PETR PETROVICH KONCHALOVSKY | HARVEST
Property from a Private European Collection
PETR PETROVICH KONCHALOVSKY
signed in Cyrillic and dated 23 l.l.; further signed in Latin, titled in Cyrillic, numbered 490 and dated on the reverse and bearing an exhibition label on the stretcher
oil on canvas
Canvas: 71.5 by 94cm, 28¼ by 37in.
Framed: 91.5 by 114.5cm, 36 by 45in.
Please note: Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
To view shipping calculator, please click here
Private collection, Paris
Leon Gildesgame, Mount Kisco, New York
Private collection, New York
Sotheby's London, Russian Art Evening, 26 November 2007, lot 37
Acquired at the above sale by the present owner
V.Nikolsky, Petr Petrovich Konchalovsky, Moscow: Vsekokhudozhnik, 1936, p.41 illustrated, p.11 listed
Konchalovsky. Khudozhestvennoe nasledie, Moscow: Iskusstvo, 1964, p.108 listed as zhi 390
Exhibition catalogue Russian Avant-garde Art from the Schreiber Collection, New York, 1984, illustrated
Exhibition catalogue The Russian Experiment: Master Works and Contemporary Works, New York, 1990, pp.8-9 illustrated
New Rochelle, Castle Gallery, College of New Rochelle, Russian Avant-garde Art from the Schreiber Collection, September-October 1984, no.1
Storrs, The William Benton Museum of Art, University of Connecticut, Russian Avant-garde Art from the Schreiber Collection, January-March 1986
New Rochelle, Castle Gallery, College of New Rochelle, The Russian Experiment: Master Works and Contemporary Works, September-October 1990
Konchalovsky spent the summers of 1922 and 1923 near Moscow in the village of Krylatskoye, where he continued experimenting with landscape and painted his first genre compositions. Dating to 1923, Harvest is one of only a handful of genre paintings depicting the harvest and village life of Krylatskoye.
The early 1920s mark an important stylistic turning point for Konchalovsky – the artist is starting to distance himself from cubism and Cézannism and shift towards a more explicitly Russian, realistic tradition, paying greater attention to real people and their everyday life. It is at this time that Konchalovsky achieves widespread national recognition: ‘In 1922 the Tretyakov Gallery hosted my first solo exhibition. The following years I worked with great energy and showed my paintings at ten solo exhibitions. In 1922 I was awarded the title of Honoured Artist’ – he later recalled. In the words of Anatoly Lunacharsky, the critic and People's Commissariat for Education, 'never before has Konchalovsky shown himself to be such a simple, sincere, joyful and skillful master.'