Pavel Filonov, 1883-1941

Galerie Gmurzynska, Cologne;
Art Focus, Zurich;
Acquired from the above by the present owner, 1990s

Die Physiologie der Malerei; Pawel Filonow in den 1920er Jahren, Galerie
Gmurzynska, Cologne, 1992, no.6 p.51 (illustrated)
Russisches Kunst, Art Focus, Zurich, 2003, cat. no.15, p.52 (illustrated)

We believe it was the artits' intention to have the second sheet lined onto the first. It is made of thin-wove paper attached to the secondary sheet of toned, buff paper. There is slight cockling and planar distortion through-out the sheets. There is slight skinning on two points of the lower edge. It has been hinged onto acid-free board with acid-free tape. It is in overall 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."

The present lot was most likely executed in 1922-1925 when Pavel Filonov worked extensively on paper and produced a number of compositions with heads on a dense, abstract background.  Disembodied heads are one of the central themes for this intellectually driven artist. He turned to this subject as early as 1910, in Heads, the painting Filonov considered to be his first serious work. Over the following years, especially after 1918 when Filonov was actively developing his theory of Analytical Art, heads remained the only figurative element of his compositions. Emerging from the background and floating on the surface they are a striking symbol of intellectual power and the artist's presence in the painting. Their accentuated wide nostrils, peering eyes and distorted features, particularly evident in the present lot, reinforce the impression of intense mental strife.

Untitled is a vivid example of Filonov's philosophy of "analytical painting". Here the heads are drawn on light brown paper and glued onto a geometrical background reminiscent of the artist's abstract Formula series. The complicated, multi-faceted pattern resembles cells of a living organism that are intricately connected as if growing into each other. Every single dot here is an important and integral part of the greater picture, analysed and "worked through" meticulously. Such attention to detail combined with a build up of artistic forms similar to those found in nature are core principles of Filonov's theory of Analytical Art that was laid out in his 1923 article, "The Declaration of Universal Flowering".

Working contrary to other artistic methods developed in the first part of the twentieth century, Filonov hoped to preserve his intellectual findings for posterity in a dedicated museum of Analytical Art. With this idea in mind he kept nearly all his paintings to himself, refusing commissions and sale offers. Although the project was never completed, the majority of the artist's works were given to the State Russian Museum in St. Petersburg after his death and are rarely seen on the international market.