1960s UNOFFICIAL ART
KHARITONOV Alexander Vasilievich (1931–1993) Spring has come... 1980. Oil on canvas. 27 × 49
Artist of the Lianozovo group. Participant of the historical exhibition in the “Beekeeping” pavilion in 1975. A distinctive master, whom colleagues called “a preacher of the good”. The famous collector and enthusiastTalochkin pointed out that Kharitonov's paintings are “a small gem, iridescent in hundreds of colorful and semantic shades”. And his technique resembles “a shimmering mosaic of fine smalt”. Note that in life, this work is embossed, intricate and painstaking. It is as if assembled from thousands of tiny “volcanic” islets of paint.
We have the classic, recognizable Kharitonov in front of us. And a very successful plot — “Spring has come...” As a symbol of hope. As a metaphor for the hard times left in the past. Expert Valery Silaev writes that “In its mood, this landscape of Kharitonov is fascinating, pacifying, gentle and poetic”, and estimates this work as “a monument of Moscow unofficial art”, which may have museum value.
ZVEREV Anatoly Timofeevich (1931–1986) Bouquet in a bottle. Second half of the 1950s. Watercolor, oil on paper. 59.6 × 42.2
Flowers of fantastic beauty came out from under Zverev's brush. And even more so in the 1950s, when he painted them sprawling in the Tashist manner — with splashes, precisely, with inspiration. One problem — he rarely painted flowers and bouquets. Even at exhibitions, these works are unique. So what we have before us is a real rarity. And given the year — we are faced with a rarity doubly. Expert Valery Silaev notes that “Still Life "Bouquet in a bottle" refers to the best, most creative and innovative period of the artist, when his enormous potential and incredible talent, thirst for creativity and discovery brought amazing results, which is well seen in the studied still life "Bouquet in a bottle", which has a museum value”.
KRASNOPEVTSEV Dmitry Mikhailovich (1925–1995) Vase with shells, branches and other objects. 1963. Watercolor, gouache, ink on paper. 32.3 × 32.2
“Vase with shells” has an impeccable provenance. It is this gouache that admirers of Krasnopevtsev's work can see in the second volume of Alexander Ushakov's handbook on page 153. We should add that the drawing comes from the collection of the famous collector Igor Sanovich.
1963 is a particularly valuable period in the work of Dmitry Krasnopevtsev. He has already found his own signature form, a laconic color palette (bright colors should not distract from the form), and his unique method. The objects depicted on the sheet are real exhibits from Krasnopevtsev's collection of artifacts, some of which he inherited from his grandfather. And this vase, which holds shells and branches, is one of his favorites. Contrary to popular belief, he did not draw his compositions from life. He did not assemble them in reality. Almost all of Krasnovtsev's still lifes were assembled in his head, fixed in sketches and then put on paper, hardboard or canvas.
So, next Tuesday there will be a chance to buy Krasnopevtsev's exemplary graphics, published, with provenance, of an absolutely museum level.
SVESHNIKOV Boris Petrovich (1927–1998) The Sun of the Dead. 1991. Oil on canvas. 70 × 60
A large canvas by one of the key artists of postwar unofficial art. It's called “The Sun of the Dead”. And we don't think it's a coincidence. “The Sun of the Dead” was the title of Ivan Sergeevich Shmelev's famous epic novel about the tragedy of old Russia, which perished in the Civil War. The writer, twice nominated for the Nobel Prize for Literature, suffered tremendous blows of fate. An intellectual who had enthusiastically embraced the Russian Revolution, he was soon forced to flee from it to the Crimea. But, as it turned out, not for long. His son was shot by the Bolsheviks. He himself had to flee again — into exile. “The Sun of the Dead” was written by Shmelev already in Paris. It is considered the most significant and penetrating work of the writer.
What about Sveshnikov's? No, there are no whites and reds. It's a painting-impression. His classic phantasmagoria with otherworldly characters. Sveshnikov, too, has seen a lot of grief in his life. And he too has had his share of misfortune under the Soviet regime. The artist spent many years in Stalin's camps on trumped-up charges. Dying from hunger and disease, miraculously survived. Later this traumatic experience transformed by consciousness gave birth to a very special genre. Complex, psychological and powerful. In recent years, Sveshnikov's paintings have become bestsellers on the Russian art market. And “The Sun of the Dead” is certainly an outstanding piece for a private collection. The work is published in V. A. Dudakov's catalog “Boris Sveshnikov. Free in the World of Non-Freedom” (Moscow: Galart, 2009).
BUKH Aron Froimovich (1923–2006) Flowers in a blue vase. 2004. Oil on canvas. 60 × 50
Bukh at his best: comfortable size, bright colors and versatile genre. It is hard to believe now that as a distinctive artist, Bukh was born at the age of 60. Before that, he was a rank-and-file in the faceless army of social realists. But something happened. Severe disappointment, resentment awakened a volcano of passion. Bukh burned his paintings created before 1984, and became a bright artist of gesture with a phenomenal sense of color and powerful energy. This is how he made it into the history of art.
ZUBAREV Vladislav Konstantinovich (1937–2013) Genesis. 2010. Oil on canvas. 90 × 50
Vladislav Zubarev is one of Ely Bielutin's best students and an artist at his “New Reality” studio in the past. After a difficult parting with Bielutin, he founded his own studio “Temporal Reality”, which explored the philosophy of time. “Genesis” is a conceptual work of the late period. The soft palette sets up a philosophical mood and disposes to a lyrical mood. Comfortable size. Classic Zubarev. The right price. Everything is in it.
BURLIUK David Davidovich (1882–1967) Flowers and a book against the background of a seascape. 1950–1960s. Oil on canvas. 50.8 × 40.5
And again a work by the father of Russian futurism, a friend of Mayakovsky, the “Russian Sisley”, David Burliuk. This is one of the best works of the late “American” period. Experts believe that this work was made under the impression of a trip to Europe, France and Italy, which Burliuk made in 1949–1950. He went to gain impressions and to meet his old friends from the Russian avant-garde of the 1910s. Burliuk was pleased to see Larionov and Goncharova and, of course, had seen enough of the paintings of his favorite Van Gogh. It is no coincidence that in our “Flowers” one can feel a dialogue with the great Dutch post-impressionist. The authenticity of the work is confirmed by the expert Julia Rybakova.
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