Vladimir Luppian Sold at Auction Prices

b. 1892 - d. 1961

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    • LUPPIAN, VLADIMIR (1892-1983) Revolution as a Stage of Evolution
      Jun. 07, 2017

      LUPPIAN, VLADIMIR (1892-1983) Revolution as a Stage of Evolution

      Est: £200,000 - £300,000

      LUPPIAN, VLADIMIR (1892-1983) Revolution as a Stage of Evolution, signed and dated 1924–1961. Oil on canvas, 71 by 53.5 cm. Provenance: Collection of Art-Divage Gallery, Moscow. Acquired from the above by the present owner. Private collection, UK. Exhibited: The Filonovites: From the Masters of Analytical Art to the Post-Avantgarde, Art-Divage Gallery, Moscow, December 2006–February 2007. Literature: Panorama iskusstv, Moscow, Sovetskii khudozhnik, 1990, p. 115, illustrated. Exhibition catalogue, The Filonovites: From the Masters of Analytical Art to the Post-Avantgarde, Moscow, Skorpion, 2006, illustrated on the cover; p. 88, illustrated; p. 127, listed. Revolution as a Stage of Evolution is Vladimir Luppian’s main Filonovite work, which it took him over thirty years to finish. Luppian’s loyalty to his teacher was not merely personal: his wife, Maria, an actress, sewed the costumes designed by the Collective of Masters of Analytical Art for Igor Terentiev’s famous production of Nikolai Gogol’s The Government Inspector at the Experimental Theatre in the House of Printing in Leningrad; while his daughter Muza also studied under Filonov. Luppian’s own art was governed by the principle of “madeness”. The entire voluminous work was constructed from point to point. The micro and macro levels were constantly in mutual contact, with the aid of a type of capillary system. Although the artist ostensibly followed his teacher’s “formulae” closely, his works were by no means clones of Filonov’s creations. Filonov demanded “biological madeness.” While Luppian’s works can also be compared to organisms, they are more like “mechanical organisms” or, to be more exact, “metaphorical-mechanical organisms” – the “steel machines that have no soul” as described in Alexander Blok’s poem, The Scythians (1918). Among all of Filonov’s students it was Luppian who most valued the concept of “technology”, as evidenced by his works, such as Quanta of Light and Energy as Matter. Luppian is clearly evaluating the experience of Kliment Redko and his electro-organism. He appears to be attempting to visualise the very energy of life: the metaphors of batteries, energisers, energy fields and discharges can be deciphered in the haze of dots caught up in a centripetal movement and the “power lines.” Imagining Filonov’s movement as a battlefront, Luppian would seem to head the “technological” flank (emulating such benchmark works by Filonov as GOELRO and The Mechanic). Dr Alexander Borovsky, Head of Contemporary Russian Art at the State Russian Museum

      MacDougall's
    • LUPPIAN, VLADIMIR (1892-1983) - Revolution as a Stage of Evolution
      Nov. 25, 2012

      LUPPIAN, VLADIMIR (1892-1983) - Revolution as a Stage of Evolution

      Est: £250,000 - £400,000

      LUPPIAN, VLADIMIR (1892-1983) Revolution as a Stage of Evolution , signed and dated 1924-1961. Oil on canvas, 71 by 53.5 cm. Provenance: Private collection, UK. Exhibited: The Filonovites: From the Masters of Analytical Art to the Post-Avantgarde , Gallery Art-Divage, Moscow, December 2006-February 2007. Literature: A. Borovsky, A. Kuznetsov, The Filonovites: From the Masters of Analytical Art to the Post-Avantgarde , Skorpion, Moscow, 2006, illustrated on the front cover and on p. 88. Art Panorama , Moscow, Soviet Art Publishing, 1990, p. 115, illustrated. The present lot constitutes Vladimir Luppian's main Filonovite work; he worked on it for over thirty years. Luppian displayed his devotion to his teacher Pavel Filonov not only personally, but also through his entire family. He married an actress, Maria Sysoevna, who sewed the costumes designed by the Collective of Masters of Analytical Art for Igor Terentiev's famous production of Nikolai Gogol's The Government Inspector at the Experimental Theatre in the House of Printing in Leningrad. Luppian also brought his teenage daughter, Muza, to study under Filonov. Luppian's own art was governed by the principle of "madeness". The entire voluminous work was constructed from point to point. The micro and macro levels were constantly in mutual contact, with the aid of a form of capillary system. Although the artist ostensibly followed his teacher's "formulae" closely, his works were by no means clones of Filonov's creations. Filonov demanded "biological madeness." While Luppian's works can also be compared to organisms, they are more like "mechanical organisms" or, to be more exact, "metaphorical-mechanical organisms" - the "steel machines that have no soul" as described in Alexander Blok's poem, The Scythians (1918). Among Filonov's students, the concept of "technology" was closest to the heart of Luppian. This concept even resounds in titles of such works as Quanta of Light and Energy as Matter . Luppian is clearly looking at the experience of Kliment Redko and his electro-organism. He appears to be attempting to visualise the very energy of life: the metaphors of batteries, energisers, energy fields and discharges can be read in the haze of dots caught up in a centripetal movement and the "power lines." Imagining Filonov's movement as a battlefront, Luppian would seem to head the "technological" flank (emulating such benchmark works by Filonov as GOELRO and The Mechanic ). We are grateful to Alexander Borovsky, Head of Contemporary Russian Art at the State Russian Museum, for providing additional cataloguing information.

