Nicolai Fechin Paintings
Nicolai Fechin's Art and Life in Taos:
"Taos Pueblo" by Nicolai Fechin
Nicolai Fechin Artist Biography
written by Robert Parsons
and Ashley Rolshoven
"Everything he touches comes alive!"
Nicolai Fechin was born in Kazan, Russia, where he spent his youth attending the Kazan Art School. His father was a gilder, woodcarver and icon maker, and Nicolai continued in his family's artistic tradition, going on to become an accomplished painter, woodcarver, sculptor, and draftsman.
Nicolai Fechin in Taos studio
Painting remained Fechin's primary artistic pursuit throughout his life and today he is recognized mostly for his portraits.
As an art student Nicolai garnered many accolades, including an invitation to his first international exhibition in 1910 at the Carnegie Institute in Pittsburgh, and a gold medal prize at the Prix de Rome. It was during this time that his work first caught the eye of the American public, which would later prove important as Fechin eventually sought help in immigrating to the United States in 1923 after weathering the Bolshevik Revolution in his homeland.
Nicolai, assisted by American collectors W.S. Stimmel and Jack R. Hunter, settled in New York with his wife and young daughter, where a teaching career at the New York Academy of Art awaited the artist. The family would move again just a few years later in 1927, when Nicolai contracted tuberculosis and, with the encouragement from his friends Mabel Dodge and John Young Hunter, sought out the healing climate of Taos, New Mexico.
Nicolai Fechin in Taos
It was in Taos where Nicolai designed and built his masterpiece of a homestead, with beautiful carved details reminiscent of Russia yet perfectly blended with the native pueblo architecture of New Mexico. The home still stands as a museum today, donated by his daughter Eya in 1981. The home is on the U.S. National Register of Historic Places. (The Fechin House, Fechin Institute and Parsons Galleries are all within easy walking distance in Downtown historic Taos. Parsons invites you to visit.)
Although he joined many other notable artists of his time in crafting new lives in Taos, New Mexico, it must be emphasized that the international success and recognition that was bestowed upon Nicolai could not be rivaled. After divorcing his wife in 1933, Fechin moved to Santa Monica where he set off on more worldly adventures, sketching and painting the peoples of Bali, Java, Mexico, and Japan before his passing in 1955.
The Importance of the Special Quality of Light in Taos:
The high desert and mountain light is brighter in Taos, enabling artists to better "see" the details and shades of colors.
"The first step for the artist (is) to learn to see these primary colors and to distinguish them separately one from the other."
- Nicolai Fechin
His daughter Eya said "He loved the place (Taos). He had found an American 'home'. He said the Taos mountains reminded him of the beauty he had seen in Siberia. He painted with fervor." "New Mexico encouraged him to paint landscapes. Like all the Taos artists, he appreciated the light of Taos." -Eya Fechin
"All the great Taos Artists were awe struck with the Light”. Victor Higgins said Taos captured him "because of the light. There is the best light to be found anywhere. There is more color in the landscape and the people than elsewhere." Barbara Latham, Taos painter of brilliant joy and insight, said: “I had lived under the brilliant western sky all summer, but I had never experienced such brilliance." Blumenschein said of Taos, "The sky about was clear clean blue with sharp moving clouds. The color, the reflective character of the landscape, the drama of the vast spaces, the superb beauty and severity of the hills, stirred me deeply." "I was receiving...the first great unforgettable inspiration of my life."
Taos light needs to be seen to be experienced. Parsons invites you to visit the Galleries to see Taos Light.
"Fortunate indeed is the collector or museum that has a painting done during this period of Fechin's continued growth."
- Northridge biography
Nicolai Fechin Landscape PaintingsThe Art Works that Fechin created in Taos, are thought to be among his best.His Art seems to capture the life of his subjects.Fechin's Drawing Technique in Taos, his palette, his unique methods of layering colors rather than mixing them, his juxtaposition of colors, his fading from realism to abstraction and back again, all reveal his deep appreciation of both the Native American Indian Peoples and the Life of our planet.Fechin's portraits from Taos, his renditions of the Native American Indians and his visions of the high desert New Mexico landscape, are believed to be some of his greatest works.
