Description

On the Field. 1909-1911.
Gray paper, gouache
Size 22 * 34.2 cm
Author's signature is at the bottom left. Framed.
This work was exhibited at the exhibition in 1976 in Moscow at the exhibition hall of the Artists' Union of the RSFSR, on the occasion of Alexei Stepanov's birthday.
Types of research: (MBS, UFL, IKL), macrophotography, study of the texture of the painted surface, radiography, stylistic analysis, comparison with benchmark works by the artist from the collection of the State Tretyakov Gallery and other museums, specialized literature.
The work is created in a manner typical for A.S. Stepanov, using his preferred palette of cool silvery-gray, blue, and violet tones. In the movement of the brush, the nature of the strokes, and the color mixes, one can recognize the characteristic techniques of this painter. The conducted research in MBS, the comparison of the texture of the painted surface and the radiographic image with benchmark works by A.S. Stepanov, allows us to confirm the authorship and date the work to the 1910s. The work may have been created when A.S. Stepanov spent the summer at Lake Udomlya in the estate of the Arakcheevs in Garusovo, where many paintings were made. In 1909, he participated in an exhibition in Munich, and in 1911, in Rome. He painted works such as “Wolves” (several versions), “On the Pasture,” “On the Terrace,” “On the Field,” “On the Hunt,” “Night,” “Thaw,” “Portrait of A.P. Shchepkina,” “Early Spring. Herd.”
Stylistically, the examined work corresponds to such paintings by the artist from the collection of the State Tretyakov Gallery as “Laundry Women in Vichy” (1905), “Night,” and “Winter Landscape” (both from the 1910s). In these works, as in the studied piece, the artist paints with long, fluid, and free strokes, constructing the plastic form, while giving great importance to the color spot. Stepanov conveys the colorful diversity of nature not by using a bright palette but through precisely found tonal relationships, which is characteristic of the examined work.
Result: The authorship of A.S. Stepanov is confirmed. The work "On the Field" has high artistic value and represents a collectible interest.

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Additional articles

The translation of "На пашне" into English is "In the field."

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RUSSIAN ARTISTS Stepanov Alexei Stepanovich (1858-1923)

