Orenburg Territory 75 years ago on May 10, 1947, Valery Nikolaevich Levanovsky (1947-2011) 60 years ago on May 11, 1962, Vladimir Nikolaevich Eryshev was born

Orenburg Territory

75 years ago
May 10, 1947
Born Valery Nikolaevich Levanovsky (1947-2011)

60 years ago
May 11, 1962
Born Vladimir Nikolaevich Eryshev

Memorable dates of the Orenburg region April April 24

81 years ago April 24, 1941
Born Vladislav Mikhailovich Eremenko (1941)

Artist. Honored Artist of Russia (2011).

Autobiography and creative path

I, Eremenko Vladislav Mikhailovich, was born on April 24, 1941 in the village of Vyeshestelievskaya, Temryuk district of the Krasnodar Territory.

Father – Eremenko Mikhail Yakovlevich, a teacher of Russian language and literature, in different years was the head teacher, the director of the secondary school, led a literary almanac, was printed in newspapers and magazines.

Mother – Eremenko Anna Danilovna, worked as a teacher at the extended day school. Her students loved her kindness, responsiveness and willingness to help in difficult times.

When the Great Patriotic War began, I was only two months old. We lived at the school court, where trenches were dug into which were hidden from shelling of fascist aircraft. At the sounds of the siren, women with children took refuge in the trenches and often, out of a long expectation, lowered babies to the ground, as a result of which many children became ill and died. My mother, bent over, squatted, kept me on her knees for hours and this saved my life.

I went to school in 1948. My mother sewed a bag for textbooks from the canvas and decorated it with a bow, which became the subject of ridicule of my comrades. During his studies, he tried to learn how to draw, but, as his father’s colleague said, a biology teacher and amateur artist, “becoming an artist is so difficult, it’s so difficult not to start.” There was no such discipline as drawing at school. But closer to grade 10, I somehow accidentally painted my desk neighbor and it turned out that it caused extraordinary excitement among my friends. The queue of those who wanted to get a portrait was lined up.

After graduation, I did not know where to go. I wanted to at the art school, but without preparation it was useless. Comrade persuaded me to go to Rostov-on-Don to go to some educational institution that would like us. We moved away from the station a couple of quarters and saw a road college. I had no idea what it was, but the comrade said: “Let's try!” Moreover, the head teacher of the technical school met with open arms. We passed the exams and left home. At the end of August, a call came to study. I did not want to go, but at the family council, my father said: “Why will you hang out at home for a year, it’s better to study, because after a decades you will be credited for 2 years and after 2 years you will receive a diploma.”

Having studied the year and passed the exams, I decided to leave this institution, because during this time I got acquainted with the artists who made out the technical school, performing visual agitation, wall -colored paintings, stained glasses, paintings, etc. They learned me a little, put still lifes, gave me brushes, paints and canvas. In addition, I went to classes at the Rostov Art College, where I met one student who introduced me to the basics of visual literacy.

And in 1959, my father and I went to Krasnodar to enter the Art School, where his father had a familiar teacher. He advised us to submit documents not to the school, but to the pedagogical institute, where the Faculty of Art for the first time opened. But since I was not sufficiently prepared in special disciplines, but I passed out general subjects well, in the total number of points I became one of the 10 applicants, of which they decided to leave two, following the interview results. And I got into them.

When classes began, it turned out that the faculty lacks a sufficient number of premises, easels, the methodological fund was only formed, the Czechard with teachers who changed every 2-3 months. After several months of study, I realized that I would not learn anything here and turned to the rector of the institute with the question of what to do next. It struck me that he listened carefully to me and, despite my young age, gave comprehensive explanations. He agreed that the situation at the faculty is difficult, not everything can be established at once, but the institute does everything possible to rectify the situation. The rector assured that if nothing changes within 3 months, then he will allow me to transfer to the historical faculty at once by 2 years.