Nicolai Fechin PortraitsFechin, the Russian-American Artist, achieved the highest honors and recognition across two continents during his lifetime.Later, his fame would expand worldwide.After creating several large historical master pieces in St.Petersburg,in 1904 portraits became increasingly more important for him.
Nicolai Fechin 1909
Fechin said, "A brush is a painters only weapon. With it he must attack the canvas without hesitation.
He is the boss, not his material."
He was commissioned to paint Lenin (in 1918), Karl Marx, Frieda Lawrence, Willa Cather,
Mabel Dodge Luhan, artist Eleanora Kissel, W.L. Clark, John Burnham, Ralph Van Vechten, Duane Van Vechten, Lillian Gish, and
Oliver Perry as well as American Generals, including Douglas MacArthur.
While he lived and worked in Taos, Fechin's palette changed, brightening with his appreciation and growing love. He used different backgrounds (even cottage cheese and rabbit skin glue) to achieve high gloss or matte to underlie his colors. He reduced the oil content of his paints. His palette included Lead or Zinc White (which he used with caution to minimize cracking), Yellow Orche, Cadmium Yellow, Vandike Brown, Burnt Sienna, Mineral (Maganese) Violet, Rose Madder, Emerald Green, Ivory Black, Mussini Sunproof Rose, Cerulean Blue and Ultramarine Blue. He did not varnish his paintings.
"Portrait of the artist’s father"
"He felt particularly close to the Indians and his greatest American works were of Indians," Fechin's daughter and only child, Eya
said. "He thought Pueblo Indians possessed the same spirit as well as other qualities of the Tartars of his homeland. He always painted his Indians as they were, never creating artificial scenes with non authentic props."
Nicolai Fechin Indian Portrait
"Young Native American Boy"
"Head, Indian Man" Nicolai Fechin Indian Portrait
Fechin also achieved much deserved, world wide recognition for his landscapes.
"Cabin in the Woods" - Nicolai Fechin landscape
“He would begin by looking at an empty canvas. He would look at it and say, ‘This is a beautiful space and the only job of the
artist is to fill that space in with harmony and balance.’ - Eya Fechin
Eya, Fechin's daughter, grew from, “being my mother's little girl... to my father's closest friend."
Nicolai Fechin House
About the Nicolai Fechin House, Eya said, "The house is the masterpiece of the collection. It really has to be looked at that way.” But after suffering terribly from his divorce, Fechin stopped building. The Fechin House in Taos, New Mexico is the only home he ever built. It was beautifully repaired by Taos Pueblo Indian Joe Martinez. The Fechin House and studio are open to the public.
The Fechin House and Parsons Galleries are all located within walking distance in the Downtown Taos Historic District.
Parsons invites you to visit.
Nicolai Fechin House photo by Bill Johnson
Nicolai Fechin's Wife
Alexandra Belkovich In Taos, ca. 1928
(from Forrest Fenn Archive)
One of the greatest influences on Fechin's life was his beautiful wife, Alexandra Belkovitch (1893 - 1983),
the daughter of the director of the Kazan School of Art, whom he married when she was still 16. She authored "March of the
Past". In his deep love, Nicolai named her "Tinka", an abbreviation Katinka. She said, "A great artist he is! Everything he touches comes alive!"
at the Taos Art Museum
Fechin's Original Charcoal Drawings
Fechin painted with his charcoals (obtained from J. M. Paillard Co., Paris), sometimes holding them like a brush. And he spared
no effort to obtain the highest quality handmade paper from China. Fechin's special paper was sometimes delivered by his friend
Milan Rupert. Other times he purchased it from Chinese dealers. The qualities and uniqueness of each sheet of paper delighted Fechin. His masterworks could only have been created with this special paper. The paper's thinness imposed its own discipline,
but the results are magnificent. Fechin's realism is beyond photography. The radiant bright highlights were produced with an
eraser or sometimes white chalk, other times the unique paper was left empty. These Art Works must be seen in person to be
truly experienced. Fechin's charcoals were very thin, but he sharpened them even more, making them so thin he had to make
pecial holders for them. But the precision, craftsmanship, realism and results are unequaled.
