Art

When Russian Art Went to New York in 1924 – The Moscow Times

Published

3 years ago

October 4, 2021

The Museum of Russian Impressionism in Moscow has once again organized a show of little-known but fascinating Russian art.

“Other Shores” is a partial reconstruction of an almost forgotten exhibition held almost 100 years ago in New York, in 1924. The exhibition included works by Petr Konchalvsky, Igor Grabar, Mikhail Lariononv, Aristarkh Lentulov, Boris Grigoriev, and Stanislav Zhukovsky. At the entrance to the show visitors are greeted by black and white photographs flashing images of ladies in feathers, Anna Pavlova in a tutu, Fyodor Chaliapin in a dressing gown, dirigibles floating over the Manhattan skyscrapers and Buster Keaton dashing after his automobile.

The name “Other Shores” refers to the autobiography by one of the greatest Russian writers in emigration, Vladimir Nabokov. The 1924 show had a different name: It was called the Russian Art Exhibition and was advertised with posters of a bearded merchant in a warm, bright blue homespun coat painted by Boris Kustodiev.

The show is filled with masterpieces of Russian art that had become completely unknown in Russia, such as Konstantin Somov’s “The Old Ballet” (1923) painted a year before the exhibition. It might have been chosen by the curators of that distant show as an allegory of pre-Revolutionary Russia. After all, ballet was the embodiment of all the glory and power of the empire, the quintessence of the luxury that the Russian court was famous for. Two small porcelain statuettes by the same artist — “A Lady Removing Her Mask” and “Lovers” — are some of the show’s best works despite their small size.

Forgotten masterpieces

Seven works by Kuzma Petrov-Vodkin were sent to New York, most of them portraits, including one of Anna Akhmatova, a family portrait and one painting of his wife. The exhibition includes Petrov-Vodkin’s “Yellow Face” (1921), which was sent to Moscow from the Chuvash State Art Museum.

“The Old Ballet” by Konstantin Somov, 1923
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Another fine work is “Officer’s Barbershop” by Mikhail Larionov that is now in the collection of the Albertina Museum in Vienna. Done in the “neo-primitivist period of the artist, when he was inspired by provincial Russian signs,” the catalog notes, it is brilliantly colorful and comedic.

The vivid painting “A Young Peasant Woman” (1920) by Abram Arkhipov had a curious fate. It was purchased during the tour by the Arts and Crafts Club of New Orleans, which then passed it on to what is now the Art Museum of News Orleans. It remained there until 2008 when it was sold to a private collector at an auction at Christie’s.

The museum curators Olga Yurkina, Daria Uryadova, and Yulia Petrova wanted to recreate the chronicle of events and find all the works that represented distant Russia — then already Soviet Russia — to the American public. But the show had little “Soviet art.” The paintings reflected the spirit of the recent past or the 1920s.

“Officer’s Barbershop,” by Mikhail Larionov, 1907-1909
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Great artists, bad businessmen

The exhibition that crossed almost all of prosperous America was organized by the painters themselves — Igor Grabar, Sergei Vinogradov, and Konstantin Somov — and not without a certain dose of opportunism. The chance to show their works in America seemed like salvation to artists in dire straits after the 1917 Revolution. They invited about one hundred of the best artists in the country, including Martiros Saryan,Anna Golubkina, Konstantin Yuon, Isaak Brodsky and Stanislav Zhukovsky. More than one thousand works of art were packed and sent by ship to the U.S. They were chosen as works for every taste, from the Wanderers to scandalous avant-garde artists, from gloomy views of the outskirts of St. Petersburg to the erotic “Book of the Marquess.”

When the Russian artists arrived in New York, they were completely bowled over by the city: skyscrapers — “new Cologne cathedrals” — a sea of lights, the sounds of jazz. It was all new and unfamiliar to them. “America is not at all like Europe, it’s a completely different country,” Sergei Vinogradov wrote home.

As the notes to the exhibition explain, “The artists didn’t have the goal of making their mark in the history of Russian-American relations: they were busy with more down-to-earth tasks and weren’t trying to capture it all on paper and canvas. They undoubtedly could not imagine that 100 years from then people would be studying this lark as something serious.”

“A Young Peasant Woman” by Abram Arkhipov, 1920
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Although at the time the U.S. government had not recognized the Soviet Union, the artists from Russia were greeted quite warmly by the press and public. After the show in New York, the exhibition went on tour around the country and was even sent north to Canada. In the end, the organizers had a loss of more than $15,000 due to their ignorance of American life, inflated expectations, and the steep prices set by the artists. In January 1927 the exhibition returned to Russia.

Take the exhibition with you

At the end of this show is a marvelous catalog that allows you to see the detailed graphics up close. They are worth looking at, especially works by Vasily Masyutin with his expressive portraits of his contemporaries, and book covers done by Dmitri Mitrokhin. Unfortunately, the dim lighting in the show, designed to be expressive, sometimes makes it difficult to see all the works well. In one dark corner is a double watercolor portrait of the daughters of the opera singer Fyodor Chaliapin, Marfa and Marina, paintedby Boris Kustodiev in 1920. The catalog brings it to life.

The catalog also includes works that were sent to New York in 1924 but not available for display in the show. One of these works is a painting by Ilya Mashkov called “Russian Venus” (1914) that depicts a nude Russian beauty lying in front of an enormous painting of Napoleon on a troika, galloping with his troops across the Russian fields.

The show will run until Jan. 16, 2022. For more information and ticket sales, see the site here.

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Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

6 days ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

1 month ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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