RUSSIAN ARTISTS Stepanov Alexei Stepanovich (1858-1923)
RUSSIAN ARTISTS  
Stepanov Alexei Stepanovich (1858-1923)
The modest, delicate, and kind A. S. Stepanov, "Stepochka," as everyone called him, was loved and appreciated by friends - S. V. Ivanov, N. P. Chekhov, brothers S. A. and K. A. Korovin, I. I. Levitan, M. V. Nesterov - and numerous students, including P. D. Korin, A. A. Plastov, L. V. Turzhansky, and others. After Stepanov's exhibition, Korin said: "It was as if I had read Pushkin's poetry. Just as simple, simple, yet high... What can I say about him? He was an artist. That says it all. Everything in him was simple, without effects. He had a soul, and that is the most important thing. But at the same time, he had high artistry and incomparable mastery. He was brilliant in his great simplicity." Aleksey Stepanovich StepanovStepanov lost his parents at a very young age. At the age of seven, he was raised by a guardian, who insisted that the young man graduate from the Land Management Institute in Moscow in 1879 and acquire a profession as a land surveyor.However, he did not work in this field, and in 1880, he entered MUSHVZ (Moscow School of Painting, Sculpture, and Architecture). He studied in I. M. Pryanishnikov's class, was successful, and graduated from the school in 1884 with a large silver medal.“Portrait of I.I. Levitan”Paper, pencil. 21.5 x 13.4 cmNational Art Museum of the Republic of BelarusIn the second half of the 1880s, Stepanov worked for several summer seasons together with I. I. Levitan - first near Zvenigorod, then on the Volga. Alongside Levitan, he is considered one of the creators of the so-called mood landscape, when the artist...The text translates to: "In nature, it not only seeks a motif that corresponds to its inner state but also psychologically interprets the landscape, projecting its own thoughts and experiences onto it. "Autumn"Canvas, oil. 54 x 80 cmKirov Regional Art Museum named after V.M. and A.M. VasnetsovsAutumn. 1896Lake Udomlya. 1912"Winter. Hoarfrost"1900-1910Canvas, oilMemorial Museum-Estate of the artist N.A. Yaroshenko"Winter Landscape"1910Canvas, oilBuryat Republican Art Museum named after Ts.S. Sampilov“March”Canvas, oilNizhny Novgorod State Art Museum“Thaw”1904Canvas, oil. 58.3 x 79 cmKhimki Picture Gallery“Early Spring”1900-1910Canvas, oilVolgograd Regional Museum of Fine Arts“Sea”1923Canvas, oilPless State Historical, Architectural and Art Museum-Reserve“Arbor Under Flowers”StudyCanvas, oilPless State Historical, Architectural and Art Museum-ReserveIn 1905, Stepanov was awarded the title of academician of the Imperial Academy of Arts for the painting “Morning Greeting.”The painting was exhibited at the XXV exhibition of the Wanderers, the XXIV exhibition of the Imperial Academy of Arts, and at the World Exhibition in Paris in 1900. “Morning Greeting” 1897 Canvas, oil 61 x 99 Pskov State United Historical, Architectural and Art Museum-Reserve Stepanov's works are characterized by their plein air quality; they are painted broadly, sketched, with a thin transparent brushstroke, very softly, in a limited palette ("Fewer colors," he later advised his students). Stepanov loved to depict a rural road down which peasant horses pull sleds or carts ("Gusek," 1910-15; "On the Country Road in Winter," "By the Porch," both 1913-14; "Gone," 1914). “On the Winter Path” Cardboard, watercolor State Central Museum of Musical Culture named after M.I. Glinka “Winter Landscape” 1910 Canvas, oil State Tretyakov Gallery "In a Row"1911-17"Deaf Province"1900sCanvas, oil. 62 x 97 cmState Vladimir-Suzdal Historical-Architectural and Art Museum-ReserveEvery summer from 1906 to 1914, Stepanov lived in the estates of Lubenikino, Garusovo, and Berezhok in the Vyshnevolotsky district (now Udomelsky district) of Tver province. The house where Stepanov lived in Garusovo is depicted in the painting "Left""Left"1914Canvas, oilState Tretyakov Gallery"In Winter"1900-1910Canvas, oilAlupkin State Palace and Park Museum-ReserveOn a Sledge“Riding on Maslenitsa”1910Cardboard, tempera. 49 x 68 cmStavropol Regional Museum of Fine Arts“Inn”1912Canvas, oilNorth Ossetian Republican Art Museum named after M.S. Tuganov“Village in Winter”1900-1910Canvas, oil. 42 x 68 cmStavropol Regional Museum of Fine Arts“At the Watering Place”1916Canvas, oilNizhny Novgorod Art MuseumHe loved to depict peasant children observing the surrounding world - bare, poor, autumnal, but familiar and vast (“Cranes Are Flying,” 1891; “Children on the Brushwood,” 1899; “At the Outskirts,” 1915-16).“Cranes Are Flying”1891.Canvas, oil 620 x 110State Tretyakov GalleryMoscow 'Children on Firewood' 1899 Canvas, oil. 47.5 x 72 cm Ulyanovsk Art Museum 'Evening Dawn' Canvas, oil Krasnoyarsk Art Museum named after V.I. Surikov Near the Fence 'On the Terrace' 1900-1910 Canvas, oil Nizhny Novgorod Art Museum Conversation with the Godmother 'Chorovo' Please note that the links and images would not be functional in this format.Here is the translation of the provided text into English: --- Canvas, oil Buryat Republican Art Museum named after Ts.S. Sampilov **“In the Boat”** 1900-1910 Canvas, oil Irkutsk Regional Art Museum named after V.P. Sukachev **“Friends”** Canvas, oil Tver Regional Art Gallery A trip to Europe, specifically the paintings of French Impressionists, had a significant influence on the artist's work, although it was denied by his contemporaries. As a result of this trip, Stepanov painted the work “Washerwomen in Vichy.” **“Washerwomen in Vichy”** 1895 Canvas, oil. 41 x 55.5 cm State Tretyakov Gallery **Old Alley** He enjoyed painting hunting scenes ("After the Hunt. Return", 1907; "The Dead Moose", 1900-10; "With Borzois", 1910s; "We Saw", 1917). "Wolves in the Winter Forest"1900-1910Canvas, oilState Tretyakov Gallery"She-Bear with Cubs"Colored paper, gouache 23 x 33Private collection"She-Bear with Cubs"1919Canvas, oilNizhny Tagil Museum of Fine Arts"Horse"1911-1920Canvas, oilNizhny Novgorod Art Museum"Little Horse"1900-1910Canvas, oilNizhny Novgorod Art Museum Paper, watercolor Memorial Museum-Estate of the artist N.A. Yaroshenko On the field. 