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拍品專文
Abram Efimovitch Arkhipov trained at the Moscow School of Painting, Sculpture and Architecture under Vasilii Perov, Aleksei Safrasov, Vladimir Makovskii and Vasilii Polenov. In 1889 he joined the Wanderers, a group of Russian artists who had one main characteristic: an intense commitment to Russian subjects and scenes. This distinguishing quality was grounded in the conviction that art should serve a public, social function, conveying civic, moral, or national values, rather than focus on aesthetic expression and stylistic refinement.
Later a teacher at the Moscow School of Painting, Sculpture and Architecture (1894-1918) and one of the founders of the influential Union of Russian Artists, Arkhipov was deeply involved in the Russian artistic movement of the late 19th and early 20th Centuries. He was heavily indebted to Russian Realism, a response to the liberalisation of the old aristocratic institutions of the Empire, which granted Russian artists the possibility of exploring their interests in the hard life of the Russian peasant. Arkhipov found a rich and diverse source of inspiration in the Russian countryside and the peasantry. Noticeably he combined this approach with a more impressionistic style of studying the effect of light, rhythm and texture in his works of art.
Today Arkhipov is probably best remembered for his dynamic pictures of peasant women, a constant theme in the 1910s and 1920s, of which Village women on Sunday is a key work. It is a superb example of his outstanding dynamic brushstroke, with its characteristic deep impasto. Thematically and artistically it is related to two of his most famous paintings, Laundresses, which hang in the Russian Museum of St. Petersburg and the Tretiakov Gallery in Moscow respectively.
Throughout Arkihpov's life-time his works were exhibited widely, including in the Wanderers' and World of Art exhibitions. Periodically he would travel around Western Europe, displaying his paintings as he went. After the Russian Revolution (1917) his work continued to be appreciated and exhibited often, both at home and abroad.
Later a teacher at the Moscow School of Painting, Sculpture and Architecture (1894-1918) and one of the founders of the influential Union of Russian Artists, Arkhipov was deeply involved in the Russian artistic movement of the late 19th and early 20th Centuries. He was heavily indebted to Russian Realism, a response to the liberalisation of the old aristocratic institutions of the Empire, which granted Russian artists the possibility of exploring their interests in the hard life of the Russian peasant. Arkhipov found a rich and diverse source of inspiration in the Russian countryside and the peasantry. Noticeably he combined this approach with a more impressionistic style of studying the effect of light, rhythm and texture in his works of art.
Today Arkhipov is probably best remembered for his dynamic pictures of peasant women, a constant theme in the 1910s and 1920s, of which Village women on Sunday is a key work. It is a superb example of his outstanding dynamic brushstroke, with its characteristic deep impasto. Thematically and artistically it is related to two of his most famous paintings, Laundresses, which hang in the Russian Museum of St. Petersburg and the Tretiakov Gallery in Moscow respectively.
Throughout Arkihpov's life-time his works were exhibited widely, including in the Wanderers' and World of Art exhibitions. Periodically he would travel around Western Europe, displaying his paintings as he went. After the Russian Revolution (1917) his work continued to be appreciated and exhibited often, both at home and abroad.