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Vickery
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ALEXEY KRAVCHENKO'S AVAILABLE WORKS / ДОСТУПНЫЕ РАБОТЫ ДЛЯ ПРОДАЖИ

Alexey Kravchenko, BATTLESHIP POTEMKIN ,Vickery Art
Russian Art Dealer,Russian Art,
Ukrainian Art

Alexey Kravchenko (1889-1940) 

BATTLESHIP POTEMKIN, 1920 

India ink on paper 

30.8 by 20.6cm 

Alexey Kravchenko,DONBASS STEELMAKERS ,Vickery Art,Russian Art, Russian Art Dealer,Russian Moder Art

Alexey Kravchenko (1889-1940) 

DONBASS STEELMAKERS 

Watercolour on paper, circa 1933-35 

22.7 by 15.6cm 

Alexey Kravchenko
HALCYON LAKE
Vickery Art
Ukrainian Art
Russian Art
Soviet Art
Sotheby's

Alexey Kravchenko (1889-1940)

HALCYON LAKE, ca 1920

Charcoal on paper 

19 by 22cm 

Alexey Kravchenko
INDIAN WOOD
Soviet Art
Vickery Art
Russian Art
Ukrainian Art
Sotheby's
Christie's

Alexey Kravchenko (1889-1940) 

INDIAN WOOD, 1913 

Gouache on paper on card 

21 by 30cm 

Alexey Kravchenko
THE ENCAMPMENT, CEYLON
Russian Art
Ukrainian Art
Soviet Art
Vickery Art
Sothebys

Alexey Kravchenko (1889-1940)

THE ENCAMPMENT, CEYLON, 1913 

Watercolour on paper 

17 by 30cm 

Alexey Kravchenko
ORIENTAL DANCER
Art Deco
Ukrainian Art
Russian Art
Soviet Art
Vickery Art
Sotheby

Alexey Kravchenko (1889-1940) 

ORIENTAL DANCER, ca 1920 

Chalk and charcoal on paper 

47 by 31cm 

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Alexey Kravchenko (1889-1940)

Kravchenko found early success, amongst his first patrons was dowager Empress Maria Feodorovna, mother of Tsar Nicholas II, and his work was in its day more coveted then that of Kazimir Malevich. Kravchenko’s precocious ability to draw reality around him which he honed during his years at the Moscow School of Art, Sculpture and Architecture, led him to become an official war artist for the Russian Empire during the First World War and spent the Winter of 1914 and 1915 on the Galician Front. After this and a return to Moscow, Kravchenko found himself at times among the avant-garde artists of his generation and he even exhibited with them in Berlin in the early 1920s, but this corpus of Kravchenko’s more experimental work created around this time, evidently did not complete him as an artist, and quickly gave way to an increased interest in a more traditional approach to drawing and watercolour, from which grew a deep love of printing which became a sanctuary for Kravchenko during the 1930s when he also worked as a professor at the Surikov Art Institute in Moscow. Posthumously, Kravchenko became best known as a book illustrator, bringing new material drawn from literature and legand, and the full breadth of his creative output was not fully appreciated until recent years which saw a solo show at the State Tretyakov Gallery in 2009, marking the 120th anniversary of his birth, and renewed interest among individual private collectors in Russia and through art sales at auction in London.


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