Travel impressions of Vladimir Bogatkin reach us in two manners. From one side of course the motif itself: a carefully chosen detail, having been cleansed from everyday clamour. Simultaneously characteristically Venetian, from another side a view of a boatman, who is quietly rowing in front of the viewrs’ eyes into the depths of the picture. But from another side Bogatkin is also exact while choosing his style. Bogatkin, implementing scanty means, relying on light line and trusting surprising large amounts of empty room, maybe follows also here subconciously Chinese traditions. Rather a hieroglyph than anything else: concrete, but poetic.