Lot 9
  • 9

Nikolai Petrovich Bogdanov-Belsky

Estimate
300,000 - 500,000 GBP
Sold
349,250 GBP
bidding is closed

Description

  • Nikolai Petrovich Bogdanov-Belsky
  • symphony
  • signed in Cyrillic l.r.
  • oil on canvas

Exhibited

Riga, The City Fine Art Museum, December 1921-January 1922, cat. no.3
Berlin, Exhibition of Russian Art, January 1930, titled At the piano
Riga, The Latvian National Art Museum, Classic Latvian Art , 2008

Literature

Ausstellung Russischer Malerei und Graphik, January 1930, cat. no.48
Z.Ligers, Bogdanoff-Belsky, Riga, 1943, p.8 (ill.)

Catalogue Note

This intimate musical scene is a delicate work from Bogdanov-Belsky's late Russian period, before he left for Latvia. When Symphony was exhibited in Riga in 1921 it was praised by the capital's newspaper Today for its "measured Impressionism" but since its acquisition by a private collector after an exhibition in Berlin in 1930, it was never again shown in public until now.

Four young Russian girls gather round a piano in their best white dresses, each bathed in the soft rose-yellow candle-light that unifies the group. The fresh, clean tones of the roses in the simple vase complement the quartet, drawing attention to their youth and vitality. Bogdanov-Belsky studied in Paris at the early 1900s and his clear appreciation of French artists, in particular Pierre-Auguste Renoir, is evident in the atmosphere of this musical scene (fig.1). It has been suggested that Bogdanov-Belsky might have drawn his inspiration for this group portrait from Russia's iconic Grand Duchesses when he spent time sketching Nicholas II in the early 1900s, but the visual dissimilarities imply that this is probably unlikely.

The setting for this musical scene appears to be the summer room of the dacha 'Seagull', a house built by the artist Vitold Byalynitsky-Birulya on Lake Udomlya in Tver province, an area where Bogdanov-Belsky lived and worked from 1907-1920. He would travel to St Petersburg in the winter to carry out commissions for society portraits, but he felt his real work lay elsewhere: "I was drawn towards the countryside. I felt that it was there I would paint something important and meaningful".

In 1918, workshops were opened at the dacha to teach the local children crafts. Pupils would also hold musical evenings here, which Bogdanov-Belsky often took part in, playing the piano, balalaika and singing in a rich baritone. The aspirations of the local children towards education, art and music became a frequent subject in Bogdanov-Belsky's most famous compositions, but it is rare to find such a finished, large-scale work from his pre-emigration years, which harks back to the idyllic lost age of Russia's intelligentsia.

We are grateful to Nina Lapidus for researching this note.

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