Nicolai Fechin Portrait in Charcoals
Frank Waters, who was nominated five times for the Nobel Prize in literature, said of Fechin's Paintings,
"How they shout and sing! No man... has his intensity of color. Few can equal his masterful draftsmanship.
Whatever his subject, Fechin’s work is stamped with his immediately recognizable style."
"Fechin" he said, "had more talent than the next fifty artists combined."
Parsons does not offer Nicolai Fechin reproductions or commercial copies of prints of Nicolai Fechin,
because no print or photograph can compare to the real Art Work.
Parsons invites you to visit the Galleries in person to see the unmatched beauty of the real Art Works.
Parsons Galleries and the Fechin House are within easy walking distance.
Please call for current inventory or any questions.
Nicolai Fechin Quotes
Nicolai Fechin's Technique, Art and Life, and Painting Secrets:
Nicolai Fechin "Self Portrait"
Fechin explains the source of lasting value in Art:
"A high degree of expertise in technique has always had, and always will have, a predominate place in art.
The subject, in itself, has value only according to the mode of the day. Tomorrow it will be superseded by a new fashion or fad.
With the passing of time, the subject loses much of its meaning. But the fine execution of that subject retains its value.”
- Nicolai Fechin
Fechin demonstrates the diffence between Technique and Truth:
"Technique should be considered only as a means to an end but never as the end itself. To me, technique should be unlimited,
fed by a constant growth in ability and understanding. It must never be mere virtuosity but an endless accumulation of qualities
and wisdom." - Nicolai Fechin
Novelty needs a purpose:
"The appearance of a truly new idea in art is always valuable,
but only when it aims at fulfilling itself in an accomplished piece of work." - Nicolai Fechin
Fechin worked to encourage beginning artists:
"All creation is personal and belongs to you alone. The teacher must not touch this. His main reason for existence is to see that the work of the student is well thought out and constructively organized." - Nicolai Fechin
The importance of practice and experience:
“No one can teach you how to paint and how to draw except you yourself. You cannot learn how to paint by watching a well-trained master painting, until you yourself, have learned how to paint with some understanding first. Only by the path of much practice and experience can mature results be reached.” - Nicolai Fechin
"The beginner is always tempted to take the path of least resistance. He usually takes as his model the reproductions of some
fashionable painter and copies them, believing that by doing so he acquires knowledge. Such a beginning is unsound, because it
starts with the end product of the original work- the finished results of an artist’s long and patient toil. Superficially absorbing the
final expression, the student bypasses the process of attaining these results and does not comprehend at all the work of creating."
- Nicolai Fechin
"My way of drawing and painting can be taught only through direct visual perception and it is almost impossible to describe it. An
attitude toward painting and a few technical fundamentals can be discussed, however- but always with a warning not to take my
observations in an overly literal or rigidly set manner..." -Nicolai Fechin
Value in Art comes from creative ideas:
"Before defining his own field of work, it is essential for the beginner to acquire a great a variety of knowledge as possible. The
more consummate his technique, the easier it will be for him to free himself from all dependence upon a subject. What an artist
fills his canvas with is not so important. What is important is how he does it. It is sad if an artist becomes a slave to the object he
seeks to portray. He must be able to deal with it according to his own point of view. In other words, the portrayed object must
serve as nothing more than an excuse to fill his canvas. Only then does his work acquire value for an artist, when it passes
through the filter of his creative idea. Therefore, a beginner must always avoid the conventional, whether it is color, line or, above
all of course, in the choice of the subject itself." -Nicolai Fechin
"Portrait of a Woman"
Fechin outlines his secrets to creating colors:
"Any standardization is negative in its meaning. If conventional shades and colors are used, the ability to see them in reality is lost. It is essential that the artist should regard every new painting as an entirely special world of color, light, form and line. Every new canvas is a completely new challenge" - Nicolai Fechin
"Native American Necklace"
Fechin on the importance of learning to "see":
"As a matter of fact an artist has to deal with only three basic colors: red, blue, yellow (all the rest are combinations of these
fundamental colors). Everyone knows this, but few pay attention to the fact. Thus the first step for the artist to learn to see these
primary colors and to distinguish them separately one from the other." -Nicolai Fechin
Fechin explains how he builds colors:
"The beginner usually endeavors laboriously and literally to match colors he sees (or those he imagines) by mixing endlessly the
paints on his palette, and the results are dirty and dead. Everything which is alive reflects color and every reflection is a vibration.
