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.
Yuri Kuper came to sfumato, a painterly technique of depicting air invented by Leonardo, while in exile, where he left in 1972. In the Soviet Union, he was more of a follower of surrealism. But one day his photographer friend John Stuart told him, “Look, you're a fine artist, but you're doing some nonsense. Why don't you just paint reality? Those objects around you”. And from about this point we can count the era of the new Kuper.
Vulokh of the highest order. One-of-a-kind. Exceptional quality. 1972! The author kept the intrigue by calling the painting as abstract as possible — “Details”. But connoisseurs know that Vulokh's works are almost never purely “abstract”. Streaks of lines and scratched “strokes” usually contain coded landscapes or seasons. Here, too, the viewer may discern rather a pebble beach or a field of flowers, or even an alien view.
Krasnopevtsev's amazing still lifes are not impressions, but the fruit of a complex philosophical work. The artist himself led a semi-reclusive lifestyle. He did not travel to exotic places and has never been abroad, including France, which he dreamed of. Exotic shells, shards, beautiful branches of overseas plants were brought to him by his friends. And out of the “dialogue” with these objects amazing metaphysical still lifes were born — a kind of “Krasnopevtsev's worlds”.
Kasimov is an ancient town in the Ryazan region on the picturesque high bank of Oka. In those parts, in the village, Vasily Shulzhenko spent his childhood. It was there that he got his first glimpse of bizarre representatives of human fauna, which many years later turned into phantasmagoric characters in his paintings.
The exemplary Steinberg of the late 1970s. Even before France, before emigration, before the Claude Bernard Gallery. This is the Moscow-Tarusian Steinberg. And this is the high point of his explorations into the depths of suprematist abstraction.
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.
Nemukhin's original super-elephants exist in many designs. There are even exotic pink elephants. I suppose that initially the construction of Suprematist symbols should have been called “SUPRE-elephant”. But in our latitudes, the elephant became Russified and turned into “super”. This program plot without cards was much beloved by collectors. Everyone wanted one of these.
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.
A man who had seen life, a veteran, a convict, a wanderer. The years had already begun to show. It would seem — sit in the sun and bask. But he didn't. At his old age Pavel Leonov takes up his brush again. He tried before, but stopped — he was afraid of being arrested for unearned income. And then it turns out that his true vocation was art. It happens so that people are born artists.