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Nicolas Milliotti

Russian Federation (1874 -  1962 )
MILLIOTTI Nicolas Fete Galante

Nov 20, 2002
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Variants on Artist's name :

Milioti Nicholai Dmitrievich


Artworks in Arcadja

Some works of Nicolas Milliotti

Extracted between 33 works in the catalog of Arcadja
Nicolas Milliotti -  Dancing At Dusk

Nicolas Milliotti - Dancing At Dusk

Original 2007
Starting price:


Gross Price
Lot number: 147
Description: *§MILIOTI, NIKOLAI (1874-1962) Dancing at Dusk Oil on board, laid on cardboard, 18 by 17 cm. Provenance: Collection of Igor Kachurin, St Petersburg. Russian Sale, Sotheby\’s London, 19 May 2005, lot 91. Acquired at the above sale by the present owner. Private collection, USA. Literature: A Time to Gather... Russian Art from Foreign Private Collections, St Petersburg, Palace Editions, 2007, p. 25, the work can be seen on the wall of the collector\’s apartment. The present lot is a study for the Milioti\’s 1906 (?) painting Khorovod (Circle Dance), currently in the collection of the State Russian Museum.
Nicolas Milliotti - Leda And The Swan

Nicolas Milliotti - Leda And The Swan



Lot number: 345
Mis: 7 1/8 by 6 5/8 in. 18.1 by 16.8 cm
oil on panel

Leda and the Swan is a story borrowed from Greek mythology, in which Zeus disguises himself as a swan to seduce and impregnate the beautiful Leda. This story became a classical motif for Italian Renaissance artists, including da Vinci, Correggio and Michelangelo. As one of the chief members of the Blue Rose group, Milioti reinterpreted the motif in a dreamy, Symbolist style, beckoning the viewer to a world where the fantastic is indeed possible.
Nicolas Milliotti - Fête Galante

Nicolas Milliotti - Fête Galante



Lot number: 55
signed with artist's monogram in Latin and dated

oil on canvas


Possibly exhibited Paris,
Salon d'automne,
1906, No.


A. Tolstoy,
Khudozhniki Russkoi Emigratsii
, Moscow,
2005, ill. p 3/2


Fête galante
is a rare and early masterpiece by one of
the most important artists of the ?Blue Rose? group. The symbolist
movement in Russia had developed in the early years of the
twentieth century out of a reaction to the predominance of Realism
and the belief that art could become the major agent of change in
Russian society. The blue rose of their logo denoted the aesthetic
perfection to which these artists aspired.

Nikolai Milioti?s work is firmly associated with the second wave
of symbolist artists predominantly from the Moscow Academy of Arts
who shared not only an aesthetic philosophy but also common themes
and a similar palette. As Milioti himself explained in the first
edition of
Zolotoe runo
, they sought ?to create a centre
into all that is live would flow?. Their vision was close to that
of the Nabi group, who believed easel painting no longer relevant
to modern life and sought to manipulate the observable world for
emotive and decorative effect. The blue rose artists drew their
inspiration from the mystical imagery of Mikhail Vrubel and the
soft tones of Borisov-Musatov, but in contrast to the tragic
lyricism of the latter, their dream-like depictions of the
subconscious brim with life.

Sergei Diaghilev?s 1906 exhibition of Russian Art at the salon
d?automne in Paris was seminal in bringing together this second
group of symbolists artists. Nine works by Milioti were exhibited
at the salon, possibly including the offered lot since a work
Fête galante
is recorded in the catalogue under
number 374.

Executed in the same year as Kuznetsov?s celebrated work
(fig 1
.) Fête galante
similarly embodies in its
imagery, colours and technique the totality of the symbolist
vision. As with a number of his best-known works, Milioti
incorporates the decorative and nostalgic vision of eighteenth
century outdoor festivities which had inspired World of Art
painters such as Konstantin Somov and Alexander Benois into the
canon of symbolist imagery as illustrative of the dream-like world
where a true artistic synthesis is created (fig.2). Every aspect of
the work is designed to stimulate the senses, from the treatment of
the trembling, other-worldly silhouettes, to the colourful torrent
of pointillist brushstrokes covering the surface of the canvas.