Hence, if one wishes to produce this living vibration one must resort to the use of pure basic colors and “build” with them in such a
manner as to give this living effect and vibrancy." -Nicolai Fechin
"For my own work, I do not like to use medium. This dissolves the paints too much. The pigments mix together and cannot retain
their individual distinctiveness and thus again lose much of their fresh intensity." - Nicolai Fechin
"Portrait of Shelia Wardell"
Fechin explains some differences between Novelty and Art:
“Artists and critics compete with each other in their endeavors to destroy the traditional approach to the fundamental principles
required for the careful technical execution of any work. In their mad pursuit of novelty, they do not have enough time for a
conscientious development of their ideas and, as a result, they have had to make legitimate that which I would call “illiteracy” in
the arts." - Nicolai Fechin
“Concept or rendition: which is more important? That is a basic question in art. In the first case it is frequently said: “Not badly
conceived but poorly executed!” Such evaluation is no credit to an artist. On the contrary, fine workmanship makes one forgive
even triviality. In such cases it is said: “Stupid, but devilishly well executed!” - Nicolai Fechin
"Portrait of a Girl"
Fechin shows how all parts work together:
"The artist must never forget that he is dealing with the entire canvas, and not with any one section of it. Regardless of what he sets out to paint , the problem remains one and the same. With his own creative originality, he must fill in his canvas and make of it an organic whole. There must not be any particularly favored spot in the painting..."
"The little Russian Girl"
Fechin explains the training of a Master Artist:
"An artist should work every day with what is at hand" ". . . It is necessary to exercise the hand and the eye the same way it is
necessary for a musician to exercise every day his hearing and his hands." (Fechin, The Builder, 1982) - Nicolai Fechin
Fechin reminds us of the powers of creativity:
"I have been asked which of the arts I consider most important. For me, no one particular art is greater than another. I can only
say this; when you find yourself in the presence of creativeness…take off your hat." - Nicolai Fechin
Fechin the Prodigy:
Nicolai Fechin as a student
Fechin's fame has spread world wide to all continents.
He was a genius from youth, a child prodigy who never stopped growing.
He was enrolled at the Art School of Kazan at the age of 13.
He achieved the highest recognition and art awards while he lived.
Nicolai Fechin 1940s
Fechin's Mentors, Teachers and Students:
- Across Two Continents -
His Pedagogy and Career in Russia and America
Nicolai Fechin Artist Portrait
Fechin trained Peter Kotov (1889-1953), who then went on to teach Sergei Bongart (1918–1985). Bongart then taught Don Sahli.
Fechin studied under Filipp Malyavin (1896-1940), who showed him use of bold, masculine and wide, nervous brush strokes, and
the use of his fingers to enhance the texture the paints.
He was taught by Ilya Repin from 1900 to 1909 at the Imperial Academy of Fine Arts in St. Petersburg. Fechin said that Repin
"valued everything more or less original in the student. ... He not only saw the work of the artist, but his soul as well.”
Repin wanted his students' art to show the unvarnished reality of Russian life and to direct attention to social evils.
