Pougny

Hand

1930

ARTIST:

Pougny, Jean b.1894, Moscow, Russia d. 1956, Paris France


Technique:

Charcoal and coloured gouache


Paper:

Wove paper laid down on cardboard 69 x 49 cm (sheet).


Condition:

This striking work is marred by loss of charcoal and gouache to the ground, most notably in the top third of the image with a small coin size loss above the rose caused by abrasion. The paper that has been laid onto the cardboard has contributed to the creasing and loss of charcoal to the surface of the ground.


Literature:

See Varnedoe & Gopnik (eds), with essay by Bowt, p. 149, 159. See also https://www.scribd.com/document/368396049/Avant-Garde-in-the-Nordic-Countries See also Berninger-J.A. Cartier, Ed Wasmuth, Tübingen, 1992, and Pougny : Catalogue de l'oeuvre Russie-Berlin 1997 Vols. 1 & 2


Provenance:

Private sale USA.


Asking:

Contact for price


Even in a less than pristine state, this work was set to realise more than $ 3000 US without a frame. This is partly because of the importance of this artist in 20th Century modernism. Like another Russian who went to Paris after the revolution, Serge Charchoune, Pougny as he became known, did not align himself with any great artistic movement of the time, although the present work has Cubist predilections in terms of style and composition and he was known to be influenced by the work of Russian Suprematists like Kasmir Malevich. More importantly, as it has been noted, Pougny was in many ways, along with Picasso, the first of the Pop artists, fusing their works with a penchant for collage and imbuing in their vistas iconographic traits from everyday cultural experiences. (see the pochoir, Bass, by Pablo Picasso at Salon CCR).  The work carried out on this piece at Art Conservation Framing has seen the work attached using archival supports. This has resulted in a successful attempt to ‘flatten’ the work as much as practicable. The decision to attach the work to black archival backing returns, in part, the dramatic iconography that belonged to Puni / Pougny’s late Russian or early French artistic phase. The work is housed in a beautiful frame of sustainable Tasmanian oak. A real piece and important part of Pougny’s remarkable contribution to the rapidly evolving art world of the 20th Century.