POLENOV, VASILY (1844-1927) He Resolutely Set Out for Jerusalem, signed. - Foto 1
POLENOV, VASILY (1844-1927) He Resolutely Set Out for Jerusalem, signed. - Foto 1

POLENOV, VASILY (1844-1927) He Resolutely Set Out for Jerusalem, signed.

Los 6
29.11.2017 11:30UTC +00:00
Classic
Verkauft
£ 692 500
AuctioneerMacDougall Arts Ltd.
VeranstaltungsortVereinigtes Königreich, London
Aufgeld27 %
Archiv
Die Auktion ist abgeschlossen. Es können keine Gebote mehr abgegeben werden.
Archive
ID 12361
Los 6 | POLENOV, VASILY (1844-1927) He Resolutely Set Out for Jerusalem, signed.
Schätzwert
£ 400 000

Provenance: Acquired directly from the artist by the grandfather of the present owner in 1923–1924.


Thence by descent.
Private collection, Europe





The painting has been included by Vasily Polenov in his list of works as No. 90, Reshil idti v Ierusalim, under the oeuvre from 1903–1914.





Authenticity of the work has been confirmed by the expert V. Petrov.





The title of the present lot is a quote from the Gospel of Luke, chapter 9, verse 51.





Exhibited: Vystavka kartin V.D. Polenova “Iz zhizni Khrista”, St Petersburg, February–March 1909; Moscow, Tver, May 1909.


Vystavka kartin akademika V.D. Polenova “Iz zhizni Khrista”. Na pomoshch ranenym voinam, Moscow, 1914; Petrograd, 1915.





Literature: Exhibition catalogue, Vystavka kartin V.D. Polenova, St Petersburg, 1909, No. 41, listed.
Exhibition catalogue, Vystavka kartin akademika V.D. Polenova “Iz zhizni Khrista”. Na pomoshch ranenym voinam, Moscow, 1914, No. 44, listed.





This monumental painting by Vasily Polenov, He Resolutely Set Out for Jerusalem belongs to Polenov’s cycle of paintings, From the Life of Christ. The artist wrote that this was “the work to which I devoted almost all my life”. The present work encapsulates its essence and is one of the most significant of the Gospel episodes, portrayed by the artist.





The appearance of this picture on the art market is a unique event, since the greater part of the 72 known works from the cycle have long adorned the collections of Russia’s largest museums. Only a few remain in private collections, many of them via the famous Exhibition of Russian Art, held in New York in 1924. Several canvases, including Guilty of Death (1906) and Who Among You Is Without Sin (1908), were acquired at that time by the renowned American industrialist and diplomat, Charles R. Crane.





Work on the Gospel cycle extended over many decades of Polenov’s cre- ative career. Inviting Sofia Tolstaya, the wife of Leo Tolstoy, to visit his studio in Moscow in 1908, the artist wrote, “I will be most glad to show you my pictures from the life of Christ, my ‘Gospel cycle’ as I call them,” and Polenov added, without exaggeration: “I have been working on them for about forty years [...] I will ask you [...] to take a look at the work, to which I have devoted nearly all of my life.”





This vast creative labour was finally accomplished in 1909. The completed cycle of works was shown to the public first in St. Petersburg (February– March 1909, 58 paintings), then in Moscow and Tver (May 1909, 64 paintings). The picture He Resolutely Set Out for Jerusalem is Number 41 in the catalogue of the Moscow exhibition in 1909. The picture was also shown at exhibitions in 1914 (Moscow) and 1915 (Petersburg). In the handwritten, complete register of Polenov’s works, prepared by the artist himself, the picture now presented for auction is Number 90.





Another smaller and earlier version of the composition is now known. It is held by the Samara Regional Art Museum and entitled They Resolutely Set Out for Jerusalem. In this version the Saviour is not alone, but is accompanied by one of his disciples. He makes us view the events at a remove – from afar, – then draws our attention to the poses and gestures of the figures which can be distinguished in the picture, and then, finally, confronts the viewer face to face with their deep, inner feelings. The artist often shows the same theme in several treatments, achieving a maximum of efficiency and expression. Some later versions, painted when the whole series was ready, are much more profound and successful than their initial versions.





