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Сообщение от Sergeyitch
It is for this I rely. For these reasons I bought 3-4 years ago the work of Yakovlev. What is interesting then had a choice for the same money or take Schwartzman Rukhin. Both shot, Schwartzman is measured by the hundreds, Rukhin too few sales for a hundred, but Yakovlev yet. We look forward to.
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If your purchase is explained solely by considerations of profitability of investments, it was necessary to take Schwartzman (secondarily - Rukhin). Unfortunately - because my vzgldyad, Yakovleva artist is much larger than M.Sh. and ER.
But Schwartzman on the market very little work (if he lives sparingly parted with works, managed to establish itself in some quarters to true legend, there is a fund Schwartzman, and is currently attending a well-organized the first phase of its promotion - creating shortages :-)
Rukhin left a significant amount of work (but much less than Yakovlev), here we are dealing with a typical predstaviteleya "deep-art" in the immortal words of Andrei Kovalev (see his article "Dip-art: Deep Art of the Cold War", published in 2000 and made a splash in the micro-world relevance of Russian art). The vast majority of his works in principle, may at any time to appear on the market (with the exception of more than 100 or perhaps 200 paintings from the collection of Dodge, a great admirer of his). Indeed, already appears, judging by the reaction of auction houses, who complain that "they Rukhin nataschili, nowhere to store.
My words - not in any way is not a criticism Rukhin. This situation characterizes the market of contemporary Russian art. We must be aware that for decades, these paintings were sold - mostly foreign diplomats, people who are not particularly well versed in iskkustve, 200 - 300 rubles, the money at that time considerable, but acquires these foreign "collectors" on the black market to 15 rubles. for 1 dollar. Naturally, any diplomat in retirement, that is, a former mid-level civil servant, worked for his career in the 5-6-and countries, bought mats Aborigines (by the way, excellent) in Australia, the wooden mask (also great if you made not specifically for tourists and diplomats in the post) in Togo and painting non-conformists in the Soviet Union, recognizing that some items of his "meeting" are more than 100000 dollars, takes exhibits shared in the same arm and flew them to donate to the auction - I have this to that while the "hands do not ruin it," ups and downs of market prices of Russian art inevitable.
Poditozhim: I think that buying from investment considerations, it makes sense or artists, already promoted (and the fewer there are the paintings by this artist, the better - as you can see, the investment logic runs counter to the aesthetic, and I blush with shame by writing this blasphemous phrase ), but understanding the risk of this operation, or artists with a very good reputation, to which the "experts on promotion" has not yet reached his hands.
And finally: has written a rather long (beg pardon) the text, I vsponimayu that there are exceptions. Look, what happens to the Sitnikov: artist and helpless, and works to fig (and not surprising - half of Moscow, it worked!), And prices rise to transcendental heights. Probably this kitsch reflects personal tastes of buyers, otherwise impossible to explain this phenomenon.