From the artist\u2019s autobiography: \u201cI befriended artists of new trends, such as Mashkov, Konchalovsky, Kuprin, Lentulov. This group served as the core of the \u2018Jack of Diamonds\u2019 society. In 1928, I went to the creative business trip to Paris. Of the modern masters, my main maitre is Cezanne.\u201d
R. Falk works \u201cOlives. Provence,\u201d \u201cIn Marseille,\u201d \u201cWalk. Paris,\u201d \u201cBouquet of Flowers,\u201d presented at Yerevan Museum of Russian Art, reger to the \u201cFrench\u201d period of his work.
Among Falk\u2019s later works, the 1948 painting \u201cIn the Black Shawl\u201d – a portrait of the artist\u2019s wife A. V. Shchekin-Krotova – stands out. This painting can be attributed, using the term of Falk himself, to \u201cportraits-faces.\u201d Working on the portraits, the artist said: \u201cI want to bring the portrait to the face,\u201d that is, to achieve the spirituality of ancient iconography. Falk depicts the figure in almost full height, emphasizing the movements of model\u2019s hands.
The work was donated to A. Abrahamyan by the artist\u2019s widow, Angelina Shchekin-Krotova, as a sign of respect to the creator of Yerevan Museum of Russian Art.
R. R. Falk at the Museum of Russian Art (Prof. A. Abrahamyan\u2019s collection):
\u201cOlives. Provance\u201d, 1933
\u201cWalk. Paris\u201d, 1936
\u201cBunch of Flowers\u201d, 1936
\u201cLandscape with Child\u201d, 1938
\u201cIn Black Shawl\u201d, 1948
\u201cIn Marselles\u201d<\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-4166","authors","type-authors","status-publish","hentry"],"acf":[],"yoast_head":"\n