Togrul F. Narimanbekov

The canvas edges are coming away from the stretcher in places, particularly so in the lower right corner and in the middle of the right side. There is damage and wear to the canvas at the edges, particularly at the bottom of the work, but does not appear to be any paint loss as a result. There is a small horizontal tear in the canvas in the middle of the lower edges of the work. The canvas has buckled slightly at the top left corner of the work where it is signed and dated by the artist. Otherwise the canvas is in good condition.The paint surface is covered in a very light layer of dirt in places which is particularly evident in areas of white paint. The area of blue paint under the signature and date has run slightly, but this appears to have been part of the artist's process. There is widespread crackling in areas of yellow impasto, particularly so in the top half of the canvas. The work is not held in a frame.
"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."

Togrul Narimanbekov's work epitomises Azerbaijani painting of the late Soviet period. His works passionately explore all aspects of national culture and traditional way of life, combining it with universal principles of goodness and beauty. Departing from the rigid boundaries of Socialist Realism, the artist employs bright colours and bold brushstrokes characteristic of the Absheron School of painting, itself established around Baku in the 1950s by Javad MirJavadov. However, Narimanbekov's sweeping painterly technique and overall approach to the canvases creates a practice that is distinctly his own.

The carefully considered and painted characters inhabit Narimanbekov's canvases are seamlessly reconciled with expressive brushstrokes that often border on abstraction. In fact, the artist's early works faced criticism from Soviet authorities on the grounds of abstraction, which was delegated to the unwelcome territory of the "Other" at the time. Nevertheless, his deep connection to culture and tradition led to subject matter that was largely acceptable and gained him widespread recognition across the former USSR and give the artist opportunities to develop his practice at home and abroad.

Narimanbekov was strongly influenced by the Eastern Miniature painting tradition of Azerbaijan and Uzbekistan, where he spent a part of his life. Having lived and studied in Lithuania, he was at the same time exposed to European artistic traditions. His works are imbued with sentiments of the Romantic masters, yet visually lean more to the Baroque. Preferring large-scale canvases, the artist depicts whole scenes from his reality experienced in traditional tea-houses, markets and celebrations, as well as imaginary settings of legends and fairy-tales. The presented lot depicts a local market (bazaar) scene from a city in Northern Azerbaijan, Sheki, known for its idiosyncratic architecture and rich crafts. The scene is set around a market stand with a flurry of activity spreading in each direction. People, animals, plants, and objects are intermingled in a seemingly haphazard manner, yet on closer inspection each element tells a story, albeit some louder than others. The market itself is set within a mystical landscape, characteristic of the artist's lifelong reverence of his native land. In Narimanbekov's works the market stands as an existential analogy to life itself, where differences are eroded and all participants come together in a seemingly chaotic activity which at the same time strictly follows its own rules.

Narimanbekov was attracted to the theme of markets throughout his career, executing numerous canvases on the theme from the early 1970s to the 2000s. Even works produced during his travels to India, themselves inspired by a love of Moghul miniature painting and its connection to the South Azerbaijani masters of the 16^th century, are rich with renditions of Indian markets. The market provides the artist with a perfect setting to develop his painterly technique as the canvases become more elaborate and the colours become brighter and the layering richer over the years, reaching its peak in the 1980s. The present lot is an exceptional example of the artist's most fruitful period and is a nuanced and tightly worked painting that combines all elements of his unique technique.