RUSSIAN ABROAD

ALTMAN Alexander (1878–1950) Plane trees on the river bank. Canvas, oil. 73 × 60

The village of the Kiev province — Odessa — Vienna — Paris. A normal route for a talented and moderately ambitious provincial artist. Well, where else to go if not to the cultural capital of Europe? There, where Montmartre, the Salons of the Independent, favorite impressionists and progressive audiences who have seen a lot, and therefore are not inclined to obscurantism. Looking ahead, I will say that a miracle will happen. In a few years, yesterday's shoemaker himself will become a prominent participant in these salons. And his personal exhibition in Paris will be paid for by the famous Baron Rothschild himself.

But nothing foreshadowed. The starting conditions were minimal. Altman, from a poor Jewish family, ran away from home to Odessa. There he worked as a tailor, shoemaker, salesman, servant. According to legend, he was guided on the path of art by an artist for whom Altman worked as a servant. The artist noticed his talent, convinced him to go to study, and helped.

Further Austria, then France. But Paris, like Moscow, does not believe in tears. At first, Altman lived from hand to mouth, making his way through odd jobs. But then fate in a strange way gave another chance. According to legend, after a hungry fainting, Altman was taken to the hospital. There he painted a portrait of some unfortunate old man. And this work was noticed by the trustee of the hospital. He bought it, paid it, and that money was enough for Altman to attend the Parisian academy of Julien, or Julian, as they sometimes write.

Three years after his arrival in France, Alexander Altman became a successful impressionist painter. As they say now, “the artist of the Russian diaspora”. But what about Russia? Here he was still not expected. They managed to arrange an exhibition in Odessa, but no more. In St. Petersburg, the exhibition was not allowed (as they say, because of the Pale of Settlement that existed since the time of Catherine).

Altman never came to Russia again. The Knight of the Legion of Honor died in 1950 in the town of Crécy-la-Chapelle, just east of Paris. There one of the streets was named after the artist — Rue Alexandre Altmann. This is how it looks today. At the peak of the market in 2008, prices for landscapes by Alexander Altman reached $ 100,000. The record was set in 2008 at the French Agut — a meter long canvas sold for $ 142,000.

The authenticity of the landscape is confirmed by the art expert conclusion of T. M. Levina.

MAREVNA (1892–1984) Portrait of Marika. Wood (ark), oil. 60 × 54

Before us is not just the work of Marevna, but a portrait of her beloved Marika — their common daughter with Diego Rivera (who was the husband of Frida Kahlo). The painting has an impeccable provenance. In 2018, it participated in the Rosebery's specialized themed auction, which was entirely dedicated to the sale of artifacts from the artist's London studio.

Note that the wood panel has an unusual shape with faceted edges.

Marevna is an artist of the Parisian school, a representative of the Russian diaspora. Her father sent her to study in Italy, and she never returned to Russia. She was born in Chuvashia, and her real name is Maria Vorobyova-Stebelskaya. Maxim Gorky called her Marevna, she was friends with his stepson. As an artist Marevna was born in Paris, in Montparnasse. She left for France in 1912 and found herself in a bad company — with the young Modigliani, Soutine, Zadkin, Rivera. Under their influence, she developed a characteristic pointillism with the facets inherent in Cubism.

MASTERPIECES

SPINDLER Marlene Pavlovich (1931–2003) Teapot and mug. 1977. Burlap, oil. 56 × 69

To begin with, this is the very best expressionist Marlene Spindler we have ever held in our hands. Exemplary in plot, year and performance. Colorful burlap, rough strokes and a special palette. This is not just a high collection level, but a completely museum level. And for the right price.

The topic is prisoners'. There is a lattice in the window. Spindler knew the plot firsthand, he had three terms behind him. No, not for politics. The reason is in character. Many people loved, respected, supported him. Including Nemukhin. Nevertheless, personal problems almost threw him out of the history of unofficial art. Fortunately, at the end of his life, Spindler was surrounded by caring people. His work was cataloged, gorgeous albums were published, and his personal exhibition was held at the Tretyakov Gallery.

