彼得·康查洛夫斯基《西班牙风景》（Spanish Landscape，伦敦佳士得2012）

彼得·康查洛夫斯基西班牙风景 Spanish landscape 伦敦佳士得2012.5成交价71.325万英镑

作品介绍

'I was struck by those bright colours: yellow sand, blue skyand perfectly emerald shadows on the sand. Later, when I paintedthe bullfight, I was afraid to go with the colours all the way - noone would believe such unseemly brightsplashes.'

V. I. Surikov, Pis'ma. Vospominaniya [Letters. Recollections],Moscow, 1977, pp. 271-276

Petr Konchalovsky's Spanish landscape, a bold vista combiningthe intensity of the Mediterranean sun with the dynamism of thenatural terrain, is testimony to the artist's indisputableburgeoning talent following his career-defining visit to Spain.Painted in 1910, this work is one of a small number of seminalcanvasses painted during the same year, including the acknowledgedmasterpieces Bullfight in Seville (Private collection), Spanishroom (State Tretyakov Gallery), Matador Manuel Garcia (StateRussian Museum) and Portrait of the artist G. Yakulov (StateTretyakov Gallery). The significance of this year in Konchalovsky'scareer cannot be overstated; in December he participated in thefirst landmark Bubnovyi Valet [Jack of Diamonds] exhibit thatopened in Moscow. Spanish landscape was exhibited alongside thejaw-dropping work of thirty-seven of the most important Russianartists of the 20th century, including Goncharova, Falk, Larionov,Kandinsky, Malevich, Burliuk and Jawlensky. Crucially, it was thisyear that the vital and energetic young artist, immortalised inMashkov's controversial double-portrait of 1910, achieved newartistic heights. Last exhibited in 1964, Spanish landscape appearsat auction for the first time and is a key work from what isarguably the most important and sought-after period of the artist'scareer.

In order to evaluate the importance of this painting, one mustfirst appreciate the context of the work in the artist'sdevelopment. The Konchalovsky family home in Moscow provided afertile atmosphere for the inquisitive and talented artist: VasilySurikov (his future father-in-law), Ilya Repin and KonstantinKorovin - three of the most important artists in Russian Art - allfrequented the house. This culturally rich environment stirred thecreativity already flowing in Konchalovsky's blood, as shown by hisdescendants, a myriad of talented writers, directors, artists andactors.

彼得·康查洛夫斯基西班牙风景 Spanish landscape局部

Exhilarated and inspired by the work of his contemporariesboth in Russia and abroad, Konchalovsky first visited Paris in 1896and remained there until 1898 studying at the Académie Julian. TheParisian appetite for discussing method, philosophy and executionfired Konchalovsky's appetite for knowledge and it is this artisticenergy that is palpable in his early work and shows his willingnessto experiment. Konchalovsky exchanged letters with Matisse and metwith Picasso but it was Cézanne, above all others, who was to havethe greatest impact. Konchalovsky himself translated EmileBernard's Cézanne, his unpublished letters and reminiscences intoRussian. In his memoirs, Konchalovsky recalls how 'Cézanne'smethods of understanding nature were dear to me [...] it wasCézanne's methods that allowed me to see nature in a new way and Iwish always to be true to it. Even in those years I feltinstinctively that without new methods there would be no salvation,no way to find a path to true art. That's why I grasped at Cézannelike a drowning man at a straw.' (quoted in V. Nikolsky, PetrPetrovich Konchalovsky, Moscow, 1936, p. 38).

Konchalovsky was already an accomplished artist when in 1910he accompanied Surikov on a visit to Spain, touring Madrid, Toledo,Granada, Seville, Valencia and Barcelona. For Konchalovsky, thebeauty of the native landscape was as much an inspiration as thestrong school of national art. Particularly drawn to DiegoVelázquez, whose work also inspired Pablo Picasso and SalvadorDali, Konchalovsky became fascinated by purity of form, intensityof colour and the strength of contrasts. His palette grew markedlyricher, more vibrant: 'For me, Spain is a long poem in black andwhite. It is how I felt and how I had to paint it. During my staythere I was obsessed with an idea to master the art of simple,synthetic colours' (Ibid. p. 22).

