Moses Kisling (1891-1953)
 

Let's change the record, OK? I propose a priori completely adversarial plot (although the bag from a prison cell, so ...) and, in general, in my opinion, it makes sense to look closely to the work of artists from the First Paris school, so to speak, "second tier" - especially given the relative interest in the realist the twentieth century, shown at the forum in recent days.

The artist of Jewish origin, born in Poland, one of the first representatives of the Parisian school.
He first studied painting at the Academy of Fine Arts in Krakow, then in 1911 moved to Paris, where he was influenced Pont-Avenskogo direction with his sintetizmom and decorative styling. Between 1912 and 1914. He lived in the Eastern Pyrenees. There he met Picasso, Braque, Gris and Max Jacob, in close contact with that helped him learn the principles of the aesthetics of Cubism. Kisling participated in the Paris Autumn Salon (1912, 1913, 1920, 1925, 1928-33, 1947, 1948, 1958) and independent salons (1913, 1921, 1922, 1925), as well as exhibitions of the New Secession in Munich and the Free Secession Berlin. E /th Workshop on the street, Joseph-Bara in Montparnasse was a meeting place for artistic and intellectual elite - there could be found by Picasso, Derain, Gris, Modigliani, Soutine ...

Sorry, I describe in the title, instead of 1953 set in 1963, thanks to Cyril, who drew my attention to this.

Kisling was one of the first representatives of the Parisian school, which formed the artists of Jewish origin - immigrants from Eastern Europe and Russia. His many secular friends and significant financial success led to his being nicknamed the "Prince of Montparnasse". For his part in the First World War (he fought in the Foreign Legion) Kisling received French citizenship.

Apogee glory of this artist to the period from 1917 to 1940. His exhibitions were held in numerous galleries in Paris - Dryue (1919), Guillaume (1924), Bernheim (1924), Carmine (1927), Girard (1924), Stein (1924), as well as in Europe and the United States. In 1940, fleeing from the Gestapo, he fled to Spain and from there - in Portugal and, finally, in the United States, where he settled in 1941 and stayed until the end of the war. In 1945 he returned to France.

In early works Kisling (1912-1918) felt his admiration for Cézanne: the artist was trying to identify geometrichyaeskuyu structure blocks, combined several plans for the composition. At this time he began to portray characters that have become characteristic of his work - still sad people with huge dreamy eyes. For his work with landscapes characterized by bright, saturated colors, some of them can be seen close to the "metaphysical painting". From 1918, the artist resorted to stylization of the Italian Quattrocento painting, with its decorative linearity.
Critics often Kisling alike in painting and art direction of the German "New Objectivity".

It should be noted that Kisling inherent elements of the salon, but nevertheless, it is an artist, whose work deserves attention.

There, with the numbering of trains "hard. Everyone, in my opinion, the artists on these "trains" to arrange.
For example, in the first Kisling I quite see.

Kisling
 

For me - so very good landscapes - and their очено obemno look nemotrya on a flat canvas. I think that originally they were even better and more interesting. Portraits (given the time of creation) - in fact include the artist's second-tier, as mentioned above.

And that this was "subject to the establishment?
And who in the "first", in your opinion?

Yes I am, actually, and not against, I do not hurt like prepack artists on trains (spellbound just copy the table kislingovskih sales, I was rather due to a price component). But agree that there is still a difference between Kisling and Soutine?

Yeah, Soutine have a separate "lettered" place. :)
Of course, I agree.

[color="# 666686"]Added after 3 minutes[/color]
And I have noticed that even in this year, all bought.
Clean up the "Paris School" You were right, when it drew the attention of investors.

With Kisling situation is complex. I Manuel Schmid (Schmid, who now owns the gallery, perhaps the most luxurious Parisian gallery specializing in art 2 nd half of XIX - 1-st half of the XX century.) Said - I have not checked - that the price for it is dropped in 1990 gg. and still not risen to above urovnya.Posmotrite all 13 pages here (but unfortunately, their statistics begin with 2003):
http://www.findartinfo.com/search/li...1&pageno=1
In 2003-4. - Lots of unsold works, then, since 2005 - seems to be a tendency to increase.

You can ask to the authors of texts?
 

To the authors to:
You can ask the authors of texts, the time of their writing and the source? (professional approach is desirable).
  (and it is not clear where the quotation, and where the author's text)
Thank you.