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Vladimir Baranoff-Rossine

Russian Federation (1888 -  1944 )
BARANOFF-ROSSINE Vladimir Untitled

Sotheby's
Oct 20, 2018
Find artworks, auction results, sale prices and pictures of Vladimir Baranoff-Rossine at auctions worldwide.
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Variants on Artist's name :

Baranov-Rossiné Wladimir

Baranoff-Rossiné Vladimir

 

Artworks in Arcadja
173

Some works of Vladimir Baranoff-Rossine

Extracted between 173 works in the catalog of Arcadja
Vladimir Baranoff-Rossine - Church In Arcachon

Vladimir Baranoff-Rossine - Church In Arcachon

Original 1935
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Lot number: 162
Other WORKS AT AUCTION
Description:
162. BARANOFF-ROSSINÉ, VLADIMIR (1888–1944) Church in Arcachon, France, signed. Oil on canvas, 50.5 by 74 cm. Executed c. 1935. Provenance: Acquired directly from the artist by a previous owner in France, c. early 1940s. Thence by descent. Private collection, France. Private collection, Switzerland. Authenticity of the work has been confirmed by Dimitri Baranoff-Rossiné, the artist\’s son. The work is accompanied by a photograph of Dimitri Baranoff-Rossiné with the present lot.
Vladimir Baranoff-Rossine - Untitled

Vladimir Baranoff-Rossine - Untitled

Original 1933
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Gross Price
Lot number: 16
Other WORKS AT AUCTION
Description:
Vladimir Baranoff-Rossiné UNTITLED 1888 - 1944 signed anddated 33 oil on canvas 145 x 82,5 cm; 55 7/8 x 32 1/2 in. Executed in 1933. The authenticity of the work has been confirmed by the artist's son Eugène Baranoff-Rossiné. Madame Vadiaeff, Paris Private collection, France Private collection, Germany Sale: Koller Auktionen AG, Zürich, Moderne Kunst, Gemälde, Skulpturen, Graphik, 22 June 2007, lot 3244 Natalie Seroussi, Paris Exhibited Valencia, IVAM Centre Julio Gonzalez, Arte Abstracto, Arte Concreto : Cercle et Carré, Paris, 1930, 1990, no. 81, illustrated Catalogue Note Vladimir Baranoff-Rossiné, born Shulim Wolf Baranov, came from a Jewish Ukrainian family. After studying art in Saint Petersburg, he became one of the important figures of the Russian avant-garde from the first half of the 20th century. Both painter, sculptor and musician, he notably became known for his synesthetic inventions dedicated to the union of sound, form and colour. During his time in Paris between 1910 and 1914, the painter lived in Montmartre where he frequented a colony of Russian artists, such as Marc Chagall, David Shterenberg or Alexander Archipenko. In the works he produced upon arrival in Paris, he openly turned towards Cubism and Futurism, and then under the instigation of Robert and Sonia Delaunay, his art adopted a more abstract tonality, focusing fully on the mastery of colour and light, true to the new theories of Orphism. During the Russian revolution in 1917, he decided to return to Russia where he was obliged to stay for a few years as the Soviet authorities prevented his departure. Here he was at the origin of many inventions such as the optophonic, a piano that put in movement transparent and coloured luminous discs projecting colours onto a screen. It was only thanks to the intervention of the Delaunays that he succeeded in obtaining his visa for France and returned to Paris in 1925. He then became particularly active on the Parisian artistic scene, exhibiting a number of his works and giving performances in order to present his inventions to the public. In 1933, the year of the present painting, Baranoff-Rossiné exhibited at the Salon des Indépendants where he presented two works, Eve et Sculpture Polytechnique (today in the collection of the Musée National d\’Art Moderne, Paris). He painted this work in November of the same year. Produced the year of the Nazi party\’s rise to power in Germany, the work depicts the star of David and the head of Adolph Hitler in two opposite parts of the composition. The latter is held upside down by a fantastic creature seen from the back, a possible exterminating angel or golem – evocative of the mythical "angel of the home" figuring in several of Max Ernst\’s works at the same period – probably in echo of Baranoff-Rossiné\’s dream of seeing the Nazi regime crumble. Thus, the painting reveals the artist\’s visionary clairvoyance as in 1933 he had understood all the danger that the Nazi rise to power represented for the Jewish people. However, a few years later, when Paris was under occupation by the German forces, Baranoff-Rossiné refused to leave his adopted city: "I love Paris, I have no reason to be afraid" he confided to his friends. In November 1943 he was imprisoned by the Gestapo and deported to Auschwitz where he died in 1944 at the age of 56. The artist\’s tragic end endows the present painting with a most poignant premonitory power.
Vladimir Baranoff-Rossine - Three Boats On The Dnieper

