2 . On the " PB " is present part of the big picture gold frame and low beneath it, to " RA" it's not, but maybe the image was cropped to the catalog , although it can be seen at " RA" (see " photo angle " by Vivienne ) .

3 . On the " PB " wallpaper patterns around without drawing on the " RA" is present diamond pattern wallpaper. Why " counterfeiters " retreat from the original and add items that are not in the photo, and he saw the wallpaper in the original or the image of the file /print edition ?

4 . Pridivannye tables are written identically except for the top of the foot . On the " RA" she even looks more harmonious, in my opinion. Why " accomplice " to deviate from the original " PB »?

5 . On the " PB " girl puts flowers in a vase ( vase is only planned in the picture) and looks " into the distance /in yourself." On the " RA" the flowers are in the vase and she also does not look at the flowers , and the " distance /in yourself."

6. The lower-left corner. On the " PB " only scheduled composition (we can consider the contour chair /chair ) , while the " RA" it clearly and professionally displayed. Moreover, the chair on the design (note the front leg chairs) very clearly follows the design of " a table with a lamp " (note the front leg of a table ) . As counterfeiters could draw something that is not " a photo " and accurately convey chair design ? Why " counterfeiters " retreat from the original and adding a chair almost missing in the photo , or he saw this chair in the original or the image of the file /print edition ?

7. The back wall . Panels . On the " RA" traced texture frame and added its bottom bracket and is registered plinth . Why " counterfeiters " retreat from the original and add items that are not in the photo, and he saw them in the original or the image of the file /print edition ?

8. Table with a lamp . On the " RA" lamp is slightly turned to the man standing and removed a cigarette case ? with the foreground . Why " counterfeiters " retreat from the original composition and clean the elements present on the " PB /or photos of this work »?

9. Man (seated character) . As I see it , to " PB " before the artist was tasked to write the character in the picture, but not enough horizontal space of the canvas and it turned out that the character of his left foot as it comes on the girl's dress sitting . In this view sitting directed to the area of ​​the base of the bouquet. Then , as the " RA" sitting compositionally pushed and eyes lowered . Also in the " RA" is registered in more detail chair, whereas in the " CM " he only guessed .

10 . And the last rhetorical question. What counted " counterfeiters " by making the work with " the famous original" using modern paint. Original- source code available, independent study in any case will show mismatch of colors claimed time ?

If someone will be able to clearly answer the questions me - I will be grateful.


The plot :

I have two versions of the story silhouetted picture.
 
First , the two friends came to the widow ( girlfriend ) of his dead friend ( another sister ) , this is indicated by " impeaching " the views of the characters pictures. Perhaps it is the case that many words or silence when the words difficult to find . Dark girl dress , dark suits men left empty chair ( chair " departed " man , as the saying goes , " still warm place "). By the way, step on the widow's dress is "not very good ", thereby sitting " trampling " mourning women , but I think the artist did not have such a thought , and it was an accident (see the version above).
 
IMHO, " PB " is not planned to be completed in this format , and there was compositional , plot and coloristic sketch for the artist. Perhaps this explains the lack of a signature on " PB ".

Second , sitting on a chair with another man came to woo the girl, but she did not look at him and not presented them with flowers ...

IMHO, " RA" plot /composition looks more dramatic.


The authorship of "work Vivien ».

From the reports of Vivian , I realized that the efforts of the members of the forum is installed /authorship attributed to " PB " P. Nilus . But , are there any documented evidence of this : archival material (mention of this work in the letters , memoirs , etc.), conducted a study of the work process (construction , for example, the initial figure, the comparison application technique of the paint layer , the study paints an identity with the standard works of the painter of this period of creativity , etc. ) ?

Vivienne opinion concerning the period of creation of " PB »: « original, represented here by me , actually written by P. Nilus in the late 1890 's - early 1900's » , whereas P. Nilus says : "I started with peredvizhnichestva was desperate realist, lovingly subscribed to the smallest detail, and if the button on his coat was made bad - I despaired . And then I was struck by the Russian romance, and I realized that excludes romanticism realism ».


The time of writing the work .

Perhaps Vivian knows what a real event in question in the picture. Characters - the real event - really. If we are at the moment ascribe authorship of " PB " P. Nilus , then the picture , IMHO, from the transition period of the artist from peredvizhnicheskogo realism (see the person sitting ) to the romantic Impressionism (late 1910's - 1920's . ) .
My feeling is that " RV " - the end of 1900 - beginning of the 1910s .


Version of " RA" with the signature /without .

According to the correspondence believe Vivian and I are difficult to comment, as if I had access /ownership was the original work of the author , of which very few people know , and the market offers a " fake " work without a signature, then I would by all means would have done it photo (for example , saying that the need for macro VIP client , etc. and etc. ) .


Writing of Nilus from memory .

Write such a work solely from memory , in my opinion, is not possible ( without a photo or sketch , not seeing the "living " of the interior ) . The story of how the work of this size and a rather complex story was written by the artist in exile from memory, and then sent to Odessa - is hardly realistic. Sign the paper " Nilus " in Russian with a solid sign for the shipment citizen of the Soviet Union - is also unlikely , then the author would have signed " P. Nilus "in order not to compromise the old-regime writing signed new owners work.

If the " RA " was a real (after extensive research ), it is most likely could have been written by the artist , using the sketch , " PB " and the real interior with its large and small elements of the situation .

Or is it to write " RA" was used quality photograph with " PB " and additional photographic /archival material real interior with its large and small elements of the situation ?


Conclusion : Almost all of my research will have no grounds , in the event that an independent chemical . study of the paint layer and the circuits of the preparatory drawing show - the beginning of XXI century.
With only one nuance that " counterfeiters in Ukraine" so was able to feel the subject of the picture (and even a photo) , which, in my opinion, created a work of more subtle and sensual in nature. In short , we must be on guard !

IMHO, it would be appropriate to explore both the full-scale work (preferably together ) to determine the authorship and time of creation , as one work without a signature , and the second is now " painted violent paints ."

PS: Please respected members of the forum not to put me "thank you" for this post , because I spent my time exclusively to the search for truth .