And during these 3 months, a teacher V. Zaitsev, who graduated from the Kharkov Art Institute, comes to us. With his arrival, the entire teaching system has changed. It was an energetic, very well -read person, intelligent, mobile, like mercury, with a rolling thunderous voice with an increase of one and a half meters. I was captured by this manifestation of his qualities. He was convinced that there are laws of aesthetic harmony of colors that can be studied in the same way as the laws of musical harmony. Both that and the other reflect the universal harmony of the world, in which the order and the soul of being reigns! Everyone is controlled by the number – it is based on the creations of great artists. He studied the theory of the “golden section” and the methods of putting it in practice when creating a picture. And, of course, after a year of study under his leadership, this reflected on my attitude to drawing and painting. After a couple of years, I became one of the best at the faculty, and according to the results of five years of study, on the defense of the diploma, I was appreciated by “excellent” with praise and the recommendation of admission to the art fund.

After the institute, I was distributed to the Tobolsk pedagogical school as a teacher of drawing and painting. I first saw a taiga, the merger of the Tobol River and the Irtysh of incredible beauty and power. When you stand on the shore of these rivers, the opposite shore is lost in the distance and this is a huge amount of water, which rushes somewhere beyond the horizon, so affects your consciousness that you feel like a small grain of sand in this world.

Having worked for several months at the school, I was drafted into the army. From 1964 to 1965, I served in the construction battalion, in the sergeant school of Kstovo Gorky (now – Nizhny Novgorod) region. In addition to studying and army service, I was instructed to engage in design work, visual agitation, to write paintings and portraits of famous people for the library.

After the army, I returned to Krasnodar, got a family and worked from 1955 to 1970 by an artist at different enterprises. In 1972, in the competition he took the position of assistant at the Faculty of Art and Graphic Institute of Karachayevsk, the Circassian Autonomous Region. At this institute, I made friends with Anton Vlasenko, who graduated from the same institute as me, but three years later.

This meeting has determined our future life and for 50 years we have been together. From the first days of acquaintance, we began to go to sketches in the vicinity of Karachayevsk. The nature of the Caucasus is amazing, it captures any person with its beauty. After a couple of years, they started talking about us as good watercolors, we began to participate in many exhibitions not only in Karachai, but also in Kislovodsk, mineral waters, Stavropol.

In 1969, we participated in the zonal exhibition Soviet South in the city of Makhachkala.

In 1974 – a zonal exhibition in the city of Ordzhonikidze.

In 1975 – the IVVSUSUSENT Exhibition of Watercolors (Moscow, Minsk, Eagle).

In 1978 – the zonal exhibition of graphics Soviet South, Ordzhonikidze.

In 1979 – the republican Exhibition of works of artists -deserters of universities, Moscow.

In 1968, on the recommendation of the Union of Artists of the Stavropol Territory, I was sent to the creative “academic cottage” named after I. Repin near the Veshny Volochk of the Tver region, where fateful acquaintance with artists from Orenburg G. Glakhteev and V. Frollenko was sent. We were struck that they did not come in order to collect material for future participation in zonal exhibitions and concluding contracts for the execution of state orders. They were worried about the creative problems of valerine painting. Every work of painting consists of the concept of skill and idea. The image is a derivative ideas, technology is a derivative of skill. Mastery is achieved by knowledge and use of such concepts as color, shape, ratio of masses, space space, valera. Valera is the interaction of colors and tones with the same illumination. The most striking representatives of Valernaya Painting were Jan Vermeer – the Dutch artist of the 16th century and Camille Kor – the French painter of the 19th century.Orenburg artists in their studies from nature found out how illumination affects the color and tone of the object in daytime or night light, at different times of the day: sunrise in the morning, sunset in the evening, a lunar night or a foggy morning. Their searches were an example for us that if we want to become artists, we must understand the essence of painting, its capabilities, to study that arsenal of the discoveries of previous generations that we must learn and develop further.

