Nikolai Fechin

The family of the artist
Collection of Harrison Eiteljorg, Indianapolis
Thence by descent to his son, Roger Eiteljorg
Medicine Man Gallery, Santa Fe

New York, Hammer Galleries, Fechin, 21 March - 8 April 1961, no.181

Exhibition catalogue Fechin, New York: Hammer Galleries, 1961, no.181 illustrated in b/w
H.McCracken, Nicolai Fechin, New York: Hammer Galleries, 1961, no.181 illustrated in b/w 

 

Structural Condition The canvas has been lined and is securely attached to a keyed wooden stretcher. This is providing an even structural support. There is an old label and an inscription on the reverse of the stretcher and inscriptions on the brown gum tape on the reverse. Paint Surface The paint surface appears to have the artist's characteristic uneven appearance. There are some fine lines of craquelure most notably within the flesh tones of the sitter's torso and left leg. These appear stable and are not visually distracting. There are also some small areas of slightly raised craquelure most notably within the black and brown pigments in the upper right quadrant of the composition and in the lower left corner. These also appear stable at present. There are some small scattered paint losses most notably within the figure's hair, a small loss in the black pigments in the upper right of the composition and some small losses in the lower left of the composition. Inspection under ultra-violet light shows two very small retouchings within the sitter's left thigh and some further very small retouchings within her left leg, a very small retouching within the sitter's right thigh, a tiny retouching on her right shoulder and a small retouching within the dark pigments in the upper right of the composition. Summary The painting would therefore appear to be in very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Nudes represent an important strand in the work of Nikolai Fechin, who is known to many primarily as a portrait painter. Though he appropriated many of the techniques of the Impressionist, Art Nouveau and Expressionist movements, his work was essentially defined by the academic tradition, which explains his focus on form, and the human body in particular. Even in moments when he leans towards abstraction or experimenting with the textural effects of his impasto, the essential frame of the human form is rarely distorted.

Fechin combined his creative work with teaching throughout his career and would work alongside his students during life study sessions. The majority of Fechin’s superb charcoal and oil nude studies were created in the classroom. He painted nudes studies throughout his career. Several masterpieces were painted in Russia, but he continued with the genre in the United States, especially while teaching in New York and California.

Fechin's approaches vary and in each work he addresses different elements, but at the fore of each of his nude paintings is the sensual and tangible beauty of a recognisable human body. To him, the form of a normal person was complete and perfect in itself, but he would experiment with composition, perspective and complex postures and angles. One might say that he created ‘portraits of the body’ and in most cases the sitter’s head was all but disregarded, roughly sketched in, cut off by the frame or merged into the chaos of the textured paint surface.

Seated Nude is a characteristic work from Fechin’s California period and similar compositional and stylistic features can be found in other studies of nudes from that time. A black and white photograph of the offered lot is held in the archives of the artist’s family; it was included in the large retrospective exhibition of Fechin’s work at the Hammer Galleries in 1961 and reproduced in Harold McCracken’s 1961 catalogue, which recorded the collection of the artist's descendants at the time.

We would like to thank Galina Tuluzakova for providing this catalogue note.