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This work is regarded as an unexpected and forced exception in the art of Pavel Filonov. The portrait appears to have been a modello for a large panel decorating the facade of the Sailors Club in Len...
Pavel Filonov never experienced any qualms about simultaneously employing different styles and devices. He often combined abstraction with objectivity, intermingling artistic traditions in correspond...
In the mid-1910s and beyond, Pavel Filonov created several works in parallel to, yet cardinally different from, his Chant of the World Flowering cycle of avant-garde pictures. This image demonstrates...
The evolution of Pavel Filonov ’s perception of the world in the late 1910s and early 1920s led the artist to employ, in the majority of cases, abstract means of expression. As he explained: “Life is...
This work marked a new stage in the creative evolution of Pavel Filonov. In the early 1920s, the master began to employ primarily abstract forms of expression. He sought correspondences between the c...
Pavel Filonov united the concepts of the “seeing eye” and the “knowing eye”, transforming his apparatus of perception into something like an omnipresent eye, which pierces through the outward facades...
Painted in 1915, during the First World War, this work is stylistically similar to two other compositions by Pavel Filonov – Untitled (1917) and Untitled (1919). The German War is also close in its a...
Unlike most members of the Russian avant-garde, Pavel Filonov did not criticise the preceding movements in art or reject figurativeness in painting. The most important factor in his approach towards ...
This is one of the many interpretations of biblical subjects in Pavel Filonov ’s art. The meaning of this particular parable, which combines the worldly and the eternal, lies beyond the bounds of the...
This portrait differs greatly from Pavel Filonov ’s other works of the mid-1910s. The artist unexpectedly betrays his interest in classical art and long hours spent in the Hermitage, contemplating an...