Repin taught Fechin to always focus on truth and morality, not novelty and aesthetics.
Fechin's Art teaches us to "see".
Fechin's body of work forever changed the world's perception of the life, culture and dignity of indigenous peoples,
and the very Earth itself.
Ilya Repin Self-Portrait
(State Russian Museum, St. Petersburg)
Filipp Malyavin (1896-1940) "Self-Portrait"
Nicolai Fechin "Self-Portrait"
Peter Kotov (1889-1953)
Sergei Bongart (1918–1985)
Nicolai Fechin Technique:
Fechin worked with stiff brushes, palette knives and even his fingers (he contracted lead poisoning that way).
His radiant, living effect was created by using multiple layers of paint over different back ground medias.
"Also for myself, I do not like to use medium. This dissolves the paints too much.
The pigments mix up together, do not retain their individual distinctness and thus again lose much of their fresh intensity."
Fechin tried to portray truth. His masterworks teach us to "see".
"Manuelita - with Intense Gaze" Nicolai Fechin Portrait
Nicolai Fechin Across Two Continents
Russia can not forget her prodigal son.
In 1976, Eya returned his ashes for burial in Kazan Russia.
Today the largest collection of his Art is at the Fechin Center in Kazan.
The Center honored him with a retrospective in 1881, marking the hundredth anniversary of his birth.
The Kazan Art School, Russia's premiere art school for more than 120 years,
has been renamed The Fechin Art School.
Fechin's great teachers of art and truth, Repin and Malyavin, were Russian.
Fechin Art School in Kazan
Yet, Fechin never returned to his beloved homeland.
But, in his heart, he never left. He said,
“One comfort is that fate has divided my life between two great people.”
Concerning his love and admiration for America, he said,
“There is peace and freedom in their country. One can work, paint whatever one likes."
Fechin was awarded his American citizenship in 1931.
Nicolai Fechin Signature Examples
Fechin began to sign his name in English soon after he arrived in the West.
Although he knew his signature was important, he felt his works of art best expressed himself.
Yet, every Fechin signature is a complete individual work of art in itself.
In Fechin's art, every brush stroke is saturated with his genius.
He said, "With his own creative originality, (the artist) must fill in his canvas and make of it an organic whole.
There must not be any particularly favored spot in the painting..."
For educational purposes, Parsons presents some signature examples.
Authentic signatures are only a part of certifying Traditional Fine Art.
Please feel free to contact us with any questions.
Nicolai Fechin Museum Collections Online
Nude. 1916-1917 (?) Oil on canvas. Museum of Fine Arts of the Republic of Tatarstan
Portrait of Varya Adoratskaya, 1914, Oil on Canvas, From the collection of Museum of Fine Arts of Tatarstan
Portrait of Nadezhda Mikhailovna Sapozhnikova, 1916, Oil on canvas, From the collection of Museum of Fine Arts of Tatarstan
Katenka, 1912, Oil on canvas, From the collection of Museum of Fine Arts of Tatarstan
For Hire, 1900, Oil on canvas, From the collection of Museum of Fine Arts of Tatarstan
The Green Necklace, 1933, Oil on canvas, From the collection of Panhandle-Plains Historical Museum
