Konstantin Andreevich Somov 1869-1939

Ink on paper. The ink in this composition is in good condition and appears untouched under UV. There is light paper discoloration and staining throughout the background; this staining is particularly noticeable at the upper right corner.
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Konstantin Andeevich Somov was part of a generation that considered itself part of a dying world. He was deeply influenced by European fin de siècle cynicism which he often presented in nostalgic, period vignettes. As Igor Emmanuilovich Grabar described Somov's curious oeuvre, "...even then, his 'un-Russian' features stood out from the conventional work of his contemporaries. His works were more subtle, temperate, cerebral, and superior in draftsmanship to those of others. His drawings were altogether different from anything else being done in the studio; to us they seemed affected and simulated, clearly imitating and copying some original illustrations from foreign magazines, most of all from the English Studio" (Igor Emmanuilovich Grabar, Moia Zhizn: Automonografiia Etiudy o Khudozhnikakh, Izd-vo Respublika, 2001, p. 241).

Indeed, it can be said that Somov's style was largely derived from the British movement called Decadence (1880-1900), where contemporary artists ridiculed high Victorian values. The publication of the World of Art journal introduced the Russian public to the latest accomplishments in Western graphic arts of English, German, French and Belgian artists who were oriented on the modern ethics. As a prominent member of the World of Art group, Somov was largely responsible for the design of the collective's journal, as well as for the development of a new graphic style. The artist's reemerging theme of sensuality is vastly explored in the 1907 Hans von Weber, Munich publication of Das Lesebuch der Marquise. The book comprised "gallant" eighteenth century literary excerpts, chosen by Franz von Blei and lasciviously illustrated by Konstantin Andreevich Somov. Anticipating censorship, Somov made two versions of illustrations for the edition; later, the publishing house would print only the restrained version. In 1914, Somov began another series of drawings, and he independently selected his own anthology of frivolous excerpts from works by Voltaire, Casanova and others. It was four years before he finished the project, and Grande Livre de la Marquise was finally published in St. Petersburg (not in Venice, as the edition falsely claimed). The present lot is an example of erotic imagery from this publication.

Sergei Makovsky remarked, "Somov's eroticism is that of a past life, profoundly interpreted by the contemporary artist and perfected into a sensuality of unexpected naiveté and, above all, tempting suggestions" (Sergei Makovsky, Contemporary Russian Graphic Art, Petrograd, 1917, p. 13). The present rendition of Simple Pleasures is executed in the style of eighteenth century silhouette drawings; the exquisite draftsmanship is characteristic of Somov's linear graphics. Despite the daring frivolity of the subject matter, the erotic scene is intricately woven with wit and rare refinement. Somov daringly blurs the lines between masculinity and femininity by painting the male and female forms almost indistinguishably. The subjects appear equally delicate and playful, and their forms unify as they mold together in the dark.

In 1916, Russian poet Mikhail Kuzmin remarked: "Restlessness, irony, theatrics of the world, the comedy of eroticism, variegation of masquerade freaks, devious candle light, fireworks and rainbows--suddenly morbid depths of death, sorcery--skull, hidden under the cloth and flowers, the mechanical love stances, deadliness and terror of cordial smiles--this is the spirit of a whole range of Somov's creations. Oh, how dour is this gallant Somov! What a dire mirror he offers to the delighted feast!--Comme il est lourd tout cet amour leger" (How arduous you are, uncomplicated love, as quoted in Urii Bezelianskii's Ulybka Dzhokondy: Kniga o Khudozhnikakh, Moscow: OAO Izd-vo "Raduga," 1999, p. 282).