In all well-known "cold" war, in which foreign and grabbed our homegrown experts, supported by influential officials such as Director of the Tretyakov Gallery, the result of a long wait, if at all.
In words, both parties are opposed to fake Russian avant-garde works, sweeping the art market. In fact, Western authoritative experts "on Goncharova" make a real and strong steps, producing a monograph for the other.
And what museum workers have answered? TG announced its fund works Goncharova hundreds of oils and many thousands of works on paper published several local exhibition catalogs - or in conjunction with Larionov, or together with other Russian avant-garde Amazons - Exter and Rozanova.
In announcing the presence of the directory Bazetu "60-70%falshaka" Irina Lebedeva put itself at least embarrassing, but rather - in a ridiculous position. Accusing the authors of both directories to non-professional approach to the attribution of the published pictures, Lebedev has identified itself is not perfect professionalism, not based on proven research and objective evidence but on unfounded allegations, for which it in the West along with other members pristnopamyatnoy press conference can be quite easy to pull to court. I assure you that before you take a book into print and the authors and the publisher have undertaken a thorough legal review of its potential liability in the event of lawsuits. I know it well from my own experience, including by not sweet. And for sweet, too.
Especially considering the many revelations of so-called Russian so-called expert critics, whose authority in the West is close to no. And we have new rich who buy masterpieces, Western experts often do not know and need to "give me Rybakov," or "give me Sarabianov with Pospelov."
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It is a pity that the participants of this action hurry, not separated "flies from cutlets" that is, the real work, published in catalogs, on the work that EVIDENCE not real, and has run a fever, spoiled his demagoguery and suddenly manifested diletanstvom noble and supported by all sane professional operators of the art market - to identify "golden fund" Goncharova, that is its real work.
This problem is well up in the air. Even highly respected by me and Peter O. Andrei Sakharov, apparently came to a discussion of this issue between the two methods, because their views were correct offset incorrect examples and emotions.
Andrew Sarabyanov argues that works with the same subject, published in Parton, such as "Car," "Cyclist", "Ravine" and the other in Goncharova can not be. But most of the paintings Shishkin called "Forest", while Malevich - "Suprematism." And the fact that artists before his death working with one story, altering it, seeking a new meaning, it is well known. I'm not talking about the copyright of their reps most successful works - or for a client on his specific request and at its specific funds or for exhibiting at the show, if the earlier work is gone.
Unfortunately, Andrei Sakharov, like many other critics, did not have access to the original works, and because they include a picture and confirmed by his father - Academician DV Sarabianov.
That is not yet known works Goncharova appeared and will appear in the market, known to many serious collectors, auctioneers and art dealers. It's ok if the appearance of each "new" (not re-done!) Work is available in a clear and demonstrable explanation.
An example of occurrence of "sudden" about 20 canvases and 60 works on paper was a collection of Daniel Vildenshtayna, which for decades was kept in a Swiss vault, but until then departed from the house of the widow Larionov - AK Tomilina an exhibition in the Russian Embassy in Paris. I bought it fully known Russian collector. At one point in the deal itself, I was close because the seller knew, and was struck by the quality of pictures of Russian (and not Paris!) Period of the artist.
Goncharova as an artist was extremely prolific. The exhibition in 1913-1914 she exhibited 750 paintings (of course, it was just part of her work at the time). Artprays points on sales of 821 works on paper and 307 oil paintings. In the TG are more than 400 oil paintings and thousands of drawings. In other museums, we counted yet (still have not stolen them from there), several hundred papers, and more - many decades of work in France.
How many thousands of works performed by Goncharov?
Nobody knows, but clearly only one thing - many thousands!
This is the origin of the work that is not already known to art historians from the Tretyakov Gallery.
And finally, about the money.
Can not be a specialist in Russian art (VA Petrov was - yes splyl!), Elapsed time Stasov. Now, as all the rest of the world of art has become highly specialized. Only an art historian who has studied specifically a particular artist, who has written about him work, and then a monograph, and as the pinnacle of his specialization, a catalog of the artist, it is reasonable, may be virtually the only authoritative expert for this artist. Often such a person is a child, the heir to the artist, and if not available, then an art critic who has devoted the study of his art throughout his life. In some cases, the Committee is aware, and a special case - Institute Vildenshtayna, producing catalogs, it is reasonable for almost all the Impressionists, and many, many other artists before and after them.
The important point is that since the first volume of the catalog, it is reasonable to ALWAYS dovypuskayutsya subsequent volumes, so as always there are previously unknown works by the artist.
In practice, these committees, etc. can not be avoided in order to sell the picture without her opinion and no one will buy on any auction it will not be accepted. And that means only one thing: if you want to sell Soutine - go to Tachmanu, you want to sell Kandinsky - Blow by Vivian Barnett, do you want to sell Goncharov - hurry because ..
And to whom a hurry? No one to hurry, because there is no such committee is "independent experts". In Russia alone who would not respond, but in the West - are others who are responsible for their word. The truth of the monetary sense, too limited, but for them more money reputation, which, however, is also well worth it.
And this is certainly the most important and defining moment of the story - it seems that "our" Goncharova pulls the blanket from "theirs" for themselves. The fight for the feeder? Very similar - a lot of money at stake!
That is only needed to "straw podstelit" and then fall will hurt.
Finally, I would like to quarrel began to open a dispute between two parties, in which we could get as the result of "filtered" folder, reasonably authentic works of great Russian artist.
And I do not rule out that the leadership of the State Tretyakov Gallery, if they need to accurately determine the authenticity of paintings by Goncharova, will need to go to Paris or New York "Natalia Goncharova Comité".