Brindatch Victor Frantishkovich  Israel    

1.going, 1977 bronze h68 cm.    2.Samson and Delilah, 1999 Terracotta h78 cm.    3.Figure, 1981 gypsum h104 cm.    4.waiting 2, 1979 bronze h69 cm.    5.naked on a bull, 2001 Terracotta h86 cm.    6.ppromothers, 1982 oil on canvas 120x61 cm.    7.nude woman from, 1994 oil on canvas 75x70 cm.    8.4 promateri, 1977 oil on canvas 110x61 cm., 1977 bronze h54 cm.    10.Start, 1985 Terracotta h98 cm.    11.Adam and Eve, 1993 Terracotta h105 cm.    12.with a hat, 1984 bronx h38 cm.


















































Viktor Brindatch was born in USSR. He lived and studied in Kharkov. He is a graduate of the Moscow University, a member of the Union of artists in USSR and of the International association of painters and sculptors. Since 1993 he lives in Israel. He is a master of ****cal superb color specialist. His favourite plots are connected with Jewry "Torah", tradishions and modern life which has found its embodiment not only in painting, but olso in sculpture. Viktor Brindach's pictures decorate private collections all over the world. Since 1996 f his exhibition have passed David's Jerusalem gallery' and also in galleries of New York (Brooklyn) and San Francisko. In 1999 there was his personal exhibition in Tel Aviv's Hall of Painters and sculptors and in 2004 he had another one, in Jerusalem, called: "The AlefBeit". I look at Viktor Brindach's pictures on his site in internet. Gray-bearded oldmen and boys with side curls, the paradise good natured animals, the pacified eternity of sacred letters of the Torah. We can see the Jewish world. Click of the mouse and I watch a page of the Soviet period. And now we can see builders of communism, cheerful sportswomen, and serious steelmakers. But what is it? There no signs of slightest socialist rialism! The same antiquated motives, the same plots: a Bar-Mitzvah Chassids, children and animals with human faces.
All the same intolerable, exulting palette of pictures, the same strict completeness and restraint of copper moulding. In Viktor Brindatch's images you will not find any "before and after" "Soviet and postSoviet". Perception of the world. Changes in it first of all cyclic, calendar: Change of the day and night, youuth and maturity, alteration of death and the birth, announcing firmness of a plan of the creator.
Jewish people in Brindach's pictures also appear as a unit. Time which has been streched from creation of the world up to now, is compressed and disappears, and the thousand-year history appears as one capacions parable. That is whay Moisy and Jakov are like modern spanish jews, and foremother Rahel' "a fantastic medieval princess". That is why Ashkenazi boys cheerfully jump bottom of the sea, overtaking the patriarches leaving Egypt. Favourite hero of Brindach is "The Jew in a praying Shaw". Who travels from a picture to a picture, turing sometimes in to a black-eyed curious child or a respectable old man. Of man's images prevail. There are not enough woman: this subject bearing secret secret, remains untold. The artist avoids to speak about the woman directly. But the nature in his pictures is through penetrated with bewitching, invicibly attractive force of true feminity. We have got used to that wives and beloved. Were the painters muses Rembrant had Saskia, Daly had Gala. Brindach's muse became his daughter Vera. Probably, it is her image that made so fair thr other images in the pictures made his colors so bright which captivates us in works of her father. Children can create a fairy tale, therefore even disturbing and tarrible, like Egyptian executions or phantoms in beit kneset, at Brindatch do not frighten but enchant. And the sculpture "Vera on a turtle" a small masterpiece. Looking at it you can understand why in ancient times our acestors did not create images: this simple and pure touching baeuty should be involuntarily worshipped.