Konstantin Alexeevich Korovin (Russian, 1861-1939) Portrait of Yolanda Lacca, 1935
Lot 39
Konstantin Alexeevich Korovin
(Russian, 1861-1939)
Portrait of Yolanda Lacca, 1935
Sold for £100,000 (US$ 133,665) inc. premium

The Russian Sale

29 Nov 2017, 15:00 GMT

London, New Bond Street

Lot Details
Konstantin Alexeevich Korovin (Russian, 1861-1939) Portrait of Yolanda Lacca, 1935 Konstantin Alexeevich Korovin (Russian, 1861-1939) Portrait of Yolanda Lacca, 1935 Konstantin Alexeevich Korovin (Russian, 1861-1939) Portrait of Yolanda Lacca, 1935
Konstantin Alexeevich Korovin (Russian, 1861-1939)
Portrait of Yolanda Lacca, 1935
signed in Latin (lower left) and inscribed 'Paris 1935' (upper left)
oil on canvas
76 x 50cm (29 15/16 x 19 11/16in).

Footnotes

  • Provenance
    The collection of Fabio Calenda and Tessa Rosenfeld, the daughter of the sitter


    The offered lot, Portrait of Yolanda Lacca, is a sensitive portrayal of a young ballerina and a notable work from the artist's late Parisian period. Korovin was friends with Yolanda's father, Cesare, a prominent art director of French films and the commission undoubtedly arose from this friendship.

    Just two years after sitting for this portrait, Yolanda Lacca was declared by Serge Lifar as 'l'enfant prodige', and invited to dance with him in the Pushkin Festival at Salle Pleyel. Notably, at the Ballet de la Jeunesse, Yolanda had been taught by the famous ballerinas Liubov Egorova and Mathilde Kschessinska. Lacca was soon discovered by Leonid Massine who persuaded her father to allow her to join the Ballet Russes de Monte Carlo where Massine worked with George Balanchine as choreographer. Lacca first danced professionally in Monte Carlo at the age of 14 and made her solo debut with the Butterfly role in Fokine's Trial of Love. She appeared at the Metropolitan Opera House in New York in 1938, and would tour with the Ballets Russes in the United States, England, Italy and South America. Her final performance in America took place with the Ballets Russes in 1945 as a guest artist at the Philharmonic Auditorium in Los Angeles.

    Significantly, Yolanda corresponded frequently with Madame Kschessinska throughout her life and the letters serve as a fascinating record of the period.

    В 1930х годах Константин Коровин живет в Париже и активно участвует в работе театральных трупп. Он оформляет оперу Римского-Корсакова Золотой Петушок, оперу Борис Годунов, а также 10 спектаклей для труппы Анны Павловой. Активная связь художника с театром, а также дружба художника с итальянским директором студии французских фильмов Черазе Лаккой и его супругой из Российской империи Евгенией, привела к созданию данного портрета.
    Через два года после позирования для портрета Иоланда была приглашена Сержем Лифарем выступать на фестивале Пушкина в зале Плейель. Ее педагогами были известные балерины Любовь Егорова и Матильда Кшесинская, с которой Иоланда впоследствии дружила и вела активную переписку до конца жизни. Вскоре после этого Иоланду замечает Леонид Мясин и молодая балерина присоединяется к труппе Русских балетов в Монте-Карло. Балерина, чей талант был признан ведущими хореографами, впервые выступила на сцене в Монте-Карло в балете ФокинаИспытание любви, в котором у нее было соло бабочки. Данный портрет находился с Иоландой, гастролирующей с Русскими балетами в США, Англии, Италии и Южной Америке, до последних дней, как напоминание о первых шагах в балетном мире. Вторая мировая прервала балетную карьеру Лакки, ее последнее выступление состоялось в 1945 году в Philharmonic Auditorium в Лос-Анджелесе.
    В данном портрете Константину Коровину удалось передать стеснительность и нежность юной балерины, ее спокойное лицо полно очарования, а пастельные колорит, используемый художником в качестве фона, усиливает общее настроение работы. Портрет, написанный в импрессионистической манере, перекликается с более ранними работами до парижского периода с их этюдной незавершённостью, отсутствием гладкого письма и легкостью крупного мазка.
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