Vladimir Davidovich Baranoff-Rossiné  (Russian, 1888-1944) Still life with fruit and flowers, c.1910-15
Lot 35W
Vladimir Davidovich Baranoff-Rossiné
(Russian, 1888-1944)
Still life with fruit and flowers, c.1910-15
£ 700,000 - 900,000
US$ 930,000 - 1,200,000

Lot Details
Vladimir Davidovich Baranoff-Rossiné  (Russian, 1888-1944) Still life with fruit and flowers, c.1910-15
Vladimir Davidovich Baranoff-Rossiné (Russian, 1888-1944)
Still life with fruit and flowers, c.1910-15
signed in Latin (lower left); verso with stamp of authentication signed by the artist's wife, Pauline Baranoff-Rossine
oil on canvas
135 x 160cm (53 1/8 x 63in).


  • Provenance
    Acquired directly from the family of the artist

    We are grateful to Dimitri Baranoff-Rossiné, son of the artist for confirming the authenticity of the offered lot. The lot will be accompanied by a unique certificate of authenticity.

    In his book on Baranoff-Rossiné, Andrei Sarabianov suggested that the pseudonym chosen by Vladimir Baranoff, 'Daniel Rossiné', not only clearly stated the Russian origin of the artist, but also sounded similar to the name of the Delaunays. In the early 1910s Baranoff- Rossiné met the Delaunays and this meeting quickly grew into a close friendship that influenced the development of Baranoff's art. Robert Delaunay is known as one of the founders of Fauvism, an artistic movement that emphasized the application of paint in a less controlled manner, strong colours, and highly simplified subject matter which shifts towards abstraction. Fauvism was one of many stylistic approaches that Baranoff -Rossiné adopted, and from the very start of his emigration from Russia, he was caught up in a vortex of artistic movements, events and styles. 'He was able to familiarize himself not only with newly emerging styles, but also with individual approaches of various artists, from Cézanne and Léger through to Delaunay and Picasso' (A. Sarabianov, 'Baranov-Rossiné', Trefoil Press, Moscow, 2002, p.62). Even though one may say that Baranoff 'was the most stylistically sensitive artist amongst his contemporaries' (A. Sarabianov, p.62), the variety of stylistic references in his works does not diminish his own creative potential and individuality. 'In simple terms,' writes Sarabianov, 'the individuality of the artist is not to be found merely in the originality of the styles he uses, or in their odd and complicated combinations, but in so called super-stylistic features in the attitude of the artist.' (A. Sarabianov, p.62). Besides, the ability of Baranoff-Rossiné to adopt such a range of stylistic approaches is fascinating in its own right and allows an engagement with the most recent debates making his artistic legacy versatile and contemporaneous.

    Even prior to his arrival in Paris, Baranoff-Rossiné was already working in the style of neo-expressionism with strong elements of fauvism, which is why further development in this direction through the influence of Delaunays was only a natural extension of his chosen creative path. On the other hand, the emerging school of cubism was offering something entirely new in terms of perception of Russian immigrants. Baranoff, however, was never a true follower of cubism; instead, borrowing some of its features, he used them superficially, mostly for the purposes of stylization. This allusion to cubism together with a much more explicit fauvist style can be seen in the offered lot, 'Still life'. The composition consists of so vibrant a palette and vivacity of expression that it almost contradicts the essence of a still life, because of its inherent energy. The painting is not dated, but appears to bear similarities to other still lifes produced by Baranoff in the first half of the 1910s. The painting conveys a simultaneous and kinetic perception of the objects, almost contradicting their static nature and placing them at the forefront in the chromatically linked pictorial space. Baranoff clearly saw his artistic problems in terms of conveying 'a surface [as] the movement of a line, a line [as] the movement of a point, [...] a colour as an integral part of its corresponding form' (A. Sarabianov, p.146). Each object is removed from its everyday ordinary environment in order to be integrated into 'a strong-willed system in the search for dynamic nature of form and colour' (A. Sarabianov, p.146). Everything on his canvas seems to have speed: the speed of the artistic hand in the brushstrokes, the speed of the colour-connectivity on the canvas, the speed of the plant growing on the table and the table stretching its legs beyond the canvas, the speed of the painting itself which inflicts on the viewer the rules of perception usually affiliated with music. This complexity of coordination of visual space bears allusion to 'The Optophonic Piano', an electronic optical instrument that Baranoff-Rossiné created in 1916, which generated sounds and projected revolving patterns onto a wall, allowing the perception of music and painting to coexist and affect the viewer simultaneously.
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  1. Daria Khristova nee Chernenko
    Specialist - Russian Paintings and Works of Art
    101 New Bond Street
    London, United Kingdom W1S 1SR
    Work +44 20 7468 8338
    FaxFax: +44 20 7447 7434
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