Self-portrait. 1920 (?) Detail. Oil on canvas. Museum of Fine Arts of the Republic of Tatarstan
Portrait of Alexandra Fechina. 1927-1933 Oil on canvas. Panhandle-Plains Historical Museum
Portrait of David Burliuk. 1923, Oil on canvas. New Mexico Museum of Art, Santa Fe, New Mexico, USA
Nicolai Ivanovich Fechin Highest Auction Prices
"The Little Cowboy" Price: $10,817,000
"BEARING AWAY THE BRIDE" Price $3,330,500
"Portrait of Mademoiselle Podbelskaya" Price $3,296,950
"The Wood Engraver, W.G. Watt, A.N.A." Price $1,092,500
"Indian Girl with Sunflowers" Price $1,080,000
"FRIENDS" Price $993,000
"TEA IN SANTA MONICA (PORTRAIT OF MRS. KRAG)" Price: $909,000
"PORTRAIT OF DUANE" 50.00" x 40.00" 1926 Oil / Canvas Price: $902,500
"NUDE WOMAN" 30.00" x 25.25" 1923 Oil / Canvas Price: $872,500
"Portrait of Kate" 30.00" x 25.00" 1926 Oil / Canvas Price: $586,260
"Lolita" 20.00" x 18.00" Oil / Canvas Price: $555,750
"RUSSIAN GIRL" 15.08" x 12.09" Oil / Canvas Price: $540,480
"MY GARDENER'S BABY" 19.88" x 15.25" 1928-29 Oil / Canvas Price: $485,000
"Lillian Gish as Romola" 49.20" x 45.20" 1925 Oil / Canvas Price: $464,000
"The Drum Player" 32.25" x 19.25" Oil / Canvas Price: $460,500
"STILL LIFE - KETTLE #2" 24.00" x 20.00" Oil / Canvas Price: $431,250
"AT HOME IN NEW YORK" 18.00" x 22.00" 1924 Oil / Canvas on board Price: $413,000
"Antonio Triana as a Gypsy" 23.88" x 19.88" Oil / Canvas Price: $392,500
"Still Life with Grapefruit" 24.13" x 28.13" Oil / Canvas Price: $384,000
Fechin Art and Paintings Recent Sales Prices:
"Tonita" $1,105,000 Oil on canvas 10/24/2007
"Friends" $993,000 Oil on canvas 05/21/2008
"The Little Cowboy" Oil on canvas $10,817,000 12/02/2010
"BEARING AWAY THE BRIDE" Oil on Canvas $3,330,500 11/01/2011
"Portrait of Mademoiselle Podbelskaya" $3,295,714 11/26/2012
"Portrait of Kate" $587,302 Oil on canvas 06/03/2013
"MRS FECHIN AND DAUGHTER" Oil on canvas $2,252,360 06/03/2013
"Nude" Oil on canvas $1,947,530 11/25/2013
"REBECCA SALSBURY JAMES" Oil on canvas $125,000 05/16/2016
"PORTRAIT OF A YOUNG WOMAN" Oil on Canvas $100,000 06/09/2016
"Portrait of a Woman with Yellow Head Wrap" Oil on canvas $46,130 02/19/2017
Fechin's Art prices have risen steadily. Please contact the Gallery for the latest prices and current inventory.
Parsons does not offer Nicolai Fechin reproductions, because no reproduction can compare to the real paintings.
Parsons invites you to visit the Galleries to experience the unmatched beauty of the real art.
Nicolai Fechin's art continues to rise in value.
Nicolai Fechin Museum Collections On Line
"Bearing Away the Bride"
"The Little Cowboy"
"Portrait of Mademoiselle Podbelskaya"
"Lady in Pink"
"Portrait of Abramychev"
"Portrait of a Young Woman"
Art Institute of Chicago
"Nude Figure, 1911"
"Portrait of My Father, 1912"
"Portrait of Miss Sapojnikoff, 1908"
"Lady in Pink (Portrait of Natalia Podbelskaya), 1912"
Frye Free Public Art Museum
Nicolai Fechin Paintings include:
"Portrait of the Artist’s Wife" 1925
"Portrait of Varya Adoratskaya"
"Still Life Daisies"
"Spring in the Steppe"
"The Corn Dancer"
"Nude Figure" 1911
"Seated Nude" Oil on Canvas, c. 1950
"Mexican in a Cowboy Hat" Charcoal on Paper
"Lady in Pink" (Portrait of Natalia Podbelskaya)
"Portrait of a Young Woman" 1912, oil on canvas
"Girl in Purple Dress"
"Indian Girl with Pottery"
"Portrait of Mr. Gorson"
