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Alexander Konstantinovich Bogomazov. Abstract Composition. 1916

Alexander Konstantinovich Bogomazov. Abstract Composition. 1916

Alexander Konstantinovich Bogomazov. Abstract Composition. 1916 A dynamic composition where a zigzag of lightning separates the opposing spheres and the pattern into genders. The reality of the rural landscape is cut through by clues in the lower case of the work. There, on the right, one of the spheres is a lush crown of a fruitful tree. On the left is a window with a window sill. In the middle: vertical logs of some kind of log house and a fragment of an open window or a perch, or maybe a stretcher. In the lower right corner, the initials of the master and the date: AB, 1916, Kyiv. Gray semi-cardboard, charcoal pencil. 52.4x33.2 cm. In addition to the examinations of the All-Russian Art Research and Restoration Center named after Academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute for Restoration in 2001, an act of art criticism examination by Dmitry Vladimirovich Sarabyanov, Academician of the Russian Academy of Sciences for 2001 and the actual Smolnikov`s handwritten letter about the acquisition of six graphic works from the master`s family.

Alexander Konstantinovich Bogomazov. Abstract composition. 1915.

Alexander Konstantinovich Bogomazov. Abstract composition. 1915.

Alexander Konstantinovich Bogomazov. Abstract Composition. 1916

Alexander Konstantinovich Bogomazov. Abstract Composition. 1916

Suprematist slogan. "Lets move production comrades."

Suprematist slogan. "Lets move production comrades."

A. Lanin. Buffoon. Monotype. 1965.

A. Lanin. Buffoon. Monotype. 1965.

A. Lanin. Artist. Monotype. 1966.

A. Lanin. Artist. Monotype. 1966.

A. Lanin. Masks. Monotype. 1966.

A. Lanin. Masks. Monotype. 1966.

Still life with flowers. jacquelet, spraying - reproduction.

Still life with flowers. jacquelet, spraying - reproduction.

Alexander Konstantinovich Bogomazov. Easel drawing Female portrait. 1916

Alexander Konstantinovich Bogomazov. Easel drawing Female portrait. 1916

Easel graphics by Alexander Konstantinovich Bogomazov. Triple portrait. 1916

Easel graphics by Alexander Konstantinovich Bogomazov. Triple portrait. 1916

Easel drawing by Alexander Konstantinovich Bogomazov. Triple portrait. 1916 It is a combination of three, multidirectional portraits, revealing the facets of the character of one person. The profile and face of a balding man in glasses, dressed in a suit, with a tie and a button on the lapel of his jacket, are clearly visible. The third silhouette combines both previous ones and is opposite to the profile. Represents radical materiality seen from the back of the head. If the profile drawing carries the plot of psychological characteristics, lifestyle; face - the inner, desired image of a tired lyricist; then the ball of a skull with an open mouth and prominent superciliary arches is rather an act of surprise, seen from the back of unfamiliar matter. And it acts as a frightening physical objectivity of a person. Although, in the heat of provocativeness, there is more methodological controversy with fellow workers; nevertheless, in a dispute in absentia with the Italian cubo-futurists, Bogomazov nevertheless clearly expands the tripartiteness to philosophical generalizations and a constructivist secret vision of matter. In the lower right corner (3rd portrait), 1916 Kyiv. On the back, in blue pencil, is the signature of Bogmazovs widow Wanda: “I certify the work of my husband AK Bogomazov: V. Bogomazov. The inscription was made during the sale of works in 1979. Half cardboard, charcoal pencil. 66.6 x52.6 cm. In addition to the examinations of the All-Russian Artistic Research and Restoration Center named after academician I.E. Grabar for 2007 and the State Scientific and Restoration Institute of Restoration of the same year, Smolnikov’s own handwritten letter about the acquisition of six graphic works from the master’s family is attached .

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