Nicolas Alexandrovich Tarkhoff stands as a fascinating figure in the annals of early 20th-century art, a bridge between the rich artistic traditions of Russia and the revolutionary movements blossoming in Paris. Born in Moscow but spending his most formative and productive years in France, Tarkhoff developed a vibrant and personal style rooted in Impressionism and Post-Impressionism, yet distinctly his own. His canvases pulse with colour, light, and the energy of modern life, capturing everything from the bustling boulevards of Paris to the tranquil rhythms of the French countryside.
Early Life and Artistic Awakening in Moscow
Nicolas Tarkhoff was born into a prosperous merchant family in Moscow on January 20, 1871. From an early age, he demonstrated a clear inclination towards the visual arts. This burgeoning passion, however, met an initial setback. He attempted to gain formal training at the prestigious Moscow School of Painting, Sculpture and Architecture (MUZhVZ), a key institution in the Russian art world that nurtured talents like Isaac Levitan and Valentin Serov. Unfortunately, Tarkhoff failed the entrance examination.
This rejection did not deter the determined young artist. Instead, he embarked on a path of self-education, honing his skills through observation and practice. A crucial turning point came when he entered the studio of Konstantin Korovin. Korovin was a leading figure in Russian Impressionism, himself deeply influenced by French art, and known for his bold brushwork and luminous palette. Studying under Korovin provided Tarkhoff with invaluable guidance and undoubtedly solidified his affinity for Impressionist principles, particularly the emphasis on capturing fleeting moments and the effects of light.
The artistic environment in Moscow at this time was vibrant, with movements like the Peredvizhniki (Wanderers) focusing on realism, while newer trends, influenced by Western Europe, were gaining traction through artists like Korovin and Serov and movements such as Mir Iskusstva (World of Art). Tarkhoff's early development occurred within this dynamic context, absorbing Russian traditions while looking towards the innovations happening further west.
The Magnetic Pull of Paris
Like many Russian artists and intellectuals of his generation, Tarkhoff felt the powerful allure of Paris, then the undisputed capital of the art world. He made his first trip to the city in 1898 and was immediately captivated. The artistic ferment, the freedom, the sheer visual richness of the French capital, and the pervasive influence of Impressionism and its successors made a profound impact.
By 1899, Tarkhoff decided to make Paris his permanent home. He became part of a significant contingent of Russian artists living and working in the French capital, sometimes referred to collectively, if informally, as the "Moscow Parisians." This move was pivotal. It immersed him directly in the environment where Impressionism had been born and where Post-Impressionism and early Modernism were rapidly evolving. He arrived at a time when the legacies of Claude Monet, Pierre-Auguste Renoir, and Camille Pissarro were well-established, and the radical innovations of Paul Cézanne, Paul Gauguin, and Vincent van Gogh were being actively debated and absorbed by a new generation.
Forging a Unique Impressionist Vision
Settling in Paris, Tarkhoff rapidly developed his artistic voice. He fully embraced the Impressionist ethos, particularly the practice of painting en plein air (outdoors) to capture the immediate sensations of light and atmosphere. His style became characterized by vibrant, often unmixed colours, applied with energetic, textured brushstrokes – a technique known as impasto. He wasn't merely imitating; he was synthesizing.
His work shows a clear dialogue with French masters. The influence of the Impressionists is evident in his fascination with light and atmospheric effects. However, the intensity of his colour palette and the expressive quality of his brushwork often align more closely with Post-Impressionist sensibilities, particularly those of Van Gogh in terms of emotional intensity and Gauguin in the use of bold, sometimes non-naturalistic colour fields. Some critics also note affinities with the burgeoning Fauvist movement, led by artists like Henri Matisse and André Derain, due to his audacious use of colour, although Tarkhoff maintained a stronger connection to representational observation than the core Fauves.
Tarkhoff developed a remarkable ability to convey dynamism and mood through his technique. His brushstrokes are not just descriptive; they are imbued with energy, reflecting the vitality of his subjects, whether it be the flickering gaslights of a Parisian night or the shimmering heat of a summer landscape. His colour choices were often bold and celebratory, creating canvases that radiate warmth and life.
Capturing the Spectacle of Parisian Life
During his early years in Paris, Tarkhoff was particularly drawn to the spectacle of the city itself. He painted its bustling boulevards, its lively marketplaces, the festive atmosphere of public celebrations, and the intimate ambiance of its cafes and parks. He had a keen eye for the human element within the urban landscape, depicting crowds and individuals with sensitivity and vigour.
A recurring and notable theme in his work was Paris at night. This subject, popular among Impressionists like Pissarro and later artists, allowed Tarkhoff to explore the dramatic effects of artificial light – gas lamps and early electric lighting – reflecting on wet pavements, illuminating shop windows, and creating stark contrasts between light and shadow. These nocturnal scenes possess a unique magic, capturing the energy and sometimes the mystery of the city after dark.
One significant work from this period is Moulus-Carême (circa 1901). This painting exemplifies his ability to capture the chaotic energy of a Parisian street festival or market, using dynamic compositions and a rich tapestry of colours to convey the sensory overload of the scene. His cityscapes are not mere topographical records; they are vibrant interpretations of the modern urban experience, filtered through his distinct artistic temperament. He shared this interest in urban modernity with contemporaries like Gustave Caillebotte, though Tarkhoff's approach was generally looser and more focused on colour and texture.
