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拍品專文
Vladimir Baranov-Rossiné (1888-1944) embodied the spirit of invention and creativity, deserving the title 'un genie multiple' given to him by J. C. Marcadé.
Born in the village of Bolshaia Lepatikha in Southern Russia, Baranov-Rossiné attended the Odessa Academy of Art (1903-1908) before studying alongside such seminal Russian artists as Larionov, Goncharova and Burliuk at the St. Petersburg Academy (1908-9). In the same emigratory 'wave' Nathan Altman and Ivan Puni, Baranov-Rossiné left for Paris in 1910, discarding his Ukrainian birth-name of Shulim Wolf Baranov in favour of the pseudonym Daniel Rossiné. This self-transformation was later completed thorough the amalgamation of both his French and provincial Russian backgrounds when he adopted the surname Baranov-Rossiné. This merge of identities was not restricted to name alone; the fusion of East with West, Russian with European, left a distinctive imprint on his oeuvre.
Although he was mainly trained in Russia, Baranov-Rossiné, like his contemporaries Kandinsky and Chagall, is stylistically considered a European rather than a Russian artist; as such he is well represented in a number of the world's most important public collections, including the Museum of Modern Art, New York, The State Russian Museum, St. Petersburg and the Centre Georges Pompidou, Paris. It was in the period 1910-15 that Baranov-Rossiné worked most closely with the école de Paris, notably Chagall, Delaunay, Archipenko and Zadkine. His works encompass artistic tendencies that range from French and German Schools to those of Russian decorative art. In this sense, the fluidity of Baranov-Rossiné's work, including painting, pictorial reliefs and sculpture, makes him difficult to define. As Gleb Pospelov observed '[Baranov-Rossiné] was able to familiarize himself not only with newly emerging styles, but also with the individual approaches of various artists, from Cézanne and Léger through to Delaunay and Picasso.' (Exhibition catalogue; Vladimir Baranov-Rossiné, Moscow, 2002, p. 8).
'Cockerel and Rhubarb' shares many stylistic features with other works from Baranov-Rossiné's first French period (1910-1914), a prolific formative phase in the artist's development. Transcending salon style, the artist embarked on a number of large, decorative canvases where colour and pattern superseded the traditional motif. The chromatism and stylisation of present work is highly distinctive to Baranov-Rossiné's oeuvre; he believed in the principles of 'similtaneity' and insisted "not on consecutive but on simultaneous chromatic, geometric and kinetic perception. Colours should not be used to reproduce the colour of an object but on a self-contained basis" (Baranov-Rossiné, as cited in J-C. Marcadé et al., Baranov-Rossiné, Moscow, 2002).
In the present work, the graduated pools of colour give depth to the surface pattern consisting of fanned crescents and curved forms. This dynamic effectively makes the composition 'pop' or vibrate. The variegated rhubarb leavesm dappled with green and blue huesm dominate the canvas yet provide a perfect foil to the proud cockerel whose plummage is delineated with fluid streaks of red and purple. The result is a striking composition that anticipates Baranov-Rossiné's progression towards finding a synthesis of colour, movement and music.
Born in the village of Bolshaia Lepatikha in Southern Russia, Baranov-Rossiné attended the Odessa Academy of Art (1903-1908) before studying alongside such seminal Russian artists as Larionov, Goncharova and Burliuk at the St. Petersburg Academy (1908-9). In the same emigratory 'wave' Nathan Altman and Ivan Puni, Baranov-Rossiné left for Paris in 1910, discarding his Ukrainian birth-name of Shulim Wolf Baranov in favour of the pseudonym Daniel Rossiné. This self-transformation was later completed thorough the amalgamation of both his French and provincial Russian backgrounds when he adopted the surname Baranov-Rossiné. This merge of identities was not restricted to name alone; the fusion of East with West, Russian with European, left a distinctive imprint on his oeuvre.
Although he was mainly trained in Russia, Baranov-Rossiné, like his contemporaries Kandinsky and Chagall, is stylistically considered a European rather than a Russian artist; as such he is well represented in a number of the world's most important public collections, including the Museum of Modern Art, New York, The State Russian Museum, St. Petersburg and the Centre Georges Pompidou, Paris. It was in the period 1910-15 that Baranov-Rossiné worked most closely with the école de Paris, notably Chagall, Delaunay, Archipenko and Zadkine. His works encompass artistic tendencies that range from French and German Schools to those of Russian decorative art. In this sense, the fluidity of Baranov-Rossiné's work, including painting, pictorial reliefs and sculpture, makes him difficult to define. As Gleb Pospelov observed '[Baranov-Rossiné] was able to familiarize himself not only with newly emerging styles, but also with the individual approaches of various artists, from Cézanne and Léger through to Delaunay and Picasso.' (Exhibition catalogue; Vladimir Baranov-Rossiné, Moscow, 2002, p. 8).
'Cockerel and Rhubarb' shares many stylistic features with other works from Baranov-Rossiné's first French period (1910-1914), a prolific formative phase in the artist's development. Transcending salon style, the artist embarked on a number of large, decorative canvases where colour and pattern superseded the traditional motif. The chromatism and stylisation of present work is highly distinctive to Baranov-Rossiné's oeuvre; he believed in the principles of 'similtaneity' and insisted "not on consecutive but on simultaneous chromatic, geometric and kinetic perception. Colours should not be used to reproduce the colour of an object but on a self-contained basis" (Baranov-Rossiné, as cited in J-C. Marcadé et al., Baranov-Rossiné, Moscow, 2002).
In the present work, the graduated pools of colour give depth to the surface pattern consisting of fanned crescents and curved forms. This dynamic effectively makes the composition 'pop' or vibrate. The variegated rhubarb leavesm dappled with green and blue huesm dominate the canvas yet provide a perfect foil to the proud cockerel whose plummage is delineated with fluid streaks of red and purple. The result is a striking composition that anticipates Baranov-Rossiné's progression towards finding a synthesis of colour, movement and music.