Anatoly Zverev (Russian, 1931-1986) Portrait of Vladimir Piatnitsky, 1983

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Lot 72*
Anatoly Zverev
(Russian, 1931-1986)
Portrait of Vladimir Piatnitsky, 1983

£ 8,000 - 10,000
US$ 11,000 - 13,000
Anatoly Zverev (Russian, 1931-1986)
Portrait of Vladimir Piatnitsky, 1983
signed with artist's monogram (lower right)
mixed media on paper
47 x 36cm (18 1/2 x 14 3/16in).

Footnotes

  • Provenance
    Collection of Larisa Piatnitskaya (1940 – 2014)
    Thence by descent

    Exhibited
    Moscow, Museum of Anatoly Zverev, AZ - eto Ya kak raz!, May - October 2015

    Literature
    L. Piatnitskaya, A second on the left, a second on the right, Moscow, 2004, illustrated p. 20
    T. Reshetov et al., Lorik. The Apostle of Love, Moscow, 2015, illustrated p. 55
    "AZ - eto Ya kak raz!," in Museum of Anatoly Zverev Almanac, no. 1, 2015, illustrated photograph of the AZ - eto Ya kak raz! exhibition display in the Museum of Anatoly Zverev, p. 52
    Anatoly Zverev. Round & About, Moscow, Museum of Anatoly Zverev, 2015, illustrated pp. 38-39


    "In July 1983, Zverev stayed with me for three days on Filevskaya, as he wanted to do something significantly pleasant for me: he painted a portrait of my never-forgotten, early deceased husband Vladimir Piatnitsky. Piatnitsky had been gone for 5 years then. I had many photographs of him. He chose what was, in his opinion, the most notable one and painted a portrait of the artist Piatnitsky on a large sheet of paper in gouache and watercolour. It took the genius Zverev three days to complete this simple job. After that, saying that he was going out on business, Anatoly Timofeyevich left...," Larisa Piatnitsksya, quoted in Anatoly Zverev. Round & About, Moscow, 2015, p. 38.




    Larisa Piatnitskaya, also known as "Lorik," is arguably one of the most extraordinary figures from the Moscow art scene of the late 20th century. For over 30 years, Piatnitskaya – a specialist in cultural studies, artist, writer and publisher - played an instrumental role in the life of various Moscow underground artistic movements collectively known as 'Soviet nonconformist art'. In the 1960s, together with the legendary writer Yury Mamleev, the poet Evgeny Golovin, and Alexander Dugin, Piatnitskaya became one of the founders and most vital members of the mystical intellectual club known as the "Yuzhin circle." In 1974, Larisa took an active part in the famed "Bulldozer" exhibition of Soviet avant-garde artists led by Oscar Rabin which was infamously razed to the ground by the Soviet authorities. An avid supporter of the free exhibitions movement and organizer of many subsequent "apartment" viewings of unofficial art, in the 1980s Piatnitskaya emerged as one of the leaders of the City Committee of Graphic Artists at Malaya Gruzinskaya, 28 - for a long time the first and only haven for artists working beyond the margins of Soviet ideological prescriptions.

    A number of albums published by Larisa Piatnitskaya which were mostly based on her private archives (The Triumph of Romance, 1998, The Feasts of My Revolution, 1999) still serve as rare documental evidence of the most remarkable events of underground culture and convey a unique portrait of the Moscow 'intelligentsia" of the 1970s and 1980s. The central theme of Piatnitskaya's publications and her other work is the freedom of artistic expression which largely became the motive for her own contribution and support of many independent artists including her husband Vladimir Piatnitsky, as well as Anatoly Zverev, Vladimir Yakovlev among others. As recalled by her contemporaries, combining a unique sensitivity towards art with an uncompromised responsiveness to those in need, Piatnitskaya was assiduous in providing her friends with the necessary support, from organizing personal exhibitions to publishing numerous catalogues and dedicated albums. 

    Forming part of an important collection of unofficial art belonging to Larisa Piatnitskaya, the offered 7 lots record the history of her relationships with the artists featured: Anatoly Zverev, Vladimir Yakovlev, and Sergey Bordachev. These works also constitute the legacy of Piatnitskaya's invaluable contribution towards the movement for artistic freedom which she defined as the 'Cultural Revolution.'

    We are grateful to Yury Piatnitsky for assistance with cataloguing this collection (lots 72-78).

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