He Resolutely Set Out for Jerusalem is not only on a larger scale, but is also more compositionally expressive than the picture in the Samara Museum. It is remarkable for the brevity of its composition, the unusual purity and freshness of its semi-transparent, luminous colours, and the artistic thought, which Polenov has devoted to the depiction of Christ. The painter’s decision to discard the second figure accompanying Jesus allows him to concentrate completely on the image of the latter and lends to the composition a power of symbolic generalisation. We can gain insight into the artist’s intention from the words of the French philosopher and writer, Ernest Renan, whom Polenov valued and respected: “Those mountains, that sea, that azure sky, those high plains in the horizon, were for him not the melancholy vision of a soul which interrogates Nature upon its fate, but the certain symbol, the transparent shadow, of an invisible world, and of a new heaven.” (Ernest Renan, The Life of Jesus, 1863).





Polenov’s gospel narrative covers the full extent of Christ’s earthly life from birth to ascension. The artist divides the works into six main sections: Childhood and Youth, By the Jordan, In Galilee, Beyond Galilee, In Jerusalem and The Last Days. In accordance with the logic of the gospel narrative, the picture He Resolutely Set Out for Jerusalem is the fifth episode in Beyond Galilee and depicts the decisive moment in Christ’s earthly life. He decides to go to Jerusalem, where death awaits Him. In Luke’s Gospel, Jesus knows His destiny and accepts it from God.





It is not recorded from which city or village he set out. The evangelists only tell us that the route passed through Samaria by the shore of the Sea of Galilee. It is here on the shore of the Sea (also called the Lake of Gennesaret or Lake Tiberias) that Polenov shows us the Saviour. The portrayal of Christ matches the other pictures of the cycle. He is a man of wiry build, with pronounced eastern features, meek and wise. But He is not shown here communing with people – Christ is alone with himself, with his grave thoughts and with nature. He advances with measured steps along the lakeside path, looking inward, knowing in advance the end of his journey. His figure seems unaware of its own movement, as if motionless – Christ does not seem to notice that he is walking, so deep is his state of self-absorption. The world of nature around him, with its silence and detachment from earthly troubles, corresponds so remarkably to the internal structure of Christ’s image that one cannot but feel how nature subjugates man, how it evokes consciousness of the beauty and harmony of existence, banishing purely human doubts and thoughts to leave an overwhelming sense of oneness with and dissolution in the world.





Polenov shows us a natural world that is deserted and majestic. The distance is taken up by a stretch of high country: the horizon is marked by a chain of low mountains; their soft, smooth outlines silhouetted against the sky. The sun has withdrawn its merciless, scorching heat from the earth, and the distances sink into the soft, gentle pink of an early evening haze. We see an ideal landscape with the sandy, lakeside path, ageless boulders and the play of turquoise water in the middle and far distance, against a backdrop of majestic ancient architecture. Revealing the pristine beauty of the world, the artist at the same time seeks to convey the material texture of the earth in all its variety of qualities. The canvas uses a free, slightly coarse painting style, the brushstrokes create relief. Advancing along a narrow path, the figure of Christ, in its physicality and ethnographical detail, fits naturally and organically into these material surroundings. There is no trace here of the otherworldliness of Alexander Ivanov. On the contrary, Polenov’s Christ is earthly: he dwells on the earth and steps on the earth, and so is not free of its physical influence: his face and hands are heavily tanned, he shows the fatigue of a man who has walked far under the hot sun. Because the plastic movement of the picture is governed by strict adherence to the truth of life, pride of place is given to what is authentic, actually observed and realistic: Christ holds a staff, such as helps the traveller on a long journey by foot, or as used by shepherds – a detail unknown in the gospel text. The picture sounds a tragic note, despite its plein-air content, as if real life was correcting the dream of a universal religion of love



The appearance of this picture on the art market is a unique event, since the greater part of the 72 known works from the cycle have long adorned the collections of Russia’s largest museums. Only a few remain in private collections, many of them via the famous Exhibition of Russian Art, held in New York in 1924. Several canvases, including Guilty of Death (1906) and Who Among You Is Without Sin (1908), were acquired at that time by the renowned American industrialist and diplomat, Charles R. Crane.





Work on the Gospel cycle extended over many decades of Polenov’s cre- ative career. Inviting Sofia Tolstaya, the wife of Leo Tolstoy, to visit his studio in Moscow in 1908, the artist wrote, “I will be most glad to show you my pictures from the life of Christ, my ‘Gospel cycle’ as I call them,” and Polenov added, without exaggeration: “I have been working on them for about forty years [...] I will ask you [...] to take a look at the work, to which I have devoted nearly all of my life.”

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