We first met with artists who had their own goals and ideas. We liked the obsession and intensity of creative searches, we wanted to participate in this, because we were just starting our work. When we left, they invited us to come to Orenburg and get to know each other better. A year later, I came to G. Glachteev, he introduced his friends-artists. I really liked the creative life of the Union of Artists. Glachteev, during our conversations and visiting the workshops of the artists of Orenburg, expressed a desire for joint trips to the open air to the foothills of the North Caucasus.

In 1973, a group of artists (G. Glakhteev and V. Frollenko from Orenburg, A. Vlasenko and V. Ermenko from Karachayevsk, V. Zaitsev and G. Koshelnikov from Krasnodar) left for the Arkhyz mountains and organized a camp under a large pine tree on the elevation. This was not a collection of like -minded people, each worked on their own, but nature, communication and talk about art around the fire were unforgettable. V. Zaitsev presented the theory of the “golden section” in the visual arts, and Anton Vlasenko and I used it in our studies.

In 1974, the student of my group proposed the openier in her homeland in the village of Sadki in the Sea of ​​Azov, where G. Glachteev and Yu. Grigoryev arrived from Orenburg. My students and I rented a school premises. They wrote sketches, talked about art, bathed in the channel. This fishing village resembled Venice, since a canal approached each house, from where the fishermen swam into the bay on motor boats on fishing.

In 1975, a trip took place in cages lasting a month, and then by buses we left for the Arkhyz mountains for a month. There were no more students, we invited G. Glakhteev and V. Gazukin, and Irina Makarova as a model as a model. And this was already like a group of like -minded people who were ready to solve creative problems.

When we begin to learn art, we inevitably comprehend already tested and generally significant knowledge and skills, techniques and skills that are taught in art educational institutions. Gradually, the alienation of the mastered skill and the creative tasks that the artist should solve. This crisis gives rise to the type of innovators like Van Gogh, Cezann or Gauguin, that is, self-taught artists not related to school and tradition of learning, they opened a different vision and gave rise to new directions in art. Only thanks to such artists does society receive true ideas about oneself and the world corresponding to historical development.

Likewise, we, although we studied at the institute and comprehended fine literacy, understood that these skills were not enough. We had processes of understanding the meaning of form, plastic expressiveness, the ratio of masses in the study, line and color, as a means of expressing emotion.

One of the members of the group, the Orenburg artist V. Gazukin, for the first time writes “color works” and, one might say, infects all of us with color vision, which gave a lot of searches and the development of the very concept of color in painting. A common method was laid down for everyone who was, and who later joined our group – the study of nature, nature, as the basis of art. The concepts of plastic thinking, coloring, values, vitality and spirit of the image were developed, at the same time taste was formed, culture and experience were accumulated.

In 1975, on the recommendation of the Stavropol Union of Artists, Anton Vlasenko and I were accepted as members of the Union of Artists of the USSR. In the same year, we were enrolled in an assistant internship at the Moscow State Academic Art Institute named after V. I. Surikov. We had an extensive program, we were engaged in painting and drawing in our workshop under the guidance of experienced masters, participated in viewing the works of students from different workshops, went to Moscow museums to copy paintings.

In 1976, having completed an assistant-internship, they returned to Karachaevsk. In the same year, we organized a trip to the open air in Sadki and in the mountains of Arkhyz. An evening in memory of V.V. Kandinsky, dedicated to the 110th anniversary of the artist.

In 1979, N. Rybnov from Kislovodsk and V. Nepyanov from Penza were invited on a trip to Sadki. For the first time, the name of our creative group was proclaimed – Sadki Academy.

In the same year, A. Vlasenko and I decided to move to Orenburg. After an internship assistant in Moscow, we had to work in Karachaevsk for two and a half years. And we fulfilled this condition, and then wrote a letter of resignation to the rector of the institute, but he did not sign them, did not give work books, we had to leave without them.

