LANDSCAPE Let us listen to ourselves, without contradicting ourselves; that which forms the basis of painting and portraiture has a direct relationship to life. Beyond this, what is left is a field for Philistine frustration. And this field is aggressive—the former is a product of mercy, sacrifice in the name of love to that which surrounds each of us, from a butterfly to a Lexus, from the night heater in a top floor apartment of a building to honey agaric mushrooms in the woods. How do we perceive the series of Melnyk’s Oriental landscapes (the parched desert sands, basins, and shores of the Red Sea with cacti, or the golden shores with beaches, hills and enchanted views created by the magic of the pallet?) How do we translate the mood created by the pallet of words into the painter’s pallet? We do this with the touch of enchantment of beauty, a reminiscence of Matisse or Vlaminck, Erdeli or Selsky. How many recollections there are that Melnyk and we, his colleagues, hold dear! These memories are like the breathing of the sea at high tide, like the advance of a storm, and like swallows in the trees foretelling its approach!
Doctor of Art Criticism,
Professor, Academician of the Academy of Arts