Modern Grace: Between Figure and Flower.

Portraiture, Florals, and the Space Between Stillness and Emotion.

June 24, 2025

Artist Elena Dobrovolskaya

A Russian-born, New York-based artist, Elena Dobrovolskaya, is known for her elegant portraiture and contemplative floral compositions. Trained in the classical traditions of Russian art, she brings a refined sense of discipline to her contemporary practice, which draws influence from the clean lines and emotional restraint of Alex Katz. Working primarily in oil, Elena explores the quiet power of singular subjects—whether a face or a flower—exploring a space of stillness, beauty, and contemplation. Her recent work focuses on capturing the essence of individuals and the delicate poetry of nature with a minimalist yet evocative touch.

Was there a particular moment when you knew you had to become an artist?

I began drawing at the age of six, first copying illustrations from books and then gradually learning to draw from nature. When I turned 11, I began attending an artist studio, where I received my first introduction to composition and the principles of light and shadow. At that time, I did a lot of graphic work and watercolors. I wanted to become an artist, but I also liked textiles, so my dream was to become a fabric designer or a costume designer. Unfortunately, that never happened (but I still love fabrics!). My mother was a chemistry teacher, and I spent my school years at her laboratory. It influenced me a lot, and I also became a chemist. I returned to my dream of becoming an artist many years later, in 2010, when I started taking private lessons in oil painting with Oleg Leonov, a member of the Russian Academy of Fine Arts and a professor at the Surikov Art Institute in Moscow. So, my path to the art world was not an easy one, but I am glad that I have finally reached my dream.

You were born and trained in Russia but now live and work in New York. How has this cultural transition influenced your artistic voice and visual language?

It had a significant influence on me; my visual language became more contemporary. I also think that blending my classical training with contemporary vision gives me a unique artistic voice and approach to the painting process. I am not doing "a la prima", I am still starting every painting with the drawing, carefully thinking about each line. And I use only oil, not acrylic, because oil has a timeless quality and allows you to create richer colors and variations using multiple layers.

Top: Last Happy Summer. Self-portrait, oil on canvas, 2016

Left: Oriental Lily, oil on canvas, 2024 / Right: Coral Peony, oil on canvas, 2025

Your portrait work is often described as reminiscent of Alex Katz. What draws you to this particular style of figurative abstraction and flat color?

I always had a tendency to stylize my paintings, even in my first oil still lifes. When I started painting portraits of live models, it came naturally. Then, over the years, I was trying to simplify my style, seeking the purity of the Her Majesty Line and combining bold colors. I vividly remember my first impression of Alex Katz's work - it was during my first visit to ArtExpo New York. His painting of Ada was looking at me from the big wall at the entrance to the pavilion, flashing its vibrant orange color. I didn't know about him back then, but I recognized the style immediately. There was a very popular magazine called "Youth" during my school years in Moscow; it always had a beautiful cover with bold, stylish drawings, similar to posters, which I usually liked to copy. So when I saw Katz's painting, it looked familiar. Sometimes, we don't know what inspires us; it could be our childhood memories and impressions.

Left: Japanese Girl, oil on canvas, 2022 / Right: Portrait of Kate, Princess of Wales, oil on canvas, 2023

In your recent floral series, you've focused on the beauty of a single flower. What inspired this shift in subject, and what does the solitary flower symbolize for you?

I have three passions that have enriched my life: art, music, and gardening. Painting flowers allows me to combine two of them. The garden is my happy place; I love taking care of it. It is also my constant source of inspiration, so I paint flowers that I grow in my garden.

My recent flower series, which I will present at the Hamptons Fine Art Fair, is called "My Garden." It features Iris, Oriental Lily, Coral Peony, and Columbine. They are very decorative artworks with the same background color - celadon green. My approach to painting flowers is the same as for my figurative works. I see it as a flower portrait. I want to reveal the beauty and personality that underlie each botanical detail, especially the central part, which is the heart of the flower. It also symbolizes a new life, a new beginning. I intended to create these paintings of individual flowers on a big square canvas so they would have a contemporary look.

Elena Dobrovolskaya - Iris, oil on canvas, 2025

Color and composition play a decisive role in your work. Can you discuss your color palette choices?

You are right - both colors and composition are essential to me. They are shaping the painting. Usually, I think about it for a long time before I start a new painting. My approach to color palette is always the same - I use one color for a solid background and another for the main color of the subject, whether it's a person or a flower. This pair of colors plays a vital role in my paintings, giving them a visual effect, so I choose it very thoughtfully. My favorite pair at the moment is a combination of green and purple. I used it recently in the "Iris" and "Columbine" paintings. It's celadon green, and I love it.

Left: Still Life With Daisies And A Blue Purse, oil on canvas, 2023 / Right: Columbine, oil on canvas, 2023

Who are some artists—past or present—that have shaped your journey or continue to inspire you?

From my youth, I was fond of Georgia O'Keeffe's flower compositions. Now, when I turned to the "My Garden" series and chose to paint it on a large canvas, I think her paintings subconsciously influenced me. I understand now what motivated her to do it on a large scale - it's a pleasure to gradually paint the colors, changing from dark tones to light ones.

It looks stunning in a big format. As for portraiture, my influencers are the old masters, such as Hans Memling and Hans Holbein the Younger. Their use of a limited color palette is fascinating, as is the graphic quality of their portraits. They inspired me a lot.