彼得·康查洛夫斯基西班牙风景 Spanish landscape局部

During the trip Konchalovsky sketched furiously; he paintedthe oils on his return to Caldetas, near Arles. His well-knowndepictions of bullfighting skillfully reflect the passion andprimitivism of the spectacle by his use of nave forms of whatKonchalovsky himself termed 'muzhik' simplicity. In Konchalovsky'slandscapes from the period, we are reminded of Czanne's instructionto Emile Bernard to 'Treat nature by the cylinder, the sphere, thecone', yet we cannot fail to notice Konchalovsky's distinctivepainterly ex-pression. Spanish landscape, free from the tenets oftraditional naturalism, is rich in the striking beauty of light,the elements and the mountainous terrain. The rhythm of theundulating landscape, captured by Konchalovsky's sweeping strokesof pure colour, renders the plasticity of the trees and earth in aconfident and powerful way that captures the brilliance of thatsun-drenched and apparently timeless world. Man, whose presence isrepresented by the cart and driver in the centre of the compositionis almost enveloped, even consumed, by the natural forms thatsurround and overpower him. In this way, the distinction betweenman and nature is blurred, perspective is flattened and we arepresented with a dynamic composition that artfully draws you intothe verdant landscape.

As an artist, Konchalovsky has no obvious peer: he wasuniquely embraced by both 'leftist' artists and the Nomenklatura,the vibrancy and vitality of his paintings transcending thepolitical division. Irrespective of his refusal to adoptSoviet-prescribed themes and neatly avoiding a request to paintStalin, Konchalovsky was nevertheless much lauded by theauthorities and was National Painter, Laureate of the USSR StatePrize and the recipient of the Stalin prize. From 1909 onwards, heexhibited frequently with the Golden Fleece, Fraternity, MirIskusstva, and New Society of Artists. His first solo exhibitionwas held at the State Tretyakov Gallery, Moscow in 1922. By 1923,his biography had been published and, in 1924, he exhibited in NewYork, Venice and Moscow to critical acclaim. The most popularartist in Russia during his lifetime, Konchalovsky's success has inno way diminished subsequently; 2010 witnessed the seminalexhibition of the artist's work first at the State Russian Museum,St Petersburg and subsequently at the State Tretyakov Gallery,Moscow. Well attended by high-profile figures of the internationalart world, the exhibition further confirmed the importance ofKonchalovsky's work not only within the context of Russia but inthe history of 20th century art.

By remaining true to his own maxim 'to exhibit heroism andpassion in the most ordinary things' (P. Konchalovsky, Mysli okhudozhestvennom tvorchestve/Konchalovsky. Khudozhestvennoyenasledie [Thoughts on artistic work/Konchalovsky. An artisticlegacy] Moscow, 1964, p. 33), collectors today who are fortunateenough to own one of Konchalovsky's works possess the livingtestimony of one of the most extraordinary Russian artists of the20th century. The appearance of Spanish landscape at auction, apainting which was shown at the inaugural Bubnovyi Valetexhibition, is an opportunity to acquire not only a master work byKonchalovsky but furthermore an important piece of Russian Arthistory.

