SERGE IVANOVICH CHARCHOUNE
“Artist Merlin James will introduce the exhibition and give an overview of the unique achievements of artist and writer Serge Charchoune. Reserved by nature and often overlooked by mainstream art history, Charchoune was nevertheless an associate of Picabia, Schwitters, Léger, Tzara, Breton, Ernst, de Staël and many others. From post-modern perspectives his significance is increasingly emerging.” http://www.ed.ac.uk/about/museums-galleries/talbot-rice/events
very particular opinions, amazing knowledge, vast awareness
i wrote far too much to relay into this digital means so
main points of interest for me:
an artist migrating back and forth between continents and countries within Europe, making connections with successful artists of the time
BORN 1888? RUSSIAN COUNTRYISDE. 1909 MOSKOW. BERLIN. 1912 PARIS. BARCELONA.
JACK OF DIAMOND- RUSSIAN AVENT GARDE GROUP
FAMOUS AVENT GARDE EXHIBITION IS MOSCOW: THE DONKEY’S TALE
1915 MADE 1ST PAINTING TO DO WITH SYMBOLISM
WHILST IN SPAIN, DECORATIVE SYMMETRICAL PAINTINGS/ ORNAMENTAL ABSTRACT
BERETTA. HILMA af KLINT (1909 ish diagram paintings). MALEVICH, MARSDEN HARTLEY, KANDINSKY, links to Paul Klee, Yohan Torres..(sp?).
THEOSOPHY, Ledbetter, Annie Bee..(sp?). (Charchoune picked up on theosophy when he got to Berlin.)
He mixed abstraction with figuration and Byzantine Russian art from his childhood memory.
FILM WORKS- animated paintings, related to movement, music and poetry very important to Charchoune
1917 diagramistic painting, emblematic imagery scratching at abstraction. Then very different painting with a wandering serpentine line- NO CONSISTENCY FROM THING TO THING- FREEDOM FROM STYLISTIC CONVENTIONS.
FRANCIS PACARBIO does this too- FREEDOM.
PACARIO and CHARCHOUNE vastly varied in character, Pacarbio enjoying the performance of celebrity and Charchoune always ducking away from obvious fame, he was quiet, poetic and humble.
In the 20’s Charchoune made paintings with repeated coloured shapes, now they relate to Fauve paintings, they are a bit Fauvy, but they were pre Fauve!
He also painted mystical landscapes and hinted at figuration in luminous space- space that didn’t/ doesn’t commit…
He wrote a lot of poetry whilst he painted and was part of musical circles
FOULE IMMOBILE POEME 1921. AVEC DESSINS DE L’AUTEUR
THEN was advised against returning to Russia due to the political unrest post cultural revolution. Went to Berlin. Then back to Paris- he made language poetry- statements.
SOLIEL RUSSE- WORDS IN HOPE OF A POSITIVE FUTURE.
Purism, an offshoot of cubism.
Began painting white impasto layers over coloured paintings, dense.
He made works and then cut them up to make much smaller whole works on their own which were the sections of larger works, the whole.
Crosses with Morandi- abstraction out of cubism, use of white (Morandi’s still lives.)
1922: cubist exercises in Berlin (late for this at this time.)
20’s/ 30’s made linear arabesque abstractions which was a BIG HIGH pOINT in his work. The cross as a symbol he used relates to Russian Constructivism (memories, moments, pieces of relevance from the past re-appropriated.)
Early 30’s- more swirly lines, quite recognised now…In various renowned galleries in Paris. Picasso brought one of his paintings.
He spent lots of time in Italy in the 60’s as he had a dealer there.\
Forress Best (t?) MARSDEN HARTLY, MADONNA, PACARBIO, MILTON AVERY, LOWRY LANDSCAPES
ENGAGED IN ALL MODES OF PAINTING BUT SEEMS TO HAVE A CORE PERSONALITY AS A PAINTER, AWARE OF MODERNIST PROGRESSION BUT CONSTANTLY OBTAINING PERSONAL OBJECTIVES AND PAINTING ALONG HIS OWN PATH.
1974 WENT TO GALAPAGOS ISLANDS TO PAINT, ALMOST DIES THERE, PAINTING CREATURES AND LANDSCAPES, ALWAYS DRAWN TO THE COAST. RETURNED TO PARIS, VERY OLD, AND MADE A BIT OF WORK
M Y S I C A L C R O S S E S