Family Office Elite Spring_16

ALEXANDER BOGOMAZOV
Dudakov, among others, to start collecting his works.
Bogomazov exhibitions remained a rarity. The next
were not held until 1991 – in Toulouse and Kiev.
Another 16-year lull ensued before St Petersburg’s
Russian Museum hosted a Bogomazov show in
2007. Such scratchy museum coverage does grave
injustice to this pioneering artist, who is also (with
the honourable exception of Kiev’s National Museum
of Ukrainian Art) chronically under-represented in
public collections.
The third reason Bogomazov has anguished in
undeserved obscurity is his status as a ‘Ukrainian’
artist. As a result, he has been ignored by many of
the exhibitions devoted to the Russian Avant- Garde
in the West. ‘Ukrainian’ is, mind you, something of
a misnomer: Alexander Bogomazov was Russian
by virtue of his mother tongue and birthplace in
what was then the Tsarist Empire. Yet, insofar as he
spent virtually all his life in Kiev, Bogomazov may
unquestionably be considered Ukrainian.
He was educated at the Kiev Academy of Arts and
spent almost all his creative life in the city – including
his final, illness-wracked years as a polemicist and
teacher at what by then was Kiev Art Institute. With
its hills, escarpment, twists, turns and vistas, Kiev is
his city. Bogomazov wrote: ‘Kiev in its plastic outlines
is full of beautiful, varied and deep dynamism.
Here the streets thrust into the sky, the forms are
tense, the lines are energetic; they fall, split up, sing
and play. The verticals of poplars and mountains
slash across the horizontals. The general tempo of
life underlines this dynamism even more; it gives it
what might be called an ordered basis and broadly
flows over throughout, until it rests on quiet shores
of the Left Bank of the Dnieper.’ Indeed, it is no
exaggeration to say that Bogomazov is now regarded
as the Ukrainian Avant-Garde artist par excellence.
He is unquestionably worthy of this title. His
theories, as outlined in his 1914 treatise Painting
and Elements are considered prophetic – he wrote
how the black square on the white background is the
‘most finished form’ a year before Malevich, while his
musings on rhythm, colour and line predate those
of Kandinsky. Only with increased exposure and
research will the legacy of this artist be assured. A
personal exhibition, the first in his homeland since
1991, is now planned at the National Museum of
Ukrainian Art for the winter of 2016 and archivists
are working through the myriad of documents and
letters, only a fraction of which have ever been
published.
The works chosen for this exhibition fall into four
sections. The first is devoted to Bogomazov’s
inspiration and support: his wife Wanda Monastyrska,
whom he met in 1908. Two 1911 portraits of Wanda
at this exhibition are intimate and touching. A 1913
view of Wanda reading is more daring (they were
now married). By 1915, his images of Wanda had
evolved into something far stronger, more confident
and sexually charged. Before 1915, Bogomazov
painted or drew his wife on at least 30 occasions.
The relationship between the diffident artist and the
fiery, self-confident spouse (herself also an artist)
was slightly unconventional.
Bogomazov was smitten with Wanda on first sight
but, initially, she rejected him. His persistence paid
off and, by 1911, his images of Wanda had acquired
an immediacy that suggests he had reason to believe
in her change of heart. Their marriage in August
1913 detonated what Dmytro Horbachov calls an
‘explosion of creativity’ for Bogomazov, whose
artistic career could have fizzled out into despair and
emptiness without Wanda’s support.
After his death from tuberculosis in 1930, Wanda
single-handedly preserved the work of ‘her Sasha’
from the Soviet authorities and Nazi invaders.
We have obtained first-hand impressions of the
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