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Lot Essay
Pavel Filonov (1888-1941) was one of the most prominent figures and theoreticians of Russian Futurism and the avant-garde; a remarkable artist whose fierce intellect was matched with a considerable artistic talent.
Born in Moscow, Filonov was orphaned at a young age and subsequently moved to St. Petersburg under the ward of an aunt who provided him with a decent education. These circumstances enforced a premature independence and by 1897 Filonov was, to a large extent, supporting himself whilst studying at the OPKh (Society for the Encouragement of the Arts), St. Petersburg. This school prepared master-carvers and craftsmen specialising in ornaments and stucco molding. From 1898 Filonov took evening drawing classes and in 1901 received his diploma as master-painter. By this time he had a variety of different jobs, ranging from house painting, retouching photographs and making posters and wrappers for goods to restoring the 'Pompeian' plafonds in the Hermitage.
Perhaps the most influential figure in Filonov's artistic development was L. E. Dmitriev-Kavkazskii (b. 1849) who taught the young student privately during the period 1903-1908. Filonov used this time with Dmitriev-Kavkazskii to study human and animal anatomy in great detail, perhaps anticipating Filonov's anthropomorphism in his mature work.
After his fourth attempt at entry, Filonov was finally admitted into The Academy of Fine Arts in St. Petersburg in 1908. His work from nature was admired for its unusual combination of anatomical accuracy with an unorthodox palette of reds, blues, greens and oranges. However, his refusal to conform to the conservative standards of the Academy led to his dismissal 'for influencing comrades by the lewdness of his work'. Filonov protested against the Rector's decision and was briefly rehabilitated, but in 1910 left the Academy permanently after only two years of study.
Released from the academic shackles of the Academy, Filonov thrived and his earliest mature work dates from this period, most notably 'A Hero and his Fate' (1909, State Russian Museum, St. Petersburg). From 1910 he regularly exhibited with the Union of Youth and became a founding member of the Union of Artists the same year. He also collaborated with the literary avant-garde, entering into intellectual dialogue with Vladimir Maiakovskii (1893-1930) and Velimir Khlebnikov (1885-1922).
The present work, dated 1913, was painted during this intense and stimulating period and shows the influence of two of Filonov's embryonic artistic principles which later developed into his more cohesive theory of 'Analytical Art'.
During the period 1910-1913 Filonov formulated the principle of sdelannost', a neologism meaning 'handcrafted' or 'madeness', which placed emphasis on craftsmanship and thus the representation of every atom of a perceived object. In effect, this led to his crowded compositions, the impression that his figures are carved and modelled from wood, and the superb crystalline detail so characteristic of his work.
In addition, 'The Adoration of the Magi' also appears to relate to Filonov's cycle known as Mirovoi rassvet or 'Universal blooming' in which Filonov treated subjects from the New Testament, confirming their eternal significance and universal relevance. A large oil known as 'Peasant Family (The Holy Family)' (1914, State Russian Museum, St. Petersburg), also from this series, shares similarities with the composition of the present lot, in particular the depiction of the mother and child.
Filonov died on 3 December 1941 during the blockade of Leningrad. Following his death, his sister transferred the majority of his paintings and graphic works to the State Russian Museum, St. Peterburg, making the appearance of this important work at auction a rare occurrence.
Born in Moscow, Filonov was orphaned at a young age and subsequently moved to St. Petersburg under the ward of an aunt who provided him with a decent education. These circumstances enforced a premature independence and by 1897 Filonov was, to a large extent, supporting himself whilst studying at the OPKh (Society for the Encouragement of the Arts), St. Petersburg. This school prepared master-carvers and craftsmen specialising in ornaments and stucco molding. From 1898 Filonov took evening drawing classes and in 1901 received his diploma as master-painter. By this time he had a variety of different jobs, ranging from house painting, retouching photographs and making posters and wrappers for goods to restoring the 'Pompeian' plafonds in the Hermitage.
Perhaps the most influential figure in Filonov's artistic development was L. E. Dmitriev-Kavkazskii (b. 1849) who taught the young student privately during the period 1903-1908. Filonov used this time with Dmitriev-Kavkazskii to study human and animal anatomy in great detail, perhaps anticipating Filonov's anthropomorphism in his mature work.
After his fourth attempt at entry, Filonov was finally admitted into The Academy of Fine Arts in St. Petersburg in 1908. His work from nature was admired for its unusual combination of anatomical accuracy with an unorthodox palette of reds, blues, greens and oranges. However, his refusal to conform to the conservative standards of the Academy led to his dismissal 'for influencing comrades by the lewdness of his work'. Filonov protested against the Rector's decision and was briefly rehabilitated, but in 1910 left the Academy permanently after only two years of study.
Released from the academic shackles of the Academy, Filonov thrived and his earliest mature work dates from this period, most notably 'A Hero and his Fate' (1909, State Russian Museum, St. Petersburg). From 1910 he regularly exhibited with the Union of Youth and became a founding member of the Union of Artists the same year. He also collaborated with the literary avant-garde, entering into intellectual dialogue with Vladimir Maiakovskii (1893-1930) and Velimir Khlebnikov (1885-1922).
The present work, dated 1913, was painted during this intense and stimulating period and shows the influence of two of Filonov's embryonic artistic principles which later developed into his more cohesive theory of 'Analytical Art'.
During the period 1910-1913 Filonov formulated the principle of sdelannost', a neologism meaning 'handcrafted' or 'madeness', which placed emphasis on craftsmanship and thus the representation of every atom of a perceived object. In effect, this led to his crowded compositions, the impression that his figures are carved and modelled from wood, and the superb crystalline detail so characteristic of his work.
In addition, 'The Adoration of the Magi' also appears to relate to Filonov's cycle known as Mirovoi rassvet or 'Universal blooming' in which Filonov treated subjects from the New Testament, confirming their eternal significance and universal relevance. A large oil known as 'Peasant Family (The Holy Family)' (1914, State Russian Museum, St. Petersburg), also from this series, shares similarities with the composition of the present lot, in particular the depiction of the mother and child.
Filonov died on 3 December 1941 during the blockade of Leningrad. Following his death, his sister transferred the majority of his paintings and graphic works to the State Russian Museum, St. Peterburg, making the appearance of this important work at auction a rare occurrence.