Vladimir Fedorovich Stozharov

Acquired directly from the artist in 1965

Travelling exhibition, Proizvedeniya sovetskikh khudozhnikov, 1969-1971
Moscow, USSR Academy of Arts, Vladimir Fedorovich Stozharov. Zhivopis', risunok, 1977
Moscow, Vladimir Fedorovich Stozharov. Zhivopis', 1988

Vladimir Fedorovich Stozharov. Katalog proizvedenii. Zhivopis', risunok, Moscow: Sovetskii khudozhnik, 1977, p.28 illustrated b/w; p.92 listed under works from 1965
Exhibition catalogue Vladimir Fedorovich Stozharov. Zhivopis', Moscow: Sovetskii khudozhnik, 1988, listed under works from 1965

The masonite board appears sound. There is a layer of light surface dirt. There is a small area of loss to the board in the lower edge near the centre. There are lines of nails along the edges with small pin holes with associated paint loss. There is paint loss to the impasto above the central crowd. Otherwise the work is in overall good condition. Under UV pigment fluoresces along the top edge, though varnish prevents a conclusive analysis. Held in a simple wooden frame. Unexamined out of frame.
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Throughout his career, Vladimir Stozharov found inspiration in the Russian north, its vernacular architecture and the traditional way of life of its people. While still a student at Moscow’s Surikov Institute, he would travel to the Kostroma and Yaroslavl regions, and later to Siberia, along the Yenisei river, where he would find the subjects of his paintings. Although born in Moscow, he felt a close affinity with the people living in those parts of Russia, had a deep understanding of their customs and traditions and celebrated them in his works. Primarily a landscape painter, Stozharov was less interested in depicting the untouched nature of the North, but focussed instead on the people themselves, their towns, villages and wooden houses.

The villagers have come down to the river to wait for the motorship, which is notably absent from the picture. Women in colourful dresses, holding their babies are standing impatiently, while others are chatting. The faces of the few men in the group are burnt by the sun, no doubt from working outside. Stozharov depicts a thriving community, which is also reflected by the new houses being built in the background.