Nude boy clutching himself, 1901- 1909. Red chalk on thin off-white wove paper. 17x13”. On verso: graphite sketch of cat with restudy of forehead. Inscribed at lower left in graphite: book 483 and in ink #4. Like other drawings of the boys reproduced in ”Boris Anisfeld in St. Petersburg 1901-1917.” Shepherd Gallery, fall 1984, ##4-6 (see also the next item) this study was executed in a drawing class at the St. Petersburg Academy. From artist’s drawing books, estate no. 483. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # G006, p.263 - illustrated.
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ANISFELD Boris Izrailevich (1878-1973), painter and scenic designer. He studied at the Odessa School of Art (1895-1900) and St. Petersburg's Imperial Academy of Fine Arts (1901-09) under Ilya Repin and Kardovsky (1901-09). He was a member of Mir Iskusstva (World of Art) (1910-17) and the Jewish Society for Arts (1915-17). He painted landscapes, still lifes, symbolic decorative compositions in an expressive style using emotional and tense colour schemes (The Magic Lake, 1914, the State Russian Museum). He created the sets for Sergey Dyaghilev's Ballets Russes (Nikolay Rimsky-Korsakov's Underwater Kingdom, 1911), and foreign tours of Anna Pavlova (1912-13), Mikhail Fokin (1913-14), and Vaclav Nijinsky (1914). He provided the designs for the following performances of St. Petersburg's theatres: the Komissarzhevskoy Theatre (Hugo Hofmannstahl's The Marriage of Zobeide directed by Vsevolod Meyerhold in 1907); and the Mariinsky Theatre of Opera and Ballet (Mily Balakirev's The Islamey, 1912). In 1918, he moved to the USA. He worked for the Metropolitan Opera, the Chicago Civic Opera, and Mikhail Mordkin's company. In 1919-57, he taught at the School of the Art Institute of Chicago.
Art (paintings, prints, frames)