on Zabelin: Zabelin By Sokolov Published in Moscow Zabelin Published in Italy 2001 Zabelin Published in Italy 1993 Zabelin Published in Italy 1999 To Be Published in 2006 by the documentary film maker and book publisher Archivos Alba: Zabelin, Master of Color - this is to be a definitive work that will catalog all known works of Zabelin and has many contributors by art historians and artists who knew Zabelin. It will be a coffee table sized book with one plate per page. With Appreciation to Lazare Gallery Igor V. Babailov Direct Teacher~Student Lineage CLICK www.Babailov.com

Beautiful Portrait Paintings of Beautiful Women - Distinguished Corporate & Private Art Collections, by Portrait Master Artist Igor Babailov, Nashville - New York - Washington - Naples Women UP Igor V. Babailov, Hon.RAA, KStA PORTRAITS of WOMEN (selected portraits) Chief Justice Annette Ziegler - Supreme Court of Wisconsin Portrait study from life (graphite) Portraits in Oil "Portraits of women occupy a special place in my portfolio. They are mothers, daughters, wives, entrepreneurs and distinguished professionals. I am always honored and humbled to paint their portraits, as I am grateful for their devotion and enormous gift of strength and inspiration they share with the world." ~ Igor V. Babailov, Hon.RAA CLICK on portraits below to see them CLOSER Theresa Menefee Ann Lemire The Baroness Mother's Love Martha-Ann Alito Lady in a pink hat Dr. Julie Hudson First Lady Hillary Clinton Hon. Lisa Wood Amy Debbie Trudeau Senator Marsha Blackburn Julia Bianchi Terrie Isabel Owen Elizabeth Dinkel Maria Bartiromo Dori Sawatzky Dr. Rebecca Stafford Ruth Gjessing-Newman MAMA Mary Kirby Irish Woman Hannah Barker Young woman from Nashville Mary Anderson Rachel Gibbs with her dogs Izzi Eberstadt Mary Eberstadt Kate Eberstadt Zandi Eberstadt Dusan Desmarais Joannie Calia Porth Kaye The Graham family Jill Lindene Kaufmann Dorothy Geen Awarded "Outstanding Achievement in Portrait Painting" - International Portrait Competition, Atlanta, GA (1993) Woman with her dog What You Need To Know When Commissioning A Portrait Painting PORTRAIT PROCEDURE The Master Approach

Anyone can copy/modify photos or ready-made images, but it is the skill of drawing from life, which reveals the artist's true "Masterability." Even when you paint you never stop drawing, only this time you do that with the brush. Master Portrait Workshops, Igor Babailov. Igor V. Babailov, Hon.RAA, KStA Intensive Portrait Master Workshops "Even when you Paint you never stop Drawing, only this time you do it with your brush!" ~ Igor V. Babailov, Hon.RAA Igor V. Babailov 's unique 16-year long FORMAL fine art education (1974 -1990) under the Russian Academy of Arts (founded in 1757), especially contributed to his unparalleled skill in academic drawing ( or drawing from life ) which today is a fundamental challenge for many painters. " ainting does not exist without drawing. It is the outstanding drawing with its perfect values, which makes the best examples of paintings in the History of Fine Art strong and powerful. P Anyone can copy/modify photos or ready- made images, you would not need a solid art education for that... but it is the skill of working from life and particularly drawing from life, which reveals the artist's true "Masterability." Even when you paint you never stop drawing, only this time you do that with the brush. Drawing from life is the must and the fundamental to learn and to know for anyone, wishing to become a truly Professional Artist and Portrait Painter. That is the philosophy of the traditional school and such Masters as Bouguereau, Whistler and Serov . And this is the main focus of my workshops with life demos in Oil, Pencil and Pastel, which distinguishes them from the workshops of others. In Visual Art, I believe, the more Demos from LIFE in different medium techniques the students see, the more they learn and understand how to approach those mediums in their own works. It is especially helpful to realize that those very different mediums are actually very much related to each other and have a lot in common - they are the 'clothes' on the beautiful anatomically structured human form underneath. Academic Head Study - Drawing from Life by Igor Babailov Surikov Academy, 1988 Having 16 years of formal academic education and then over 35 years of teaching experience with students around the world, I can assure you that there are no shortcuts in Visual Art's learning. However, my accredited Academic method of teaching will enable you to possess the knowledge you need and to gain the skills you deserve in no time. With the proper academic instruction, just like the Masters you will be able to paint expertly and fast, without wasting your time on fixing mistakes, simply because there won't be any. This will also help you to establish your individual style and to find yourself as an artist sooner than you think. Your education is your investment, invest wisely." ~ Igor V. Babailov, Hon.RAA Intensive Portrait Master Workshops F requently A sked Q uestions Letter to Artists Igor V. Babailov's Formal Academic Lineage to the Great Masters

Studio of Igor V. Babailov - world-renowned portrait artist in Nashville, official portraits of Presidents, Popes, British royalty, Justices. Distinguished private, corporate and museum collections around the world. Igor V. Babailov Commissioned Portraits & other works of Art Master of Fine Arts / Ph.D. (NASAD) Hon. American Academician of the Russian Academy of Arts (est.1757) Knighted Chevalier of the Order of St. Anne (est.1735) Honorary Doctor of Letters "A great Portrait Painting stands far beyond AI and photography!" Igor V. Babailov Hon.RAA, KStA, MFA/Ph.D. (NASAD), D.Litt (Hon.Causa) , World-renowned Portrait Artist, was selected to paint legacy portraits of Presidents, Supreme Court Justices, Prime Ministers, Fortune 500 CEOs, Nobel Prize Laureates, members of noble families and Royalty, and three Popes for the Vatican. Acknowledged as Maestro by the Vatican curator, in his life-time professional and illustrious career as a portrait artist, he has created over 2,000 commissioned portraits, grand scale multi-figure paintings and other works of art for museums, official public, distinguished private and corporate collections around the world. He is the only portrait artist in America to have received The Ellis Island Medal of Honor with his name read into the Congressional Record. ENTER The Ellis Island Medal of Honor Please CLICK above for details NEW Book Legacy Portraits Get your autographed copy with the personal dedication. O nly on this website. In this new book, LEGACY PORTRAITS , Igor Babailov shares his upfront and close experiences of meeting and painting people from all walks of life: from schoolchildren to Fortune 500 CEOs and Supreme Court Justices, from sport legends and movie stars to Presidents, Prime Ministers and Popes in the Vatican. This one is the official portrait of Justice Samuel Alito by Igor Babailov, Collection: U.S. Supreme Court, Washington, D.C. The Only Living Artist Vatican Splendors Museum Tours Portrait of Pope Benedict XVI by Igor Babailov Collection: Vatican Museum, Rome Highest Honor for Portraiture from Royalty Times Square, New York City What You Need To Know When Commissioning A Portrait Painting PORTRAIT PROCEDURE The Master Approach TESTIMONIALS Share