彼得·康查洛夫斯基西班牙风景 Spanish landscape局部

参考译文

我被那些明亮的颜色所震撼：黄色的沙子，蓝色的天空，以及沙滩上完全翠绿的影子。后来，当我画斗牛的时候，我害怕一路跟着颜色走-没有人会相信这种不体面的光彩照人的场面。“

5.I.Surikov，皮斯玛。沃斯波尼尼亚 [信。回忆]，莫斯科，1977年，第271-276页

彼得·康查洛夫斯基《西班牙风景》是一幅将地中海太阳的烈度与自然地形的活力结合在一起的壮丽景色，见证了这位艺术家在其职业生涯的决定性访问之后不争的新兴才华。这幅画作于1910年，是同年绘画的少数开创性作品之一，其中包括公认的杰作《塞维利亚斗牛》(私人收藏)、《西班牙房间》(国立Tretyakov画廊)、《斗牛士曼努埃尔·加西亚》(国立俄罗斯博物馆)和《艺术家G·亚库洛夫的肖像》(国立Tretyakov画廊)。这一年在康查洛夫斯基的职业生涯中的重要性怎么强调也不为过；12月，他参加了第一个里程碑BubnovyiValet[钻石杰克在莫斯科开幕的展览。西班牙景观与20世纪最重要的俄罗斯艺术家中的37位，包括Goncharova、Falk、Larionov、Kandinsky、Malevich、Burliuk和Jawlensky的作品一起展出。至关重要的是，这位充满活力、精力充沛的年轻艺术家，在1910年马什科夫备受争议的两幅画像中永垂不朽，获得了新的艺术成就。上一次展览是在1964年，西班牙景观首次出现在拍卖，是一个关键的作品，可以说是最重要和最受欢迎的时期艺术家的职业生涯。

为了评价这幅画的重要性，人们必须首先了解作品在艺术家的发展过程中所处的环境。莫斯科康查洛夫斯基家族的家为这位好奇而又有才华的艺术家提供了肥沃的氛围：瓦西里·苏里科夫(他未来的岳父)、伊利亚·雷宾和康斯坦丁·科洛文-俄罗斯艺术中最重要的三位艺术家-都经常光顾这座房子。这种文化丰富的环境激发了已经在孔查洛夫斯基血液中流动的创造力，正如他的后代、无数才华横溢的作家、导演、艺术家和演员所展示的那样。

康查洛夫斯基在俄罗斯和国外的同龄人的工作鼓舞和兴奋，第一次访问巴黎是在1896年，直到1898年在阿卡代米朱利安学习。巴黎人对讨论方法、哲学和执行的渴望激发了康查洛夫斯基对知识的渴望，正是这种艺术能量在他早期的作品中显现出来，并表明他愿意尝试。康查洛夫斯基与马蒂斯交换了信件，并会见了毕加索，但塞尚，尤其是其他人，将产生最大的影响。康查洛夫斯基自己翻译了埃米尔·伯纳德的塞尚，他未出版的信件和回忆变成俄语。在他的回忆录中，康查洛夫斯基回忆说，塞尚的理解自然的方法对我来说是多么珍贵[.]正是塞尚的方法让我以一种新的方式看待自然，我希望永远忠于它。即使在那些年里，我本能地感到，没有新的方法，就不会有救赎，也就找不到通向真正艺术的道路。这就是为什么我抓住塞尚，就像一个溺水的人用吸管抓住塞尚一样。“(引用”V.Nikolsky“中的话，彼得罗维奇，莫斯科，1936年，p.38)。

彼得·康查洛夫斯基西班牙风景 Spanish landscape局部

康查洛夫斯基在1910年陪同苏里科夫访问西班牙，游览马德里、托莱多、格拉纳达、塞维利亚、瓦伦西亚和巴塞罗那时，已经是一名杰出的艺术家。对康查洛夫斯基来说，乡土景观的美丽不仅是一种灵感，也是一种强大的民族艺术流派。特别被迭戈·瓦拉斯奎兹所吸引，他的作品也启发了毕加索和萨尔瓦多·达利，康查洛夫斯基对形式的纯洁性、色彩的强烈性和对比的强烈感产生了浓厚的兴趣。他的调色板变得更加丰富，更加生机勃勃：“对我来说，西班牙是一首黑白相间的长诗。这是我的感受，也是我不得不画它的方式。在那里逗留期间，我痴迷于掌握简单、合成色彩艺术的想法。”（同上。p.22)