In Orenburg, we were invited to teach at an art school, the director promised to give apartments, he thought that the issue would be resolved with work books, but, unfortunately, it did not work out. From 1980 to 1984, we worked on the creation of a museum of the city of Orenburg at the suggestion of the chairman of the executive committee of the city of Orenburg, Yu. D. Garankin. After the creation of the museum, he promised us to solve the issue of housing. These were very difficult years, we wandered around rented apartments, there was no workshop. The work on the creation of the museum included trips to other cities in order to adopt all the best that was used in such museums. It was necessary to create projects for the exposition, the arrangement of halls, the layout of murals, paintings, stained-glass windows. In the central hall of this museum, it was necessary to make a huge gesso dedicated to the three centuries of Orenburg.The dimensions of this mural were 15 meters in length and 5 meters in height. Preparing the wall and applying the gesso primer took a lot of time, and in total it took a year of work. In addition, we performed a few more pictures for other halls. Many enterprises of the city were involved in the work on the museum. In 1984 the museum was solemnly opened. The Deputy Minister of Culture of the country highly appreciated our work and recognized the museum as one of the best among other museums in the country.

In the same year, the zonal exhibition signed an agreement with us to create a triptych Orenburg in three centuries, where we used all the material that we collected when working on gesso in the museum of Orenburg. In 1985, with this triptych, we became participants in the zonal exhibition Socialist Urals in the city of Sverdlovsk. In 1987, the Ural magazine published an article about our work with a detailed analysis of the content of the paintings and a positive assessment of our work. Now the triptych is located in the building of the Government of the Orenburg region.

But back to 1980. The organization of trips to the mountains in the same composition continued. G. Glakhteev composed a treatise A Conversation between an Artist and a Philosopher, On Realism, a debate On Drawing and Thinking, On Abstract Art. They wrote sketches, I worked on a painting on canvas “By the Stream” and on a number of other canvases. And this year was declared my year.

In 1981, a new participant, A. Khanin, was invited on a trip to Sadki. The debate Color and color spaces took place. A. Khanin becomes a member of the group.

The Sadki Academy group did not escape a number of disagreements as the individuality of each member of the group grew and matured, differences in temperaments, personal inclinations, everyday circumstances and worldviews. This led to the fact that in 1982 one group consisting of G. Glakhteev, I. Makarova, N. Rybnov, A. Khanin and invited G. Ryazanova went to the mountains of Arkhyz, and another group consisting of A. Vlasenko V. Eremenko, V. Gazukin and invited V. Bochkarev went to the village. Churaevo, Kuvandyksky district. For me it was the first acquaintance with the Orenburg region. I thought that the nature of the Orenburg region is endless steppes. And for me, who lived in the mountains of the Caucasus and believed that there was no better nature, it turned out that in the Kuvandyksky, and then in the Tulgansky districts of the Orenburg region, places are no worse and even closer to me in spirit: they are less grandiose, but more comfortable, here , as noted by many artists, a special golden light. And for almost 40 years now, I have been fascinated by the nature of Tashly, Tulga region, which is reflected in my work.

Until 1984, we enthusiastically got acquainted with the beauties of the Churaevsky places, where very friendly and hospitable people live. We lived in a Bashkir family, wrote about his family, nature, horses. Then for four years we worked in different places, the individual style of each of us was formed, taste preferences were determined.I strove for a pictorial and plastic vision of nature, I tried to achieve a synthesis of form and color, a coloristic sound in the picture. I was interested exclusively in painting, I wanted to understand its possibilities, to determine my natural abilities, the scope of my interests and ways to solve them. My style was formed from many components. This is also the study of those artists who corresponded to my ideas about the direction in which my art should develop. He studied creativity, even copied such masters as Cezanne, Matisse, Kandinsky. Well, especially at one time he was fascinated by Chagall. As the Orenburg art critic Faina Khayalina wrote about me: “The Orenburg artist populated more than one painting with flying lovers. Maybe because he very well chose the second half, whose name is Lyudmila. Her name means any undertakings, new things. Such a woman for the creator is just a treasure.