"Spring in the Steppe" (1913)
"Girl Holding Peaches"
"Bearing off the Bride"
"Reading the Newspaper, the Artist's Father"
"Taos, Flowers In Henry Sharp's Yard'
"Russian Landscape, Village Of Hope, Kazan Province"
"The Chicken House"
"Head Of Mexican Man"
"La Abuela (The Grandmother)"
"Girl In Green Blouse"
"Indian Boy In Blue"
"Mother And Child (Alexandra Belkovitch Fechin & Eya Fechin Branham)" c. 1917
"Winter Scene (Snow Fell On The Mountains At Taos)"
"Girl With Orange Shawl"
"Eya, My Daughter"
"Lola (Mrs. Triano), Spanish Dancer"
"Joe With Drum"
"Wood Carriers (Two Donkeys In Forest)"
"The Indian Dancers"
"Black And White Cow"
"Old Adobe And Chickens"
"Cow And Calf"
“Coral Beads” portrait of Alexandra Belkovitch painted in 1910
"Alexandra on the Volga" 1912
Nicolai Fechin Museum Collections:
Arizona State University Art Museum
Art Institute of Chicago
Colorado Springs Fine Arts Center
Corcoran Gallery, Washington DC
Eiteljorg Museum of American Indians and Western Art
Fechin Center in Kazan
Frye Art Museum
Figge Art Museum
Great Plains Art Museum
Harmsen Western Art Collection
Harvard University Art Museums
Imperial Academy of Fine Arts, Leningrad
Indianapolis Museum of Art
Kemper Museum of Contemporary Art
Museum of Art at Brigham Young University
Museum of New Mexico
National Cowboy and Western Heritage Museum
National Cowboy Hall of Fame
National Portrait Gallery
Panhandle-Plains Historical Museum
Phoenix Art Museum
Rockwell Museum of Western Art
Roswell Museum and Art Center
San Diego Museum of Art
Smithsonian American Art Museum
Springville Museum of Art
Stark Museum of Art
The Fred Jones Jr. Museum of Art
The University of Arizona Museum of Art
Tucson Museum of Art
USC Fisher Gallery
Vanderveer Spratlen Collection
William Foxley Collection-Western
Nicolai Fechin Exhibitions:
Art Institute of Chicago
California State Fair, 1927
Carmel Art Association
Charles Russell Art Show
Corcoran Gallery, Washington DC
Foundation of Western Artists, 1936 (medal of honor)
Golden Gate International Exposition, 1939, 1940
Imperial Academy of FA, Petrograd, 1908 (1st prize)
International Glass Palace, Munich, 1909 (gold medal)
Los Angeles County Museum of Art, 1930
LACMA, 1935 (1st prize)
Maxwell Gallery (San Francisco), 1968
National Academy of Design, 1924 (Proctor prize)
Oakland Art Gallery, 1939
Panama Pacific Exhibition of 1915
Stendahl Gallery (Los Angeles), 1925, 1930s-1940s
Nicolai Fechin Books, References and further information:
Edan Hughes, "Artists in California, 1786-1940"
Nicolai Fechin: Across Two Continents, Amy Scott, Gerald Peters Gallery. Edition
Fechin: The Builder, Eya Fechin, Santa Fe: Blue Feather Press, 1982 Eya Fechin with Moses Porter
Nicolai Fechin Harold McCracken, 1961 The Hammer Galleries
Nicolai Fechin Mary N. Balcomb, 1975 Northland Press
Nicolai Fechin - Persimmon Hill vol. 8 #3 various, 1978 The Cowboy Hall of Fame
SAMUELS' Encyclopedia of ARTISTS of THE AMERICAN WEST,
Peggy and Harold Samuels, 1985, Castle Publishing
The Vadeboncoeur Collection of Knowledge Jim Vadeboncoeur, Jr. 1998
Fechin, Alexandra. March of the Past. Santa Fe: Writers' Editions, Rydal Press, 1937
Waters, Frank. "Nicolai Fechin," Arizona Highways, February, 1952
Contact Parsons for Fechin paintings value
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