Biography        Gallery

snimka Ianko Marinov 

snimka Anna Marinova

                                                Anna Bilimovich - wife and muse of Janko Marinov


24.12.1907 – 1.09.2001


Yanko Marinov was born in Kilifarevo/Bulgaria/,on 24ᵗʰ December,1907

1925: Entered the Sea Fishing School in Varna

1933 – 1939: Student in the Odessa School of Arts

1939 – 1941: Student in the Russian Academy of Fine Arts in St.Retersburg

1941: Returns to Bulgaria

Participant in group,regional and national exhibitions,and in representative exhibitions of the Bulgarian art in Finland,Germany,Hungary,Iran,Iraq,Russia,Turkey.

29 solo exhibitions in Sofia,Varna,Veliko Turnovo,Dobrich,Pleven,Gabrovo,Kardjali,Kilifarevo and international solo exhibitions in Italy and Russia.

His works are property of the collections of the National art Gallery – Sofia,of the art galleries of Varna,Veliko Turnovo,Pleven,Gabrovo,Kardjali,Kilifarevo and of private collections in Italy,France,Germany,Poland,Czech Republic.

Lives and works in city of Varna,Bulgaria.

Yanko Marinov was one of the founders of the Group of Artists from Varna and its first Artistic Secretary for a period of 11 years. He is also one of the founders of the Art Gallery in Varna and its first curator.


1967: Union of Artists of Odessa

1970: Arturo Dazzi,Italy

1970: Michelangelo,Massa,Italy

1975: The City of Varna

1978: Citta di Altopascio,Italy

1979: Citta di Viareggio,Italy

1980: Centro Artistico Viareggio,Italy

1980: Tavolozza d’ Argento’80, Marina di Massa,Italy

1984: Galleria d’ Arte Larnota,Carrara,Italy

1985: La Finelliana,Italy

15 awards for participation in exhibitions in Italy.


Little lovely landscapes of no action or detailed narrative,but of serene and convincing authenticity.

Landscapes of intimate corners where emotions trustingly relax;landscapes awash in noble shades,joyous to

eye and soul,illuminated by the sheen of the happy and beautiful moments of our living.These were my first impressions of the late 1940’s and early 1950’s in the exhibition halls of Sofia.Little I knew then of this personal plight,and of his dramatic tour around the active  social volcanoes of our contemporary world,but I had the feeling that I’d known him closely,both as a person and as an artist.His style was characteristic and convincing,and it is a well known fact that work of such qualities is inevitably backed by an outstanding and worthy artistic individuality.

Today almost four decades later,I’m relievd to see that I have no reasons to defy those impressions.What I sow in his solo exhibitions (and they are were more than 20) ,what I heard in our personal talks,and what I read in his letters to me,thougt scarce in number,together with the numerous anniversary reviews dedicated to his work  enriched my knowledge of his dynamic life.However,in spite of all,whenever I hear his name,I firs remember his little landscapes painted in delicate colours and with admirable understanding of psychological and emotional nuances within within the generalised painted medium.I found in his landscapes that light qualified by the sage men as “the inner Sun of soul”.I had remember the light of emotions which could be interpreted as a metaphor of creative honesty and trust in life.Meaning,that I interpreted it also as  a linked together seemingly contradicting facts.They helped me understand why Yanko Marinov,a village-born,would choose to enter a sea fishing school in Varna,why he would emigrate to Yugoslavia in 1930,and then to Russia,in 1932.They helped me perceive why,while accepting the duel with the gendarmes of ignorantism,and passing through the horrors of contemporary inquisition in 1925,1230,1932,he dreamt of the beautiful world  of painted magic.These landscapes explained to me why after graduating from Odessa School of Arts,and the Academy of Fine Arts of St.Petersburg he did not stop to feel like a front-line soldier.They explained the fact why after his long years of warrior’s valour he would seek with lover’s eye the serenity of small coves where forgotten boats sailed adrift,and romantic clouds reflected their whiteness.Or,perhaps,his paintings relieved me from the duty to look for a logical link among all these facts.Finally,they themselves turned into their self-explanation.Because they could have been created only as they had been created,of such clear and worthy dimensions  - emotional,ethical,and plastic – only by someone who had personally experienced deep sorrow and superb joy,great revolutions and the intimate feelings of a questing spirit.Yanko Marinov’s solo exhibition which opened in Sofia in 1946 brought the appraisal of a number of reviewers.Kiril Tsonev wrote for Literaturen Front that he found  in the works exhibited “genuine emotion,alert and subtle sensitivity”.And Kiril Krastev wrote in Izgrev that he sow “the poet of misty townscapes,of dusky garden scenes,and of the haze-blurred visions of port activity”.Later his canvases harvested similar high appraisal from other artists and art critics.Vassil Iliev wrote in 1956 that he found in Yanko Marinov’s new exhibition “optimism,elation of light,and the clear chants of a lyrical experience,depth and tonalities,pouring into sophisticated select  scales”.

Georgi Bakardjiev wrote for Yanko Marinov’s anniversary exhibition in 1967 : “Temperament of a southerner,his is a romantic sensitivity,the pulsation of his stroke and shapes is warm and dynamic.As a sincere follower of Nikola Petrov he enriches the scope of our impressionistic school…His miniature landscapes are a real phenomenom in the Bulgarian art”.I heard similar words in the mid 1950’s,when I men the great Bulgarian artist Danail Dechev.

I quoted the above opinions because they had come from people who could be completely trusted.Those quotes reveal the professional and ethic appraisal of pronounced creative individuals who can grade their enthusiasm and outstate clearly their motives.And more,because these praises have been repeated throughout four decades : of the same intensity,honesty and perception.And when looking to things in this perspective we arrive at yet another conclusion,maybe the most important one: that Yanko Marinov’s art with all its omponents,figure compositions,miniature landscapes of Sea park of Varna has proven important and vital enough,as to survive the changes in aesthetic taste and criteria.In other words,the dimentions of values continue to actively influence our spiritual life.Now,as before,his works evoke the brightest of emotions,they educate us to praise beauty,they stimulate us to believe in the potential of plastic expression.And needless to say how important this is.We can only be happy and grateful,that in a period of crisis and doubt,among us lives an artist who continues to unite us,and to enthusiastically defend our aesthetic solidarity.

                                                        Prof.Dr.Atanas Bojkov