1964 is the beginning of a particularly valuable “monochrome period”, when for the sake of silence and peace Krasnopevtsev muted the colors of the previously bright palette. This method had a striking effect. The rejection of shadows and garish colors, the utmost laconism and pictorial austerity allowed the artist to highlight the main thing in his still lifes — harmony, balance, the beauty of peace.
A large-scale two-meter canvas by Valery Koshlyakov is devoted this time not to distant ancient ruins, but to a part of Moscow's history and the “vanishing beauty” of an iconic place on the map of the capital. Which is a rarity in itself. The artist's favorite theme is a conversation about the loss of classical culture, the elusive beauty and the ruthlessness of time. Valery Koshlyakov is one of the top 20 most expensive living Russian artists and the top 5 artists of contemporary art.
“Here's to twenty years of no-exhibition work!” This was the toast to Evgeny Mikhnov-Voitenko in November 1976, after the exhibition of nonconformists at the Ordzhonikidze Culture Center. Colleagues understood that by objective, unbiased assessment they were drinking to the health of one of the main innovators of abstract art. But formally — yes, it was indeed the first exhibition of Mikhnov.
Rukhin's masterpiece, created at the peak of his creative form. By 1971 his special style had already formed and the right recipes had been found. Nemukhin taught him to include different resins and glues into the composition. Some technical tricks were suggested to Rukhin by his friend Rabin. And soon Russian and world art was enriched with a new genre of assemblage abstraction, gravitating towards pop-art.
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.