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拍品專文
Two mothers is a late work from Boris Grigoriev’s artistic career and demonstrates the visual change that occurred when he progressed from Formalism to what he deemed his 'realm of pure painting'. It was most probably painted in 1937 in the South of France, where he spent most of his time tirelessly creating art in his villa 'Borisella'. In Grigoriev’s letters to Alexandre Benois (1870-1960), he conveyed his current state of mind: 'I am completely sick, I feel almost crazy, I do not sleep, I do not eat, but I work endlessly' (Letter to A. Benois, 5 June 1937, Russian State Archive of Literature and Art, folio 938, folder 2, item 242).
The composition references two earlier works from the Breton cycle created during 1921-1926: Poverty, 1925; and Orientale, 1924. Grigoriev did not simply replicate the figures from the aforementioned paintings, but grouped them in pairs, where he paradoxically juxtaposed them and transposed their facial characteristics. The figures are united by a general feeling of tenderness and love. The static composition is further enlivened by expressive hand gestures, and distinctive decorative elements of hats and collars. The carefully modelled faces of the figures are akin to icons, with accentuated eyes which are distinguished by the delicate combination of elegant drawing and the complex texture of the medium.
Forty-four works painted in 1936-1937 in the South of France and South America, including Two Mothers, were shown at Grigoriev’s last personal exhibition in New York from 10-29 January 1938 in the Lilienfeld Gallery. His works surprised and delighted art critics with their free and vivid style. In headline reviews which mention Two mothers, it was noted as being characteristic of Grigoriev’s new manner, which heralded the novelty of the artist’s style as demonstrating 'new paintings in a decorative vein by Boris Grigoriev', which brought to the fore how 'Grigoriev begins anew' (M. D. New paintings in a decorative vein by Boris Grigoriev, The Art News, New York, 29 January 1938, p. 16). The New York Newspaper New Russian Word responded to the exhibition with a large article, stating 'Grigoriev’s technical mastery is that there is no tension in his new works, they are effortless' (Grigoriev Begins Anew, Art Digest, New York, 15 January 1938, p. 28). It is also worth noting that the composition of Two Mothers reflects Grigoriev’s interest in the traditions of Latin American painting, which has a long preserved naïve simplicity and decorative expressivity of the primitive.
Additionally, similar features appeared in portraits of children by the artist, such as in Chilean Girl and Uruguay Girl both painted in 1928, and in the monumental canvas Family from Cagnes-sur-Mer (1928, Chateau Museum Cagnes-sur-Mer).
The painting Two Mothers does not derive directly from the Breton master cycle, in which interest in national manifestations of character, rites, customs, and costume are channelled, but is a continuation of Grigoriev’s reflections on the originality of various cultures that portray universal human subjects.
We are grateful to Dr Tamara Galeeva, Senior Lecturer at the Ural State University, Ekaterinburg, for providing this catalogue note.
The composition references two earlier works from the Breton cycle created during 1921-1926: Poverty, 1925; and Orientale, 1924. Grigoriev did not simply replicate the figures from the aforementioned paintings, but grouped them in pairs, where he paradoxically juxtaposed them and transposed their facial characteristics. The figures are united by a general feeling of tenderness and love. The static composition is further enlivened by expressive hand gestures, and distinctive decorative elements of hats and collars. The carefully modelled faces of the figures are akin to icons, with accentuated eyes which are distinguished by the delicate combination of elegant drawing and the complex texture of the medium.
Forty-four works painted in 1936-1937 in the South of France and South America, including Two Mothers, were shown at Grigoriev’s last personal exhibition in New York from 10-29 January 1938 in the Lilienfeld Gallery. His works surprised and delighted art critics with their free and vivid style. In headline reviews which mention Two mothers, it was noted as being characteristic of Grigoriev’s new manner, which heralded the novelty of the artist’s style as demonstrating 'new paintings in a decorative vein by Boris Grigoriev', which brought to the fore how 'Grigoriev begins anew' (M. D. New paintings in a decorative vein by Boris Grigoriev, The Art News, New York, 29 January 1938, p. 16). The New York Newspaper New Russian Word responded to the exhibition with a large article, stating 'Grigoriev’s technical mastery is that there is no tension in his new works, they are effortless' (Grigoriev Begins Anew, Art Digest, New York, 15 January 1938, p. 28). It is also worth noting that the composition of Two Mothers reflects Grigoriev’s interest in the traditions of Latin American painting, which has a long preserved naïve simplicity and decorative expressivity of the primitive.
Additionally, similar features appeared in portraits of children by the artist, such as in Chilean Girl and Uruguay Girl both painted in 1928, and in the monumental canvas Family from Cagnes-sur-Mer (1928, Chateau Museum Cagnes-sur-Mer).
The painting Two Mothers does not derive directly from the Breton master cycle, in which interest in national manifestations of character, rites, customs, and costume are channelled, but is a continuation of Grigoriev’s reflections on the originality of various cultures that portray universal human subjects.
We are grateful to Dr Tamara Galeeva, Senior Lecturer at the Ural State University, Ekaterinburg, for providing this catalogue note.