Well, what is reflected in the samovar?
 

Topic What is reflected in the samovar ? I created a new closed , since there is that in her place .
Namely - the answers to forum users Valentina Borodina, the head of the Memorial Museum of Art and Kuzma Petrov -Vodkin.
I posted a letter to her in two or three reports , because it has an attachment - " Illustration ", I'll give them at the end of the fragments.

So, the next already are messages consisting of a letter V. Borodina.

Again, 25.

Work Kuzma Petrov - Vodkin forge possible.
All agree?
But authenticity can only be determined by expert work.
If you are unsure of the authenticity, why write on this site state.
museum, which is the original?
:eek:>

Then Tyutchev says:
  «We can assume, for example, that this still life was written by one of his many pupils. And then someone else put the signature of the CPV ».
None of the students were not able to repeat the master even at the stage of apprenticeship, talking with him, imitating him. Even the most faithful of his disciples - and Samokhvalov Golubyatnikov (about the rest do not even speak). That's what I'm writing and even to what is assumed today's "master," capable of repetition handwriting Petrov-Vodkin.
Bring at least one of his students as an example of his successor manners, I would really like to see. Petrov-Vodkin was a brilliant teacher and never "get into" them "their points." And his method was too individual to repeat it, one must have the same "cosmic consciousness", which belonged to the master.

Then Tyutchev writes:
  «But this does not change anything, in fact! Because even if in the wide part of the samovar truly reflected the face the artist's family, it still would not make this work Petrovovodkinskoy. On such secondary base their arguments prove the experts who do not see things! »
(Of course, Tyutchev put forward a "compelling case" against authenticity, much like the thing feels ... To us, Frosya Burlakov, like me, with his "yes snout in Kalashny series» Tyutchevs!)
 
«To them are not significant impact that a work of art in themselves, but minor details that serve only something subsidiary to determine the authenticity of the work. These details are important too, but in combination with other more important features »
(Specify these more important features that are missing here)

«understanding and creativity of an artist»
(That is, to me, dealing with more than 35 years, only works of this artist, refused to understand his work, "mnogostanochnym" Tyutchev)

  «They, these details can push the researcher, as in the right direction, and take away the jungle of delusion. The ability to see things developed at all in varying degrees »
 (From Tyutchev, I suppose, it is highly developed)

«Someone who more-or less. Thus a strong sense of things, or as they say "eye" for example, had George Costakis Denisovich. Incidentally, he was not a professional art critic. This gift is given, to some extent by God, and to some extent by the individual develops as a result of contact with works of art »
 (And why Tyutchev thinks that I, unlike him - a permanent "exhibition visitor," with works by Kuzma Petrov-Vodkin little contact?)

«There is a saying" nasmotrennost. " So this nasmotrennost and purchased by visiting museums and exhibitions. As a person with "eye" sees a thing? How it feels? Until the end impossible to understand. I think it's a mystery for most of this man. Riddle of the psyche, if you like. "
But I'm in this "mystery and enigma" not only rejected God, but Tyutchev. That's bad luck!

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You know, I am reminded of the words that I read in one clever book: Christ come forth now and we will not know it, as once on the road to Emmaus, the disciples did not recognize him. We live in a world of simulations, in a world turned upside down, and no wonder that counterfeits of Petrov-Vodkin sold at auction for a lot of money ( cite only two *, and could be more, both sold at Christie's auction of international and
Sotheby's ), and a genuine Petrov-Vodkin did not know.
 
I writing and yet another long-suffering work Petrov-Vodkin "bouquet on the terrace" (1913) ,
who refuse to recognize the true, and it is exactly it.
Just do not speak to the experts and the epistolary documentary material which we possess - the museum staff. In addition, we have kept lists of their heritage, made his wife in 1939 after the death of the master. So, these lists many of those works which we do not know and had never seen, and Mara kept them in his hands measured. I suppose that may emerge over time, work, whose whereabouts are still unknown. How, for example, recently in America, "surfaced" "Bob", "Portrait of YI Kazarinov" in Russia - "Portrait of an unknown" - they are listed. Why do we, as puganye crows, which are afraid of the bush, do not want to admit the obvious, and the incredible faith?
_______________
* - VI Borodin gave two examples, but I have found only one of these:
The auction house (US)

Original letters , VI Borodin:
Letter from AF
KS letter
Letter from AF

Comrade Tivat , I went to the link you provided .

Read the very beginning , this is
With this lady , who decided to represent the market- traders , I do not intend to communicate .
I'm not discussing her personality , and painting Petrov-Vodkin.
And when I see that the discussion begins with a discussion of the personality of Comrade . Guriev , then the conclusion is simple : if she discusses what she wants. But without me.

About " ladies things " and about " water ", which is usually " pour " called " art historians " - very accurately noticed .
 :D> :D> :D>

Where did you original letters Borodina Kirila Syzran?
You that he climbs mails?

Totally agree with you , do the " expertise " pictures on the photo , the more world-class artist and then lay it all on the website of the State Museum ? ("News Radischevskaya museum " http://www.radmuseumart.ru/news/inde...id_header=4375)
Clearly, you can write about it in private correspondence, to express their opinions ( for example on this forum) , my assumption ..
 Madam VI Borodin, if the picture is not even in the hands held , ? , Why just write about the " global sensation "? Why such a hurry , like a fire ?

No wonder I can not find here . Keith Christiansen, ( curator of European painting of the New York Metropolitan Museum of Art , is also not " provincial newspaper journalist " , and the museum , like, not worse Hvolynskogo ) , receiving E-mail a photo of one of our picture , replied in detail, when it was written, in which the artist drove the painting in the Vatican and Pope Pius as a fourth of it spoken. Asked to give her to the show. Give a pity, but it is difficult to refuse , and a great honor .

 We live by the way, in the same city, but now he is in the hands not kept , the paint does not smell and did not check it with a fingernail ...

World, I have great respect for the opinion of V. Borodina on your picture, only it was not necessary to hurry up with the publication of an article on the museum site.