3.Lot344. GONCHAROVA, NATALIA (1881-1962)
Still Life with Mimosa,
Oil on canvas, 100 by 77 cm.
400,000-600,000 pounds
4.Lot353. PETROV-VODKIN, KUZMA (1878-1939)
Maternity, signed with initials and dated 1922, inscribed in Cyrillic "Future Mother /Study 1922" on the reverse.
Oil on canvas, 80.5 by 64.5 cm.
1,100,000-1,800,000 pounds
Provenance: Russian pictures, Sotheby's London, December 1994, Lot 41.
Private collection, Europe.
5.Lot. 414. SHUKHAEV, VASILY (1887-1973)
View of the Valley, Georgia, signed and dated 1953.
Oil on canvas, 74.5 by 101 cm.
100,000-120,000 pounds
Authenticity certificate from the expert T. Levina.
Literature: I. Myamlin, Vasiliy Shukhaev. Khudojnik RSFSR, 1972, p. 153, listed.
6.Lot448. TIMKOV, NIKOLAI (1912-1993)
Early Snow in the Forest, signed and dated 1970.
Oil on canvas, 53 by 70.5 cm.
10,000-15,000 pounds
 

3.Lot526.NEMUKHIN, VLADIMIR (B. 1925)
Composition with Cards and Sea Shells, signed and dated 1992.
Collage with oil, playing cards, sea shells and nails on canvas, 120 by 120 cm.
18,000-25,000 pounds
Provenance: Acquired directly from the artist by the previous owner.
Private collection, Europe.
4. Lot536. SALAKHOVA, AIDAN (B. 1964)
Untitled, signed and dated 1989 on the reverse.
Textile, mixed media on canvas, 120 by 120 cm.
6,000-8,000 pounds
Provenance: Private collection, USA.
5.Lot546. NAZARENKO, TATIANA (B. 1944)
Three Graces. Lilies, signed, also signed, titled in Cyrillic and date 1996 on the reverse.
Oil on canvas, 60 by 49 cm.
5,000-7,000 pounds
Provenance: Acquired directly from the artist.
Private collection, USA.
6. Lot547. NAZARENKO, TATIANA (B. 1944)
Chorale, signed with initials, also further signed, titled in Cyrillic and dated 1984-85 on the reverse.
Oil on canvas, 120 by 100 cm.
6,000-9,000 pounds
Provenance: Acquired directly from the artist.
Private collection, USA.
7. Lot 566. PARADJANOV, SERGEY (1924-1990)
Princess with Butterflies,
Collage with mixed media on textile, laid on panel, 36.5 by 28 cm.
5,000-7,000 pounds
Provenance: Private collection, France.

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It is clear that there is still troubled and probably confuses many in the heritage Deineki - as a great master could be so sincere Soviet? Here is his literary counterpart, Vladimir Mayakovsky - and he put a bullet in the forehead, and Deineka, despite the fact that battered him for "formalism", lived happily until his sixty maintaining a serene cheerfulness of spirit, and body, as if borrowing it from their own brawny characters, and not without reason, boldly posing for post-war self-portrait in boxer shorts. And in his later things (as shown by the way, the Tretyakov Gallery in 2001, the same gallery of the Kursk, which has the largest collection of his works), there is no degradation of style, so typical for Soviet artists of his generation: even remember what happened to bubnovovaletovtsami. Is that in his mature years Deineka preferred nudity of models and apolitical bouquets shock worker and smoke shops, well, so this is forgivable, one for me at this no blame or Matisse, whose Deineka, by the way, loved, or Picasso.

But as early iconography Deineki, here selectors of the current exhibition is certainly not once mused whether to skip some very, shall we say, cynical in the light of modern attitudes in Russia's society pages. When the government of the country almost at full strength stands at the mass, in such a God-fearing, moreover, and public museum, as the Tretyakov Gallery, of course, somehow embarrassed to recall that the main Soviet artist was a militant atheist. But the words of the song can not throw, and it is hoped that at least a couple of priests from the huge number of drawn Deineko for "Bezbozhnik at the bench" to the exhibition still fall. Perhaps it will take at least dear picture, where the young pioneers make "Uncle God" listen to the radio. With the bourgeoisie, unearned elements will ask nepmanshami, gold and other youth, according to Soviet terminology, class-alien characters inhabiting densely deynekovskuyu schedule 1920-1930's, of course, easier - such a court for inciting class hatred is not served. Pictures injected in the factories and workers plowing in collective farmers also did not lose social relevance, and sportsmen and athletes - because even now, those general advertising fitness clubs put together with slogans such as "Athlete of thou canst not be, but athletes must", not to mention already on the football scenes - perhaps best of all, that ever on this subject in art was done.

In deynekovskom work there is one theme that paradoxically unites the singer of the Soviet system and way of life with the formation of modern Russia's bourgeoisie. The fact that Dejneka was a rare instance, to paraphrase a recent expression of global russians, "Soviet globalists" that is, had the opportunity a lot and long live abroad. He traveled through VOKS - All-Union Society for Cultural Relations with Foreign Countries, who sent representatives of creative intelligentsia entice foreigners charms state of workers and peasants. Such an instance as Deineka that even drawing albums commissioned specifically for the size of the pocket of his jacket and was not averse to develop designs for ties, that is a dandy cleaner of the same Mayakovsky, is the best suited for this mission. And now you can have new eyes to look at his graphic series, imported from America, Italy, his "Vienna album, full of fleeting sketches of postwar fashionistas, his impressions of the planes and trains, highways and cinemas, the Roman area and New York's skyscrapers, cafes and cabaret. This line is in the works Deineka, of course, not home, but it was through those deprived of so many annoying Soviet work is easiest to appreciate its purely artistic, plastic dignity, only to find them in the most odious of his works.

In this sense, Deineka nothing from the western masters of his age, maintaining and comparison with the German representatives of the "new real", and with the Mexican muralist Siqueiros and Rivera, and the American realists such as Edward Hopper, and even, paradoxically, with characters such as Hockney or Dali. It remains only to ensure that it is obvious an international quality deynekovskih work recognized, and those who do not believe that Soviet totalitarianism could be something beautiful.

The State Tretyakov Gallery, May 26-September 20
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