Aleksandr Aleksandrovich Deineka (Russian, 1899-1969) Still life with game

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Lot 55*
Aleksandr Aleksandrovich Deineka
(Russian, 1899-1969)
Still life with game

Sold for £ 137,500 (US$ 181,094) inc. premium
Aleksandr Aleksandrovich Deineka (Russian, 1899-1969)
Still life with game
oil on canvas
45 x 34cm (17 11/16 x 13 3/8in).

Footnotes

  • Provenance
    Family of the artist


    Exhibited
    Moscow, Vystavka proizvedenii Aleksandra Aleksandrovicha Deineki, 1957
    Moscow, Aleksandr Aleksandrovich Deineka. Vystavka proizvedenii, 1969
    Moscow, Aleksandr Aleksandrovich Deineka, 1899-1969. Zhivopis', skul'ptura, grafika. Vystavka proizvedenii k 90-letiyu so dnya rozhdeniya, 1989-1990


    Literature
    Vystavka proizvedenii Aleksandra Aleksandrovicha Deineki, exhibition catalogue, Moscow, 1957, listed p. 18 (dated 1938)
    Aleksandr Aleksandrovich Deineka, 1899-1969. Vystavka proizvedenii, exhibition catalogue, Moscow, 1969, listed p. 31 (dated 1938)
    Aleksandr Aleksandrovich Deineka, 1899-1969. Zhivopis', skul'ptura, grafika. Vystavka proizvedenii k 90-letiyu so dnya rozhdeniya,, exhibition catalogue, Moscow, 1989, listed p. 46
    V. Sysoev, Aleksandr Deineka. Zhizn, iskusstvo, vremya. Literaturno-khudozhestvennoe nasledstvo, Vol. 2, Moscow, 1989, illustrated no. 159, listed p. 291
    N.Aleksandrova, E.Voronovich, Aleksandr Deineka: Zhivopis', Grafika, Skul'ptura, Moscow, 2010, illustrated no. 115, listed p. 91


    The 1930s became arguably the most prolific and important period in Alexander Deineka's oeuvre. In this decade, he created a number of significant works such as Mother, 1932, Behind the curtain 1933, Future pilots, 1937, the ceiling design for the Red Army Theater and the mosaics for the Mayakovskaya station in Moscow, as well as numerous illustrations and other works. In 1935, Deineka traveled to the USA, France and Italy, where he produced a large number of landscapes, portraits and sketches inspired by the memories of these travels. While the artist continued to work on distinctive historical, political, and sporting topics, he also turned to mundane genres and the depiction of the beauty of everyday life in landscape and still life paintings.

    In in the monumental genres, as well as in still life Deineka tried to depict in some way a universal pictorial law, which his entire body of work is built upon. In Still Life with Game, the artist depicts each of the objects with an exceptional truthfulness, as if examining and analyzing the essence of the matter from all sides. Seemingly unrelated objects – a casually laid out upholstery fabric, a porcelain gravy boat and the the hunter's prey - line up to create a single concept in a masterful play of contrasting shapes and textures. The circular composition, emphasized by the visible surface of a round table against a muted background, enhances the effect of the interaction between objects. The choice of a softer palette, characteristic for works of this period, enhances the expression of the painting and adds to the "vitality of the image of the matter", a "vitality" that, according to Deineka, he deeply admired.


    1930-е годы стали для Александра Дейнеки, возможно, самым плодотворным творческим периодом. В это время были созданы такие значительные произведения, как Мать, 1932, За занавеской, 1933, Будущие летчики, 1937, а также росписи для Театра Советской Армии, мозаики для станции метро Маяковская, многочисленные иллюстрации и другие работы. В 1935 г. Дейнека едет в зарубежную командировку в США, Францию и Италию, результатом которой становится большое количество пейзажей, портретов и зарисовок, навеянных впечатлениями от поездки. Продолжая работать над характерными историческими, политическими и спортивными темами, художник в то же время обращается к бытовым жанрам и воспеванию красоты повседневной жизни в многочисленных пейзажах и натюрмортах.

    Как в монументальных жанрах, так и в натюрморте, Дейнека демонстрирует некий универсальный живописный закон, который ложится в основу всего его творчества. В представленной работе каждый предмет изображается художником максимально правдиво, и как бы анализируется им со всех сторон. Казалось бы несвязанные между собой небрежно брошенная драпировочная ткань, фарфоровый соусник и главный персонаж - добыча охотника - выстраиваются в единую концепцию в виртуозной игре противоречивых форм и текстур. Круговая композиция, подчеркнутая видимой поверхностью круглого стола и неброским фоном, усиливает ощущение от взаимодействия предметов. Выбор мягкой палитры, характерный для работ этого периода, придает образам особенную выразительность, и ту «жизненность образа в вещах», которая была так любима художником, по его собственным словам.



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Aleksandr Aleksandrovich Deineka (Russian, 1899-1969) Still life with game
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