01 Work, The Art Of The Nude, with footnotes # 97

VERA ROCKLINE, (1896 – 1934, Russian)
NUDE WITH NECKLACE
Oil on canvas 
61.5 x 46.5 cm 
Private collection

Véra Rockline (1896 - 4 April 1934) was a Russian post-impressionist painter. Rockline started her career in Moscow, studying in the studio of Ilya Mashkov, who considered her one of his most brilliant students. In 1918 she became an apprentice at Aleksandra Ekster's studio in Kiev, Ukraine. Ekster, who personally knew Pablo Picasso and Guillaume Apollinaire had great influence on Rockline's initial style, also inspiring her creative and free painting spirit.

In 1918 and 1919, she exhibited at the 24th Moscow Artists Association Exposition, and in other gallery and association exhibitions. Also in 1918, she married a Mr.Rokhlin, from whom she adopted his name. In 1919 she left Russia, spending two years in Tbilisi and in 1921 she immigrated to France, where she eventually obtained French citizenship. In 1922, they moved to Paris, where there were a large Russian community, of which Rockline became part, living near Montmartre.

In 1922, Rockline exhibited paintings in the Russian section of the Salon d'Automne, at the Salon des Independants and at the Salon Tuileries, where she had a positive reception from media and visitors. Some of her paintings won prizes in the expositions. After styling herself on Cubism and Impressionism, Rockline started to develop her own style, "something between Courbet and Renoir", according to the critics from L’Art et les Artistes" magazine'.

In 1927, she became member of Salon d’Automne Society, a privileged position and became independent of her husband, probably divorcing him and moved to Montparnasse. Her financial independence coincided with a change in her art style. Her works became lighter, free, closer to Impressionism. 

In June 2008, her painting Card Players (1919) was sold in an auction at Christie's, in London, for 2 million pounds. More on Véra Rockline




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10 works, The Art Of The Nude, MAN RAY's Kiki of Montparnasse, with footnotes #217

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