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PROPERTY FROM A PRIVATE COLLECTION, GERMANY

Alexandra Exter
DYNAMIC COMPOSITION
JUMP TO LOT
24

PROPERTY FROM A PRIVATE COLLECTION, GERMANY

Alexandra Exter
DYNAMIC COMPOSITION
JUMP TO LOT

Details & Cataloguing

Russian Pictures including the Bar-Gera Collection of Soviet Non-Conformist Art

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London

Alexandra Exter
1882-1949
DYNAMIC COMPOSITION
stamped with the artist's estate stamp and signed by Simon Lissim on the reverse; further bearing various labels and inscriptions on the backing board
gouache over pencil on paper
66 by 50cm, 26 by 19 3/4 in.
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Provenance

Estate of the artist
Collection of Simon Lissim, New York
Acquired by Walter Brendel for his son Peter Brendel in the 1970s

Exhibited

New York, Leonard Hutton Galleries, Russian Avant-Garde: 1908-1922, 16 October 1971 - 29 February 1972, no.19
Paris, Galerie Jean Chauvelin, Alexandra Exter, May-June 1972
Edinburgh, Scottish National Gallery of Modern Art; Sheffield, Graves Art Gallery, Liberated Colour and Form: Russian Non-Objective Art, 1915-1922, 1978, no.9
London, The Tate Gallery, Abstraction: Towards a New Art, Painting 1910-1920, 6 February - 13 April 1980, no.342
Probably Los Angeles, Los Angeles County Museum of Art; Washington, Hirshhorn Museum and Sculpture Garden, The Avant-Garde in Russia 1910-1930: New Perspectives, 1980-1981 (not listed in the catalogue)

Literature

Exhibition catalogue Russian Avant-Garde: 1908-1922, New York: Leonard Hutton Galleries, 1971, p.36, no.19 illustrated; p.97, no.19 listed as Colored Tension and dated 1918
A.Nakov, Alexandra Exter, Paris: Galerie Jean Chauvelin, 1972, p.45 illustrated b/w and dated circa 1916
Exhibition catalogue Liberated Colour and Form: Russian Non-Objective Art, 1915-1922, Edinburgh: National Galleries of Scotland, 1978, p.24, no.9 listed as Untitled and dated circa 1917
Exhibition catalogue Abstraction: Towards a New Art, Painting 1910-1920, London: Tate Gallery, 1980, p.95, no.342 listed as Untitled and dated circa 1917

Catalogue Note

Executed during the creative whirlwind of the mid-1910s, the present lot is without doubt the most exciting work on paper by the artist to come to auction in recent years. The impressive exhibition history of this work includes the 1972 retrospective at Galerie Chauvelin, which included works from the artist's estate, and key American and European exhibitions of Russian avant-garde art staged in 1970s and early 1980s.  

Exter's experimentations with Ukrainian folk art, Cubo-Futurism and Simultanism throughout the decade culminated in the non-objective works of 1916-18, of which the present lot is a fine example. Although the vibrant palette and the dynamic composition are reminiscent of Exter's earlier Cubo-Futurist works, such as Florence (1914, State Tretyakov Gallery), the language is distinctly different. Composed of superimposed planes of colour, Dynamic Composition is devoid of any visual allusions to the world of material reality. Rather than being based on loosely recognisable motifs, it represents a study of movement of colour and anticipates the post-revolutionary 'laboratory' work of Popova and Rodchenko. This bold transition to the non-objective testifies to Exter's deft assimilation of the Suprematist theories of Malevich, who in 1915 exhorted artists to give forms the 'life and the right to individual existence' by rejecting nature as a source of artistic form.

Russian Pictures including the Bar-Gera Collection of Soviet Non-Conformist Art

|
London