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  • Provenance

    Acquired directly from the artist

  • Exhibited

    The Montreal Museum of Fine Arts, Natalya Nesterova, April 17 – June 14, 1992; Washington D.C., B'nai B'rith Klutznick National Jewish Museum, September 21, 2000 - January 14, 2001; New York, Lehman College Art Gallery, October 7, 2001 - January 20, 2002; Wisconsin, Paine Art Centre and Gardens, March 15 - June 9, 2002, Natalya Nesterova: Russian Wanderings; Aachen, Ludwig Forum für Internationale Kunst, Natalya Nesterova: Reflections of Time Past, October 12 - November 25, 2004

  • Literature

    The Montreal Museum of Fine Arts, Natalya Nesterova, Montreal, 1992, p. 84 (illustrated); A. Gertsman, ed., Natalya Nesterova: Russian Wanderings, New York, 2000, p. 46 (illustrated); INTART – International Foundation of Russian and Eastern European Art 2000, cat., p. 47 (illustrated); A. Gertsman, ed., Remembrance: Russian Post-Modern Nostalgia. New York, 2003; INTART – International Foundation of Russian and Eastern European Art, 2003, p. 141 (illustrated); A. Gertsman, ed., Natalya Nesterova: Reflections of Time Past, St. Petersburg 2004, pp. 37 & 140 (illustrated)

  • Catalogue Essay

    At a glance, the paintings of Natalya Nesterova are steeped in symbolism, a carefully constructed consequence of deep thought that exemplifies her attitude toward the precarious nature of reality and illusion. This simplicity of conception reflected in casual postures, stage-like appearance and monumentality purposely echoes compositional clarity that invites passive contemplation rather than stifle the critical capacity of the spectator. The enigmatic location of figures is seemingly innocent and colors speak with melancholic vocabulary. Ordinarily, mere representations that emphasize the primacy of reality while revealing the texture of everyday life. But this apparent randomness of composition beguiles the ingenuous complexity of the artist’s mental process beyond the realm of stylized interpretation. These works are charged with unapologetic self-reflexivity. Venturing beyond the conventions of everyday life and into the dichotomy of self through surreal imagery of repeatedly reinvented subjects, in DANCING PEOPLE, Natalya Nesterova exposes the transparency of an imposed social rule for creating reality; an act against ascribed roles to actualize the discrepant and vicissitudinary self that constitutes meaning to freedom, self-reflexivity and authenticity. The reflexive self leads to continual reevaluation and thus self-identity becomes susceptible to fragmentation. Freedom is found not in the pursuit of authenticity ― validity of being ― but in the interplay of multiple roles that signify the openness of all meanings.
    Alexandre Gertsman, Natalya Nesterova: Reflections of Time Past, St. Petersburg - New York, 2004, pp. 37-39

259

Dancing People

1990
Oil on canvas.
64 x 64 in. (162.6 x 162.6 cm).
Signed, titled and dated “Nesterova N. 1990 Dancing People” on the reverse.

Estimate
£40,000 - 60,000 ‡ ♠

Sold for £78,000

Contemporary Art Evening Sale

Evening Sale
13 October 2007, 4pm
London