The reality is not too much at odds with the definition, because when people talk about works of art, as a rule, experts in this field believe art historians, art historians, art critics, museum professionals, artists, and knowledgeable in any area of art and above all - constantly in its practitioners. However znatochestvo typical of those for whom art is not the main job - to collectors. In short, the experts - these are the people whom the head of the Russian artistic colony in France in the XIX century, a remarkable landscape painter Alexey Bogolyubov said that they have a "nose for a good thing."

It should be understood as applied force for the development of znatocheskih abilities, because in addition to talent, the desire for "beauty" and the skills required constant exercise of thought and eye for exhibitions and museums, not to mention the reading of special literature. Is important to visit the workshops of artists, familiarity with their heritage, knowledge of minor works, ie ferial of creativity.

Enumerate connoisseurs of previous generations can be very long. Those who today believe luminaries of art history, in time to emerge as experts. Among them, foreign compilers of union catalogs of works of artists-impressionists father and son Vildenshteyny, specialists in old masters, Friedlander, Bernson, outstanding domestic scholars Igor Grabar, Alexei Fedorov-Davydov, Boris Whipper, Viktor Lazarev. The artists themselves often play the role of experts, for example, members of association "World of Art" Alexander Benois, Konstantin Somov, Yevgeny Lancere, well versed in paintings, drawings and prints by Russian and Western European masters.

Sometimes, of course, that znatochestvo not confirmed by scientific investigation, led to well-known "classic" mistakes - witness the incorrect attribution Ostroukhova or Chernogubova. These failures would be confirmed as the utterances of the German artist Max Liebermann: "Critics are to ensure that after our death to declare our weaknesses of counterfeit".

Experts were many employees of public museums, since the constant work with the originals - part of their profession. However, the museum expertise, often reducible to a minor phrase about the museum or antique value of work, with all abundant technical means can not replace true znatochestva. Often, outside the official examination remains the rarity works, its significance in the artist, the history of appearance, provenance - all this deprives examination reliability.


Today, the true connoisseurs can be counted on the fingers. Among the staff of museums and art practitioners are only three or four people who deserve not only respect, but confidence. They were headed by Dmitri Sarabyanov - the only member of the Academy of Sciences of the common man, of course, authoritative, knowing the art of the late XIX - the first third of XX century, it is practical, not only from a theoretical point of view.

Most modern art is not simply listed as experts. And, despite the fact that many emit a large number of books and monographs, with their opinion no one is. The situation is complicated by the fact that the examination of all without exception, major museums and museum corrupt judge is losing credibility. Anyone who constantly has to deal with counterfeiting, simply loses qualification - each an expert must constantly train the eye, as a pianist, which should play every day scale. And if he is false, it only leads to the loss of even the most basic skills.

To grow a new generation of experts, will need a lot of time, since the island is only a problem of education. There is no doubt in need of special university courses to be introduced to znatochestvu. But so long as the work of a professional evaluator does not bring the relevant dividend, expected to improve the situation is not necessary.

Fifty years ago, a connoisseur and collector of Academician Alexei Sidorov described one of the most acute problems of examination and gathering, which, in general, is applicable to today. He said: "As a result, benefit forger, whose skill at the present time, it seems, knows no limits. Speculator, for which the collection of collections - intrigue, and the goal - profit, primarily the victim of the counterfeiter. For, in order to distinguish the original from a copy or a forgery, we need first of all eyes, then the experience, but above all, a good knowledge of the subject. Where is a businessman? "
Valery Dudakov.
http://www.openspace.ru/art_times/co...s/details/937/