In 1986, the Sadki Academy group reunited. Over time, the contradictions smoothed out, and we had more in common. We conducted creative reports Tashla in the work of Orenburg artists. There was a personal exhibition of G. Ryazanova in the central exhibition hall, a personal exhibition of V. Gasukin in Tallinn, creative reports of G. Ryazanova, V Gasukin, G. Glakhteev, A. Vlasenko, V. Eremenko in the premises of the Art Fund, the exhibition artists in the halls of the central exhibition hall.

In 1991, the first large exhibition of the Sadki Academy took place in the Central Exhibition Hall of Orenburg. In the same year, our group and other Orenburg artists participated in an exhibition in Blonyak (France).

And later our group took part in the auction Hotel Druot (Paris, France). Here are some excerpts from the statements of the French art historian C. Robert: “The artists created a group that will go down in history under the name Sadki Academy, where they worked together, as in the beautiful times of impressionism, forging a common style and spirituality. Metamorphoses and unity – this is how the work of artists forging a common language can be characterized. Rarely has such a commonality in writing and feelings been found in the history of art.

Auctions at the Druot Gallery in Paris were held in 1991, 1992, 1993, 1999, 2001. Our names have been listed in the catalogs of paintings auction sales of artists from around the world LEGVIDARGUSDELAPEINTURE (Paris, 1992), BENEZIT.EDGRUND (Paris, 1992).

In the same years, I mainly worked in Tashla, in the house of V. Gazukin. Tashla awakens creativity, probably, for everyone who lives there or comes specially to get enough of its nature, write sketches, reflect on life and creativity. Tashla is a habitable land of artists, everyone contributed to its development and knowledge, and created their own image. Tashla is a special page in my life: nowhere else have I worked with such inspiration and such enthusiasm as there.Every day lived, impressions from what he saw and experienced created that creative mood when new ideas and plans are born.

In 1994, an artist from Buzuluk, Nikolai Ivanov, bought a house in the semi-abandoned village of Pasmurovo, Buzuluk district, and invited members of the Sadki Academy and I. Smekalov and M. Buslaeva, who had recently been accepted into our ranks, to work in the summer. I participated in several trips to Pasmurovo, it was instructive in that it inspired me to make a number of discoveries, which in some way echoed my early work done in the mountains of Arkhyz, but not developed further. The essence of such painting is in the dramatization of color effects. The color here is, as it were, driven inside the pictorial fabric; it serves not as a seasoning or decoration, but as a means of conveying a dramatic collision, an emotional experience.

In 1998, I was elected chairman of the board of the Orenburg organization of the Union of Artists of Russia. The burden of the chairman of the Union of Artists is quite heavy and requires a lot of expenditure of both mental and physical strength. It is necessary to resolve issues with all branches of government, deputies of the city, who determine on what basis to provide us with workshops, whether it will be free use or rent, which we could not pay in any way, since we are creative workers, not businessmen. Some taught at an art school or school, someone worked as a decorator or designer. The times were difficult, the paintings were almost not bought.

Since we were a regional public organization, we worked together with the regional ministry of culture. We had an exhibition hall at our disposal, every year we planned monthly exhibitions. From 1998 to 2008, about 200 exhibitions of various levels and representation were held. In 1999, a large exhibition One Hundred and Twenty-five Paintings by Orenburg Artists was held at the Central House of Artists in Moscow, following which an album was published. The exhibition was visited by the secretariat of the Union of Artists of Russia, where they noted the creative nature of the works presented and the high level of professionalism. The famous artists of the country positively assessed the exhibition: D. D. Zhilinsky, G. G. Nazarenko, N. Nesterova – full corresponding members of the Russian Academy of Arts.

In 1999, an exhibition of Orenburg artists was organized in France at Art Contemporary.

2000 – All-Russian exhibition To Your Name in the Central House of Artists in Moscow; All-Russian exhibition dedicated to the 55th anniversary of the Victory in the Great Patriotic War in Moscow.

2001 – All-Russian exhibition Spirituality, traditions, unity, Moscow.

In 2001, my personal exhibition was held, dedicated to the 60th anniversary of my birth. I was awarded the Orenburg Lira Governor's Prize.

