Vladimir Davidovich Baranov-Rossiné

Sale: Christie's London, April 1, 1977, lot 22, illustrated
Arezzo Fine Arts, Inc
Sale: Christie's New York, May 15, 1980, lot 16, illustrated
Armand Castellani, Buffalo
Linda Hyman Fine Arts, New York
Acquired directly from the above by the present owner circa 1991

Niagara, New York, Castellani Art Museum of Niagra University, 1980-1990 (on loan)

This canvas has been lined and the paint layer is stable. It has been retouched quite effectively. In cases like this it is often true that re-examination of the retouches can be fruitful. Here, however, the painting looks well as is. The pink shape above the figure seems to have some restorations. Since the original paint does fluoresce quite strongly under ultraviolet light in many areas we cannot properly identify other restorations, but feel that the light orange color in the lower left and above the inscription at lower right may also be restoration. However, the delicate and nuanced paint layer throughout the remainder of the picture seems to be healthy. The paint layer is probably slightly dirty, but we do not necessarily recommend any further restoration. The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Born in Ukraine, Baranov-Rossiné initially trained in Odessa before spending four years at the State Petersburg Academy. His studies led to his participation in two major avant-garde exhibitions, Zveno (The Link) in Kiev and Venok (The Wreath) in St. Petersburg. In 1910 he emigrated to Paris, drawn to the city's innovative artistic community and supportive environment. Cubism was beginning to replace Fauvism as the most influential style of the period, and artists such as Braque, Léger and Picasso were gaining the respect of their peers. Baranoff-Rossiné was heavily influenced by the Cubists' abstracted planes as well as Robert and Sonia Delaunay's simultanéisme color theories. His canvases depict dynamic color transformations in layered geometric shapes and planes, forming a kaleidoscope of color and rhythm that evoke a sense of kinetic frenzy. Many of his canvases from the early 1900s centered on feminine, Venus de Milo-esque figures; this series later culminated in his stunning portrayals of the creation and apocalypse, in which his women take on the role of Eve.