Russian Lacquer Box

Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait


Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait
Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait
Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait
Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait
Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait
Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait
Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait
Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait
Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait
Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait

Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait   Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait

This is a beautiful painted Lacquer box by Russian Artist Lidyaeva. The box depicts Self-portrait by.

The box measures 13.4 cm (5 1/4 inches). 10.3 cm (4 1/16 inches) wide, 1.8 cm deep. This is a lovely painted picture and the photo doesn't do it justice!!! The box is signed on the back with Artists signature.

The artist Vsevolod Maksymovych (18941914) has been recently called a trump card of Ukrainian Secession. His paintings have been demonstrated at several international exhibitions in the US and Europe and acquired a central place in the collection of the National Art Museum of Ukraine (Kyiv). Nevertheless, our knowledge of Maksymovych is still centered on the following: he was an Art Nouveau painter who managed to produce a considerable corpus of works before committing suicide at the age of twenty; in the rare academic accounts, he has been repeatedly labeled a Ukrainian Beardsley. It is the last title which cannot but capture the imagination of an Aubrey Beardsley (18721898) devotee with a life-long record.

Being thus biased, I believe that Maksymovychs work is yet of interest to a larger Victorianist community as a case of thought-provoking displacement of the yellow nineties aesthetics. After a few details on the artists obscure biography, I will examine his painting in relation to some of the most recognizable designs of the late-Victorian Decadence. Born in the city of Poltava in central Ukraine, Vsevolod Maksymovych succeeded in adding a Decadent flavour not only to his sensuous works but also to the aesthetic (dis)organization of his life.

As a young man, he met another painter, his would-be friend and mentor, Ivan Miasoiedov (18811953). An admirer of classical antiquity, athlete and nudist, Miasoiedov turned his Poltava house into a pleasure ground for local youth, calling it The Garden of Gods. The Gods activities included, but were not limited to, portraying each other nude, exercising, and acting out mythological plots. From his teacher, Maksymovych adopted the fascination with mythology and body beautiful apparent in the athletic physique of the Argonauts, Nymphs, and Apollos which inhabited his otherwise languid Art Nouveau pictures.

For the years 19121914, when Maksymovych produced most of his paintings, his style was sadly out-of-date. In Moscow, where the young artist moved in 1912, Maksymovych worked alongside such pioneers of abstractionism as Natalia Goncharova (18811962) and Mikhail Larionov (18811964). Larionov even filmed Maksymovych in the lead role in Drama in Cabaret No 13, which is considered the first cinematic experiment of the Futurists. There is little wonder that in 1914, when the emerging Avant-Garde had already boomed into notoriety, a solo exhibition of Maksymovychs paintings in Moscow failed spectacularly. In the aftermath, the young man committed suicide by drug overdose and thus contributed to the statistics of the so-called suicide epidemic which tormented the sons and daughters of Decadence in the Russian Empire at that time.

While being somewhat overshadowed by the rise of the revolutionary Avant-Garde, Maksymovych nonetheless appeared in memoirs of his contemporaries. Moreover, the particular feature which made his works memorable was his adoption of Beardsleys imagery. For instance, the writer Boris Lavrenev (18911959) recalled that Maksymovychs paintings were made of circlets and rings, tangled and intertwined, resembling a pile of soap bubbles, undoubtedly, referring to their ornamental and unmistakably Beardsleyesque backgrounds. [4] While the lace of Beardsleys stylized graphic details was meant for print, Maksymovych magnified the so-called circlets in his oil canvases, which reached 3½ meters in width.

To cite John Bowlts observation, if certain esthetic ideas did bloom late on Ukrainian soil, they tended to assume luxuriant, hybrid proportions For an illustration of this notion, one can look at Maksymovychs impressive life-size Self-Portrait (1913). The painting brings to mind Susan Sontags definition of Art Nouveau as the most typical and fully developed Camp style in which objects convert one thing into something else: the lamp into a plant or the living room into a grotto. The oil painting appearing as a black-and-white illustration can be no less representative of the kind.

With two diminutive sculls in the background, which convey the idea of decadence quite literally, the Self-Portrait is also dead serious as all the pure examples of Camp are. The picture centers on the half-length figure of the artist wearing an immaculate black suite, who, like Beardsley, adopted the Baudelairean model of dandyism (absolute simplicity in dress and aristocratic pride in attitude). Even more mesmerizing than Maksymovychs self-depiction is the backdrop which incorporates details the distinctive bubbles from the illustrations for Oscar Wildes Salome (1894). Besides being widely circulated in the early-twentieth-century journals and art books, those designs were included in several publications of the play in Russian, well-known in Maksymovychs aesthetic milieu. The arrangement of masses of black and white in the portraits background reminds of the curvilinear compositions of the Salome set (see The Peacock Skirt).

Apart from that, the solid central figure with his gaze fixed on the viewer renders the painting static. As such, Maksymovychs work contrasts with the dynamic of Beardsleys designs. It is not only the space organization that makes Beardsleys compositions unstable to the point of metaphysical dislocation, as his critics claim.

Beardsleys drawings usually expose a dramatic interaction between the characters, a complicated play of innuendoes which involves shifting trajectories of power and desire. In the case of Maksymovych, all the tension is funneled into the image of the artist. Placing himself at the centre of the spectacle, the painter performs his Decadent identity as Salome performs her dance of the seven veils.

The curved bottom line of the frockcoat gives an organic quality to the whole figure. Like a dark flower, the man rises from the lower edge of the picture like the flower of evil which grows from the pool of blood under Jokanaans severed head. The mans red lips the only colour accent in the painting evoke the passion of the Princess of Judea, her desire to kiss the mouth which was like a band of scarlet on a tower of ivory the desire captured in Beardsleys first drawing for the play, Jai baisé ta bouche Iokanaan (1893). Embodying the Dancer and the Reward, enacting the Beardsleyesque theatre of desire in a one-man show, Maksymovychs portrait is a fascinating endeavour in Decadent self-stylization, innocent in its desire to corrupt. The example of the Ukrainian Beardsley illuminates that, for his foreign enthusiasts, the allure of the late-Victorian enfant terrible consisted not only in the stylistic peculiarities of his works. Constructed by Beardsleys critics both in England and overseas, the image of the Decadent artist par excellence became a suitable model for identity performance. Please leave feedback once you have recived the item so that i know it has arrived safely. I will leave feedback in return.

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The item "Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait" is in sale since Monday, August 28, 2017. This item is in the category "Collectables\Decorative Ornaments & Plates\Boxes & Trinkets". The seller is "tom3burma" and is located in Norwich. This item can be shipped worldwide.

  1. Type: Boxes/ Trinkets
  2. Subtype: Lacquer Box
  3. Country/Region of Manufacture: Russian Federation


Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait   Russian LACQUER Box Genuine Ukranian Artist Vsevolod Maksymovych Self-portrait