Vladimir Baranoff-Rossine - Three Boats On The Dnieper

Original
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Gross Price
Lot number: 74
Other WORKS AT AUCTION
Description:
Vladimir Baranoff-Rossiné THREE BOATS ON THE DNIEPER 1888 - 1944 oil on canvas numbered 51 and bearing a Réunion des Musées Nationaux label on the reverse 62 x 82cm ; 24 1/2 by 32 1/4 in. Acquired at auction in the 1980s Jacques Grange Collection,Paris Exhibited Paris, Musée National d'Art Moderne, Vladimir Baranoff-Rossiné, 12 December 1972-29 January 1973, no. 2 Literature Exhibition catalogue, Vladimir Baranoff-Rossiné, Paris, 1972, p.3, no. 2, illustrated in b/w Catalogue Note The present lot is accompanied by a certificate of authenticity from Dimitri Baranoff-Rossiné, the artist's son.
Vladimir Baranoff-Rossine - Femme Cubiste

Vladimir Baranoff-Rossine - Femme Cubiste

Original
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Lot number: 36
Other WORKS AT AUCTION
Description:
Description: BARANOFF-ROSSINÉ, VLADIMIR (1888-1944) Femme Cubiste Oil on canvas, 101 by 153.5 cm. Executed c. 1920. Provenance: Collection of the artist. Thence by descent. Private collection, France. Authenticity certificate from Dimitri Baranoff-Rossiné, the artist\’s son. The picture Femme Cubiste by Vladimir Baranov-Rossiné that is offered for sale belongs to the period of his work from the late 1910s and early 1920s, when the \“colour utopia\” of his sketches seen in the first post- revolutionary years gave way to a desire to achieve a synthesis – a fusion of the colour, figurative and musical principles in a single work. Sensitive as they were to the onward march of the times – it was the period of the Futurist aspirations, \“colour dynamics\” found in the canvases of Aristarkh Lentulov, and the \“sliding\” transfusion of light in Mikhail Larionov\’s Rayonism – the works of Baranoff-Rossiné exemplified his skilful adaptation of the artistic resources of the different styles that were then current in the cosmopolitan environment of Paris – Post-Impressionism, Cubism and Cubo-Futurism. In that sense, the Femme Cubiste is one of the most interesting and intellectual pictures that Baranoff-Rossiné painted at the time. The canvas is executed in the late Cubist spirit, with the Cubist deformation affecting not only the background of the painting, but also, in part, the actual body of the model. The pictorial surface of the canvas seems to be splintered or fragmented into separate, multicoloured, geometrical planes that emphasise the pure colours and their tonal modulation. The dynamic with which the new forms are established causes the birth and then the disappearance – and morphing into an allusion or pattern – of the features of the female figure, which are rendered in the Madame Récamier-type iconography, traditional in classical art. We are dealing here with one of the first conscious examples of Surrealist dabbling with the great museum masterpieces. The collection in the Louvre in the early 20th century, when Baranoff-Rossiné became thoroughly familiar with it, was already embellished by both of the famous masterpieces – the portraits of Madame Récamier by Jacques-Louis David and François Gérard, who show their model half reclining on a couch with curved backrests of the kind later called a récamier in her honour. As he builds up his composition, Baranoff-Rossiné synthesises treatments of his French counterparts, reproducing not only the pose adopted by the female figure, but also the plane of the footstool, the motif of the downward-flowing drapes and even the elegant curvature of the couch\’s backrest, as seen in David\’s picture. Baranoff-Rossiné is conducting a proper avant-garde experiment with these famous portraits, seeking – to paraphrase Alexander Pushkin – to \“check with the algebra\” of Cubism \“the harmony\” of classical art and to \“dissect like a corpse\” the ideal beauty of Julie Récamier, who is disrobed for that purpose. In order to achieve the full effect, the artist uses the motif of a fragmented female figure that is broken down into Cubist planes and that perfectly embodies the ideas, so fascinating to the painter, of \“dynamic painting\” and \“total\” musicality, which reinterpreted the principles of Orphism and Cubism. The distinct features of the work\’s imagery reflect the artist\’s experience in Paris. But his idols at that point were not so much Sonia Delaunay or Albert Gleizes as Pablo Picasso and Jean Arp. Compared with Picasso\’s classically balanced lines, Baranoff-Rossiné\’s rhythmic constructs seem quite fragmented; yet the Femme Cubiste displays the artist\’s rare ability to coordinate shades of grey, brown and blue (once again echoing David\’s picture) that are not only intense in their colour, but are also imbued with a deep-seated glow. Unlike Picasso\’s analytical formal constructs, this work illustrates the ornamental layering of a female figure that is split into planes. The canvas displays not only the artist\’s individual reinterpretation of Cubism, but also a tendency towards contemplation, a treatment of the subject as an elusive dream. In his Femme Cubiste, apart from Cubism, the painter also undoubtedly leans towards Surrealism – something that was to become more manifest in his \“nude\” studies of the second half of the 1920s. Surrealism, which was then more and more forcefully impinging on creative minds, could not, of course, totally eschew the work of Baranoff-Rossiné. Although the painter was merely seen as a disciple of Salvador Dal, Joan Miró and Yves Tanguy in the Surrealist domain, the canvas presented for auction was unexpectedly echoed in a Surrealist masterpiece of the 1950s – René Magritte\’s picture Perspective: Madame Récamier by David, which took to its logical and absurd conclusion the main idea behind the Femme Cubiste – the demise of the principles of classical art in the 20th century.
Vladimir Baranoff-Rossine - Le Bois

