Mariia Popova

Year of birth: 2001.
Your education: Saint Petersburg State University, Faculty of Arts, Restoration of Fine and Decorative Arts.
Describe your art in three words: Classic in Modernity.
Your discipline: Restoration, Copying.
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What inspired you to pursue a career in restoration, and what do you find most fulfilling about it?

Since childhood, I have wanted to pursue creativity. When it was time to choose my path for further education, a terrible event occurred – Notre-Dame de Paris caught fire. At that moment, I felt a deep sense of loss and helplessness. Generations had gazed upon this masterpiece of world architecture, which vanished in just one day. Without cultural history, humanity loses its spirituality. This prompted me to delve deeper into the question: “How can I contribute to the preservation of the most valuable monuments of architecture and art?” That’s how I came to restoration, and I have never regretted it. The most rewarding part is knowing that your actions carry a higher purpose – you are preserving the culture of your ancestors to pass it on to future generations.

How does your restoration work influence your personal art, such as painting and charcoal drawings?

Restoration requires the ability to master precise copying skills. One needs to understand the art and culture of different eras, as well as be familiar with the techniques and styles of past artists. People’s attitudes towards copies can vary: some see them as reworking someone else’s ideas or mere imitation of great masters, while others view them as an opportunity to make art more accessible and yet more unique compared to machine printing.

In galleries, people spend less than half a minute looking at paintings. In contrast, I spend hours observing them, noting interesting details and nuances. This experience allows me to incorporate elements from the works of great artists into my own paintings, but with my personal interpretation.

Different moments call for different techniques. For example, when painting en plein air and striving to capture the “here and now,” I work in the alla prima technique. For other works, I may use a layered technique, which helps achieve depth and detail.

Mariia Popova | Dessert

You have participated in many international exhibitions and won awards. Which exhibition or award do you feel has been the most significant in your career?

Each exhibition holds unique significance for me. It is an opportunity to showcase my work to a broader audience and exchange cultural experiences with other artists. At the “Poetry of Autumn” festival, there were talented painters, musicians, and poets in attendance. That’s why it is especially meaningful to me that my work was highly appreciated by the creative community and earned second place in the still-life category.

Exhibitions in Paris and Mexico City allowed me  to connect with an international audience through the language of art, to gain a deeper understanding of the work of artists from other countries, and to experience their culture through the lens of beauty.

You use a variety of materials and techniques in your work. Which do you enjoy the most, and why?

Every artist encounters the challenge of self-discovery and self-expression in its various forms throughout their creative journey. Exploring new materials and techniques has become not only a professional necessity for me but also an opportunity to view simple things from different perspectives.

In my current creative period, I am most drawn to oil painting. It gives me the freedom to work without time constraints—I can complete a painting in a few hours or over several months. The undeniable advantage of this medium is its durability, which is particularly important to me as a restorer.

On the other hand, working with graphics allows me to focus on the line, setting aside concerns about color to delve into tones and shades.

Mariia Popova | Nautilus cup

Your article on the Roman Pantheon demonstrates your academic interests. How does your research contribute to your work as a restorer or artist?

Knowledge of history and its development is crucial for a restoration artist. It is essential to accurately determine periods to understand the workflow and the techniques required for each restoration project. A significant part of a restorer’s work involves analysis and data collection. Without these steps, restoration efforts can be detrimental to the artwork.

I also wrote an article on preserving wooden monuments in various environmental conditions, exploring the factors that lead to their deterioration and ways to address them. I hope that my research will assist restorers in their work and help the general public recognize the importance of preserving cultural monuments. 

Do you have a favorite project or piece that stands out in your career so far? Why is it special to you?

My favorite work is a copy of “Ship at Sunset near Cape Marten.” I greatly admire Aivazovsky’s artistry, particularly his ability to depict water. He masterfully conveys both the depth and transparency of a wave simultaneously. In my work, I aimed to analyze and replicate this extraordinary quality.

This piece is also the largest in my collection (60 x 90 cm), and it took me about six months to complete.

In my professional career, a particularly special place has been the Hermitage. It is one of the most visited museums in the world and a cultural heritage site. Being a part of such a significant institution is an honor for me.

Mariia Popova | Ship at Sunset off Cap Martin

What advice would you give to young artists who want to enter the field of restoration or fine art?

Do not lose heart when faced with obstacles on your creative journey. Challenges are a path to professional and spiritual growth. Most artists were underappreciated during their lifetimes, but time has put everything in its proper place.