In his 1907 appreciation of the new trends in modern Russian
art, Sergei Makovsky, heralded Milioti?s talent for successfully
creating a truly multi-sensory experience. ?
One emerges from
Nikolai Milioti?s magical cave with vision blurred and deafened by
the ringing of the play of colours [?] their effect is not
superficial or physical, but psychological; in the chromatic chords
there is almost always complex, acute confessions.
? Milioti
admired Vrubel?s ability to paint his subjects as if they were
precious stones, bewitching the viewer with their inner light. In
the half-materialised world of
Fête galante
Milioti has
brilliantly captured both these visible and invisible
Nicolas Milliotti - Odalisque, Princesse De Carisme

Nicolas Milliotti - Odalisque, Princesse De Carisme



Gross Price
Lot number: 330
Nikolai Dmitrievich Milliotti (1874-1962)
Odalisque, Princesse de Carisme
signed in pencil 'Milliotti' (lower right) and inscribed '2 Acte'(upper right)
pencil and gouache on board
14 x 9 in. (35.5 x 22.9 cm.)
Special Notice
Copenhagen, Den Frie Udstillings bygning, RussiskMaleriudstilling, February 1929, n. 99b or n. 99c.
Lot Notes
Nikolai Milliotti was a founding member of the Blue Rosemovement, a group of second-generation Russian Symbolist artistsactive in Moscow between 1904 and 1908. The term derives from thetitle of an exhibition that they organised in 1907. Blue Roseartists believed that it was the function of art to transcendreality and communicate with the beyond. To this end the groupadopted a common symbolism and a common stylistic approach.Milliotti first came to public notice in 1906, when Diaghilevselected nine works by the artist for his Russian Art Exhibition atthe Salon d'Automne in Paris. The above costume design is a designfor "Princesse de Carisme".
Nicolas Milliotti - Fete Galante

Nicolas Milliotti - Fete Galante

Original 1905


Gross Price
Lot number: 74
measurements 53 by 55.5cm., 21 by 22in. description signed with artist's monogram t.r. and dated 1905 oil on canvas this lot contains 1 item(s). nikolai milioti was a founder member of the blue rose movement, one of the most important artist groups in russia in the early years of the 20th century. the term blue rose was not officially coined until 1907 for a group exhibition at the kuznetsov house in moscow. his career appears to have been remarkably short and his name is today almost exclusively associated with the blue rose group, unlike other co-members, such as pavel kuznetskov, sergei sudeikin and martiros saryan, all of whom enjoyed long careers in emigration and for whom the blue rose was a stepping stone in their development as artists. furthermore, his paintings from the period of 1900-10, the heyday of symbolism in the fine arts in russia from which the blue rose movement grew, are rare. what does remain in public collections and illustrated in contemporary journals, however, are among some of the best works of this period. they brilliantly illustrate the often complex ideas behind russian symbolist art. milioti's paintings blend the pointillism of the post-impressionists with the subject matter of borisov-musatov and konstantin somov. contemporary french art was promoted in russia in the journal, the golden fleece, which was also a mouthpiece for the ideas of the blue rose group. the work of the nabis painters, bonnard, vuillard and denis around the turn of the century, was also discussed in the journal. for them, a painting was primarily a decorative composition and they used a soft palette of pretty pastel colours - both stylistic features of blue rose art. fete galantes or elegant festive celebrations were a popular theme in 18th century french art. mainly they depict finely dressed ladies and gentlemen dancing in the open air. the world of art painters such as somov and benois drew heavily on 18th century subjects and style. this was later adopted by the blue rose painters who used decorative elements of the rococo as a starting point for a new kind of art which explored dreamlike states. milioti first came to the public notice in the west in 1906, when diaghilev selected nine works by the artist for his russian art exhibition at the salon d'automne in paris. the importance of this show can not be overstated: it brought russian art to a western audience and helped to establish diaghilev's career in the west, paving way for the ballets russes and the russian seasons. it is quite possible that the offered lot was included in this exhibition. a work titled fete galante is recorded in the exhibition catalogue as number 374; this number can be found inscribed on the reverse of the frame, which would appear to be the original.painted in 1905, it is to be considered a rare early blue rose work. in the march edition of the golden fleece of 1907 the symbolist writer sergei makovsky published an essay entitled blue rose in which he described in a typically lyrical style the works by nikolai milioti in the exhibition. he has a bold command of form [and] of the depiction of music in paint... the connection between music and art was explored in blue rose art. unlike in the art of whistler, whose nocturnes are dreamy essays in mood, the blue rose works push into a more spiritual or mystical realm.
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