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 Although he was a friend and contemporary of Man Ray and Marcel Duchamp, Serge Charchoune's reluctance to associate too closely with any one group contributed to his prolonged relative obscurity. ARTnews "introduced" Charchoune to the general public in 1960, the year of his first solo exhibition in the United States. Man Ray took his photography in 1925 shortly after Charchoune's break with Dadaism. Put off by the political elements of the Dadaist movement, Charchoune pursued an unapologetically ornamental style of abstract painting influenced by Spanish-Moorish art and the icons of his native Russia.
Source:
"Serge Charchoune", Portrait of the Art World, A Century of ARTnews Photographs, /www.npg.si.edu/cexh/artnews/charc.htm
The achievement of Franco-Russian painter Serge Charchoune (1889–1975) is among the least widely known or understood in twentieth-century European art. Sometimes seen as a minor practitioner of major modernist styles—Dada, Cubism, Purism, informal abstraction—Charchoune in fact operated quite independently within and beyond those tendencies. He was an unpredictable individualist, who in his resistance to stylistic conformity and his ambiguous relationship to taste presages a strain of post-conceptual painting only fully recognized toward the turn of the twenty-first century.
Source:
Smart Museum of Art, The University of Chicago
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