在旅途中，康查洛夫斯基疯狂地画了一幅画，他在回到阿尔勒附近的卡代亚斯时画了油彩。他对斗牛的著名描绘巧妙地反映了这一景象的激情和原始主义，他使用了孔查洛夫斯基自己所说的“穆齐克”的朴素。在康查洛夫斯基那个时期的风景画中，我们想起了查安妮对埃米尔·伯纳德的教导：“用圆柱体、球体、圆锥体来对待自然”，但我们不能不注意到康查洛夫斯基独特的绘画表现。西班牙景观它不受传统自然主义的束缚，具有鲜明的光美、元素美和山地美。康查洛夫斯基的纯色笔触所捕捉到的起伏景观的韵律，以一种自信而有力的方式呈现出树木和大地的可塑性，捕捉到了那个浸透阳光、似乎永恒的世界的光辉。人，他的存在是由手推车和司机在构成的中心，几乎被包围，甚至消费，自然形式包围和压倒他。通过这种方式，人与自然之间的区别是模糊的，透视是扁平的，我们被呈现出一种动态的构图，巧妙地将你吸引到翠绿的景观中。

作为一名艺术家，康查洛夫斯基没有明显的同龄人：他被“左派”艺术家和命名主义艺术家所独有地拥抱，他的绘画充满活力和活力，超越了政治分裂。尽管康查洛夫斯基拒绝接受苏联规定的主题，并巧妙地避免了描绘斯大林的要求，但他还是受到了当局的高度赞扬，也是苏联国家奖的得奖者和斯大林奖的获得者。从1909年起，他经常与金羊毛,博爱,斯库斯特瓦，和新艺术家协会。他的第一次个展于1922年在莫斯科国家特雷雅科夫画廊举行。到1923年，他的传记已经出版，1924年，他在纽约、威尼斯和莫斯科展出，受到批评的赞扬。康查洛夫斯基是俄罗斯一生中最受欢迎的艺术家，他的成功并没有因此而减弱；2010年，他的作品首先在圣彼得堡的俄罗斯国家博物馆展出，随后在莫斯科的国家Tretyakov画廊展出。国际艺术界的高知名度人物出席了这次展览，进一步证实了康查洛夫斯基的作品不仅在俄罗斯的背景下，而且在20世纪艺术史上的重要性。

坚持自己的格言“在最平凡的事情上表现出英雄主义和激情”(P.康查洛夫斯基，[医]米斯里·胡多日斯特文诺夫·康查洛夫斯基。[医]鼻窦炎[关于艺术作品的思考/康查洛夫斯基。艺术遗产]莫斯科，1964年，p.33)。今天，幸运地拥有康查洛夫斯基作品之一的收藏家拥有20世纪最杰出的俄罗斯艺术家之一的活生生的见证。.的出现西班牙景观在拍卖会上展出的一幅画BubnovyiValet展览，不仅是一次获得康查洛夫斯基大师作品的机会，而且也是俄罗斯艺术史上一部重要的作品。

作品细节

彼得·康查洛夫斯基西班牙风景 Spanish landscape局部

画家简介

彼得·彼得洛维奇·康查洛夫斯基（Petr Petrovich Konchalovsky ，Кончаловский ПетрПетрович，1876-1956），俄罗斯画家和平面艺术家，钻石杰克小组成员之一。钻石杰克是俄罗斯早期先锋派中规模最大、最重要的艺术展览社团，成员包括罗伯特·福尔克,阿里斯塔克·伦图洛夫, 伊利亚·马什科夫, 库普林, 阿道夫·米尔曼, 亚历山大·奥斯默金, 巴利克,孔查洛夫斯基和莫西·费金。他们的作品展示了艺术家们对发展新风格(俄罗斯原始主义、俄罗斯塞尚主义、莫斯科新原始主义学派等)的兴趣。他们把欧洲艺术、俄罗斯民间艺术和俄罗斯市井文化融入到艺术作品中。他们的活动导致了1910年俄罗斯艺术质的转变，最重要的变化就是俄罗斯艺术社会的民主化。