In the 1960s, Spindler was friends with Schwartzman. They worked together at the Combine of Decorative and Applied Arts. From the works of that time, it is clear that the ideas of both artists developed in parallel. This probably sparked creative jealousy. There was a quarrel. Schwartzman continued to make hieratures, founded his own school, and became a successful and respected artist during his lifetime. So successful that he could put Kostaki a million for his hierature — that is, refuse. And Spindler had prisons and a wheelchair ahead. Now the works of both are presented at the Tretyakov Gallery.

NONCONFORMISTS

NEMUKHIN Vladimir Nikolaevich (1925–2016) Joker. 1997. Lead pencil, panda, whitewash, collage on paper. 82.5 × 59.5

Before us is the trophy (in the collector's sense) Nemukhin. Joker with fish! Our viewers have already seen a similar work — but that was on canvas, and this one is on paper. Returning to successful subjects is a common technique for Nemukhin. The artist repeated the themes that he loved more than once. And he definitely loved this Joker. According to Valery Silaev's conclusion, the work may have museum value.

VOROBYOV Valentin Ilyich (1938) Knight. 1992. Oil on canvas. 100 × 90

Valentin Vorobyov is “l'enfant terrible” of unofficial Russian art. He invented the word “dip art” to refer to commercial art for ambassadors and foreign diplomats. He also wrote the merciless and caustic books “Enemy of the People” and “Leftists”, which were not liked by many romantics of unofficial art. On the other hand, Vorobyov has the right.

After all, he really was in the thick of the underground life. It was he who came out with his inverted star to the wasteland in Belyaevo, which in a few minutes turned into a Bulldozer Exhibition. It was he who in 1961, 13 years before the Bulldozer Exhibition, organized an exhibition of free art in Tarusa together with Steinberg and Vulokh. It was he who invited foreigners there. For some reason, the authorities dispersed the exhibition and created a scandal for the whole world. Vulokh and Vorobyov were expelled from VGIK for that act under the pretext of incompetence. The artist emigrated many years ago. “Knight” is a good, characteristic plot abstraction of Vorobyov of the French period.

PIVOVAROV Viktor Dmitrievich (1937) Figure with a glass. 2019. Paper, lithography. 40 × 40. Edition 3/10

PIVOVAROV Viktor Dmitrievich (1937) I did not touch anything. Plate. 2007. Author's copy. AP VIII / X with mouse design

Two works by the classic of conceptualism, a member of the Sretenka group. Small print graphics and plate. Similar works have already been at our auction. But let's pay attention to one thing. On each plate, Pivovarov manually makes a unique pattern. Specifically on today's plate, he drew a charming mouse. And what is it about mouse? Symbol of the year. Moreover, it is a talisman that brings good luck in financial affairs.

Viktor Pivovarov is one of the main representatives of Moscow conceptualism, the author of the logo for the magazine “Funny Pictures” and the father of Pavel Pepperstein. Ilya Kabakov, Yulo Sooster, Vladimir Yankilevsky were his associates in the 1960s. And we also have Yankilevsky today.

YANKILEVSKY Vladimir Borisovich (1938–2018) Adam and Eve. 1974. Pencil on paper. 13 × 29 (in the light)

Vladimir Yankilevsky is a participant of the Taganskaya exhibition, Manege-1962 (where Khrushchev, with his usual delicacy, taught artists how and what to paint), exhibitions in the Beekeeping Pavilion and many more significant events in the history of unofficial art. A bright, courageous innovator, not afraid of difficult questions. Especially for the Soviet era. His themes were the relationship between a man and a woman, a dialogue with eternity. And also fears, distortions, mutations generated by society. “Adam and Eve” is one of his most important series. And this little drawing is essentially the quintessence of his philosophical reflections.