On the River Protva. Fisherman
Provenance: A gift from the artist to his friend Avrelian Rubbakh (1896–1976), a composer and Professor at the Moscow Conservatoire, 1953. Thence by descent. Acquired from the above by a previous owner. Private collection, UK. Private collection, Europe. Authenticity of the work has been confirmed by the expert A. Gusarova. Literature: Konchalovsky. Khudozhestvennoe nasledie , Moscow, Iskusstvo, 1964, p. 157, listed as “zhi 1340”. The work is accompanied by a letter from the A. Rubbakh family, confirming its provenance. Philosophical universalisation was intrinsic to the work of the outstanding Moscow artist Petr Konchalovsky – more so than to any other. He was equally skilled at painting portraits, still lifes and landscapes of his native Central Russia. As a landscapist, Konchalovsky should be considered epic rather than lyric. His landscapes are characterised by a celebratory, emotional universalisation and the heady and whole-hearted fusion of nature with the restless essence of man. However, in Konchalovsky’s interpretation there is no soulless, overwhelming pantheism suggesting – as, for example, with the classic Romantic artists – a complete and total domination of man by nature. Instead, here we have an optimistic confrontation between elemental force and human reason, anticipating some kind of dramatic denouement rather than a charmless and pusillanimous compromise. This proud and heroic subtext was characteristic of much of the best Russian work of the post-war period – a category that certainly includes Konchalovsky’s On the River Protva. Fisherman , which the artist painted in 1953 for his friend, a composer and Professor at the Moscow Conservatoire, Avrelian Rubbakh.
On the River Protva. Fisherman
Provenance: A gift from the artist to his friend Avrelian Rubbakh (1896–1976), a composer and Professor at the Moscow Conservatoire, 1953. Thence by descent. Acquired from the above by a previous owner. Private collection, UK. Private collection, Europe. Authenticity of the work has been confirmed by the expert A. Gusarova. Literature: Konchalovsky. Khudozhestvennoe nasledie , Moscow, Iskusstvo, 1964, p. 157, listed as “zhi 1340”. The work is accompanied by a letter from the A. Rubbakh family, confirming its provenance. Philosophical universalisation was intrinsic to the work of the outstanding Moscow artist Petr Konchalovsky – more so than to any other. He was equally skilled at painting portraits, still lifes and landscapes of his native Central Russia. As a landscapist, Konchalovsky should be considered epic rather than lyric. His landscapes are characterised by a celebratory, emotional universalisation and the heady and whole-hearted fusion of nature with the restless essence of man. However, in Konchalovsky’s interpretation there is no soulless, overwhelming pantheism suggesting – as, for example, with the classic Romantic artists – a complete and total domination of man by nature. Instead, here we have an optimistic confrontation between elemental force and human reason, anticipating some kind of dramatic denouement rather than a charmless and pusillanimous compromise. This proud and heroic subtext was characteristic of much of the best Russian work of the post-war period – a category that certainly includes Konchalovsky’s On the River Protva. Fisherman , which the artist painted in 1953 for his friend, a composer and Professor at the Moscow Conservatoire, Avrelian Rubbakh.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
