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Sylvestre Feodossievitch SHTCHEDRINE (Saint Petersburg, 1791…
See original version (French)
77
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Sylvestre Feodossievitch SHTCHEDRINE (Saint Petersburg, 1791…
See original version (French)
Estimate €10,000 - €15,000
Voluntary lot
Description
Sylvestre Feodossievitch SHTCHEDRINE (Saint Petersburg, 1791 - Sorrento, 1830), attributed to
The Monk's Parlor in the Bay of Sorrento
Oil on canvas, unsigned. Bearing on the back of the frame an old label in German with a short biography of the artist. Framed.
H. 25.3 x W. 38 cm; H. 44 x W. 56.5 cm (frame).
History
Sylvestre Shchedrine, who trained at the Imperial Academy of Saint Petersburg, belonged to the generation of Russian painters sent to Italy at the beginning of the 19th century, where landscapes became the focus of renewed observation of reality. Settling in Rome and then Naples and Sorrento, he developed a style of painting that paid close attention to the effects of light and everyday life, breaking away from academic landscape painting in favour of a more direct, atmospheric approach.
His compositions, often organised around terraces, verandas or trellises, create an intermediate space, both sheltered and open, where the genre scene fits naturally into the landscape. This formula became characteristic of his Italian production, particularly in the series of "Terraces at Sorrento", where the plant architecture frames the view and modulates the light, as in "Under the Veranda" (1829, Russian Museum, St Petersburg, inv. Ж-5117). The other major work in his corpus entitled "Terrace by the sea. Cappuccini near Sorrento" (1827, Russian Museum, St Petersburg, inv. Ж-5108) fully illustrates this device: a shady foreground under a trellis opens onto a bright bay, while discreet figures introduce a familiar, almost silent scene.
Our painting fits neatly into this same pictorial syntax. The presence of a trellis forming a withdrawn space, the articulation between an intimate scene and an open horizon, and the introduction of a figure of a monk engaged in a calm exchange, bring this work closer to Shchedrin's compositions. It also shares the essence of his work: the way he captures the Italian light, both soft and diffuse beneath the plant shadows and brilliant in the distance, showing a perfect assimilation of the pictorial language developed by Russian artists in Italy at the beginning of the 19th century.
See original version (French)
Auto-translation. Refer to original language for legal validity.
Pictures credits: Contact the Auction House
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