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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...
Compositions entitled Heads are often encountered in the paintings and drawings of Pavel Filonov, particularly in the mid-1920s. In many works of this period, the human head and face act as a blank c...
In 1912, when Cubism was making headlines across Europe, Pavel Filonov began developing the principles of Analytical Art. He rejected the geometric representational scholastics of Cubism, preferring ...
This picture is an excellent example of Pavel Filonov’s deep and natural perception of Russian folklore and his genuine interest in the expressive beauty of national folk customs. The canvas was pain...