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拍品專文
Sergei Chekhonin embodies all the facets of a complete artist: he was a painter, illustrator and designer for the theater and of porcelain. A student of Ilya Repin and Princess Tenisheva, he became an active member of Mir Iskusstva while engaged as an illustrator which brought him public recognition. Lots 117, 118 and 119 are a perfect reflection of Chekhonin's talent for combining the art of the past with an element of sparkling modernity.
This ingenious and multipurpose artist developed a distinctive personal style where calligraphy, the use of garlands, bouquets and other classic designs take prominence. He perfectly symbolises the transition of the rich and inventive Russian decorative arts to modernity. He served as Artistic Director of the State Porcelain Factory from 1918 to 1923, whose creations from this period are still much admired by connoisseurs today. The artist likely remains the most important point of reference for the creation of post-revolutionary porcelain. His profound knowledge of culture and his impeccable sense of design, mixed with an adventurous approach to colour, place Chekhonin on a level rarely attained by any other artist. During the Exposition Universelle in Paris in 1925, he was awarded, along with other Russian porcelain designers, a gold medal for his works. Lot 111 is clear evidence of a work in progress for a porcelain plate design with a rare sense of detail and a perfect balance of proportion.
Having emigrated to France in 1928, Chekhonin met and married Ms Vytchegjanine, also a Russian émigé, who already had a son. The boy, Pierre Ino (1909-1989),was later adopted by Chekhonin and went on to become a critically acclaimed artist in his own right. The group of works presented over the next few pages come from the collection of Pierre Ino and reveal Chekhonin's vision, each piece providing additional information about his creative process and a glimpse into the artist's world.
This ingenious and multipurpose artist developed a distinctive personal style where calligraphy, the use of garlands, bouquets and other classic designs take prominence. He perfectly symbolises the transition of the rich and inventive Russian decorative arts to modernity. He served as Artistic Director of the State Porcelain Factory from 1918 to 1923, whose creations from this period are still much admired by connoisseurs today. The artist likely remains the most important point of reference for the creation of post-revolutionary porcelain. His profound knowledge of culture and his impeccable sense of design, mixed with an adventurous approach to colour, place Chekhonin on a level rarely attained by any other artist. During the Exposition Universelle in Paris in 1925, he was awarded, along with other Russian porcelain designers, a gold medal for his works. Lot 111 is clear evidence of a work in progress for a porcelain plate design with a rare sense of detail and a perfect balance of proportion.
Having emigrated to France in 1928, Chekhonin met and married Ms Vytchegjanine, also a Russian émigé, who already had a son. The boy, Pierre Ino (1909-1989),was later adopted by Chekhonin and went on to become a critically acclaimed artist in his own right. The group of works presented over the next few pages come from the collection of Pierre Ino and reveal Chekhonin's vision, each piece providing additional information about his creative process and a glimpse into the artist's world.