Dimitri Kouznetzov (1852 - 1924) Portrait Of A Man

Oil on canvas
Signed and dated Dimitri Kouznetsov 1892 lower right.
123.5 x 93 cm
​
​
We don’t know a lot about Dimitri Kouznetsov. Born in Stepanovka in Ukraine, he
probably studied natural sciences and mathematics before joining his brother Nicolaï to the academy of fine arts, as an auditor, between 1876 and 1879.
In those days, the atmosphere in Saint-Petersburg was full of emulation and creative freedom. Beyond the strict academy, artists such as Polenov, Répine and Sérov, from the wanderers movement, founded by Ivan Kramskoï, where travelling trough Russia and presenting touring exhibitions with the aim of spreading art and culture.. Released from the straightjacket of historic subjects enforced by the academy, these artists turned toward realistic subjects trough observation of the everyday life and Russians landscapes. From 1881, Nicolaï Kouznetsov took part in the wanderers exhibition and was close to the intellectual milieu invited to Abramtsevo by the writer Sergeï Aksakov.
Joining his brother in Saint-Petersburg, Dimitri benefited from his relations. With Kyriak Kostantinovich Kostandi (1852-1921), member of the movement, the two brothers, started a journey to Europe between 1886 and 1887. In 1890, he settled in Paris, opening an atelier and exhibiting at the Salons du Champ-de-Mars.
In addition to the explicit influence of Répine and Séroy, our portrait reflects influence of great European portraitists. In Paris, Dimitri Kouznetsov undoubtedly saw Boldini’s portraits but nevertheless does not imitated his “swish”, that is, his fluid and quick paintbrush. His style is more similar to the soft and smooth Sargent’s manner.
The use of the black in the background and dark shades in the clothes is characteristic of the society portraits of the period.
Yet, one might find in the attitude and the facial expression honesty, striking realism and a surprising restrain. The model shows his true colors, that is, a handsome man, but looking a bit rogue, lightly ironic. Considering the nonchalance - the purple sock is visible – this portrait is evidently not a portrait of a member of aristocracy or high society. Is he European or slave? It is difficult to say given that Kouznetsov travelled a lot between France and Russia at this time. It is more likely that he was a close friend of Dimitri. He is looking the spectator right in the eyes, the mouth half-opened, ready to speak. Unlike the society portraits from this time, often expressing a feeling of monotony,ennui, this portrait express presence and power. The model imposes himself with an unusual confidence.