1919 "Outskirts" 1914 Canvas, oil Sumy Art Museum "Study with a Cow" Study Canvas, oil Novokuznetsk Art Museum The genre in which the artist preferred to work can be described as landscape-animalistic. M.V. Nesterov considered Stepanov to be the best animal painter after V.A. Serov. Serov also highly valued this gift of the artist and insisted on inviting Stepanov as a teacher at the MUJVAZ (Moscow State Academy of Arts and Industry). For about twenty years (1899-1918), Stepanov led the "animal class" there. Students adored him. Very little is known about the artist's personal life - shortly before his death, he destroyed his archive. However, he is fully present in his paintings. "On the Volga" 1897 Canvas, oil. 55 x 133 cm Samara Art Museum --- Let me know if you need any more assistance!Here's the translated text into English: --- **Working. 1895** --- **Woman on the Sofa. 1912** --- **"Peasant"** Around 1890 Canvas, oil Plesk State Historical and Architectural Museum-Reserve --- **"Lilac Alley"** 1900-1910 Canvas, oil State Literary Museum --- **Estate in Summer. 1882** "Estate in Summer" 1882 Canvas, oil State Tretyakov Gallery "Flowerbed in the Park"Cardboard, oil. 23.3 x 33.7 cmKhimki Art Gallery"Arrival of the Teacher"1889Canvas, oil. 58.5 x 79 cmChuvash State Art Museum"Portrait of S.P. Kuvshinnikova"1888-1889Canvas, oilState Literary Museum"Portrait of Medyntsev"Canvas, oilTver Regional Art GalleryNikolai Vasilyevich Medyntsev — merchant, collector, father-in-law of the artist A.S. Stepanov (1902)"Boulevard"1919Paper, watercolorNational Art Museum of the Republic of Belarus"Ferry" 1919Canvas, oilRostov Regional Museum of Fine ArtsBallet. 1908-1909The gouache by Stepanov titled "Grand Opera" becomes particularly interesting, seemingly done in such a creatively interpreted manner of the Impressionists that it leads even major specialists in French art of the second half of the 19th century into attribution errors. In "Grand Opera" (c. 1922), with free brush strokes, indistinct yet deep colors—muted as they are—tender, unclear yet characterized silhouettes of figures in the dusky darkness of the auditorium and evaporating in the bright light of the stage, the airy white shadows of ballerinas easily glide across the stage. Stepanov's style is so close to Degas that it led many to attribute this small study not necessarily to Degas himself but at least to one of the artists from his circle. M.A. Dobrov testified to Stepanov's admiration for Degas’s work and his fascination with his masterful drawing. However, it would be incorrect to see in this study a blind imitation of French Impressionism. This is an inspired, excited, yet ultimately a practical exercise, driven by the artist's intrinsic desire to learn until the end of his days. Stepanov was genuinely moved only by the Russian theme.Careful attention should be given to the statements of Stepanov's students denying the presence of Impressionism in his work (A.P. Panfilov, V.A. Filipov, B.N. Yakovlev, and others).There exists a deep difference between the painting of the Impressionists and Stepanov's painting, rooted in the very principle...Here is the translation of the text into English: --- Their art. The Impressionist masterfully conveys the immediate impression. However, in the moment, his work loses something of the permanent essence that resides in every phenomenon, in every thing. Stepanov, on the other hand, aimed to capture the most essential, specifically that which gives tone and character to a phenomenon, discarding the unnecessary and looking deep into the heart of the object. Behind his light, quick, airy painting lies much skill but also a lot of hard work. "This is not Impressionism," says A.P. Panfilov. "He approached it gently, but with persistence." That is why in his animals, the "fur is always visible," even though it is hard to imagine anything more distant from naturalism than Stepanov's art. Years of diligent work, thousands of observational studies, meticulous study of animal anatomy, and along with all this, a comprehension of the artistic practice of all painting materials: paints, solvents, canvas, cardboard—all of this forms the foundation of Stepanov's method. This is why he did not allow his students to imitate him. He knew that such imitation could only be superficial and harmful. He taught them to see, to choose the main elements, to memorize; he taught them to train their eyes to distinguish the subtlest shades of tonality. **Self-Portrait. 1922** In 1920, Stepanov fell seriously ill but continued to work. One of Stepanov's last works, "The Swing" (1923), was acquired by the Carnegie Institute for its collection. Alexei Stepanovich Stepanov died in 1923 and was buried at Vagankovo Cemetery.