- 73
Vladimir Baranoff-Rossiné
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Description
- Vladimir Baranoff-Rossiné
- The Doll
- signed Rossinè and dated 11 (lower right)
- oil on canvas
- 28 3/4 by 19 3/4 in.
- 73 by 49.8 cm
Exhibited
Paris, Salon d'Automne, 1911, no. 1377
Berlin, Brusberg Gallery, Baranoff-Rossiné, 1983 - 1984
New York, Leonard Hutton Gallery, 1994
Berlin, Brusberg Gallery, Baranoff-Rossiné, 1983 - 1984
New York, Leonard Hutton Gallery, 1994
Catalogue Note
Vladimir Baranov-Rossiné arrived in Paris in the autumn of 1910, along with countless other Russian artists including Natan Altman, Channa Orlova and Jaques Lipshitz, and immediately began to exhibit his work at the Salon d’Autumne. By 1910, the Parisian salons had begun to reflect the tension between avant-garde modernity and old-fashioned academism. The Salon d’Automne, strictly on the side of the avant-garde, exhibited the most experimental styles, from Fauvism to Cubism. It was in this climate that Baronov-Rossiné began to amass critical and public acclaim. By 1913, his work was already singled out by critics such as Guillaume Appollinaire from three thousand other exhibitors at the Salon.
The Doll is an early painting rendered during Baranov-Rossiné’s Parisian period, at a moment in his career when he was besotted by Cézannism. He was already intellectually influenced by a burgeoning friendship with artists Sonia and Robert Delauney; the latter’s scientific pronouncements on color would appeal greatly to the artist’s own technical interests. The Doll was painted prior to Robert Delauney’s idea of Orphism, an extension of an earlier theory of simultanism, which united color, movement, and light. ``Movement is determined by asymmetrical correlations and contrasts of colors,'' Delauney wrote. ``In this way, Reality is being created. And this Reality… has the character of rhythmic simultaneity. Simultaneity in colour is a harmony, or, to put it another way, colourful rhythms, in which a person’s ability to see is being formed.'' Baranov-Rossiné claimed that he was working in the style before it even had a name. ``Independently of this, I discovered my own palette by trial and error back in 1909, and now I can see a correlation in it,'' he told Delauney.
The artist worked with larger canvases, and a major feature of his style was his ability to find the middle ground between a flat decorative background and a more three-dimensional rendering of forms. He is distinguished for his fan-like treatment of objects, their inner movement from dark to light. In his Girl with Doll (see fig. 1) from the same period, we see a similar cubist approach to the canvas, the same fan-like technique, a generous roundness and fleshy substance to the forms. For an artist renowned for his self-portraits (see lot 58), it is interesting to note how both paintings lend the doll an air of the most distinguished of portrait subjects.
The Doll is an early painting rendered during Baranov-Rossiné’s Parisian period, at a moment in his career when he was besotted by Cézannism. He was already intellectually influenced by a burgeoning friendship with artists Sonia and Robert Delauney; the latter’s scientific pronouncements on color would appeal greatly to the artist’s own technical interests. The Doll was painted prior to Robert Delauney’s idea of Orphism, an extension of an earlier theory of simultanism, which united color, movement, and light. ``Movement is determined by asymmetrical correlations and contrasts of colors,'' Delauney wrote. ``In this way, Reality is being created. And this Reality… has the character of rhythmic simultaneity. Simultaneity in colour is a harmony, or, to put it another way, colourful rhythms, in which a person’s ability to see is being formed.'' Baranov-Rossiné claimed that he was working in the style before it even had a name. ``Independently of this, I discovered my own palette by trial and error back in 1909, and now I can see a correlation in it,'' he told Delauney.
The artist worked with larger canvases, and a major feature of his style was his ability to find the middle ground between a flat decorative background and a more three-dimensional rendering of forms. He is distinguished for his fan-like treatment of objects, their inner movement from dark to light. In his Girl with Doll (see fig. 1) from the same period, we see a similar cubist approach to the canvas, the same fan-like technique, a generous roundness and fleshy substance to the forms. For an artist renowned for his self-portraits (see lot 58), it is interesting to note how both paintings lend the doll an air of the most distinguished of portrait subjects.