Vladimir Baranoff-Rossine - Le Bois

Original
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Gross Price
Lot number: 77
Other WORKS AT AUCTION
Description:
Vladimir Baranoff-Rossiné LE BOIS 1888 - 1944 signed with initials in Latin l.r.; further bearing a Rutland Gallery exhibition label on the stretcher oil on canvas 69.5 by 50cm, 27 1/2 by 19 3/4 in. Executed circa 1908-1912 Provenance Exhibited London, Rutland Gallery, Vladimir Baranoff-Rossiné, 1888-1942, 11-30 November 1970, no.22 Literature Exhibition catalogue Vladimir Baranoff-Rossiné, 1888-1942, Rutland Gallery, London, 1970, no.22 listed 77 PROPERTY FROM A NEW YORK ESTATE Vladimir Baranoff-Rossiné signed with initials in Latin l.r.; further bearing a Rutland Gallery exhibition label on the stretcher oil on canvas 69.5 by 50cm, 27 1/2 by 19 3/4 in. Executed circa 1908-1912 Structural Condition The canvas is wax lined and is securely attached to a keyed wooden stretcher. This is ensuring a stable structural support. There is rigid undulation to the canvas support towards the right edge. There is an additional cotton loose lining attached to the stretcher. Paint surface The paint surface has a relatively even matt varnish layer. There are several areas of fine lines of slightly raised craquelure, most notably below the upper edge and horizontal lines within the upper left quadrant of the composition. These are entirely stable and are not visually distracting. Inspection under ultra-violet light shows a slightly discoloured and opaque varnish layer. Inspection under ultra-violet light also shows large areas of retouching running intermittently along the right vertical framing edge most notably an area in the upper right corner of the composition, small intermittent retouchings on and close to the upper edge, and a few small retouchings within the foreground. Many of these retouchings appear excessive and could hopefully be reduced with more careful inpainting. Summary The painting would therefore appear to be in good and stable condition and would benefit from cleaning, restoration and revarnishing, including the removal of any previous restoration work. In order to successfully treat the undulation to the canvas towards the right edge, the canvas should ideally be relined. "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
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