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Aleksandr Deneika

(1899 -  1969 )
DENEIKA Aleksandr Phlox In A Red Jug

MacDougall's /May 27, 2012
349,093.62 - 489,955.96
Not Sold

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Artworks in Arcadja
13

Some works of Aleksandr Deneika

Extracted between 13 works in the catalog of Arcadja
Aleksandr Deneika - Street Football

Aleksandr Deneika - Street Football

Original
Estimate:

Price: Not disclosed
Lot number: 292
Other WORKS AT AUCTION
Description:
Description: Alexander A. Deineka 1899 - 1969 attr. Street Football, Watercolour, 29,5 x 42 cm, lo. ri. monogr. AD, framed under glass, uninspected out of frame., Russian painter. D. studied 1915-17 at the Charkov academy when he left to serve the army. He developed into one of the most important exponents of Socialist Realism.
Aleksandr Deneika - Behind The Curtain

Aleksandr Deneika - Behind The Curtain

Original 1933
Estimate:

Price:

Gross Price
Lot number: 26
Other WORKS AT AUCTION
Description:
26. DEINEKA, ALEKSANDR (1899-1969) Behind the Curtain, signed and dated 1933. Oil on canvas, 75 by 54.5 cm. Provenance: A gift from the artist to his friend Fedor Bogorodsky (1895-1959), a Soviet artist (inscription on the work). Collection of the Bogorodsky family Important private collection, Europe. Authenticity of the work has been confirmed by the expert T. Zelyukina. Aleksandr Deineka, the recognised master of official Soviet art, is represented by a unique canvas, Behind the Curtain . The painting dates from 1933, when the artist was at the height of his creative career. Deineka is best known as a tireless proselytiser of his socialist homeland, which he glorified in awe-inspiring images of war, patriotism, labour, and sport. Deineka's masterpieces, such as The Defence of Petrograd (1927), Mother (1932), Future Pilots (1937), The Defence of Sevastopol (1942) and In the South (1966) have become essential classics for generations of Russians. It would be hard to point to an artist who was more recognizable or definitive of the Soviet era. His images, full of optimism, have become fused with the Soviet past, as remembered by those who lived through it - a past that may be partly fictitious, which varies from the sublime to the tragic, but which is undoubtedly unique and vibrant. The art of Aleksandr Deineka is much more than evidence that such a way of life once existed: it is a precious artefact and one which affirms the essence of that life. The theme and mood of the work, which is offered at auction, is extremely rare, not only for Deineka, but for most artists of the time. Of course, works with an erotic component continued to be produced, even in the darkest days of artistic restriction (for example, the works of Sergei Eisenstein or Ivan Yefimov). However, most of such works were only brought to the public gaze after the collapse of the totalitarian system. Other subdued nudes by Alexander Samokhvalov and Vladimir Lebedev were never exhibited at the time. Deineka, however, is a special case. His paintings used to headline the most prestigious Soviet art exhibitions, and the inclusion of Behind the Curtain in an exhibition would have inevitably caused scandal. The decadent eroticism of Konstantin Somov and Boris Kustodiev was no longer tolerated, and totalitarian morality allowed no deviations. Deineka donated this unique work, presumably in 1933-1935, to his fellow artist Fedor Bogorodsky, in whose family it remained for many years (as confirmed by the inscription on the canvas, Deineka to F. Bogorodsky).The two artists were firm friends at the time and travelled together on painting expeditions. It is known, for example, that they visited the Crimea together. The painterly and artistic merits of this chamber work are in no doubt. The rich, pulsating brush strokes, the exquisite silver-ombr colouration expressive of the early morning, the model's expression that speaks wordlessly but unmistakably of the circumstances all of these elements give Deineka's painting a lively, sincere, even frisky aura. The quirky character of the details of the work few in number yet skillfully captured - reminds us that simple human hedonism lived on, underlying Verses on My Soviet Passport, factory machinery, combine harvesters and coal mines with no regard for an artificial and false morality.
Aleksandr Deneika - Pioneers In A Row

Aleksandr Deneika - Pioneers In A Row

Original 1925
Estimate:

Price:

Gross Price
Lot number: 59
Other WORKS AT AUCTION
Description:
Various properties Aleksandr Aleksandrovich Deineka (Russian, 1899-1969) Pioneers in a row, 1925 illustration for the magazine Bezbozhnik u Stanka , 4th issue, 1925, p.30 signed with initial 'D' in Cyrillic (lower right) pen, ink and wash on paper 18 x 31cm (7 1/16 x 12 3/16in). sold with the original magazine, Bezbozhnik u Stanka , which features the illustration Footnotes Provenance Private collection, Berlin Literature Bezbozhnik u Stanka , 4th issue, 1925, p.30
Aleksandr Deneika - Phlox In A Red Jug

Aleksandr Deneika - Phlox In A Red Jug

Original 1960
Estimate:

Price:

Lot number: 47
Other WORKS AT AUCTION
Description:
DEINEKA, ALEKSANDR (1899-1969) Phlox in a Red Jug signed and dated 1960; bearing the label of the Moscow section of the Art Fund of the Russian Soviet Federative Socialist Republic on the stretcher. Oil on canvas, 75.5 by 50 cm. Comment1 Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Aleksandr Deineka – bard of progress, speed, flight, metal, of the endless spaces being conquered by mankind, of the spearhead labour force, of sport – was no stranger to the subtler lyric of nature and human life. An interest in still life emerges in his work at the very beginning of the 1930s, evident in the splendid cycle Dried Flowers . With the years, his attention to nature in bloom and the lyrical current in his painting only strengthens. Phlox in a Red Jug , a painting of 1960, is striking confirmation of this. This eye-catching, festive still life composition bears the hallmark of Deineka’’’’s style, showing the artist’’’’s overriding tendency to see, even in flowers, strict architectural form, clear logic and structural completeness, an organised consistency of rhythm, and a well defined colour profile. It is no accident that Deineka’’’’s favourite ornamental plants are phlox and gladioli, which have a stable configuration and lend themselves to linear representation. When the artist depicts the phlox, nurtured by the warmth of the sun, in all the vigour and luxuriousness of their flowering, he is also working in a profound way on the specifics of colour, studying the behaviour of red in different textures and contexts: the living matter of clusters of blossom, the glazed ceramic of a vase and the textile of background drapery. The resulting colour spectrum of the painting is built on portraying the complex influences of one shade or tint on another. For Deineka still life was always a creative laboratory, the sphere of artistic freedom in which he could turn his back on the exaggerated generalisation and harsh focus demanded by his work on monumental paintings and decorative panels, and paint nature “at point-blank”, searching in her for idiosyncrasies and sculptural qualities that are never repeated. It was no chance remark of the painter’’’’s when he said: “When painting walls... I recall my... landscapes, flowers and sketches. Painting my huge great works without them would be like painting them without my soul.”
Aleksandr Deneika - Pier, Sebastopol

Aleksandr Deneika - Pier, Sebastopol

Original 1933
Estimate:

Price:

Lot number: 71
Other WORKS AT AUCTION
Description:
Aleksandr Aleksandrovich Deineka (Russian, 1899-1969) Pier, Sebastopol signed in Cyrillic and dated '33' (lower left) tempera and gouache on paper 43 x 61cm (16 15/16 x 24in).
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