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PROPERTY FROM A PRIVATE COLLECTION, TEXAS ARISTARKH VASILEVICH LENTULOV RUSSIAN, 1882-1943 LAKESIDE

oil on canvas

PROVENANCE

The family of the artist
Private Collection, Germany (acquired from the above)
Sale, Sotheby's London, November 24, 1992, lot 29, illustrated
Acquired from the above sale by the present owner
CATALOGUE NOTE

Executed circa 1918

Aristarkh Lentulov's expressive use of color, dynamic and kaleidoscopic spatial fragmentation of architecture and landscape remain important hallmarks of his oeuvre. Combining his profound interest in the brightness and simplicity of Russian folk art together with the overarching influence of cubism and the experimentation of French artist le Fauconnier, Lentulov's art reveals a unique and magical Russo-European vision. This melding of cultural influences synthesized with continuous experimentation and compositional innovation, sets Lentulov's work apart from his contemporaries.

In 1913, poet, critic and translator Ivan Aksenov described the elusive power of Lentulov's work in an article entitled "On the problem of the Contemporary State of Russian Painting," published in an anthology of articles and reproductions on the Bubnoy Valet or Knave of Diamonds: "Lentulov's talent has matured and strengthened perhaps earlier than that of the other members of the group, and at first glance it would seem that it is precisely an excess of talent that harms his pictures. Too great a talent can sometimes be an artist's misfortune...Aware of being able to work in different directions, justifiably confident of ability to set himself the most varied tasks, and conscious of being in complete command of the technique essential for this-for Lentulov, all this resembles those mirrors that can create artificial labyrinths of panopticons." (as quoted in Russian Art of the Avant Garde: Theory and Criticism, John Bowlt, ed., p. 65).

Lentulov was a founding member of the avant-garde exhibiting society the Jack of Diamonds. As Lentulov's daughter recalled in "Reminiscences of Father," after arriving in Moscow, Lentulov became interested in creating a new society of artists. Climbing into the studio of Ilia Ivanovich Mashkov where he found Petr Petrovich Konchalovsky and having introduced himself, he set about his goal, "I still had no idea how many artists there would be or who would compose the staff of this society," claimed Lentulov, "but the presence of Konchalovsky, Mashkov and I already determined just how opportune a conversation on this topic was...During the next few days, I was engaged in a flurry of organizational activity. I went from Larionov's to Yakulov's, from Konchalovsky's to Larionov's, running back and forth with the idea of creating a new society." (as quoted in Marianna Aristarkhovna Lentulova, "Reminiscences of Father," p. 164).

Lentulov's involvement in the Jack of Diamonds concretely defined his approach towards painting. Embracing the techniques of Western Europe and working alongside Le Fauconnier, Gleizes and the Puteaux Cubists in Paris at the Academy La Palette earned Lentulov the moniker Cubist à la Russe. Lentulov's interest in Cubism combined with the Jack of Diamonds emphasis of Russian folk art led him to find one of the greatest themes in his work, the Russian cathedral. Lentulov exclaimed, "the most productive subjects for me were the nude female figure; landscapes, almost always including architecture, I particularly loved the style of Moscow Baroque churches." (Svetlana G. Dzhafarova, "Aristarkh Vasilievich Lentulov," p. 173). The discovery of these icons of Russian architecture may be compared with Robert Delaunay's glorified treatment of the Eiffel Tower in Paris. Lentulov however filters Western cubism through a purely Russian prism. This early interest in church architecture continued throughout Lentulov's career leading to his highly rhythmic approach to landscape. In the evolution of Lentulov's style, Lakeside exemplifies the artist's interest in Cézannism and his deep understanding of cubo-futurism. Lentulov explained Cézanne's influence as such: "in as much as the prophet Cézanne marked the beginning of all possibilities, to that extent I am his pupil" (ibid., p. 178). This revealing sentiment is confirmed in Lakeside. Rather than present a staid pastiche of a Cézanne landscape, Lakeside's complex volumes, daring colors and planes reverberate musically in Lentulov's recognizable style, a reflection of his own interpretation of the cubo-futurist idiom. Red Boats of 1918 (see fig. 1.) appears stylistically similar to Lakeside; most likely dating Lakeside to this time.

This rare work, fresh to the market from a private collection, is suffused with an energy and brightness that confirms Lentulov's remarkable sense of color and space. Especially notable is the ease with which Lentulov conveys the reflections of the landscape upon the surface of the glassy lake.