- Art.Salon
- Artists
- Alexander Bogomazov
- Landschaft mit sitzender Frau.
Aleksandr Konstantinovich Bogomazov
Landschaft mit sitzender Frau.
Found at
Karl & Faber
Moderne & Zeitgenössische Kunst, Lot 1378N
29. Nov - 29. Nov 2007
Moderne & Zeitgenössische Kunst, Lot 1378N
29. Nov - 29. Nov 2007
Estimate: XX.XXX
Price realised: XX.XXX
Price realised: XX.XXX
Description
Öl auf Leinwand. (Um 1912-13). Ca. 58 : 57 cm. Verso auf Kyrillisch wohl vom Künstler selbst signiert. Gerahmt.
Öl
Landscape with a seated woman. Oil on canvas. (C. 1912-13). C. 58 : 57 cm. Framed.
Bogomazov was educated at the Kiew Art School before spending some time in Moscow in 1906 and 1907. Here he worked in the studios of Fyodor Rerberg and Konstantin Yuon, which was to lead to an explosion of colour in his art. Bogomazov turned to Russian futurism in 1912, writing a treatise on painting and its elements in 1914. In this he explained his understanding of quantitative and qualitative rhythms in art. This painting, too, is constructed around a clear, structural rhythm, with the large tree building a slightly off-centre vertical axis, stabilising the dynamic composition. Further horizontal areas support the clear structure, only to be broken up by the firework of colours. Colour has become an expression of the virtual dynamics found in his landscapes. Finally, oblique brushstrokes, spikes, and jagged edges break up all order of the pictorial surface to create a uniform impression of pure energy.
Öl
Landscape with a seated woman. Oil on canvas. (C. 1912-13). C. 58 : 57 cm. Framed.
Bogomazov was educated at the Kiew Art School before spending some time in Moscow in 1906 and 1907. Here he worked in the studios of Fyodor Rerberg and Konstantin Yuon, which was to lead to an explosion of colour in his art. Bogomazov turned to Russian futurism in 1912, writing a treatise on painting and its elements in 1914. In this he explained his understanding of quantitative and qualitative rhythms in art. This painting, too, is constructed around a clear, structural rhythm, with the large tree building a slightly off-centre vertical axis, stabilising the dynamic composition. Further horizontal areas support the clear structure, only to be broken up by the firework of colours. Colour has become an expression of the virtual dynamics found in his landscapes. Finally, oblique brushstrokes, spikes, and jagged edges break up all order of the pictorial surface to create a uniform impression of pure energy.
