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  PAINTING 1926-1929 РУ FR DE EN

In 1926 Pougny continues his creative endeavour. He begins to paint still lifes, interiors, landscapes and street scenes with deliberate carelessness, not hiding the spontaneity of the author's touch, exposing his pictorial cuisine. The subjects are now less naturalistic, slightly reduced (towards signs of objects) and somewhat skewed (making them seem "fugitive" and less stable). Signs of primitivism appear, so far only in the shaping. Ochre, earthy gamut. Colour is still vivid, fluttering, with light shading. The colouring becomes more ghastly, pale. At times contour lines appear (e.g. in green) - as a precursor to localised spots. Complex colour with rubbing another paint in "wet", this technique is especially characteristic of backgrounds. In a number of things, a passage of light paint with a semi-dry brush over a dark, dry paint backing, partly translucent, is already used (this technique will develop and take root in the future). In still lifes the number of objects decreases, the sense of abundance disappears. The development goes in the direction of careless, sketchy painterliness and greater asceticism. Images of masks appear for the first time.
Participation in exhibitions: two to three group exhibitions per year.

1926-1927. Table and Two Glasses. Oil, canvas. 78 х 100 cm 1926. Still Life. Oil, canvas. 66 х 81 cm. The Manasherov Collection, Moscow 1929. Still Life with Fish. Oil, canvas. 24 х 34 cm 1927. Still Life. Oil, canvas. 34 х 64 cm
1927-1929. Still Life. Oil, canvas. 91 х 56 cm 1927-1928. Still Life with Bread. Oil, canvas. 81 х 100 cm 1928. Still Life with Alarm Clock. Oil, canvas. 47 х 56 cm 1926-1927. Window at Saint-Tropez. Oil, canvas. 100 х 81 cm
1928. Woman in a Bathtub. Oil, canvas. 38 х 46 cm 1928. Fashion Boutique. Oil, canvas. 45 х 64 cm 1928-1929. Garage. Oil, canvas. 50 х 61 cm. The Frants collection, New-York 1928. Garage. Oil, canvas. 49,5 x 73 cm