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拍品專文
Boris Grigoriev was one of a handful of Russian artists who enjoyed international recognition and commercial success during his lifetime. Whereas his iconic Faces of Russia series made him a persona non grata in his motherland for an extended period of time, European and American galleries hosted numerous exhibitions of his progressive Russian-flavoured art in the 1920s.
Grigoriev’s 1926 exhibition at the Galerie Charpentier on rue du Faubourg-Saint-Honoré in Paris attracted the attention of Chilean artist and Director of the Chilean National Academy, Carlos Isamitt (1885-1974). Impressed by the artist’s talent, Isamitt secured an exciting opportunity for Grigoriev and in two years’ time, on an official invitation from the Chilean Ministry of Education, Eduardo Barrios (1884-1963), Grigoriev left bohemian bustling Paris for Santiago to teach and reform the curriculum at the National Academy of Art.
Despite the fact that political changes led Grigoriev to only give 37 lessons, he became known as one of the main driving forces of the pictorial modernism movement in Chile. Inspired by Grigoriev’s radical and innovative Avant-Garde artistic language, a group of young Chilean artists, later known as Generación del 28, felt inspired to break away from the dominant academic style in search of artistic freedom of expression. Amongst those students were future notable artists such as Armando Lira (1903-1959), Gustavo Carrasco (1907-1999), Héctor Banderas (1903-1988), Héctor Cáceres (1897-1980) and Roberto Humeres (1903-1978).
Another famous student of Grigoriev, with whom the artist remained in contact for over 10 years, was María Tupper. Following her initial training at the Academy of Arts in Chile in 1913, María married engineer Fernando Errazuriz, with whom she had five children. In 1925 Tupper returned to the Academy and, under Grigoriev’s instruction, swiftly developed her artistic talents.
Inspired by Grigoriev’s teachings, Tupper decided to continue her studies at the Académie de la Grande Chaumière in Paris where she was reunited with her former teacher. Grigoriev painted his student’s portrait (lot 21) in 1934, most likely at Borisella, the artist’s villa in Cagnes-sur-Mer. Grigoriev captures a clearly refined, yet pensive María, who clutches a book bearing her name to her chest like a shield. The crisp white curved collar is a stark counterpoint to the sitter’s elegantly arched brow and the gentle curves of her dark hair tied back neatly in a low bun. Grigoriev’s trademark attention to surface pattern, particularly prevalent in his mature work, is evident in his treatment of fabric of the dress; but all attention is inevitably drawn to María's face, marked by her rosebud lips and contemplative expression.
Tupper later achieved recognition as an artist and was awarded prizes in national art salons. Today her work can be found in Chile’s major museums and in numerous private collections.
Grigoriev’s 1926 exhibition at the Galerie Charpentier on rue du Faubourg-Saint-Honoré in Paris attracted the attention of Chilean artist and Director of the Chilean National Academy, Carlos Isamitt (1885-1974). Impressed by the artist’s talent, Isamitt secured an exciting opportunity for Grigoriev and in two years’ time, on an official invitation from the Chilean Ministry of Education, Eduardo Barrios (1884-1963), Grigoriev left bohemian bustling Paris for Santiago to teach and reform the curriculum at the National Academy of Art.
Despite the fact that political changes led Grigoriev to only give 37 lessons, he became known as one of the main driving forces of the pictorial modernism movement in Chile. Inspired by Grigoriev’s radical and innovative Avant-Garde artistic language, a group of young Chilean artists, later known as Generación del 28, felt inspired to break away from the dominant academic style in search of artistic freedom of expression. Amongst those students were future notable artists such as Armando Lira (1903-1959), Gustavo Carrasco (1907-1999), Héctor Banderas (1903-1988), Héctor Cáceres (1897-1980) and Roberto Humeres (1903-1978).
Another famous student of Grigoriev, with whom the artist remained in contact for over 10 years, was María Tupper. Following her initial training at the Academy of Arts in Chile in 1913, María married engineer Fernando Errazuriz, with whom she had five children. In 1925 Tupper returned to the Academy and, under Grigoriev’s instruction, swiftly developed her artistic talents.
Inspired by Grigoriev’s teachings, Tupper decided to continue her studies at the Académie de la Grande Chaumière in Paris where she was reunited with her former teacher. Grigoriev painted his student’s portrait (lot 21) in 1934, most likely at Borisella, the artist’s villa in Cagnes-sur-Mer. Grigoriev captures a clearly refined, yet pensive María, who clutches a book bearing her name to her chest like a shield. The crisp white curved collar is a stark counterpoint to the sitter’s elegantly arched brow and the gentle curves of her dark hair tied back neatly in a low bun. Grigoriev’s trademark attention to surface pattern, particularly prevalent in his mature work, is evident in his treatment of fabric of the dress; but all attention is inevitably drawn to María's face, marked by her rosebud lips and contemplative expression.
Tupper later achieved recognition as an artist and was awarded prizes in national art salons. Today her work can be found in Chile’s major museums and in numerous private collections.