      MacDougall's
    • LUPPIAN Vladimir (1892-1961). Attribué à. Huile
      May. 17, 2011

      LUPPIAN Vladimir (1892-1961). Attribué à. Huile

      Est: €300 - €450

      LUPPIAN Vladimir (1892-1961). Attribué à. Huile sur papier collé sur carton "Composition abstraite". Attribué à Vladimir Luppian (monogrammé en cyrilliques au centre) et daté 1956. Ecole russe. (*). Dim.:44x33.5cm.

      Vanderkindere
    • LUPPIAN, VLADIMIR 1892-1961 Before the Storm
      Jun. 12, 2008

      LUPPIAN, VLADIMIR 1892-1961 Before the Storm

      Est: £10,000 - £15,000

      LUPPIAN, VLADIMIR 1892-1961 Before the Storm signed, dated 1936 and numbered "XI". Oil on canvas, 66 by 54 cm. Exhibited: The Filonovites: From the Masters of Analytical Art to the Post-Avantgarde , Gallery Art-Divage, Moscow, December 2006-February 2007. Literature: Exhibition catalogue, A. Borovsky, A. Kuznetsov, The Filonov School, Filonovites: From the Masters of Analytical Art to the Post-Avantgarde , Scorpion, Moscow, 2006, p. 90 illustrated.

      MacDougall's
    • LUPPIAN, VLADIMIR 1892-1961 Trees signed, dated
      Jun. 12, 2008

      LUPPIAN, VLADIMIR 1892-1961 Trees signed, dated

      Est: £10,000 - £15,000

      LUPPIAN, VLADIMIR 1892-1961 Trees signed, dated 1936 and numbered "XI", also signed and inscribed in Cyrillic on the reverse. Oil on canvas, 67 by 54 cm. Exhibited: The Filonovites: From the Masters of Analytical Art to the Post-Avantgarde , Gallery Art-Divage, Moscow, December 2006-February 2007. Literature: Exhibition catalogue, A. Borovsky, A. Kuznetsoff, The Filonov School, Filonovites: From the Masters of Analytical Art to the Post-Avantgarde , Scorpion, Moscow, 2006, p. 100 illustrated.

      MacDougall's
    • LUPPIAN, VLADIMIR 1892-1961 Revolution as a Stage
      Jun. 12, 2008

      LUPPIAN, VLADIMIR 1892-1961 Revolution as a Stage

      Est: £250,000 - £300,000

      LUPPIAN, VLADIMIR 1892-1961 Revolution as a Stage of Evolution signed and dated 1929-61. Oil on canvas, 71 by 53.5 cm. Exhibited: The Filonovites: From the Masters of Analytical Art to the Post-Avantgarde , Gallery Art-Divage, Moscow, December 2006-February 2007. Literature: Exhibition catalogue, A. Borovsky, A. Kuznetsoff, The Filonov School, Filonovites: From the Masters of Analytical Art to the Post-Avantgarde , Scorpion, Moscow, 2006, p. 88 and illustrated on the front cover. Art Panorama , Moscow, Soviet Art Publishing, 1990, p.115 illustrated.This painting offered for auction is according to Alexander Borovsky "Luppian's main Filonovite work"; he worked on it right up until his death, for over thirty years. ...Luppian displayed his devotion to his teacher not only personally, but also through his entire family. He married an actress, Maria Sysoevna, who sewed the costumes designed by the Collective of Masters of Analytical Art for Igor Terentiev's famous production of Nikolai Gogol's The Government Inspector at the Experimental Theatre in the House of Printing in Leningrad. Vladimir also brought his teenage daughter, Muse, to study under Filonov. Luppian's own art was orientated on the principle of "madness". The entire volumetric-spatial work was cultivated from point to point. The micro and macro levels were constantly in mutual contact, with the help of a form of capillary system. Although the artist ostensibly closely followed his teacher's "samples," his works were by no means clones of Filonov's creations. Filonov demanded "biological madness." While Luppian's works can also be compared to organisms, they are more like "mechanical organisms" or, to be more exact, "metaphorical-mechanical organisms" - the "steel machines that have no soul" described in Alexander Blok's poem, The Scythians (1918). Among Filonov's students, the concept of "techno" was closest to the heart of Luppian. This concept even resounds in titles of such works as Quantums of Light and Energy as Matter. Luppian is clearly looking at the experience of Kliment Redko and his Electro-organism. He appears to be attempting to visualise the energetics of life: the metaphorics of accumulators, energisers, energy fields and discharges can be read in the haze of dots caught up in a centripetal movement and the "power lines." Imagining Filonov's movement as a front, Luppian would seem to head the "techno" flank (emulating such sample works by Filonov as GOELRO and Mechanic). Alexander Borovsky, Head of Contemporary Russian Art, the Russian State Museum .

      MacDougall's
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