Marked with Estate catalog number on verso
artist
Hovsep Pushman was born on May 9, 1877 in Armenia, a former republic of the Soviet Union at the juncture of Western Asia and Eastern Europe. In 1888 Pushman enrolled at the Imperial School of Fine Arts in Constantinople. In 1894 he journeyed to the United States and settled in Chicago where he furthered his art studies at the Art Institute of Chicago. In 1910 he traveled abroad to Paris and enrolled at the Académie Julien to study under Jules Joseph Lefebre, Joseph Nicolas Robert-Fleury, and Adolphe Dechenaud. These teachers encouraged Pushman to explore his roots in the East and thus he later embarked on a tour of the Orient where he encountered the exotic Oriental subject matter and motifs which would become the signature material in his later works.
By the time Hovsep Pushman opened his own studio in New York in 1921 he was devoted to one subject, oriental mysticism. These paintings typically featured oriental idols, pottery and glassware and were imbued with symbolism and spirituality. Often times they were accompanied by readings, which helped to explain their allegorical significance. It has been stated that "always there is age-old wisdom and symbolism of oriental culture in his pictures. Each object in the composition has its own inevitable place, its own special meaning which, blended with the whole, creates one single impression of great spiritual quality and of eternal beauty. Nothing could possibly be subtracted from any of his paintings; nothing added." (Excerpt from April 15, 1941 Chicago Sunday Tribune article “Pushman’s 1941 Exhibit to Open Tuesday” by Edith Weigle). Pushman was not an artist who looked to others for inspiration, with the exception of Chardin. Like Chardin's paintings there is a musical quality in Pushman's harmonious use of color, form, composition and brushwork.
Eventually Pushman returned to Chicago where he was known to paint both portraits and still lifes. In 1915 he became a citizen of the United States. From 1916 until 1919 he kept a studio at the Mission Inn in Riverside, California. He exhibited in Los Angeles throughout the 1920's and 1930's, even though he had moved to New York City permanently where he died on February 11, 1966.
Description
In Marguerite, Pushman presents a luminous and deeply evocative portrait of a young girl, rendered with his signature blend of refinement, symbolism, and spiritual stillness. Dressed in an elegant white gown, the girl gazes directly at the viewer, a large white flower, likely a peony, long associated in Chinese art with riches, honor, and feminine beauty, rests gently in her hand. The light, emanating from a source beyond the canvas, gives the portrait a transcendent, almost sacred glow.
Margurite’s hair is gathered neatly with a pristine white bow, while around her neck hangs a strand of coral-colored beads. This simple yet vivid necklace manages to punctuate an otherwise restrained yet vivid palette. Beyond its visual function, the coral carries symbolic meaning: traditionally linked to youth, health, and protection, it deepens the emotional and cultural resonance of the painting. Set against a dark, tapestry-like backdrop, reminiscent of the Oriental fabrics and patterns that profoundly influenced Pushman, the glowing figure of Marguerite emerges with a quiet intensity.
Pushman masterfully balances these symbolic elements and stark contrasts within a serene and harmonious composition. His brushwork is refined yet expressive, and the overall effect is one of delicate mystery. Marguerite is more than a simple portrait of a child; it reflects Pushman’s interest in how symbolism, cultural references, and careful composition can deepen the viewer’s understanding of the subject.
provenance
Acquired from above, Pulvers Private Collection, California