Vladimir Georgievich Bekhteev

Dr. Richard Reiche,  Barmen
Kunsthaus Lempertz, Köln, Moderne Kunst, 3 December 1994, lot 24
Private Collection, Japan

Original canvas. There is a layer of light surface dirt. The edges are a little worn and there is evidence of some paint shrinkage in patches. There is a light surface scratch running vertically through the left hand figure. There is another small scratch to the right of the monogram in the lower left corner and a small fleck of paint loss. UV light reveals no apparent signs of retouching. Unframed.
"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."

 

Vladimir Bekhteev was a member of the Neue Künstlervereinigung (1909) which was a prelude to Der Blaue Reiter (The Blue Rider). The artist contributed to most of the international exhibitions of avant-garde art, including the Vladimir Izdebsky Salon and the first Jack of Diamonds exhibition. While Vasily Kandinsky, Franz Marc and other artists associated with Der Blaue Reiter searched for ways of reflecting inner spiritual and emotional states through art, Vladimir Bekhteev's oeuvre always gravitated towards the classical order of beauty.

In the offered lot,Young Women at the Well,  Bekhteev arranges a group of five female figures within a framework of parallel and crossing diagonals. Massed on the picture plane, the figures are reduced to flat coloured shapes. The curvilinear patterns of the women's outlines and the shifting planes of vivid, light-filled colours suggest the influence of Futurism and Cubism. The simplified and rounded outlines of the figures are echoed in the rhythms of the landscape background, uniting both figures and setting into a vigorous and harmonious whole.