Konstantin Mefodievich Maksimov

Acquired directly from the artist by the present owner, circa 1989

M.Cullerne-Bown, A Dictionary of Twentieth Century Russian and Soviet Painters, 1900-80s, London: Izomar, 1998, p.196 illustrated

Structural Condition The artist's canvas is unlined and is securely attached to a keyed wooden stretcher. This is providing a stable structural support. There are a number of slight undulations and deformations to the canvas. The canvas is inscribed in the upper part of the reverse and there is an old label and inscriptions on the reverse of the stretcher. There is some residue of paper in the upper part of the canvas and a canvas patch in the lower part of the canvas as viewed from the reverse. There are further traces of paint and drip marks on the reverse of the canvas. Paint Surface The paint surface is secure and has an even and sympathetic varnish layer. There are some scattered fine lines of craquelure and these all appear stable. There are also some very tiny fly spots and surface accretions on the paint surface. Inspection under ultra-violet light shows an area of retouching corresponding to the patched repair visible on the reverse which measures approximately 13 by 3.5 cm. This is situated within the small boat and the water above the centre of the lower edge. Summary The painting would therefore appear to be in good and stable condition.
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By the early 1950s the caché which a Soviet education carried in China had extended even to the arts, and so it came about that in 1954 Konstantin Maksimov was nominated by Alexander Gerasimov to travel to Peking in response to their request for a specialist who could instill the principles of realism into promising young painters. The rigorous course which he put together produced a generation of Chinese artists known as ‘The Maksimov School’ or ‘The Cradle of Rectors’, since so many of the students went on to direct art colleges themselves. Maksimov’s work is found in the collections of the State Russian Museum and the State Tretyakov Gallery, but as the father of Chinese Realism it has been in China that his reputation has flourished most recently, with solo exhibitions of his work held in Shanghai in 2002 and in Beijing in 2007 and 2011.  The present lot dates from 1958 and was most likely painted shortly after the artist's return from China.