Mikhail Kuni

M.Kunin, Fenomen Mikhaila Kuni, Moscow: Russkaya kniga, 2003, illustrated

There are pinholes to the left corners and there are several nails visible to the inner frame edges. There are two areas of loss in the lower right corner, the biggest approximately 1 by 1.5cm in size; and further losses in places around the frame edge. There is a crack approximately 6cm in length to the upper right quadrant with associated paint loss. There are minor cracks in the upper left quadrant and in places elsewhere. The paint surface is dirty and the varnish has discoloured. There are several areas of paint loss, mainly to the synagogue on the left, the largest area approximately 4.5 by 2.5cm in size. There is another smaller area of paint loss above the chimney in the upper right, approximately 1.5 by 1cm in size. There are several scratches to the lower middle. UV light reveals an area of retouching to the lower left corner with further spots of infilling to the sky. A layer of varnish prevents further investigation. Held in a small wooden frame under glass. 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."

In September 1918, Lunacharsky appointed Chagall as Commissioner for Art in the Vitebsk region, and in January the following year the Vitebsk Public Art School was established. Chagall took charge of the painting workshop for the most talented pupils, appointing Dobuzhinsky as director for the first year and appointing Lissitsky, Malevich, Puni and Ermolaeva among others to teaching posts.

Mikhail Kuni was among the most promising students, and devoted to Chagall. After an unknown but unpleasant incident took place in September 1919, which precipitated Chagall’s decision to quit the school, Kuni was one of two pupils who presented a report in defence of their great teacher, subsequently published in Izvestiya, emphasising his moral and artistic influence as ‘one of the first trailblazers’ and urging him not to leave (Comrade Chagall’s resignation: Resolution by the general assembly of students of the Public Art School). Kuni was also taught by Malevich, published serious treatises on art in Izvestiya, and in May 1920, participated in The Group of Three exhibition in Sorabis with fellow students Lev Zevin and Afroim Volkhonsky. Together they would leave for Moscow the following year to study under Robert Falk.

Vitebsk was a primarily Jewish city in the early 20^th century and its name is synonymous with Chagall. The houses, synagogues and alleys, people and festivals left an indelible mark on his art, and those of his pupils. The present work is an exceptional vision of the city seen through the sophisticated filter of Kuni’s teacher and inspiration.