- 52
Vladimir Egorovich Makovsky, 1846-1920
Description
- Vladimir Egorovich Makovsky
- three waifs
- signed in Cyrillic l.r. and dated 1872
- oil on canvas
- 69.5 by 50.5cm., 27ΒΌ by 20in.
Provenance
Exhibited
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Vladimir Egorovich Makovsky belonged to one of Russia's most illustrious artistic families in the late nineteenth century: his brothers, sister and son were all professional artists. Trained at the Moscow School of Painting and Sculpture, he worked in an impressive range of media, producing illustrations for works by Pushkin, Turgenev, Gogol and Lermontov (he ran his own lithographic studio), and frescoes for the Cathedral of Christ the Saviour in Moscow. Most important were his genre paintings of Russia's lower and middle classes which, like the work of many of his fellow Peredvizhniki, document the impact of recent socio-economic change. Three Waifs, which was painted the year Makovsky joined the Peredvizhniki, shows the influence of Vasily Perov, who had focused on Russia's destitute and marginalised since his return from France in 1864. By using a muted palette of browns and greys and emphasising the eye contact between subject and viewer, Makovsky clearly intends to provoke empathy for an underclass of which the contemporary Russian viewer would have been well aware.
We are grateful to Dr. Rosalind Blakesley at the University of Cambridge for providing this note.