PAKULIN VYACHESLAV VLADIMIROVICH

STILL LIFE WITH A VIEW OF ST. ISAAC’S CATHEDRAL

PAKULIN VYACHESLAV VLADIMIROVICH (1900 – 1951)

 

STILL LIFE WITH A VIEW OF ST. ISAAC’S CATHEDRAL

 

Signed lower left

Oil on canvas

98.7 х 70.8 см

 

EXPERTISE:

Nina Ivanovna Lapidus – art historian, expert in Russian art, senior researcher and curator of the Russian paintings in the Latvian National Museum of Art in Riga from 1969 to 1995, member of the Artists’ Union of Latvia.

 

CONDITION REPORT:
The painting is in perfect condition.

 

Price on request.

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Pakulin Vyacheslav Vladimirovich
1900, Rybinsk – 1951, Leningrad

1916-1922 he attended School of Technical Drawing, where he learned from A. E. Karev and V. V. Lebedev, he then continued his studies at VKhUTEMAS-VKhutein (Higher Art and Technical Studios – Higher Art and Technical Institute), while at the same time he attended Meyerhold’s Performing Art Courses in Petrograd. He took part in organizing celebrations dedicated to October anniversaries.
During these years, Pakulin came under the influence of V. Tatlin and K. Malevich. He spent a lot of time at Art Culture Museum and then at the Institute of Artistic Culture (INKhUK). In the words of V. I. Kudrov „… here, in the empty rooms of Myatlev’s house, students of VKhUTEMAS-VKhUTEIN studied Cézanne’s and Picasso’s methods of painting and learned the basics of Cubism, geometrization of forms.“
For the first time he took part in the exhibition at the Art Culture Museum, Petrograd, in 1922: An Overview of Recent Trends. The exhibition was organized by V. Tatlin and was an attempt to consolidate the left-wing forces in Petrograd.
Among Pakulin’s works of this period are those directly related to the 1922 exhibition: „Volumes and Planes“ (1922) and one of the „Formal resolutions of the surface“ (1920), „Still Life“ (with the tray, the beginning of 1920s), „White Still Life“ and „Blue Landscape“ (the beginning of 1920s). Talent and creative eclecticism connect these works, which represent a combination of Cubism and A. E. Karev’s principles. Other works from this period, „Formal resolutions of the surface“ and „Still Life“ (with the tray)were created under the influence of V. Tatlin’s counter-reliefs.
He paid tribute to innovative experiments of the Cubo-Futurism. In his early works the influence of K. Petrov-Vodkin is noticeable: deliberately broken space, geometrization of forms.
1926 – Actively worked on creating a society „Circle of Artists“, which set the task „through the picture to the style of the era“. The society gathered gifted artists, such as A. Samohvalov, A. Rusakov etc.
From 1927 – Chairman of the society.
1926-1927 – Created a theme painting „Woman Reaper“. The painting goes along with a manifesto, which describes the ideas that were presented through the painting itself. In this period he turned to the origins of the Old-Russian fresco.
1930 – Interest in portraits. He dramatically changed the manner of painting and theoretical interests. He turned to nature, considering it the best teacher. Artist-in-residence programme in Donbass, series of paintings on an industrial theme (“Electrosila Turbine Factory”).
In 1935 he participated in creating the panel „Cotton“ for the VDNKh.
In 1937 he created the panel “Physical Education” for the USSR pavilion at the World Exhibition in Paris
1941-1945 during the years of the Great Patriotic War he remained in besieged Leningrad, where he created chronicles of siege in gouache technique. After the war he continued to work on the city landscape.
In the 1960s, after death, he received a well-deserved recognition. The artist’s works are kept at State Tretyakov Gallery (Moscow), State Russian Museum (St. Petersburg), State Museum of the History (St. Petersburg) and other.

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