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拍品專文
THE SON OF A RUSSIAN COUNT, ANDR LANSKOY GREW UP IN ST. PETERSBURG, AND AS A YOUNG MAN HE WAS IMPRESSED BY THE MURALS OF THE STAGE DESIGNER SERGI SOUDEIKINE, WHOSE WORK WAS INFLUENCED BY FOLK PATTERNING AND TRADITIONAL COLOR. HAVING FOUGHT IN THE WHITE RUSSIAN ARMY AGAINST THE BOLSHEVIKS, LANSKOY HAD TO SEEK REFUGE IN KIEV IN 1919, AND THERE HE BEGAN EXPERIMENTING WITH WATERCOLOR AND GOUACHE. IN 1921, HE REACHED PARIS AND BEGAN PAINTING IN EARNEST.
UNDER THE TUTELAGE OF HIS MENTOR AND CHILDHOOD HERO, SERGI SOUDEIKINE, AND LATER UNDER THE INFLUENCE OF CHAIM SOUTINE, LANSKOY PAINTED MANY EXPRESSIONIST FIGURES AND STILL-LIFES. IN 1924, HE WAS DISCOVERED BY WILHELM UHDE, THROUGH WHOM HE WAS RECOMMENDED TO THE GALERIE BING, GIVING HIM A MEASURE OF COMMERCIAL SUCCESS.
IN 1939, LANSKOY BEGAN LIBERATING COLOR FROM ITS DESCRIPTIVE FUNCTION, AND IN 1949 STARTED PAINTING ABSTRACT PAINTINGS, PRIMARILY TAKING HIS INSPIRATION FROM KANDINSKY AND KLEE. HE UNDERSTOOD HIS ABSTRACT WORK AS THE CONSEQUENCE OF HIS PREVIOUS OEUVRE, NOT AS A RADICALLY DIFFERENT CHANGE. HE BECAME ONE OF THE PIONEERS OF TACHISM, PRODUCING VIVIDLY COLORED, LOOSELY IMPROVISED WORK. NICOLAS DE STEL SAW SOME OF HIS EARLY ABSTRACT WORK IN 1944, AND A CLOSE FRIENDSHIP BETWEEN THE TWO ARTISTS ENSUED. GRADUALLY HIS WORK BECAME EVEN MORE LOOSE AND IMPULSIVE, WITH RHYTHMIC CLUSTERS OF THICK PAINT CONTRASTING WITH THINNER AREAS; THE COLORS ATTAINED A RICHNESS AND EXUBERANCE OF GRAND PROPORTIONS.
UNDER THE TUTELAGE OF HIS MENTOR AND CHILDHOOD HERO, SERGI SOUDEIKINE, AND LATER UNDER THE INFLUENCE OF CHAIM SOUTINE, LANSKOY PAINTED MANY EXPRESSIONIST FIGURES AND STILL-LIFES. IN 1924, HE WAS DISCOVERED BY WILHELM UHDE, THROUGH WHOM HE WAS RECOMMENDED TO THE GALERIE BING, GIVING HIM A MEASURE OF COMMERCIAL SUCCESS.
IN 1939, LANSKOY BEGAN LIBERATING COLOR FROM ITS DESCRIPTIVE FUNCTION, AND IN 1949 STARTED PAINTING ABSTRACT PAINTINGS, PRIMARILY TAKING HIS INSPIRATION FROM KANDINSKY AND KLEE. HE UNDERSTOOD HIS ABSTRACT WORK AS THE CONSEQUENCE OF HIS PREVIOUS OEUVRE, NOT AS A RADICALLY DIFFERENT CHANGE. HE BECAME ONE OF THE PIONEERS OF TACHISM, PRODUCING VIVIDLY COLORED, LOOSELY IMPROVISED WORK. NICOLAS DE STEL SAW SOME OF HIS EARLY ABSTRACT WORK IN 1944, AND A CLOSE FRIENDSHIP BETWEEN THE TWO ARTISTS ENSUED. GRADUALLY HIS WORK BECAME EVEN MORE LOOSE AND IMPULSIVE, WITH RHYTHMIC CLUSTERS OF THICK PAINT CONTRASTING WITH THINNER AREAS; THE COLORS ATTAINED A RICHNESS AND EXUBERANCE OF GRAND PROPORTIONS.