2004 – All-Russian exhibition Russia XII, Moscow.

2004 – regional art exhibition Life and creativity.We are half a century to the 50th anniversary of the Union of Artists of Russia.

An album was published, which contained reproductions of both living artists and those who are no longer with us, with photographs of the authors and their biographies. The anniversary event was held in the regional drama theater, where representatives of all branches of government were present, there were many awarded artists, gifts and thanks from other departments of culture and public figures.

On the initiative of the Union of Artists, an exhibition “100 paintings by Orenburg artists” is organized and held annually under the leadership of Honored Artist of Russia Y. Rysukhin. This is his author's project, which demonstrates the best achievements in the work of artists over the past year, the exhibition has been very popular for many years and is actively visited by the audience.

In 2007 – participation in the interregional exhibition Unity in Nizhny Novgorod.

The list of all exhibitions and events can be long.

Creative life in our Sadki Academy group continued, each of us shared not only common ideas, but also had our own goals in art. New forms of cooperation are emerging: cycles of exhibitions are organized in the Pleiades group project and an almanac is published under this name, which contains reproductions of artists and their reflections on the essence of creativity. This group includes not only members of the Sadki Academy, but also other young artists close to them in spirit. Plein-air trips to Tashla, Ryabtsevo, Abzakovo, Anatolyevka are carried out, and later some of them participated in expeditions abroad – to Europe, India, Indonesia, Cuba.

In 2002, another art project by V. Gazukin “The non-objective language of painting” was launched, in which I also took part. Of the five exhibitions, I happened to participate in four (2002, 2003, 2004, 2005). I was attracted by freedom of expression and those new ideas that were realized in non-objective art, and the impetus for this was the evenings in memory of V. Kandinsky, when we tried to write, think and see abstractly.

In 2007, my powers as chairman of the regional union of artists ended. I was invited to teach drawing and painting at the Orenburg Art College. I remained a board member and deputy chairman of the Orenburg Union of Artists. My creative life became more active, I continued to go to sketches in Tashla, paint pictures, participate in exhibitions.

In 2008, the Orenburg Museum of Fine Arts hosts the Sadki Academy exhibition and publishes an album about the work of our association. It traces the chronology of the emergence and development of the group (1971 – 2008). The release of the album is a great event for us, it clearly showed what a difficult path of development each participant went through. It is not known how the fate of our paintings will develop in the future, but the release of the album will never let us forget the history of our group.In 2011, the exhibition Artists of Orenburg was held, in which V. Eremenko, Yu. Rysukhin and I. Smekalov participated in the Belyaevo Gallery, Moscow. Moscow art critic M. Lazarev writes in his article about my work: “The founders of abstract art asserted and substantiated its complete separation from reality. Unlike them (a century has passed since then and a lot of things have been rethought and redone), the Eremenko system can be defined as an abstract-realistic method. By itself, the compositional system invented by Eremenko, organically connected with real and virtual reality, is a rather distinctive phenomenon. And one more thing: Reality and abstraction – a combination of seemingly incompatible substances, perhaps Eremenko's know-how.

In 2011, I was awarded the honorary title of Honored Artist of Russia. In the same year, my anniversary exhibition was held at the Orenburg Museum of Fine Arts, dedicated to the 70th anniversary of my birth.

In 2016, he participated in the All-Russian exhibition Faces of Russia in Arkhangelsk. In the same year, a jubilee exhibition was held at the Orenburg Museum of Fine Arts for the 75th anniversary of my birth.

In 2017, I was awarded the second Governor’s Prize “Orenburg Lira” for my contribution to the preservation and development of the best traditions of the national art school and the organization of anniversary solo exhibitions “Sketches of different years” in the Museum of Fine Arts and a series of paintings “Faces of Tashly” in the ArtA Gallery , as well as an exhibition of sketches in the exhibition hall of the art school.

In 2018, he participated in the interregional exhibition Big Volga in Nizhny Novgorod.

In 2019 – participation in the All-Russian exhibition Russia XII, Moscow.

