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拍品專文
At the end of 1883 Vasily Vereshchagin embarked on an extensive trip to Syria and Palestine to make ethnographic sketches and studies of the historical sites in preparation for the monumental painting Crucifixion by the Romans (sold Christie’s London, November 2011 for £1,721,250). Prior to the trip Vereshchagin read the texts of the Old and New Testaments, consulted many ethnographic and literary sources, and studied contemporary accounts of Western travellers.
With a keen eye for observation, the artist kept detailed accounts during his travels to Jaffa, the banks of the Dead Sea, river Jordan, and many historic sites in Jerusalem and its environs. Entitled ‘Palestinian Accounts’, his memoirs were later published in 1891 in a popular magazine Khudozhnik in St Petersburg. Captivated by the solemn beauty and the diverse human types of the Holy Land, Vereshchagin painted many sites significant to Jewish as well as Christian traditions, as well as a number of portraits of people he encountered. The entire Palestinian series was completed in Paris during 1884-1885. Entrance to the Tomb of the Kings (lot 7) and A Rabbi (lot 8) were both executed by the artist during this period.
Motivated by a great desire to preserve cultural accuracy in his work, Vereshchagin moved away from the romantic idealisation that defined the works of many of his European contemporaries, and infused his works with unabashed realism.
The excavation of the Tomb of the Kings began at least three decades before Vereshchagin’s arrival to Jerusalem. Located a short distance north of the Old City walls, the impressive structure had initially been identified as the burial site of David and his dynasty. Although since reattributed to the burial site of Queen Helena of Adiabene, the place continued to be referred to by its original name. Ever the documentarian, Vereshchagin endeavoured to capture the tomb's unique atmosphere. With his masterly understanding of light, colour, and composition, the artist rendered the entrance to the tomb with exquisite detail, ensuring that every nuance in the massive carved stones can be read. In order to emphasise scale, as well as the sacredness of the space, Vereshchagin depicted two shrouded figures emerging from the sun-dappled tomb. One almost senses the temperature of the space as well as the silent movement of the reverent pilgrims in the large archway. Vereshchagin applied the same attention to realism in his striking portrait A Rabbi (lot 8). The sitter looks out with an expression that betrays varied emotions, engaging the viewer with such intensity that is individualistic and unforgettable. Both of these works from the Palestinian series were included in the large touring exhibition organised by the American Art Association in 1888, culminating in the famous public auction of the artist’s works in New York in 1891.
With a keen eye for observation, the artist kept detailed accounts during his travels to Jaffa, the banks of the Dead Sea, river Jordan, and many historic sites in Jerusalem and its environs. Entitled ‘Palestinian Accounts’, his memoirs were later published in 1891 in a popular magazine Khudozhnik in St Petersburg. Captivated by the solemn beauty and the diverse human types of the Holy Land, Vereshchagin painted many sites significant to Jewish as well as Christian traditions, as well as a number of portraits of people he encountered. The entire Palestinian series was completed in Paris during 1884-1885. Entrance to the Tomb of the Kings (lot 7) and A Rabbi (lot 8) were both executed by the artist during this period.
Motivated by a great desire to preserve cultural accuracy in his work, Vereshchagin moved away from the romantic idealisation that defined the works of many of his European contemporaries, and infused his works with unabashed realism.
The excavation of the Tomb of the Kings began at least three decades before Vereshchagin’s arrival to Jerusalem. Located a short distance north of the Old City walls, the impressive structure had initially been identified as the burial site of David and his dynasty. Although since reattributed to the burial site of Queen Helena of Adiabene, the place continued to be referred to by its original name. Ever the documentarian, Vereshchagin endeavoured to capture the tomb's unique atmosphere. With his masterly understanding of light, colour, and composition, the artist rendered the entrance to the tomb with exquisite detail, ensuring that every nuance in the massive carved stones can be read. In order to emphasise scale, as well as the sacredness of the space, Vereshchagin depicted two shrouded figures emerging from the sun-dappled tomb. One almost senses the temperature of the space as well as the silent movement of the reverent pilgrims in the large archway. Vereshchagin applied the same attention to realism in his striking portrait A Rabbi (lot 8). The sitter looks out with an expression that betrays varied emotions, engaging the viewer with such intensity that is individualistic and unforgettable. Both of these works from the Palestinian series were included in the large touring exhibition organised by the American Art Association in 1888, culminating in the famous public auction of the artist’s works in New York in 1891.