The International Plein-Air Assembly, an exhibition and competition project within the Eurasian Art Union ecosystem, took place in April 2026. The event brings together artists, art historians, and experts from Europe, Asia, and the CIS. The participants have a comprehensive experience: in addition to the opportunity to showcase their work, they receive feedback and evaluation from a jury, and can also participate in educational lectures and master classes. The International Plein-Air Assembly supports the development of plein-air painting, especially among young artists: participants as young as 12 can submit their works and receive feedback from both viewers and experienced professionals.
We spoke with one of the participants, New York-based artist Regina Loginova. For several years, she has been working in contemporary figurative painting and emotional realism, while also experimenting with abstraction. Two of her works, created in both classical academic and abstract styles, “Scarlett O’Hara’s Tea” and “Garden of Presence”, were presented at this year’s exhibition. Regina shared how she combines different artistic directions in her work and how she sees the future of contemporary painting.
From Academic Foundation to Personal Method
Despite her young age, Regina Loginova has already participated in several art events and exhibitions. She received an academic education, and these skills have helped her bring the concept of the emotional animal portrait to life in her depictions of horses, dogs, and other animals. Having grown up surrounded by nature and engaged in horseback riding, she found it natural for horses to become a central motif in her artistic work.
Regina is now studying at Judith Kudlow’s studio, where she works under Judith Kudlow’s supervision and improves her skills in academic naturalism. Kudlow herself says, “Regina has an unusual artistic style and great technical discipline. She stands out from the current generation of painters because she can mix classical realism with modern creativity.”
Regina herself believes that academic naturalism helps her refine her technique and develop the precision needed to convey anatomical forms accurately. In her view, this method brings a sense of life to her paintings. At the same time, as a representative of a new generation of artists, she remains open to experimentation, including abstraction and a stronger focus on emotion, state, and presence. The works presented at the International Plein-Air Assembly are a clear example of this combination of classical foundation and contemporary approach.
Two Works, Two Approaches: Classical vs. Abstract
Both works by Regina Loginova presented at the International Plein-Air Assembly were created in 2025. While her distinctive style is recognizable, she explores two different artistic directions.
“Scarlett O’Hara’s Tea” has both an academic structure and figurative and impressionist parts. The picture has a lot of different planes, which is typical of classical painting. The greyhounds in the front are not the major characters, yet they are not for show. Just one look at them makes it seem like the scene is happening in high society. In this case, the dogs are the symbol of status and give the whole piece a sense of grace.
At the center, a refined social tea gathering is depicted, while the background creates a rich yet calm, natural atmosphere. The depth of the canvas is achieved through natural shades of lilac and green, as well as subtle, textured brushstrokes.
In contrast, “Garden of Presence” moves into abstraction. It abandons classical perspective, presenting the horse as a burst of light emerging from darkness. Floral elements and lines surround it in a free, non-linear composition, while the pearlescent body suggests light radiating from within.
Although Regina maintains accurate anatomy and proportions, she introduces a dual image — a form that reads as either a wing or a second head. This combination of classical precision and abstract elements invites deeper interpretation.
Brushwork, Texture, and the Language of Presence
Regina’s style of brushwork is what stands out the most. She avoids the flat surfaces that are common in traditional academic painting. In “Scarlett O’Hara’s Tea,” she used short, broken strokes for dog fur and grass and soft, blended strokes for skin and fabric.
These rough strokes give the canvas a sense of movement, like wind blowing over it, while the smooth pastel brushwork gives it a calm, collected feel. Regina goes beyond the usual plein-air method by employing more modern ways to express herself.
A similar softness appears in “Garden of Presence.” The white, winged horse is rendered with gentle, flowing strokes, giving it a sense of dignity and stillness against the dark background. The mane and wings are painted with large, sweeping strokes that make them look like they’re moving and alive.
Regina uses impasto to paint the things around the main subject, making them look thicker and as if they are really there. This method creates a twofold structure: the horse seems to be flying outside of time and space, while the flowers and lines keep flowing and alive, making a new, expressive world.
Expanding the Boundaries of Contemporary Painting
Contemporary painting, as Regina sees it, is moving toward the merging and blurring of boundaries. The works she presented at the International Plein-Air Assembly reflect this combination of genres and techniques.
Academic fundamentals remain the foundation for form, composition, and anatomy, while surrounding elements are executed through varied approaches: delicate brushwork, the interplay of warm and cool tones, an Impressionist atmosphere, or abstract forms.
Regina says that a modern artist decides which lines to cross. She is always trying new things, mixing styles to show emotion and movement in her work. This connects her work to many different areas of modern art.