In 2017 and 2018, I painted “Spring” and “Autumn” in Tashla, and based on these sketches, I painted for almost a year. And in 2019, the exhibition Spring and Autumn in Tashla opened in the Pushkinskaya Gallery.

Spring and autumn are the most attractive times of the year for me, when nature is multicolored, like no other time. Tashla in this period appears in all its glory. Spring is a celebration of life, autumn is a luxurious fading of nature. When you see this splendor, freedom of expression of visual means appears in you, and then color, light and plastic impressions merge into a single whole in order to express your delight and a special state of mind, overflowing with a sense of the amazing beauty of this place.

Living in the city, you will never see and feel so sharply the whole diversity and splendor of the changing nature, as in Tashla.

In Tashla you rise above the ordinary.

Summing up my creative path, I return to the beginning, when we learned from each other at the Sadki Academy. Mutual exchange of knowledge, skills, new achievements is extremely important for the development of an artist. Isolation is detrimental to creativity.If you don’t study, don’t try, don’t adopt someone else’s experience, then you yourself won’t discover anything in art.

Picasso, who made many copies, said: “Everything before me is mine!” Yours doesn't care if you want it or not. Sadki Academy has shaped our attitude towards art as a sacred cause, serving it disinterestedly and selflessly, without expecting praise.

Eremenko Vladislav Mikhailovich // Encyclopedic Dictionary of Biographies of Contemporaries “All Russia – XX century. Orenburg region / ch. edited by V.P. Kirilev. – Samara, 2008. – Book II. – P.48.

Bibliography :

1. Vladislav Eremenko: exhibition catalog / Union of Artists of Russia; photo by A. Mirzakhanov. – Orenburg: Dimur, 2001. – 24 p. : rice.
2. 100 paintings by artists of the Orenburg region / Orenb. org. all-Russian creative public org. Union of Artists of Russia, Gallery Orenburg. – Orenburg, 2003. – 80 p.
3. Artists of Orenburg. Vladislav Eremenko, Yuri Rysukhin, Igor Smekalov. Painting: exhibition catalogue. – M. : August Borg, 2011. – 99 p. : ill.
Literature about V.M. Eremenko:
4. Eremenko Vladislav Mikhailovich // Artists of the Orenburg region: album / Orenb. region branch of the All-Russian creative public organization Union of Artists of Russia; auth.-stat. A. M. Calvin. – Orenburg: Orenb. book. publishing house im. G.P. Donkovtseva, 2015.- P.261.
5. Know-how of Vladislav Eremenko // Verkashantseva, N. Portraits from life: gallery of Orenburg artists / N. P. Verkashantseva. – Orenburg: M.F. Konnov, 2015. – S. 102-107.
6. Verkashantseva, N. Space Vladislav Eremenko / N. Verkashantseva // Orenburg week. – 2011. – September 28. – S. 25.
7. Verkashantseva, N. Nikas – to Orenburg, ours – to Moscow / N. Verkashantseva; photo auth. // Orenburg week. – 2011. – October 26. – S. 9: photo.
8. Emelyanova, N. The way from the object to the image and back / N. Emelyanova // South Ural. – 2011. – December 21. – S. 9.
9. Eremenko, V. M. The way to yourself is only by the stars / V. M. Eremenko; [interviewed] N. Verkashantseva // Rural news (Orenburg). – 2012. – February 7. – S. 5.
10. Kuznetsova, A. The world through the eyes of an artist / A. Kuznetsova // Orenburg time. – 2007. – March 14. – S. 18.
11. Leontiev, V. Maturity of skill / V. Leontiev // Orenburg time. – 2009. – January 1. – S. 7.
12. Petina, N.G. Listening to the heart / N.G. Petina // Evening Orenburg. – 2002. – February 28. – S. 7: ill., portr.
13. Khayalina, F. Way to yourself / F. Khayalina // Vertical. Bulletin of the Government of the Orenburg region. – 2012. – No. 1 [27]. – S. 72-75.