Russian Pictures

Russian Pictures

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Alexander Konstantinovich Bogomazov


Auction Closed

December 1, 03:47 PM GMT


80,000 - 120,000 GBP

Lot Details


Alexander Konstantinovich Bogomazov

1880 - 1930


inscribed with an authentication by the artist's wife on the reverse and bearing a Modernism Gallery exhibition label on the backing paper

oil on paper

Sheet: 32 by 33.5cm, 12½ by 13⅓in.

Framed: 81 by 79cm, 32 by 31in.

Executed circa 1920-1921

V.V. Monastyrskaya, the artist's widow
Thence by descent
Modernism Gallery, San Francisco
Acquired from the above by the present owner
Exhibition catalogue Aleksandr Bogomazov: Zhivopis, akvarel, risunok, St Petersburg: Palace Editions, 2008, p.58 illustrated
Exhibition catalogue Art as a Profession, Moscow: SkanRus, 2014, p.200, no.30 illustrated; p.386, no.30 listed
Exhibition catalogue Alexander Bogomazov 1880-1930, James Butterwick, TEFAF Maastricht, 2016, p.110 illustrated
San Francisco, Modernism Gallery, Russian Avant-Garde 1910-1930, 9 September - 22 October 1988
St Petersburg, State Russian Museum, Aleksandr Bogomazov: Zhivopis, akvarel, risunok, 2008
Moscow, Pushkin Museum of Fine Arts; St Petersburg, State Russian Museum, Art as a Profession, April-August 2014, no.30

The present painting is thought to be one of only two oils the artist created between 1917 and 1925 and is one of those rare works of Ukrainian and Russian art that documents the hardships the people faced in the immediate post-revolutionary period and the ensuing civil war. The situation was particularly accute in Kiev which was caught up in various conflicts, occupied by the Germans and controlled by a series of short-lived independent Ukrainian governments until it was taken by the Red Army in 1921.

Like its sister painting Funeral (State Museum of Ukrainian Art), which is similar in size and also dates to 1920-1921, Cart was almost certainly painted as a reaction to the death of his father-in-law, Vitold Monastyrsky in 1920. The same year, the artist contracted tuberculosis whilst working on agitprop, and the present work is therefore of considerable biographical importance. With his health deteriorating, Bogomazov was for a time forced to give up easel painting altogether until embarking on his unfinished triptych, Sawyers in 1925.

Stylistically, Cart is very different from Bogomazov’s work both immediately before and after this period. Using broad brushstrokes and strong colours, it is as if the artist had absorbed the lessons of German Expressionism to convey the scene.

We would like to thank James Butterwick for providing additional cataloguing information.