André Lanskoy is the “count of abstractionism”, the founder of the direction of lyrical abstraction, one of the innovators of European abstract expressionism. He is indeed an aristocrat, a count by birth. He was born in St. Petersburg. His first lessons in painting were given to him by Alexandra Exter, the “Amazon of the Russian avant-garde”. In 1920, Lanskoy, together with the remnants of the White Guard, sailed to Constantinople, and from there he moved to Paris.
Before us is one of the most significant works by Nemukhin ever sold at world auctions. And even more so in Russia. Undoubted masterpiece. Expert Valery Silaev considers it among the best of those that he had to attribute. By the way, long ago in 2006, a similar work of the same time, size and theme was sold at Sotheby's for $ 240,000 and set an auction record for the artist's work, which has not been beaten up to this day.
The appearance of such work in the Russian auction market is not news, but an event! An oil by Rabin, more than a meter in size, created in 1965, and moreover, from the exhibition at London Grosvenor Gallery. For connoisseurs of Rabin's art these three facts are eloquent confirmation of the highest level of the presented work.
The museum-scale canvas and rollicking painting with a Russian spirit is exactly the format that Shulzhenko's collectors especially appreciate. Others, however, hate him for this very reason, accusing him almost of Russophobia. Like an actor who plays a negative character, Shulzhenko is pestered for the heroes of his paintings — drunks and their rowdy girlfriends. However, for the artist, drunkards and marginals are not part of his surroundings, but an object of study.
“Cat with a Bird” is one of the most poignant subjects of Vladimir Yakovlev. In a cat catching a bird, the audience rightly saw a metaphor for the defenselessness of a living being in a harsh world, the cruelty of the confrontation between predator and victim. The subject in itself is philosophical and complex. And in the execution of the mentally ill artist, it acquired a special depth and drama.
According to legend, the sudden appearance of the Suprematist cycle by the expressionist Zverev in the late 1950s occurred after he saw works by Olga Rozanova and Lyubov Popova in the apartment of George Costakis. Being greatly impressed by the Russian avant-garde, he created a series of geometric abstractions of his own. It was a very short and vivid experimental period, which began suddenly and ended suddenly. Since the end of the 1950s, Zverev never returned to this subject.
Boruch was the pseudonym of Boris Steinberg, son of Arkady Steinberg and brother of Eduard Steinberg. Considered a talented poet by his family, Boruch never published a line of his poetry, but became one of the most brilliant figures of unofficial art. He was an uncompromising and independent figure.
The artists of the duo Komar and Melamid are known primarily as the inventors of Sots Art, which they coined in 1972. The term itself is a combination of “pop-art” and “socialist realism”. But unlike American pop-art, which drove advertising to the point of absurdity, Vitaly Komar and Alexander Melamid came up with the idea of bringing symbols of ideological propaganda to the point of absurdity.
David Burliuk is known as the father of Russian futurism. As a young man, he and his friend Vladimir Mayakovsky gave out a lot of slaps to public taste. The futurists painted their faces, wore bright clothes, decorated the buttonhole of their jackets with spoons — in general, they terrified the average man. Then the revolution — emigration — quiet fruitful work in America. It is no coincidence that the majority of works we see today on the market are items from the American period.
In his essay on the artist's work, Valery Silaev very aptly compares Bukh to a volcano, and his painting method to the boiling lava. Bukh was tuning himself for some time, he was getting psyched up. And then he rushed into action — quickly and expressively. He mixed paints on canvas, spread them with fingers and brush, rubbed with newspapers and rags. His work was a physiological necessity. From morning till night. If finished paintings were not picked up in time, sometimes the artist painted them anew.