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Lot 0058
Pastel on paper, featuring portrait of a woman in a bonnet. Signed and attr. Petr Petrovic Koncalovskij (Russian 1876-1956) on bottom right corner. 18.5 x 11 1/4 inch (46.99 x 28.58 cm). Milborne's ltd Art Gallery stamp on verso. Russian painter and graphic artist who was representative of the Moscow School. Although he was much influenced by the work of Paul Cézanne in the early 20th century, he turned away from this style in the 1930s and embraced Socialist Realism, becoming a classic exemplar of Soviet painting and forfeiting any further claim to innovation in his art. Konchalovsky received an art education in a drawing school in Kharkov, Ukr., at the Stroganov Central Industrial Art School in Moscow, and at the Academy of Arts in St. Petersburg (until 1905). For a short period he also attended the School of Painting, Sculpture, and Architecture in Moscow, where the painter Konstantin Korovin taught. As a result of his contact with Korovin, Konchalovsky acquired the expertise of the Moscow School with its predisposition to corporeality and its unbridled approach to colour. Konchalovsky was also influenced by a short period of study at the Académie Julian in Paris (1897–98), which aroused his interest in French painting. In this way he melded two rich traditions of painting that became a key feature of his art. In 1909, together with Aristarkh Lentulov and Ilya Mashkov, Konchalovsky cofounded the avant-garde group the Jack of Diamonds. After a trip to Spain in 1910 with Vasily Surikov, a well-known artist and member of the Peredvizhniki (“the Wanderersâ€)—Konchalovsky was to marry Surikov’s daughter—Konchalovsky for a time made art that was influenced by Spanish themes, particularly landscapes and bullfighting scenes. Later he was influenced by Paul Gauguin. Yet, though others made an impact on his style, Konchalovsky idolized Cézanne most of all and can be considered the founder of Russian Cézannism. Throughout the 1910s, Konchalovsky’s Cézannism merged with primitivism, then with Cubism, and in the 1920s with an interest in Venetian painting. It was during these years that he painted his best works—Siena: Piazza dei Signori (1912), Agava (1916), and Self-Portrait with Wife (1923). In his later work Konchalovsky was more successful in still lifes and landscapes, as these did not manifest the excessive social pathos typical of Socialist Realism. One exception to the banality of much of his later work is a superb portrait of the theatre director Vsevolod Meyerhold (1938), which he painted a few months before Meyerhold’s arrest. PROVENANCE: Southern Ontario Estate

Condition

All authorship of items in this catalog are described according to the following terms:

By [Artist Name] : In our opinion, the work is by the artist.

Attributed to [Artist Name] : In our opinion, the work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : In our opinion, the work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : In our opinion, the work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : In our opinion, a work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: In our opinion, a work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century : In our opinion, this work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

Bears signature : In our opinion, the signature on the artwork may be spurious.
Apocryphal : Of doubtful authenticity.

Starting Bid

$300.00

Buyer's Premium

  • 22% up to $100,000.00
  • 22% above $100,000.00

Petr Koncalovskij 1876 - 1956 Russian Pastel on Paper

Auction ended on Thu, Feb 15, 2018
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Estimate $2,000 - $4,000
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$450.00
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$350.00
Starting Bid
$300.00
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