Alexander Vladimirovich Makovsky

Possibly exhibited Petrograd, Society for the Encouragement of the Arts, 1918, No.97 (195)

The canvas has been striplined. There is some light surface dirt and paint loss in the top left corner and along the upper edge. UV reveals retouching to the top left, the edges and minor flecks of retouching to the sky. Held in a gold painted wood and plaster frame. Unexamined out of frame.
"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."

Alexander Makovsky inherited many exceptional artistic traits from his highly accomplished family. From his father Vladimir, the eminent genre painter, who had taught his son at home, and also enrolled him at the Moscow school of Fine Art, Sculpture and Architecture, Alexander acquired the gift for story-telling, the ability to compose both intimate scenes involving a few people and multi-figure compositions. The truthful, life-like personalities, expressive faces and characteristic movements of the figures in Alexander Makovsky's paintings are achieved just as sharply as in the work of his father. His ability to paint brilliant portraits, preserving a strong likeness while at the same time enhancing the sitter's attributes, was undoubtedly inherited from his uncle, Konstantin Makovsky. Yet another uncle, Nikolai Makovsky, an architect by training, often included churches and buildings in his landscapes, and evidently influenced his nephew's keen interest in depicting architecture.

 

 

The outskirts of Petersburg, the ancient Russian towns of Vologda, Pskov, Novgorid, Uglich, Suzdal and Rostov with their wonderful churches, monasteries and citadel walls are recurring subjects in Alexander Makovsky's paintings. He travelled through Russia a great deal and in 1917-1921 was often in the Volga region, especially his beloved Plyos, a quiet little town whose praises had first been sung by Isaak Levitan. 

 

 

During this time Alexander Makovsky painted a large quantity of studies and paintings of Plyos which he regularly exhibited at the Itinerant exhibitions. Amongst the known compositions of Plyos from 1918 are Market Square (Plyos on the Volga) and Ferry on the Volga (both in the State Literary Museum in Moscow). In the artist's only solo exhibition which took place in the Scientific Research Museum of the Academy of Arts in Leningrad in 1960, the following studies of Plyos from the museum collection were exhibited: Plyos on the Volga; Row of Earthenware Pots. Plyos and Textile Stand. Plyos, all of which are dated 1918. The artist would often develop a local theme in his sketches in preparation for the creation of a larger composition. The offered work is undoubtedly all-encompassing in its artistic scope, as suggested by its large measurements. In the 1918 Itinerant exhibition a work titled Festival in a Provincial Town was shown under number 97 in the catalogue. It has been suggested that this might be the offered lot given the closeness in subject.

 

We are grateful to Elena Nesterova, Senior Researcher at the State Russian Museum, St. Petersburg for writing this note.