Art Critics about Olga Belopitova's Art

‘How did she achieve the inner balance between the opposites of her personality? The tendency to keep away from the bustle of the secular life and maintain her vitality are some of the secrets behind her artistic comfort and charm. These abilities allowed her to remain a lady to the very end. A lady in the true sense of the word, once combining the sense of moderation, aesthetics, and vulnerability, turning loneliness into pleasure. This ability inspired a special atmosphere in her latest interiors and landscapes. The interior became increasingly barren, preserving only the memory of someone’s presence. The colour in her paintings became even more thrift but at times exploded from the game of bright and dark spots. Maintaining the sense of aesthetics and freeing her inherent and long restrained impulsivity, in the end, she managed to reach her artistic freedom, to the pure impact of colour, to her understanding of peace and timelessness.’

Professor Axinia Dzurova, Art Critic

‘Olga Belopitova is part of those unnoticed and insufficiently appreciated by history classics of Bulgarian painting, which we are rediscovered with pleasure and surprise today.
Olga Belopitova does not paint thematic compositions. She finds the complete expression in the landscape and still life. But the vases with flowers, the fruit bowls, the plate with the fish or the boat on the beach are for her mostly an inspiring occasion to recreate every time with a new impulse and energy a very characteristic sentimental atmosphere, combined with a certain dose of expression and revelation. personal emotions and experiences.’

Professor Svetlana Kujumdzieva, Critic and Curator

The extraordinary art of Olga Belopitova
The young Olga Belopitova was a pupil of a Classics fine artist Prof. N. Petrov, and after graduation, she became close to another art classic – Boris Angelushev. Both are among the best representatives of the European and, in particular, of the Bulgarian intelligentsia and were educated in the most renowned institutions of Europe before the inclusion of Bulgaria in the orbit of the USSR in 1944.
Thus, in Bulgaria, in addition to the stratum of artists who blindly obey the communist ideology, certain parallel art circles appear, which continue the wonderful European traditions and push the development of art towards much wider horizons, to individuality, humanity and experimentation. This is the unique environment that forms young Olga Belopitova as an artist. It is a mix of happy circumstances happening: a combination of her curiosity and keen observation with a family situation and the influence she has from best minds of the period. See the full article:

Vanya Popova Critique Eng

Professor Vanya Popova, Art Critic

‘This is modern art, but with something distant, which, however, does not contrast atmosphere. This art is united by the style’s austerity, the deep colour scheme and the certain glow of melancholy that surrounds all of the works.

From the works of Olga Belopitova, the pattern and technique emerge that accompany every composition, where we see the female pathos, merged with strange tonality of consoled chromatism. The artist’s temperament is reflected also in the metaphysical accentuated compositions like in the work entitled ‘The Empty Hourglass’. Even in the figures made from a combination of strong colours the artist is expressing the people of her country bordering the east and its culture.’

Fenenna Bartolomei, Italian Art Critic

‘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, Italian Art Critic

„Belopitova and Vukadinov are ambassadors of of the Bulgarian fine art, wo different personalities that are very similar in their depiction of the Bulgarian world, with its entire history and all the wonders of this land“

From Publication in La Nazione from Feb 1978