彼得·康查洛夫斯基的父亲是一位艺术出版商。1889年，康查洛夫斯基一家搬到莫斯科，他的家成为19世纪90年代莫斯科艺术界的一部分，经常光顾的艺术家包括瓦伦丁·塞洛夫,米哈伊尔·弗鲁贝尔,瓦西里·苏里科夫等。康查洛夫斯基年轻时曾进入莫斯科绘画雕塑和建筑学院，在萨文斯基、扎尔曼和科瓦列夫斯基的指导下学习。1896-1898年，他去巴黎师从阿卡代米·朱利安。1899年，他回到俄罗斯，进入圣彼得堡皇家艺术学院，1907年毕业。1909年以后，他经常参展，并加入了新艺术家协会，是协会的创始成员之一。

康查洛夫斯基早期的主要作品是静物和风景，像所有其他钻石杰克成员一样，他的画受到了保罗·塞尚的强烈影响，他被认为是俄罗斯塞尚主义的创始人。后来他开始画肖像(通常是仪式肖像)，这些肖像被认为是社会主义现实主义风格。康查洛夫斯基的绘画融合了法国和俄罗斯两个丰富的绘画传统，这成为他的艺术的一个关键特征。彼得·康查洛夫斯基是一位多产的画家，他一生中创作了五千多件作品。

康查洛夫斯基的后裔许多是艺术家。他儿子米哈伊尔·彼得罗维奇·孔查洛夫斯基是一位著名的画家。他女儿纳塔莉亚·康查洛夫斯卡娅(1903-1988)是一位著名的儿童作家，女婿丈夫谢尔盖·米哈尔科夫是一位著名的诗人，“儿童诗集”的作者，苏联国歌及俄罗斯国歌的词作者。他们有两个儿子：安德烈·康查洛夫斯基是一位电影作家，导演和画家，尼基塔·米哈尔科夫是苏联解体后，唯一拿下奥斯卡最佳外语片的俄罗斯导演（1994年的《烈日灼人》）。

（阴山工作室根据维基百科和博物馆资料编写）

作品资料

Spanish landscape

Petr Konchalovsky (1876-1956)

成交总额 GBP 713,250

估价 GBP 600,000 - GBP 800,000

signed in Cyrillic and dated 'P. Konchalovskii/1910.' (lowerleft); further signed, inscribed, dated and numbered '126 1910/P.Kontchalovsky/126' (on the reverse)

oil on canvas

25½ x 31¾ in. (65 x 81 cm.)

拍卖 5331

Russian Art

伦敦|2012年5月28日

拍品 38

来源

The family of the artist, France.

展览历史

Moscow, Exhibition of the Bubnovyi Valet [Jack ofDiamonds]

Society, The house of Levisson: 32 Bolshaiia Dmitrovka Street,10 December 1910-16 January 1911, no. 93.

Moscow, Exhibition of the Bubnovyi Valet [Jack of Diamonds]Society, The Economic Society, 23 (or 25) January-26 February 1912,no. 95.

St Petersburg, Exhibition of the Bubnovyi Valet [Jack ofDiamonds] Society, The Swedish Church of St Catherine, 3 April-1May 1913, no. 50 or 52.

Moscow, 1st solo exhibition, State Tretyakov Gallery, April1922.

Leningrad, 6th solo exhibition, State Russian Museum,March-June 1929.

Moscow, Leningrad, 10th solo exhibition: k 35-letiiutvorcheskoi deiatel'nosti [35 years of artistic endeavour], TheFellowship of Moscow Artists, March 1941.

Moscow Petr Petrovich Konchalovskii, Russian Academy of Arts,1968.