Zabelin, Impressionism, and Rostov

On my first trip to the Lazare Gallery I noticed a painting that looked vaguely familiar. But how could an art gallery so new to me, new in artists, subjects, and styles, have a piece I recognized?

Zabelin Rostov Veliki                            Vyacheslav Zabelin, Rostov Veliki, Oil On Canvas, 1973

Well, it is because Rostov had a lasting impression on me when I visited there this past summer. I truly felt like I had lived there in another life and am eager to return sometime, hopefully for longer than a day this time! The artist Zabelin must have had a similar experience because according to the art historian Sergey Alexandrovich Gavrilyachenko, Zabelin was caught off guard it Rostov’s archaic beauty. After graduation from the Surikov Institute, Zabelin and his peers went on a trip to Vologda to get away from the Soviet city life. From the train, they saw Rostov the Great and initially were only going to stop for a day but ended up never even making it to Vologda. Instead, they stayed for a long time in Rostov. For the rest of his days Zabelin returned to Rostov again, and again eager to paint its beauty.

zablin street in rostov                            Vyacheslav Zabelin, Street in Rostov, Oil on Canvas, 1990

In the book, ‘Zabelin: Master of Color- The Life and Works of Vyacheslav Nikolaivich Zabelin’ many were able to convey their admiration of Zabelin. This includes the owner of the Lazare Gallery John Wurdeman, who also played a large role in the completion of this book. In the preface he wrote about  personal experience with Zabelin. Wurdeman was introduced to the then living Zabelin after Wuredman’s son graduated from Zabelin’s studio at the Surikov Institute in 1998.  Wurdeman then began to acquire Zabelin’s works. By 1999 he was invited to Zabelin’s house to which Zablin noted to Wurdeman that his paintings “look best in frames.” He recalls having a very pleasant evening with the artist. Wurdeman on Zabelin’s work believes “…his easily recognizable style is already apparent by the spontaneity, and the bright and remarkable use of color and light, the very qualities that made him famous.” Wurdeman concluded with, “Zabelin, who was inspired by the French Impressionists, is perhaps, Russia’s greatest Impressionist, although he had his own unique voice.” Similar admiration can be felt throughout the book as many recounted memories and thoughts on Zablin.

Zabelin Rostov 1                               Vyacheslav Zabelin, Monastery in Rostov, Oil On Canvas, 1986

Thus I would like to take time to flush out some points of Zabelin and his work. Mainly, the beautiful city of Rostov and Russian impressionism because I feel that few know much about either of these. The contextual knowledge of Rostov and Russian impressionism only deepens ones understanding of Zabelin. Since long blog posts are ill advised, keep an eye out for more soon!

Revisiting Lazare Gallery

Lazare-John-and-Kathy-Wurdeman
Kathy and John with “Portrait of Man in Armchair” by A.T. Danilichev

Lazare Gallery is profiled in a new article in Distinction magazine. Since 2003, the gallery has been a destination for American and Russian collectors in search of Soviet-era Realism. As the market for this work has grown, so has Lazare’s reputation. Vern Swanson, an American art historian and collector of Soviet official art, identifies Lazare as the second largest collection of its kind in the US. 

As the market has grown, the demographics of collectors have also shifted. Today Russian clients increasingly dominate the market for Soviet Realism. 

Frontier-style capitalism in the new Russia spun off billionaire ‘oligarchs’ who moved aggressively to acquire their homeland art. Nine out of 10 purchases at auction these days are being taken back to Russia, says Swanson, the Utah museum director and consultant. Last summer, the Wurdemans sold two Yuri Kugach paintings to the art foundation created by Russian port and transportation oligarch Andrey Filatov.

Even in the heart of the recession, the market for Russian Realism has endured. The secluded Lazare gallery does not rely on foot traffic or impulse spending. It takes a long-term, slow-paced approach to its relationship with clients. 

The Wurdemans’ goal is to connect with a few new serious collectors every year, earn their trust, and bring them back.

Click here to read the full article. 

A Grand Epoch of Painting

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In a new essay, art collector and gallery director John Wurdeman makes the case for a re-evaluation of Socialist Realism in the Western record of art history. Wurdeman has had unprecedented access to the homes and studios of Russia’s most prominent Realist painters. For those involved in the contemporary art market, the values of Soviet-trained painters can seem profoundly foreign. In this piece, Wurdeman translates for a Western audience the perspective of an artistic community in which he is deeply enmeshed.

Link to full article.