Exhibiting for the first time in Bulgarian National Art Gallery in 1960 with her earliest paintings, Olga Belopitova revealed her chosen range: still life, landscape, and portraiture. The choice of these more intimate genres is not accidental as she uses these states of nature to reveal her view of the world, or rather the need to escape from it. Even in her earliest works through the generalized shapes with no details, and deserted urban landscapes, where the human figure appears only as a silhouette, she creates a sense of timelessness and a sculptural equivalent of silence.



Intimacy and Connection

Studying under Boyan Petrov and later Kiril Tsonev, influenced by her long-lasting friendship with Boris Angelushev, Olga Belopitova shaped her presence in the world of art with delicacy and unobtrusiveness. Charming and charismatic, she is well known in the art society enjoying strong camaraderie with many Bulgarian intellectuals of the period.


Timelessness and Silence

To the Landscapes

Under the low horizon, in pasty paintings and dense tones with lead nuances, a certain sense of timelessness will appear to create an embossed equivalent of silence. Fond of nature, but not the trivial urban or landscape environment, Olga Belopitova minimises the storytelling and remaining loyal to his inner senses; she builds up towards her own figurative system, own expressions, positioning her landscapes on the very border between reality and fiction.

To the Urban Landscape

Urban Landscape

Melancholy and contemplation

In fact, her urban landscapes with elements of melancholy are rather suggestive of certain states that poetize the urban and natural environment.

Still life

Lightless Backgrounds

To the Still Life Gallery

‘This is the world of a sensitive delicate woman, who modulates the tones and chromatic plans of e certain reality created by the artist in a purely retrospective sense and in the greatest detail.’

Giuseppe Scatti Paralli, Grosetto, January 27, 1989)