Editor’s Note:   The following 7  group images are assembled to illustrate the typical characteristics of paintings from each period.   This overview cannot replace the knowledge of several thousands of the artist’s paintings,  but can be a kind of additional key to the work of Andrei Belotsvetov  ( Key 1  see Review – M.Zgustova).

Period of Creation – Overview

… 1942  craft at all levels (Rembradt period)

The level of mastery of the craft is perhaps best characterized by the “rembradt-like” self-portrait painted (at age 17 !!).

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1st period 1942-1962

1a. 1942-1950  preparatory-period (still-lifes, portraits, landscapes)


1b. 1950-1962  experiments with styles, processes, techniques – includes:
Magical realism and surrealism,  large-scale neoclassical canvases and cubist portraits.


2nd period 1962-1980  Phase I of the clause

2a. 1962-1970  looks like abstractions, but they are morphoses of elements in their multiplicity.
This includes gestural painting,  expressionism,  Bellocvetov is inspired by Pollock’s dripping technique,  to which he adds his own figurative content – it’s also a nice example,  of how the painter at this stage is already getting “beyond form”.

A note on the concept of morphosis:
The painting Magda and Darius 
(1967)  – here 3rd from the end – really belongs to this period of “morphoses”, although  it would seem that it should already belong to the following period. In this picture it can be shown that morphing can be done not only by artistic but also by expressive means. Darius does not look very “intelligent” here, but he only looks like this here (it is an illustration of the play with expression, i.e.  one of the possible morphoses) – in many other paintings Darius is a normal boy of the appropriate age. Two others are placed “before and after” for comparison: Magda and Darius and Darius himself.

2b. 1970-1983  purification of elements –  contrasts, simplification, objectification.
In result, it is a postmodern synthesis of existing stylistic forms, which he further develops.


At the end of this phase, the various stylish forms are completely mastered – the painter has gotten “above the form” itself.

3rd period 1983-1990  Phase II of the clause of “tinging” with paint (“votization”)

In this second phase of purposeful clairvoyance, the connection with the spiritual world deepens. The paintings still have some of the “multiplicity” of the previous period, but the contrast, contours and space are created more by the surface of colour.

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4th period 1990-1997  all-pervading white (glow of pneuma)

“Nomen-Omen” Bělo-cvět-ov  (ie White-color) is the materialization of the life and artistic peak of his spiritual journey. This “shining pneuma” is not just a mere poetic turn of phrase,  a similar effect of radiating is known in some paintings of “Madonnas of the East” (icons) and Madonnas of the Old Masters in general (which was first, and I think only, recognized in Belocvetov by art historian Prof. Ivo Kořán  see).