Exploring the Tranquility of the French Countryside
While Paris provided endless inspiration, Tarkhoff also found solace and subject matter in the French countryside. As his career progressed, and particularly after moving out of the city centre, landscapes became an increasingly important part of his oeuvre. He spent significant time in Orsay, a town southwest of Paris, eventually buying a house there in his later years.
His landscape paintings showcase the same vibrant palette and energetic brushwork found in his city scenes, but often with a greater emphasis on the changing seasons and the specific qualities of natural light. Works like Le Printemps à Orsay (Spring in Orsay) capture the freshness and renewal of nature with joyful colour and fluid strokes. He painted fields under the summer sun, autumnal foliage, and the quiet beauty of rural villages.
Tarkhoff also painted still lifes and scenes featuring animals, often with a rustic charm. Works such as Poule noire (Black Hen), Cornflowers, and Two Pitchforks demonstrate his versatility and his ability to find beauty in everyday subjects. These paintings reveal a deep connection to the land and a sensitivity to the textures and forms of the natural world, echoing the Impressionist commitment to observing and rendering the immediate environment, much like Monet did in Giverny.
Exhibitions, Recognition, and Connections
Tarkhoff actively participated in the Parisian art scene. He regularly exhibited his work at the major independent salons, most notably the Salon des Indépendants and the Salon d'Automne. These venues were crucial for avant-garde artists who sought alternatives to the official, more conservative Salon sponsored by the Académie des Beaux-Arts. Exhibiting here placed Tarkhoff in the company of the leading modern artists of the day.
His talent was recognized early on. He gained favourable critical attention, and his works were shown alongside those of established masters like Renoir, Cézanne, and Gauguin, a testament to the esteem in which he was held. He formed friendships with fellow artists, including French painters like André Derain and André Lhote, figures associated with Fauvism and Cubism respectively, indicating his integration into the diverse artistic milieu of Montparnasse.
Tarkhoff also had connections with prominent art dealers. For a time, he worked with Ambroise Vollard, one of the most influential dealers of the era, renowned for championing Cézanne, Gauguin, Van Gogh, and the young Pablo Picasso. This association provided Tarkhoff with significant exposure. He was also supported by fellow Russian expatriate Nikolai Millioti, a Symbolist painter who admired and promoted Tarkhoff's work within the Russian community in Paris. Furthermore, Tarkhoff's work was included in important exhibitions of Russian art organized abroad, such as those curated by Sergei Diaghilev, the impresario famous for the Ballets Russes, who played a key role in introducing contemporary Russian art to Western Europe.
Personality, Challenges, and Later Years
Despite his artistic successes and connections, Tarkhoff's life was not without difficulties. Sources describe him as having a straightforward, perhaps even impulsive or difficult, personality. This temperament reportedly led to strained relationships, including a falling out with the dealer Walter Andler, which cost him clients. His inherent distrust of art dealers, a sentiment not uncommon among artists but perhaps more pronounced in his case, may have further complicated his career trajectory and contributed to a sense of isolation later in life.
The outbreak of World War I and the subsequent economic instability in Europe likely impacted his financial situation, as it did for many artists. While he had achieved considerable recognition, Tarkhoff faced increasing poverty and health problems in his later years. He had settled in Orsay, finding refuge in the quieter rhythms of life outside the bustling capital, but struggled financially.
His dedication to his art remained unwavering, but the hardships took their toll. Nicolas Tarkhoff died in Orsay on June 5, 1930, relatively poor and suffering from illness, his later years contrasting sharply with the vibrant energy that characterized so much of his work and early success.
Legacy and Rediscovery
Nicolas Tarkhoff left behind a significant body of work that occupies a unique space in art history. He was a key figure among the Russian artists who engaged directly with French Impressionism and Post-Impressionism, contributing to the cross-cultural dialogues that enriched European art in the early 20th century. His paintings are celebrated for their chromatic brilliance, expressive power, and heartfelt depictions of both urban excitement and rural peace.
While his name might not be as universally recognized as some of his French contemporaries, his reputation endured, particularly in Russia and France. In the late 20th and early 21st centuries, there has been a renewed interest in his work, leading to reassessments of his contribution and efforts to promote his artistic legacy. His paintings are held in various museum collections, including the Tretyakov Gallery in Moscow and the Musée d'Orsay in Paris (fittingly, given his connection to the town), as well as numerous private collections.
Tarkhoff's art serves as a vibrant testament to an artist who successfully navigated multiple cultural and artistic currents. He absorbed the lessons of French Impressionism and Post-Impressionism but interpreted them through his own passionate, Slavic sensibility. His work remains a compelling visual diary of his time, filled with light, colour, and an enduring appreciation for the beauty found in the world around him. He stands as an important representative of Russian Impressionism and a significant contributor to the broader European modern art landscape.
Conclusion
Nicolas Tarkhoff's journey from a merchant's son in Moscow to a respected Impressionist painter in the heart of Paris is a compelling story of artistic dedication. He overcame initial setbacks, embraced the revolutionary spirit of French modern art, and forged a distinctive style characterized by exuberant colour and dynamic brushwork. Whether capturing the fleeting energy of Parisian streets or the enduring beauty of the French countryside, his paintings resonate with life and light. Despite facing personal and financial challenges later in life, his artistic legacy endures, securing his place as a significant bridge figure between Russian and Western European art at a pivotal moment in history. His work continues to captivate viewers with its visual intensity and emotional honesty.
